REFLECTIONS ON SOME ASPECTS OF THE THEORY OF RASA Indian aesthetics, it is often said, consists fundamentally of the theory of rasa — the term rasa being ...
Introduction -- The historical foundations of Russian and Japanese philosophies -- Space in NOH : plays and icons -- Models of cultural space derived from Nishida Kitar and Semën L. Frank (Basho and Sobornost) -- Space and aesthetics : a dialogue between Nishida Kitar and Mikhail Bakhtin -- From community to time, space, development : Trubetzkoy, Nishida, Watsuji -- Conclusion -- Postface: Resistance and slave nations.
This article compares Alexander von Humboldt's and John Ruskin's writings on landscape art and natural landscape. In particular, Humboldt's conception of a habitat's essence as predominantly composed of vegetation as well as judgment of tropical American nature as the realm of nature of the highest aesthetic enjoyment is examined in the context of Ruskin's aesthetic theory. The magnitude of Humboldt's contribution to the natural sciences seems to have clouded our appreciation of his prominent status in the field of art history. (...) In addition to his position as scientist, Humboldt's role as aesthetician is demonstrated in this paper. Unlike Ruskin, who comfortably resides in the canon of art history relative to his minor significance in the field of geology, Humboldt has not been recognized for his impact on the world of art; his tremendous scientific importance seems to have overshadowed an appreciation of it. (shrink)
This collection of papers focuses on theories and practices in relation to the arts around the globe, in particular, those that have been ignored or marginalized by analytic or Anglo-American aesthetics and philosophy of art. The intention is to explain specific ways that the concepts of the aesthetic and of the arts might be enriched and enhanced. Indeed, in some cases the participation in artistic practices and the experience of art are deeply embedded in one’ s sense of self, in (...) moral action, and in how one negotiates one’s way through the world. (shrink)
It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, basically, is that whereas (...) the sophisticated listener to the absolute music repertory is keenly, consciously aware of the inner structure, the sophisticated reader of fictional narrative, the principal exemplar being the novel, is not so aware. Therefore, whereas musical structure directly contributes to aesthetic satisfaction, narrative structure contributes only indirectly (which is not to deny that, at times, the reader is consciously aware of narrative structure, and that, at such times, it does contribute directly to aesthetic satisfaction). (shrink)
: This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger’s notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its ultimate (...) consequence, where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō , where concepts such as ‘‘the place of nothingness’’ and ‘‘pure experience’’ can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)
This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger's notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its ultimate consequence, (...) where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō, where concepts such as "the place of nothingness" and "pure experience" can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)
Beauty may be in the eye of the beholder, but it's also in the language we use and everywhere in the world around us. In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's "to kalon," the Japanese idea of "wabi-sabi," Hebrew's "yapha," the Navajo concept "hozho," Sanskrit "sundara," and our own English-language "beauty." Each word becomes a door onto another way of thinking about, and (...) looking at, what is beautiful in the world, and in our lives. The earthy and the exalted, the imperfect and the ideal: things, spaces, high art, sounds, aromas, nothingness. Sartwell writes about handfuls of beautiful things - among them, a Japanese teapot and Diana Rigg as Mrs. Emma Peel, the pleasure in a well-used hammer and in pop music and in Vermeer's "Girl in a Red Hat." In Sartwell's hands these six names of beauty -and there could be thousands more-are revealed as simple and profound ideas about our world and our selves. (shrink)
René Girard’s mimetic theory has significantly influenced the fields of comparative literature and cultural studies, as well as sociological anthropology and philosophy. Nevertheless, I argue that a somewhat different line of interpretation, an interdisciplinary one, has not been sufficiently investigated. This involves an interpretation which focuses on the vicissitudes of the mimetic and “victimage” circle not (or not only) in sociological terms, but by analysing their articulation on the level of knowledge. The sociological and epistemological perspectives do not exclude (...) each other, but can be integrated. The main aim of this paper is to clarify this articulation, and to show that integration between these two perspectives is possible only by bringing into play a real ‘literary aesthetics’. The notion of literary aesthetics needs to be considered in both the common and the etymological sense, as a theory of feeling and of experiencing. In doing so, I firstly cover in brief the main stages of Girard’s thought in the light of this perspective, to then focus on the relationship between literary aesthetics and knowledge. Finally I argue that this picture, if seriously considered, could lead to a mystical outcome, and will discuss the possible alternatives to that outcome. (shrink)
Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung , volume 1, The Development of the Personality investigates the extent to which analytical psychology draws on concepts found in German classical aesthetics. It aims to place analytical psychology in the German-speaking tradition of Goethe and Schiller, with which Jung was well acquainted. This volume argues that analytical psychology appropriates many of its central notions from German classical aesthetics, and that, when seen in its intellectual historical context, the true originality (...) of analytical psychology lies in its reformulation of key tenets of German classicism. Although the importance for Jung of German thought in general, and of Goethe and Schiller in particular, has frequently been acknowledged, until now it has never been examined in any detailed or systematic way. Through an analysis of Jung’s reception of Goethe and Schiller, Analytical Psychology and German Classical Aesthetics demonstrates the intellectual continuity within analytical psychology and the filiation of ideas from German classical aesthetics to Jungian thought. In this way it suggests that a rereading of analytical psychology in the light of German classical aesthetics offers an intellectually coherent understanding of analytical psychology. By uncovering the philosophical sources of analytical psychology, this first volume returns Jung’s thought to its core intellectual tradition, in the light of which analytical psychology gains new critical impact and fresh relevance for modern thought. Written in a scholarly yet accessible style, this book will interest students and scholars alike in the areas of analytical psychology, comparative literature, and the history of ideas. (shrink)
Lucid, learned, and incomparably rich in thought and detail, Art Without Borders is a monumental accomplishment, on par with the artistic achievements ...
