The Aesthetics of Ruins

Front Cover
Rodopi, 2004 - Art - 538 pages
This book constructs a theory of ruins that celebrates their vitality and unity in aesthetic experience. Its argument draws upon over 100 illustrations prepared in 40 countries. Ruins flourish as matter, form, function, incongruity, site, and symbol. Ruin underlies cultural values in cinema, literature and philosophy. Finally, ruin guides meditations upon our mortality and endangered world.

From inside the book

Contents

TWO The Ruin as Form
15
THREE The Ruin as Function
33
FOUR The Ruin as Incongruity
51
FIVE The Ruin as Site
77
SIX The Ruin as Symbol
107
NINETEEN Meditations on Humanity Self and
153
SEVEN The Ruin as Aesthetic Experience
155
St Andrews
173
Grin and Bear It
385
Museum of Ruins
386
World as Ruins
387
The Redemption
396
Death
405
The Self
415
The Meaning of Existence
425
World Destruction
432

TEN Nature as Ruin
201
ELEVEN Sculpture and Other Visual Arts as Ruin
221
TWELVE Cinema and Television as Ruin
237
THIRTEEN Literature as Ruin
253
FIFTEEN The Terminology of Ruin
285
SIXTEEN Theories of Ruin
315
SEVENTEEN The Ruining Eyeand Other Senses
335
EIGHTEEN Fragments of a Chapter on Ruin
355
Ruinations
356
Battlefields
358
Psychology of Ruins
359
Nostalgia
362
Time
363
Ruins Put to Use
364
People in the Ruins
369
Domestic Ruins
370
A Ruin No Longer a Ruin?
372
Future Ruins
375
Chance Ruins
376
OnSite
378
Walls
379
SunBurst
381
Sound and Light
382
Ruin Music
383
Language
384
Fond Farewell
440
Works Cited
449
Chronology of Ruin
453
Common Era CE
454
Uncommon Error UE
460
Appendix Bibliographical Essay on the Literature and Imagery of Ruin
461
Art History
465
Individual Artists
469
Literary History
470
History of Culture
472
Archaeology
473
Individual Ruins
476
Travel Literature
478
Imaginative Literature
479
Guidebooks and Souvenir Books
481
Art of Photography
482
Architecture
485
History of Gardens
487
War Ruins
488
RuinArt Creations
489
Philosophy
490
Miscellaneous
492
About the Author
493
Index
495
Copyright

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Popular passages

Page 358 - O, pardon me, thou bleeding piece of earth, That I am meek and gentle with these butchers; Thou art the ruins of the noblest man That ever lived in the tide of times.
Page 387 - In human life time is but a point, reality a flux, perception indistinct, the composition of the body subject to easy corruption, the soul a spinning top, fortune hard to make out, fame confused. To put it briefly: physical things are but a flowing stream, things of the soul dreams and vanity; life is but a struggle and the visit to a strange land, posthumous fame but a forgetting. What then can help us on our way? One thing only: philosophy. This consists in guarding our inner spirit inviolate and...
Page 317 - IF thou would'st view fair Melrose aright, Go visit it by the pale moon-light; For the gay beams of lightsome day Gild, but to flout, the ruins gray.
Page 398 - He saved others; he cannot save himself. He is the King of Israel; let him come down now from the cross, and we will believe in him. He trusts in God; let God deliver him now, if he desires him; for he said, I am the Son of God.
Page 237 - Just as cells in their division form a phenomenon of another order, the organism or embryo, so, on the other side of the dialectical leap from the shot, there is montage. By what, then, is montage characterized and, consequently, its cell — the shot? By collision. By the conflict of two pieces in opposition to each other. By conflict. By collision.
Page 117 - Caesars; the temples of the old religion, fallen down and gone; is to see the ghost of old Rome, wicked, wonderful old city, haunting the very ground on which its people trod. It is the most impressive, the most stately, the most solemn, grand, majestic, mournful sight, conceivable.
Page 315 - ... Half in light, half in shadow, these slender, fantastic forms stand out sharp, and clear, and colourless ; each figure some eighteen or twenty feet in height. They could scarcely have looked more weird when the great roof was in its place and perpetual twilight reigned. But it is difficult to imagine the roof on, and the sky shut out.
Page 382 - ... positively above her head, and from under it, solemnly, smiled at the Princess as a signal of intention. So for an instant, full of her thought and of her act, she held the precious vessel, and then, with due note taken of the margin of the polished floor, bare, fine and hard in the embrasure of her window...
Page 415 - I came on a great house in the middle of the night, Its open lighted doorway and its windows all alight, And all my friends were there and made me welcome too; But I woke in an old ruin that the winds howled through; And when I pay attention I must out and walk Among the dogs and horses that understand my talk.

About the author (2004)

Robert Ginsberg was born in Brooklyn, New York in 1937. From 1952 to 1960, he studied at the University of Chicago, chiefly in aesthetics (B.A., M.A.). Assisted by Fulbright grants, he lived in Paris from 1960 to 1963, continuing his explorations in aesthetics at the Sorbonne. He did additional studies in Sweden, the Netherlands Institute for Art History in The Hague, and the University of Vienna. He returned to America to complete a Ph.D. in philosophy in Philadelphia at the University of Pennsylvania (1966). Ginsberg has engaged in study missions to Italy (classics), Israel (peace studies), and China (Confucianism). In the United States, he pursued post-doctoral studies at The Johns Hopkins University (film), University of California at Irvine (political philosophy), Brandeis University (classics), the Folger Institute in Washington (history of philosophy), and Georgetown University (classics). Research grants have taken him to Norway, the United Kingdom, Spain, Greece, Hungary, and Germany. Ginsberg taught in France and Turkey in the 1960s. In the United States, he served as adjunct professor at Drexel University, Philadelphia, and Temple University, Harrisburg. Appointed as the first faculty member at The Pennsylvania State University's Delaware County Campus in 1967, when it opened its doors in the Philadelphia suburbs, he taught for Penn State for thirty-five years. He is Professor Emeritus of Philosophy and Comparative Literature. During a motor tour of Scotland in 1967, Ginsberg first discovered the beauties of ruins. Subsequently, he has traveled extensively to study and photograph ruins and lecture on them (Pl. 94). To gain experience in the field, he participated in archaeological study tours in Egypt, Tunisia, Italy, Yugoslavia, Mexico, and Guatemala. In developing a career as photographer-philosopher, he has exhibited his visual works in Paris, Hong Kong, Montréal, Philadelphia, and Washington. Among Ginsberg's publications are a handbook for students, Welcome to Philosophy!(1977), and a monograph on sculpture, Gustav Vigeland: A Case Study in Art and Culture(1984). He edited Criticism and Theory in the Arts(1963), A Casebook on the Declaration of Independence(1967), The Critique of War: Contemporary Philosophical Explorations(1969), and The Philosopher as Writer: The Eighteenth Century(1987). Ginsberg edits the book series, New Studies in Aesthetics. Previously, he served as editor of the Social Philosophy Research Institute Book Series (SPRIBS), the Jones and Bartlett Philosophy Series, The Journal of Value Inquiry, and the Value Inquiry Book Series (VIBS). As an editor, he has supervised the publication of two hundred volumes. In 1962, Robert Ginsberg and Ellen Sutor wed in Paris. Since 1972, the Ginsbergs have made their home in Takoma Park, Maryland, an historic suburb of Washington, where they direct the International Center for the Arts, Humanities, and Value Inquiry.

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