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This book is the follow up to the previous volume on beauty apparently beauty and ugliness are concepts that imply each other, and by ugliness we usually mean the opposite of beauty, so all we need do is define the first to understand the nature of the second but the various manifestations of ugliness over the centuries are richer and more unpredictable than is commonly thought the anthological quotations and the extraordinary illustrations in this book lead us on a surprising journey among the nightmares, terrors, and loves of almost three thousand years, where acts of rejection go hand in hand with touching gestures of compassion, and the rejection of deformity is accompanied by decadent ecstasies over the most seductive violations of all classical canons among demons, madmen, horrible enemies, and disquieting presences, among horrid abysses and deformities that verge on the sublime, among freaks and the living dead, we discover a vast and often unsuspected iconographic vein so much so that, on gradually encountering in these pages the ugliness of nature, spiritual ugliness, asymmetry, disharmony, disfigurement, and the succession of things sordid, weak, vile, banal, random, arbitrary, coarse, repugnant, clumsy, horrendous, vacuous, nauseating, criminal, spectral, witchlike, satanic, repellent, disgusting, unpleasant, grotesque, abominable, odious, crude, foul, dirty, obscene, frightening, abject, monstrous, hair-raising, ugly, terrible, terrifying, revolting, repulsive, loathsome, fetid, ignoble, awkward, ghastly and indecent, the first foreign publisher to see this book exclaimed: how beautiful ugliness is!

In the mold of his acclaimed History of Beauty, renowned cultural critic Umberto Eco’s On Ugliness is an exploration of the monstrous and the repellant in visual culture and the arts. What is the voyeuristic impulse behind our attraction to the gruesome and the horrible? Where does the magnetic appeal of the sordid and the scandalous come from? Is ugliness also in the eye of the beholder? Eco’s encyclopedic knowledge and captivating storytelling skills combine in this ingenious study of the Ugly, revealing that what we often shield ourselves from and shun in everyday life is what we’re most attracted to subliminally. Topics range from Milton’s Satan to Goethe’s Mephistopheles; from witchcraft and medieval torture tactics to martyrs, hermits, and penitents; from lunar births and disemboweled corpses to mythic monsters and sideshow freaks; and from Decadentism and picturesque ugliness to the tacky, kitsch, and camp, and the aesthetics of excess and vice. With abundant examples of painting and sculpture ranging from ancient Greek amphorae to Bosch, Brueghel, and Goya among others, and with quotations from the most celebrated writers and philosophers of each age, this provocative discussion explores in-depth the concepts of evil, depravity, and darkness in art and literature.

In the mold of his acclaimed History of Beauty, renowned cultural critic Umberto Eco’s On Ugliness is an exploration of the monstrous and the repellant in visual culture and the arts. What is the voyeuristic impulse behind our attraction to the gruesome and the horrible? Where does the magnetic appeal of the sordid and the scandalous come from? Is ugliness also in the eye of the beholder? Eco’s encyclopedic knowledge and captivating storytelling skills combine in this ingenious study of the Ugly, revealing that what we often shield ourselves from and shun in everyday life is what we’re most attracted to subliminally. Topics range from Milton’s Satan to Goethe’s Mephistopheles; from witchcraft and medieval torture tactics to martyrs, hermits, and penitents; from lunar births and disemboweled corpses to mythic monsters and sideshow freaks; and from Decadentism and picturesque ugliness to the tacky, kitsch, and camp, and the aesthetics of excess and vice. With abundant examples of painting and sculpture ranging from ancient Greek amphorae to Bosch, Brueghel, and Goya among others, and with quotations from the most celebrated writers and philosophers of each age, this provocative discussion explores in-depth the concepts of evil, depravity, and darkness in art and literature.

Ugliness is very much alive in the history of art. From ritual invocations of mythic monsters to the scare tactics of the early twentieth-century avant-garde, from the cabinet of curiosities to the identity politics of today, the ugly has been every bit as active as the beautiful, and often much more of a reality - Why then has it been so neglected? This book seeks to remedy this oversight through both broad theoretical reflection and concrete case studies of ugliness in various historical and cultural contexts. The protagonists range from cooks to psychoanalysts, from war prostheses to plates of asparagus, on a world stage stretching from ancient Athens to Singapore today. Drawing across disciplinary and cultural boundaries, the writers illuminate why ugliness, associated over the millennia with negative categories ranging from sin and stupidity to triviality and boredom, remains central to art and cultural practice.