Several key substantive, methodological, and science-practice issues that concern the field designated as empirical psycho-aesthetics were examined in part I (in the Winter 2012 issue of JAE) of this two-part article. Also presented was an outline of the discipline's origin and its relationship with elder and younger "sisters"—philosophical aesthetics, experimental philosophy, cognitive-science-and-art, (cognitive) neuroscience of art, and neuroaesthetics. The comparative goal was in part approached through the analysis of several recent significant controversies and debates.Here, in the six sections of (...) part II of the article, empirical work on various problems that are relevant to the discussion initiated in part .. (shrink)
This article is in two parts, with part II to appear in the next issue of JAE (Spring 2013). Part I (with six sections), in this issue, has two related objectives. The first objective is to examine a number of key substantive, methodological, and science-practice issues related to the field designated here as empirical psycho-aesthetics. The second objective is to present an outline of its origin and discuss certain important features of several related fields—experimental philosophy, cognitive-science-and-art, (cognitive) neuroscience of art, (...) and neuroaesthetics. To a certain extent, the comparative goal is approached through the analysis of several recent significant controversies. Throughout the discussion, the .. (shrink)
The most constructive response to the crisis in moral theory has been the revival of virtue ethics, an ethics that has the advantages of being personal, contextual, and, as this paper will argue, normative as well. The first section offers a general comparative analysis of Confucian and Whiteheadian philosophies, showing their common process orientation and their views of a somatic self united in reason and passion. The second section contrasts rational with aesthetic order, demonstrating a parallel with analytic and (...) synthetic reason, and showing that rule-based ethics comes under the former and virtue ethics under the latter. The third and final section discusses a Confucian-Whiteheadian aesthetics of virtue, focusing on love as the comprehensive virtue. The principal goal of the paper is to propose that an appropriation of Confucian virtue ethics will enhance the otherwise slow development of a Euro-American process ethics. (shrink)
This is an essay in comparative aesthetics. The history of the reception of Indian aesthetics in the UK is a history of non-reception. This essay argues that the reasons for this neglect go beyond cultural arrogance, and can be traced to deep differences in the philosophical presuppositions of Indian and Western aesthetics respectively, especially those rooted in non-Western goal of nirvana.
This is the first comparative study of Nietzsche's Birth of Tragedy and Schiller's Aesthetic Letters, two crucial texts in aesthetic and cultural theory. Martin's scrupulous examination and comparison reveals the common ground shared by the two writers, who are usually regarded as being poles apart. In addition, Martin shows how this common ground mutually illuminates both texts.
