Definitions
from Wiktionary, Creative Commons Attribution/Share-Alike License.
- noun Plural form of
aesthetician .
Etymologies
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Examples
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The rise of Action Painting, the Happening, The Living Theatre, John Cage's experimental music and Charles Olson's "projective verse," to name only a few examples of performance-oriented works of the 1950s and 1960s, forced many aestheticians to review the underlying assumptions of classic aesthetics.
Experimental Fiction 2010
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John Dewey's notion of "experience" in Art and Experience cannot be equated with what some aestheticians, following Kant, refer to as "contemplation":
March 2010 2010
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Most experienced conservative legal aestheticians can derive distinctions between Justices Scalia/Thomas/Roberts/Alito for progressives and liberals, those four votes are predictable.
The Volokh Conspiracy » A Great Law School Dean Doesn’t Have to be a Great Scholar 2010
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The rise of Action Painting, the Happening, The Living Theatre, John Cage's experimental music and Charles Olson's "projective verse," to name only a few examples of performance-oriented works of the 1950s and 1960s, forced many aestheticians to review the underlying assumptions of classic aesthetics.
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John Dewey's notion of "experience" in Art and Experience cannot be equated with what some aestheticians, following Kant, refer to as "contemplation":
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John Dewey's notion of "experience" in Art and Experience cannot be equated with what some aestheticians, following Kant, refer to as "contemplation":
Subject-Matter 2010
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Under Joseph Goebbels, Nazi aestheticians hollowed out the traditions of German romanticism and used them for their own ends.
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The rise of Action Painting, the Happening, The Living Theatre, John Cage's experimental music and Charles Olson's "projective verse," to name only a few examples of performance-oriented works of the 1950s and 1960s, forced many aestheticians to review the underlying assumptions of classic aesthetics.
December 2009 2009
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John Dewey's notion of "experience" in Art and Experience cannot be equated with what some aestheticians, following Kant, refer to as "contemplation":
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Whereas aestheticians from Aristotle on have insisted that figurative language should redouble and underline the thrust of the anecdote, it turns out that exactly the opposite is what often appeals to us in great works of art, a strange and even mystical discrepancy between the natural drift of the story and the contradictory impulses of the metaphors and similes and descriptions.
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