Ugliness is very much alive in the history of art. From ritual invocations of mythic monsters to the scare tactics of the early twentieth-century avant-garde, from the cabinet of curiosities to the identity politics of today, the ugly has been every bit as active as the beautiful, and often much more of a reality - Why then has it been so neglected? This book seeks to remedy this oversight through both broad theoretical reflection and concrete case studies of ugliness in various historical and cultural contexts. The protagonists range from cooks to psychoanalysts, from war prostheses to plates of asparagus, on a world stage stretching from ancient Athens to Singapore today. Drawing across disciplinary and cultural boundaries, the writers illuminate why ugliness, associated over the millennia with negative categories ranging from sin and stupidity to triviality and boredom, remains central to art and cultural practice.

In the mold of his acclaimed History of Beauty, renowned cultural critic Umberto Eco’s On Ugliness is an exploration of the monstrous and the repellant in visual culture and the arts. What is the voyeuristic impulse behind our attraction to the gruesome and the horrible? Where does the magnetic appeal of the sordid and the scandalous come from? Is ugliness also in the eye of the beholder? Eco’s encyclopedic knowledge and captivating storytelling skills combine in this ingenious study of the Ugly, revealing that what we often shield ourselves from and shun in everyday life is what we’re most attracted to subliminally. Topics range from Milton’s Satan to Goethe’s Mephistopheles; from witchcraft and medieval torture tactics to martyrs, hermits, and penitents; from lunar births and disemboweled corpses to mythic monsters and sideshow freaks; and from Decadentism and picturesque ugliness to the tacky, kitsch, and camp, and the aesthetics of excess and vice. With abundant examples of painting and sculpture ranging from ancient Greek amphorae to Bosch, Brueghel, and Goya among others, and with quotations from the most celebrated writers and philosophers of each age, this provocative discussion explores in-depth the concepts of evil, depravity, and darkness in art and literature.

In the mold of his acclaimed History of Beauty, renowned cultural critic Umberto Eco’s On Ugliness is an exploration of the monstrous and the repellant in visual culture and the arts. What is the voyeuristic impulse behind our attraction to the gruesome and the horrible? Where does the magnetic appeal of the sordid and the scandalous come from? Is ugliness also in the eye of the beholder? Eco’s encyclopedic knowledge and captivating storytelling skills combine in this ingenious study of the Ugly, revealing that what we often shield ourselves from and shun in everyday life is what we’re most attracted to subliminally. Topics range from Milton’s Satan to Goethe’s Mephistopheles; from witchcraft and medieval torture tactics to martyrs, hermits, and penitents; from lunar births and disemboweled corpses to mythic monsters and sideshow freaks; and from Decadentism and picturesque ugliness to the tacky, kitsch, and camp, and the aesthetics of excess and vice. With abundant examples of painting and sculpture ranging from ancient Greek amphorae to Bosch, Brueghel, and Goya among others, and with quotations from the most celebrated writers and philosophers of each age, this provocative discussion explores in-depth the concepts of evil, depravity, and darkness in art and literature.

A novel interpretation of architecture, ugliness, and the social consequences of aesthetic judgmentWhen buildings are deemed ugly, what are the consequences? In Ugliness and Judgment, Timothy Hyde considers the role of aesthetic judgment―and its concern for ugliness―in architectural debates and their resulting social effects across three centuries of British architectural history. From eighteenth-century ideas about Stonehenge to Prince Charles’s opinions about the National Gallery, Hyde uncovers a new story of aesthetic judgment, where arguments about architectural ugliness do not pertain solely to buildings or assessments of style, but intrude into other spheres of civil society.Hyde explores how accidental and willful conditions of ugliness―including the gothic revival Houses of Parliament, the brutalist concrete of the South Bank, and the historicist novelty of Number One Poultry―have been debated in parliamentary committees, courtrooms, and public inquiries. He recounts how architects such as Christopher Wren, John Soane, James Stirling, and Ludwig Mies van der Rohe have been summoned by tribunals of aesthetic judgment. With his novel scrutiny of lawsuits for libel, changing paradigms of nuisance law, and conventions of monarchical privilege, he shows how aesthetic judgments have become entangled in wider assessments of art, science, religion, political economy, and the state.Moving beyond superficialities of taste in order to see how architectural improprieties enable architecture to participate in social transformations, Ugliness and Judgment sheds new light on the role of aesthetic measurement in our world.