This book presents an innovative analysis of the role of imagination as a central concept in both literary and art criticism. Dee Reynolds brings this approach to bear on works by Rimbaud, Mallarme;, Kandinsky, and Mondrian. It allows her to redefine the relationship between Symbolism and abstract art, and to contribute new methodological perspectives to comparative studies of poetry and painting. The late nineteenth and early twentieth century was a crucial period in the emergence of new modes of representation, (...) and is currently at the forefront of critical enquiry. This is the first book to examine Symbolism and abstraction in this way, and the first to treat these poets and painters together. It is an original contribution to interdisciplinary scholarship in art history, literary history, and comparative aesthetics. (shrink)
What is beauty? What is art? What is taste and fashion? Is beauty something to be observed coolly and rationally or is it something dangerously involving? So begins Umberto Eco's intriguing journey into the aesthetics of beauty, in which he explores the ever-changing concept of the beautiful from the ancient Greeks to today. While closely examining the development of the visual arts and drawing on works of literature from each era, Eco broadens his enquiries to consider a range of concepts, (...) including the idea of love, the unattainable woman, natural inspiration versus numeric formulas, and the continuing importance of ugliness, cruelty, and even the demonic. Professor Eco takes us from classical antiquity to the present day, dispelling many preconceptions along the way and concluding that the relevance of his research is urgent because we live in an age of great reverence for beauty, "an orgy of tolerance, the total syncretism and the absolute and unstoppable polytheism of Beauty." In this, his first illustrated book, Professor Eco offers a layered approach that includes a running narrative, abundant examples of painting and sculpture, and excerpts from writers and philosophers of each age, plus comparative tables. A true road map to the idea of beauty for any reader who wishes to journey into this wonderful realm with Eco's nimble mind as guide. (shrink)
The Kantian philosophy, for many, largely represents the Modern West’s anthropocentric dominance of nature in its instrumental-rationalist orientation. Recently, some scholars have argued that Kant’s aesthetics offers significant resources for environmental ethics, while others believe that Kant’s flawed dualistic views in the second Critique severely undermine any environmental promise that aesthetic judgments may hold in Kant’s third Critique . This article first examines the meanings of nature in Kant’s three Critique s. It concludes that Kant’s aesthetic view toward sensible nature (...) is indeed inconsistent. The article, however, also suggests that the “I” as “transcendental apperception” discussed in the paralogisms of the first Critique holds some promise of “interthing intersubjective” thinking. The second half of the article demonstrates that Daoism with a dialectic concern similar to Kant’s has something insightful to offer in its idea of interthingness based on a phenomenal account of nature. The article investigates important Daoist ideas of interthing analogical experience, qi , spiritual exercise, and wuwei in its dialect relation to zizan . By bringing Daoism and Kant into dialogue, the author hopes to bring forth a synthetic approach that is better suited to today’s environmental concerns. (shrink)
Though acknowledged by scholars, Plato’s identification of the Beautiful and the Good has generated little interest, even in aesthetics where the moral concepts are a current topic. The view is suspect because, e.g., it is easy to find examples of ugly saints and beautiful sinners. In this paper the thesis is defended using ideas from Plato’s ancient commentators, the Neoplatonists. Most interesting is Proclus, who applied to value theory a battery of linguistic tools with fixed semantic properties—comparative adjectives, associated (...) gradable adjectives, mass nouns, and predicate negations—all with a semantics that demand a privative scale of value. It is shown how it is perfectly possible to interpret value terms Platonically over privative Boolean algebras so that beautifuland good diverge while at higher levels other value terms are coextensional. Considerations are offered that this structure conforms to actual usage. (shrink)
[About the book] Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. (...) The subjects addressed include the influence of Upanişadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)
All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying It's all a matter of taste, the doctrine of aesthetic nihilism—the view that such (...) claims are never warranted—does not merit serious attention. What is needed is an articulation of the various kinds of content of aesthetic judgements, one that will reveal what their claim to intersubjective validity amounts to and enable an assessment of what the proper limits of the claim might be. This clarification is what I attempt to provide. After some introductory definitions and classifications, the principal focus of the first part of the paper is descriptive aesthetic judgements, and one issue that figures large is the proper understanding of those judgements of this kind which are expressed in sentences that are intended to be understood metaphorically. A short bridge passage identifies an aesthetic judgement whose content is indicative of the content of evaluative aesthetic judgements of all kinds, and in particular evaluative aesthetic judgements about works of art, which the second part of the paper focuses on. Real illumination of these requires an identification of the aim of art (as such): I offer an account of this aim, which I defend against certain objections that it is liable to attract, and I use it to throw light not just on singular but also on comparative judgements of artistic value. I conclude with some remarks about purely aesthetic value and specifically artistic value and about similarities and differences between evaluative aesthetic judgements of works of art and evaluative aesthetic judgements of works of nature. (shrink)
