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Neo-Baroque Aesthetics and Contemporary Entertainment (review)

Neo-Baroque Aesthetics and Contemporary Entertainment (review) canons of taste that are informed by the institutional education of the upper social classes in Europe and North America, right up to the end of the nineteenth century. As such, these constituencies' interests and cultural positions contrast strongly with those contemporary architectural theorists who are driven by the social need to oppose canonic and institutional agendas; for example, the importance of feminist, Marxist, and cultural theories to architectural theory over the past forty years. Nevertheless, within this first volume, the development of the modern cultural institution and its political agendas are clearly central to the production of architectural theory. There are some inevitable drawbacks in such an extensive coverage of material, in particular, the shortness in length of many of the extracts and their unavoidable extraction from larger projects. But Mallgrave's conscientious contextualization of each text in relation to the original text and a bibliographic reference helps to alleviate this frustration. Also, given his attention to the cultural contexts of production, one might be led to ask: What are the "unconscious" or "unofficial" texts that were written from "outside" the discipline, and which have not been included in this volume? Where, for example, are the ideas about http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Aesthetic Education University of Illinois Press

Neo-Baroque Aesthetics and Contemporary Entertainment (review)

The Journal of Aesthetic Education , Volume 41 (2) – Jun 2, 2007

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Publisher
University of Illinois Press
Copyright
Copyright © 2007 Board of Trustees of the University of Illinois. All rights reserved.
ISSN
1543-7809
Publisher site
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Abstract

canons of taste that are informed by the institutional education of the upper social classes in Europe and North America, right up to the end of the nineteenth century. As such, these constituencies' interests and cultural positions contrast strongly with those contemporary architectural theorists who are driven by the social need to oppose canonic and institutional agendas; for example, the importance of feminist, Marxist, and cultural theories to architectural theory over the past forty years. Nevertheless, within this first volume, the development of the modern cultural institution and its political agendas are clearly central to the production of architectural theory. There are some inevitable drawbacks in such an extensive coverage of material, in particular, the shortness in length of many of the extracts and their unavoidable extraction from larger projects. But Mallgrave's conscientious contextualization of each text in relation to the original text and a bibliographic reference helps to alleviate this frustration. Also, given his attention to the cultural contexts of production, one might be led to ask: What are the "unconscious" or "unofficial" texts that were written from "outside" the discipline, and which have not been included in this volume? Where, for example, are the ideas about

Journal

The Journal of Aesthetic EducationUniversity of Illinois Press

Published: Jun 2, 2007

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