This book is the follow up to the previous volume on beauty apparently beauty and ugliness are concepts that imply each other, and by ugliness we usually mean the opposite of beauty, so all we need do is define the first to understand the nature of the second but the various manifestations of ugliness over the centuries are richer and more unpredictable than is commonly thought the anthological quotations and the extraordinary illustrations in this book lead us on a surprising journey among the nightmares, terrors, and loves of almost three thousand years, where acts of rejection go hand in hand with touching gestures of compassion, and the rejection of deformity is accompanied by decadent ecstasies over the most seductive violations of all classical canons among demons, madmen, horrible enemies, and disquieting presences, among horrid abysses and deformities that verge on the sublime, among freaks and the living dead, we discover a vast and often unsuspected iconographic vein so much so that, on gradually encountering in these pages the ugliness of nature, spiritual ugliness, asymmetry, disharmony, disfigurement, and the succession of things sordid, weak, vile, banal, random, arbitrary, coarse, repugnant, clumsy, horrendous, vacuous, nauseating, criminal, spectral, witchlike, satanic, repellent, disgusting, unpleasant, grotesque, abominable, odious, crude, foul, dirty, obscene, frightening, abject, monstrous, hair-raising, ugly, terrible, terrifying, revolting, repulsive, loathsome, fetid, ignoble, awkward, ghastly and indecent, the first foreign publisher to see this book exclaimed: how beautiful ugliness is!

"Lies and Ugliness proves to be a bravura performance by a true virtuoso." Faren Miller, Locus "Brian Hodge has long been a favorite of horror insiders, both for his audacious themes and his impressive facility with language. In such Hodge novels as "Deathgrip," "Nightlife," "The Darker Saints," and "Prototype," and in his widely-anthologized short stories, you can hear the music in Hodge's prose, a kind of euphony that, at its best, is reminiscent of Brite, Koja, Gaiman, or even Roger Zelazny--while remaining, ultimately, unique." Thomas Roche Contents: * Madame Babylon * The 121st Day of Sodom * Empathy * Cancer Causes Rats * Some Other Me * Nesting Instincts (original) * Before the Last Snowflake Falls * An Autumnal Equinox Folly * Confession * Cenotaph * Far Flew the Boast of Him * Now Day Was Fled As the Worm Had Wished * Pages Stuck By a Bowie Knife to a Cheyenne Gallows * Driving the Last Spike * Little Holocausts * Dead Giveaway * Past Tense * Our Lady of Sloth and Scarlet Ivy (original) * The Last Testament * The Alchemy of the Throat * Come Unto Me, All Ye Heavy Laden * From the Gutters of Civilization to Your Discerning Eye (story notes)

Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel, as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, presented with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.

In this key text in the history of art and aesthetics, Karl Rosenkranz shows ugliness to be the negation of beauty without being reducible to evil, materiality, or other negative terms used it's conventional condemnation. This insistence on the specificity of ugliness, and on its dynamic status as a process afflicting aesthetic canons, reflects Rosenkranz's interest in the metropolis - like Walter Benjamin, he wrote on Paris and Berlin - and his voracious collecting of caricature and popular prints. Rosenkranz, living and teaching, like Kant, in remote Königsberg, reflects on phenomena of modern urban life from a distance that results in critical illumination. The struggle with modernization and idealist aesthetics makes Aesthetics of Ugliness, published four years before Baudelaire's Fleurs du Mal, hugely relevant to modernist experiment as well as to the twenty-first century theoretical revival of beauty.Translated into English for the first time, Aesthetics of Ugliness is an indispensable work for scholars and students of modern aesthetics and modernist art, literary studies and cultural theory, which fundamentally reworks conceptual understandings of what it means for a thing to be ugly.

In this key text in the history of art and aesthetics, Karl Rosenkranz shows ugliness to be the negation of beauty without being reducible to evil, materiality, or other negative terms used it's conventional condemnation. This insistence on the specificity of ugliness, and on its dynamic status as a process afflicting aesthetic canons, reflects Rosenkranz's interest in the metropolis - like Walter Benjamin, he wrote on Paris and Berlin - and his voracious collecting of caricature and popular prints. Rosenkranz, living and teaching, like Kant, in remote Königsberg, reflects on phenomena of modern urban life from a distance that results in critical illumination. The struggle with modernization and idealist aesthetics makes Aesthetics of Ugliness, published four years before Baudelaire's Fleurs du Mal, hugely relevant to modernist experiment as well as to the twenty-first century theoretical revival of beauty.Translated into English for the first time, Aesthetics of Ugliness is an indispensable work for scholars and students of modern aesthetics and modernist art, literary studies and cultural theory, which fundamentally reworks conceptual understandings of what it means for a thing to be ugly.