Many recent discussions of aesthetics have suggested that a genuine dialogue between philosophy and art is impossible. This essay aims to countersuch claims by arguing that philosophical thinking about art need not be either dismissive or domineering. The authors argue that a model for a productive dialogue between philosophy and art can be found by means of a comparative reading of two seemingly very different philosophies of art: those of Schopenhauer and Heidegger. The overall philosophical positions of these two (...) thinkers are often at odds with each other. However, a careful examination of their views of art reveals a fundamental connection between art and truth, a connection that makes artworks indispensable counterparts for philosophical thinking, without at the same time undermining their autonomy. (shrink)
The first of eight volumes of Hopkins's Collected Works to be published, Oxford Essays and Notes presents a remarkable cache of previously unpublished papers, including forty-five essays which Hopkins produced during his undergraduate career at Oxford (1863-1867), only seven of which were reproduced in the 1959 edition of Journals and Papers. Topics range from Platonic philosophy to theories of the imagination, from ancient history to then-contemporary politics and voting rights. Also included are notes from a commonplace book, a remarkable 'dialogue' (...) about aesthetics (featuring a fictionalized John Ruskin figure), and the lecture notes Hopkins prepared in the winter of 1868 while teaching at John Henry Newman's Oratory School in Birmingham-writings in which he explores, for the first time, the theories of inscape and instress so central to his poetic practice. The edition is fully annotated and provides a detailed introduction that situates historically Hopkins's academic and creative efforts. -/- The twelve notebooks represent Hopkins's intellectual and aesthetic development while studying with some of the greatest scholars of the era (Benjamin Jowett, Walter Pater, and T. H. Green), as well as the ethical and spiritual anxieties he wrestled with while deciding to convert to Catholicism (John Henry Newman received him into the Church in 1866). Hopkins never wrote to please his tutors or the university professors-he wrote vividly and searchingly in response to the challenges they presented. Whether evaluating Aristotle's Nicomachean Ethics, the role of 'neutral' England in the American civil war, or the comparative merits of classical sculpture, his first instinct was always to frame the difficult questions involved and work towards a 'counter' argument. (shrink)
Introduction.--Literary history and tradition: Eliot, T. S. Tradition and the individual talent. Trilling, L. The sense of the past. Hassan, I. H. The problem of influence in literary history.--An aesthetics of origins and revisionism: Guillen, C. The aesthetics of literary influence. Block, H. M. The concept of influence in comparative literature. Bloom, H. Clinamen, or poetic misprision. Bate, W. J. The second temple.--Reader as participant: Rosenblatt, L. M. Towards a transactional theory of reading. Holland, N. N. Literature as transformation. (...) Fish, S. E. Literature in the reader. (shrink)
"M. F. Simone Roberts's A Poetics of Being-Two is animated by a lively and engaging voice, drawing readers in with a sense of serious purpose working (delightfully) in tandem with a sense of humor. Roberts's aesthetics and her close readings of Yves Bonnefoy, St-John Perse, and Jorie Graham clearly demonstrate the literary effectiveness of Irigarayan sexual difference as an analytic trope, even as they emphasize the philosophical and political possibilities sexual difference opens up for feminism, environmentalism, and all levels of (...) contemporary cultural critique and activism."—Gail M. Schwab, Hofstra University -/- In An Ethics of Sexual Difference, Irigaray calls for a new poetics in the sense of both art and life. Rather than a critique from within philosophy, A Poetics of Being-Two tests Irigaray's ethics by extending it to other sites of cultural production. Where Irigaray's method finds stirrings and repressions of sexual difference in philosophy, this project explores that tension in poetics. Building from Irigaray's ethics, the book describes a poetics of being-two as concerns gendered subjectivity in literary poetics and then traces the on-going emergence of a poetics of being-two in the post-symbolist poetic tradition. Irigaray scholars will be interested in the sustained interpolation of Irigaray's ethical concepts as principles for a critical aesthetics and in their hermeneutic application in reading a literary tradition. Readers in comparative literature will find the first sustained feminist engagements with the major French poets Bonnefoy and Perse and an elucidation of their influence on the Pulitzer Prize winning poet Jorie Graham. (shrink)
This book is a comparative study in the history of ideas. It is an innovative examination of the intellectual background, affiliations and contexts of two major twentieth-century thinkers and an historical interpretation of their work in aesthetics, cultural theory, literary history, and philosophy. Unlike all existing texts on Lukacs and Bakhtin, this book offers a comparison of their writings at different stages of their intellectual development and in the broad context of the ideas of their time. The book introduces (...) unknown archival material and discusses hitherto disregarded or overlooked texts by Lukacs and Bakhtin. It puts forward new readings of best-known work on Dostoevsky, Rabelais, and Goethe and treats in an original way the question of the coherence of Bakhtin's ouevre. The book offers valuable insight into the sources of Bakhtin's terminological repertoire and through examination of Bakhtin's and Lukacs's intellectual affiliations--of the limits and substance of their originality as thinkers. Lukacs and Bakhtin emerge from the book as thinkers, whose intellectual careers followed strikingly similar paths. They both were confronted with similar agendas and questions posed for them by their time. Bakhtin however, had to find answers not only for this common agenda but also to the answers that Lukacs himself had already provided. (shrink)
If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. Mistrusted by philosophy, forbidden and embraced by religions, manipulated as “spectacle” and proliferated in the media, images never cease to present their multiple aspects, their paradoxes, their flat but receding spaces.What is this power that lies in the depths and recesses of an image—which is always only an (...) impenetrable surface? What secrets are concealed in the ground or in the figures of an image—which never does anything but show just exactly what it is and nothing else? How does the immanence of images open onto their unimaginable others, their imageless origin?In this collection of writings on images and visual art, Jean-Luc Nancy explores such questions through an extraordinary range of references. From Renaissance painting and landscape to photography and video, from the image of Roman death masks to the language of silent film, from Cleopatra to Kant and Heidegger, Nancy pursues a reflection on visuality that goes far beyond the many disciplines with which it intersects. He offers insights into the religious, cultural, political, art historical, and philosophical aspects of the visual relation, treating such vexed problems as the connection between image and violence, the sacred status of images, and, in a profound and important essay, the forbidden representation of the Shoah. In the background of all these investigations lies a preoccupation with finitude, the unsettling forces envisaged by the images that confront us, the limits that bind us to them, the death that stares back at us from their frozen traits and distant intimacies.In these vibrant and complex essays, a central figure in European philosophy continues to work through some of the most important questions of our time. Jean-Luc Nancy is Distinguished Professor of Philosophy at the Université Marc Bloch, Strasbourg. The most recent of his many books to be published in English are A Finite Thinking and Multiple Arts. Jeff Fort has translated works by authors such as Jean Genet, Maurice Blanchot, and Jacques Derrida. He is currently a lecturer in the Department of Comparative Literature at the University of California, Berkeley. (shrink)
In this paper, I argue that Jacques Rancière does not propose a purely sensible conception of the aesthetic in his recent writings on art. Unlike many contemporary philosophies of art, Rancière’s aesthetics retains an important cognitive dimension. Here, I bring this aspect of Rancière’s aesthetics into view by comparing the conception of intelligence found in his earlier works with his more recent writings on art, showing that intelligence and sense are distributed in the same ways. The distinction between them is, (...) moreover, governed by the same politics. Rancière’s analysis of the sensible and the intellectual breaks down the distinction between them and establishes their equality. (shrink)
This essay analyzes how the zhengming 正名 theory of Confucius is linked to the problem of “observances of form” in light of the methodology of Confucian aesthetics. This essay argues that the “name-shape” combination in the zhengming paradigm is ultimately connected with the “name-role” combination. The “name-shape” paradigm continuously maintains and strengthens the “name-role” paradigm. However, the “name-shape” paradigm itself ultimately becomes more meaningful than the “name-role” paradigm. This is because the aesthetic structure that appears peculiar in the Analects constitutes (...) the “name-shape” paradigm. In this aesthetic structure, what is ultimately important is “form.”. (shrink)
If opera had existed in Elizabethan London, the world's Top Bard, as W.H. Auden called him, might have become the world's Top Librettist. As Gary Schmidgall shows in this illuminating study, Shakespeare's expressive ways and dramaturgical means are like those of composers and librettists in numerous and often astonishing ways. No wonder that well over two hundred operas have been based on Shakespeare's plays. Ranging widely through the Shakespearean canon and the standard operatic repertory, Schmidgall presents a fascinating comparison, focusing (...) on similarities of expressive style, scenic structure, staging, and performance practice. Shakespeare and Opera offers extended discussions of issues central to both theatrical genres, including their shared demand for virtuoso display, the comparable functions of set speeches and arias, and the similarities of verbal and musical rhetoric, and the charges of unreality and melodrama that have dogged them both. In