"Lies and Ugliness proves to be a bravura performance by a true virtuoso." Faren Miller, Locus "Brian Hodge has long been a favorite of horror insiders, both for his audacious themes and his impressive facility with language. In such Hodge novels as "Deathgrip," "Nightlife," "The Darker Saints," and "Prototype," and in his widely-anthologized short stories, you can hear the music in Hodge's prose, a kind of euphony that, at its best, is reminiscent of Brite, Koja, Gaiman, or even Roger Zelazny--while remaining, ultimately, unique." Thomas Roche Contents: * Madame Babylon * The 121st Day of Sodom * Empathy * Cancer Causes Rats * Some Other Me * Nesting Instincts (original) * Before the Last Snowflake Falls * An Autumnal Equinox Folly * Confession * Cenotaph * Far Flew the Boast of Him * Now Day Was Fled As the Worm Had Wished * Pages Stuck By a Bowie Knife to a Cheyenne Gallows * Driving the Last Spike * Little Holocausts * Dead Giveaway * Past Tense * Our Lady of Sloth and Scarlet Ivy (original) * The Last Testament * The Alchemy of the Throat * Come Unto Me, All Ye Heavy Laden * From the Gutters of Civilization to Your Discerning Eye (story notes)

'Cult of Ugliness', Ezra Pound's phrase, powerfully summarizes the ways in which modernists such as Pound, T.S. Eliot, Wyndham Lewis, and T.E. Hulme - the self styled 'Men of 1914' - responded to the 'horrid or sordid or disgusting' conditions of modernity by radically changing aesthetic theory and literary practices. Only the representation of 'ugliness', they protested, would produce the new, truly 'beautiful' work of art. Claiming membership in a cult, however playfully, was a crucial means of group and self-representation and promotion, a defense against personal, socio-economic, and artistic marginalization. Strategically, they dissociated the Beautiful from its traditional, troubling embodiment in female beauty, and from its more recent association with Walter Pater and Oscar Wilde. In effect, the deliberate cultivation of ugliness provided the means to displace the misogyny and homophobia which governed individual and artistic responses and utterances. This feminist argument takes in texts such as John Ruskin's foundational art criticism, Eliot's uncollected literary journalism, Lewis's pro-fascism pamphlets of the 1930s, and the city poetry of Pound, Conrad Aiken, and Langston Hughes. Analyses of Whistler's paintings and the poetry of W.B. Yeats demonstrate that even those who claimed to be the most vigorous champions of Beauty were committed to aesthetic practices that disempowered female figures in order to articulate new truths of male artistic mastery.

'Cult of Ugliness', Ezra Pound's phrase, powerfully summarizes the ways in which modernists such as Pound, T.S. Eliot, Wyndham Lewis, and T.E. Hulme - the self styled 'Men of 1914' - responded to the 'horrid or sordid or disgusting' conditions of modernity by radically changing aesthetic theory and literary practices. Only the representation of 'ugliness', they protested, would produce the new, truly 'beautiful' work of art. Claiming membership in a cult, however playfully, was a crucial means of group and self-representation and promotion, a defense against personal, socio-economic, and artistic marginalization. Strategically, they dissociated the Beautiful from its traditional, troubling embodiment in female beauty, and from its more recent association with Walter Pater and Oscar Wilde. In effect, the deliberate cultivation of ugliness provided the means to displace the misogyny and homophobia which governed individual and artistic responses and utterances. This feminist argument takes in texts such as John Ruskin's foundational art criticism, Eliot's uncollected literary journalism, Lewis's pro-fascism pamphlets of the 1930s, and the city poetry of Pound, Conrad Aiken, and Langston Hughes. Analyses of Whistler's paintings and the poetry of W.B. Yeats demonstrate that even those who claimed to be the most vigorous champions of Beauty were committed to aesthetic practices that disempowered female figures in order to articulate new truths of male artistic mastery.

Rob Stewart, Carolyn Dunn, Pedro Armendariz. After an unconventional DEA cop gets fired, he begins a new job as a private investigator in Florida. Feeling at first like he was in paradise, it wasn't long before his eyes were opened to both the ugliness of the crimes and the beauty of the women. Includes all 22 debut-season on 3 DVDs. 1991/color/20 hrs/NR.

BASED ON THE HIT ALBUM BY PROGRESSIVE METAL GIANTS DREAM THEATER In a not so distant future, our world has returned to the ugliness of feudalism. Only this time, those in power control the servant class with the very thing that once inspired men to rise up and take back their lives—music. But it is not the music of old. That music is forgotten. No, this new music is engineered entirely by machines. This music suppresses that part of humanity which might be inspired. This music suppresses hope.But what is old will be made new again.In the village of Ravenskill lives a young man, Gabriel, who comes with a gift of power. A gift of music. As a human expression.Gabriel’s brother, Arhys, leads a rebel militia that is trying to liberate the people. And he believes Gabriel’s gift is the key; a key he hopes will help him keep a promise he made to his wife on her deathbed.But the emperor and his son have different plans—to maintain control. Those plans may find an unlikely challenger in their own family. And the resulting conflict may yield lasting consequences. For them all.With music as a moving force, the choices each player must make will bring them to a shared moment of pain. And perhaps redemption.

The defined and undefined beauty and ugliness of a small town is revealed by a music student who joins the police force of a Massachusetts resort community