addition, Schmidgall provides concise essays on the most intriguing Shakespeare-based operas, including works of Verdi, Wagner, Bellini, Rossini, Berlioz, Thomas, Vaughan Williams, Barber, and Britten. He enriches his argument with the insights of the great composers who never set Shakespeare (Mozart, Puccini, and Strauss among them), major observers of the legitimate stage (from Samuel Johnson to Eric Bentley) and the musical stage (from Joseph Addison to Joseph Kerman), as well as the incisive views of influential artists, critics, and performers as diverse as Walt Whitman, H.L. Mencken, and Laurence Olivier. For all who love the stage, Shakespeare and Opera offers endless insight and fascination. Schmidgall's extended comparison of the two dramaturgies provides a fresh perspective on Shakespeare, musical theater, comparative drama, and theater history. (shrink)
The sublime has been a relatively neglected topic in recent work in philosophical aesthetics, with existing discussions confined mainly to problems in Kant's theory.1 Given the revival of interest in his aesthetic theory and the influence of the Kantian sublime compared to other eighteenth-century accounts, this focus is not surprising. Kant's emphasis on nature also sets his theory apart from other eighteenth-century theories that, although making nature central, also give explicit attention to moral character and mathematical ideas and generally devote (...) more discussion to art and artifacts than Kant did.2 Recent postmodern and poststructuralist theories of the sublime tend to concentrate on the concept in art and .. (shrink)
In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)
This article deals with the ambigous situation of philosophical aesthetics, which now seems to have lost its proper object. Moreover, Arthur C. Danto has popularized talk of an end of art, in which he ties that end to the end of any aesthetic master narrative. Comparing modern and medieval approaches to art, this paper tries to reformulate the question of philosophical aesthetics, which has to be understood in a hermeneutical way. Taken in a heuristic manner 'art' and 'beauty' remain the (...) principal aesthetic categories able to keep the understanding of what belongs to aesthetics open to different historical approaches. (shrink)
Recently criticism and theory have maintained that Kant's aesthetic theory is central to modernism, and have used Foucault's archaeology to interrogate that modernism. This paper suggests that archaeology ultimately cannot escape Kant's hold because it depends on Kantian theses. The first section will consider how a recent exponent of an 'archaeological' viewpoint characterizes Kant's theory and will set out the critical role Kant ascribes to art. The second section compares Kant and Foucault to argue that despite appearances their projects turn (...) out to be substantially coterminal. My interest in comparing these critics is not only to be provocative but also to show that post-modernist thinking, at least in the guise of Foucault, needs and uses standards that Kant proposes. (shrink)
The major claims of this dissertation are that there is a discrete mode of action that we can identify as spontaneity, that spontaneity in this sense is fundamentally based on affectivity, and that it is most accurately described as aesthetic spontaneity. Aesthetic spontaneity is a mode of action overlooked in Western philosophy but prized and cultivated in Far Eastern thought and lately described in detail by psychologists. The qualifier "aesthetic" is added to "spontaneity" to distinguish it from the spontaneity often (...) referred to in Western metaphysics, particularly in reference to free will. -/- In contemporary philosophy, action has most often been analyzed in relation to intention in an attempt to uncover its factors of incipience, with relatively little attention given to modes of action. This dissertation will address such issues as intention and free will but in a peripheral way as they pertain to particular historical topics under discussion. The focus instead will be on understanding the modality of spontaneity. -/- The earliest extensive account of aesthetic spontaneity is found in the early Chinese philosopher Zhuangzi, roughly contemporaneous with Plato. In order to understand Zhuangzi's account, however, on must first confront two outstanding issues in his work, both of which bear on his understanding of affectivity. Zhuangzi's terminology can often be opaque, and one of his most notoriously difficult terms is translated by A. C. Graham as "essential" and by Victor Mair as "emotion." The term in Chinese is qing 情, which in later Chinese thought unequivocally bears the meaning of emotion but at this early date means something more akin to an environmental affectivity. In Chapter 1, I delineate this meaning in some detail by looking at the uses of qing in a range of early Chinese works, with the aim of demonstrating definitively that the term does, contra Graham, have affective connotations and that they are essential to understanding Zhuangzi's notion of aesthetic spontaneity. On the whole, Zhuangzi's attitude toward affectivity appears ambiguous, which is the second issue I approach. On the one hand, he advocates an open acceptance, even an active fascination, with all natural transformations, including those of an individual's body, but on the other hand, he appears to suggest that affective transformations should be dampened or overcome. In order to speak authoritatively about Zhuangzi's notion of affectivity, this apparent contradiction requires elucidation. -/- In the second chapter, I begin a fuller exploration of affectivity, beginning with a neglected side of Plato. First, drawing on the work of Suzanne Langer, Alfred North Whitehead, and Robert Solomon, I expand the notion of affectivity to include all cognitive activity in an attempt to reintegrate the Platonic body and mind. At first glance, this may appear to be an impossible task, but I find a significant amount of evidence in works other than the Republic (the work usually chosen for examination of his psychology) to support this claim, and by delineating a notion of aesthetic affectivity going back to the original meaning of aesthetics in Baumgarten that includes all sensibilities of the human being, I am able to reconstruct a notion of an integrated self in Plato that contradicts Charles Taylor's divided Platonic self. After coming to a physiological understanding of aesthetic affectivity in Plato, I turn to Aristotle for an understanding of the need for cultivated aesthetic affectivity. While the integrated body and mind is receiving quite a bit of attention in contemporary philosophy, the notion of self-cultivation is not. After reviewing the evidence for such a need in Aristotle, I turn to Richard Schusterman's pragmatic aesthetics to demonstrate how the notion of self-cultivation can still contribute to a robust contemporary philosophical anthropology, and this understanding will contribute to the notion of cultivating aesthetic spontaneity in Chapter 5. -/- In Chapter 3, I undertake a nuanced definition of "spontaneity" by going back to Zhuangzi. I analyze a significant number of passages of Zhuangzi that center on descriptions of spontaneous activity and distill out aspects that may serve as a heuristic definition of "spontaneity", namely, holistic fluency. I identify wholeness as entailing processes of collection (calm focus) and shedding (of distractions, consideration of rewards, discursive knowledge, selfishness, the external form of an object, etc.). Fluency involves responsiveness and ease and is derivative of wholeness. The purpose of delineating a definition of spontaneity is to be able to work with it as a useful philosophical concept, something that has not been possible up to now. In this chapter, I engage the work of Angus Graham, who has done the most with the notion of spontaneity, and of Hans Georg Gadamer, comparing his work on ease with a Zhuangzian notion. After defining spontaneity, I canvass the history of Western philosophy in an attempt to find terms of our tradition that may be useful in incorporating a Zhuangzian notion of spontaneity into contemporary philosophy. There is also the need to clear the air of other uses of the term "spontaneity" that could create confusion. I begin with notions of automaton, physis, and hexis in Aristotle, move on to Chryssipus and Epicurus, then because talk of spontaneity is dominated by the free will vs. determinism debate for the next 1,500 or more years, I skip to Rousseau. With Rousseau, and later Mill, I demonstrate how an early paradox of spontaneity persists, suggesting that this paradox rests on certain metaphysical assumptions and how one cannot speak of Zhuangzian spontaneity under those assumptions. I also entertain Kant and McDowell's notions of cognitive spontaneity and a related notion in Sartre. Schiller's and Gadamer's notions of play are also considered. Most important in all these considerations, perhaps, is grasping the contemporary, scientific understanding of emergent order. By understanding spontaneity in thoroughly naturalistic terms and by clearing the air of the roadblock of free-will, I pave the way for a viable theoretic understanding of aesthetic spontaneity. -/- Unlike popular notions of spontaneity, Daoist spontaneity involves more than impulsiveness. In Chapter 4, I explain that the aesthetic of spontaneity relies on a notion of experience that arises out of complex interaction with our environment that is conceptualized by Daoists as the chaos of the inchoate, a primal disorder that is the seat of potent creativity. Through the Daoists Laozi and Zhuangzi, and drawing on John Dewey's theory of experience, I show how aesthetic experience relies on a reservoir of inchoate potential in achieving spontaneous action. I also draw on John Dewey in formulating the role of habit in spontaneity. Habit can be conceived as a trigger or spring that releases spontaneous actions, but Dewey also says that there must be more to spontaneous action than habit. I clarify this issue and take preliminary steps to providing a resolution. -/- Continuing with the issue the theory of spontaneous action from earlier chapters, in chapter 5, I offer a fully conceptualized account of spontaneous action. First, I reiterate the relationship of spontaneity to affectivity by explaining how affectivity understood as responsiveness culminates in an ideal that we call spontaneity. I then offer a new categorization of the arts into "active" and "non-active", a distinction that brings into focus the fact that the aesthetic value of some arts relies on the actions in the process of the creation or performance of a work. These works cannot be experienced apart from actions, and it is the spontaneity of the actions, I argue, that contributes to the success of the works. -/- . (shrink)
I was more excited by Jacques Ranciere’s idea about aesthetics being, in his opinion, a special way of thinking (mode de pensee) that works of art provoke and that tends to show what they are like as art objects. Aesthetics then (following this intention) would not be viewed as a discipline akin to art theory that wouldexamine the structure of the work of art, its peculiarities, conditions of arising, et cetera, all that attests either to its objectivity or subjectivity. Ranciere (...) underscores the special (in the style of Hegel and Romanticist philosophy) regime of thinking about art where the idea is not yet an idea, but is what is not yet being thought. In spite of the fact that Ranciere’s declarations refer to S. Freud’s theory of the unconscious that, in his opinion, is closely linked with the way of artistic thinking and possibly can be expressed in no other way but through the medium of artistic thinking. The same way refers to the basic concepts of Freud’s psychoanalysis including also the unconscious and the ideas on complexes, especially on the Oedipus complex. It is interesting that Ranciere compares the framework ofthe dramatic nature of Oedipus’ fate with the basic fluctuations of aesthetics and art and namely – just like Oedipus is also the one who experiences everything absolutely and is completely expressed in action so the character of aesthetics and art is hidden in the contradictions between activities and sufferings or action and passions. This theme just like the question of the extreme poles of understanding aesthetics – pleasure and pain is comparable with the question of the determination of aesthetics and also art that grasps human experience in figural bodily shapes because that is the way of discerning the thought that is not yet being thought, but is hidden in bodily or animated figures. This tradition or historical regime, I think, is not to be discovered as a rectilinear trajectory; it manifests itself in a contradictory and sporadic way, frequently as an interlude between crucial conclusions and an essential interest pointing towards the ambivalence of art that referring to the words of the early modernist poet Charles Baudelaire: “I am the wound and the knife” would mark these relationships between action and its effect that could also attest to the painful birth of the thought in the not thought yet or else the negative character of aistheton. (shrink)
By comparing chemistry to art, chemists have recently made claims to the aesthetic value, even beauty, of some of their products. This paper takes these claims seriously and turns them into a systematic investigation of the aesthetics of chemical products. I distinguish three types of chemical products – materials, molecules, and molecular models – and use a wide variety of aesthetic theories suitable for an investigation of the corresponding sorts of objects. These include aesthetics of materials, idealistic aesthetics from Plato (...) to Kant and Schopenhauer, psychological approaches of Ernst Gombrich and Rudolf Arnheim, and semiotic aesthetics of Nelson Goodman and Umberto Eco. Although the investigation does not support recent claims, I point out where aesthetics does and can play an import role in chemistry. Particularly, Eco’s approach helps us understand that and how aesthetic experience can be a driving force in chemical research. (shrink)
This article considers the uncommon situation surrounding the acceptance of Darwinism in nineteenth-century Bohemia, when the diffusion and interpretation of Darwin’s teachings were first undertaken, above all by two professors of aesthetics at Prague – Josef Durdík and Otakar Hostinský. Although they somewhat simplified the theory of natural selection, they understood Darwin’s theory to be the arrival of a new paradigm in contrast to contemporary biologists working in the Bohemian Lands. This article presents and compares both aestheticians’ interpretations of Darwinism, (...) mainly their stance on the theory of natural selection, the possibilities of applying this theory to aesthetics and art, as well as their relationship to Darwin’s interpretation of aesthetic phenomena in nature. (shrink)
Beginning with an analysis of the notion of repetition as an essential factor shaping linguistic, logical, mathematical and scientific procedures some parallels are drawn between Psychoanalysis and Wittgensteinian Philosophy. The view is put forward that in the case of Freud's concept of neurosis as well as in Wittgenstein's concept of rule-following there is not just a monotonous and unvarying replay of one and the same content but rather a steady modification. Thus generating new moments again and again both in Wittgenstein's (...) procedure of philosophical investigation and in Freudian analysis the aesthetical becomes an important aspect. Finally ethical moments are considered in comparing suppression with Wittgenstein's statements on superficial philosophical theorizing. (shrink)
Expressions of the form "s represents an F", "s represents t as G", and "s represents an F as G" are analysed by means of C. S. Peirce's and Nelson Goodman's semiotic theories, and these theories are compared with each other. It is argued that Peirce's concept of interpretant provides a plausible account of what Goodman calls the exemplification features of aesthetic signs (works of art).
This book examines the role of scepticism in initiating the idea of the sublime in early modern British literature. James Noggle draws on philosophy, intellectual history, and critical theory to illuminate the aesthetic ideology of Pope, Swift, Dryden, and Rochester among other important writers of the period. The Skeptical Sublime compares the view of sublimity presented by these authors with that of the dominant, liberal tradition of eighteenth-century criticism to offer a new understanding of how these writers helped construct proto-aesthetic (...) categories that stabilized British culture after years of civil war and revolution, while at the same time their scepticism allowed them to express ambivalence about the emerging social order. (shrink)
This paper offers a literary and ideological deconstruction of the Bhāgavata Purāa; it traces the Purāa's formation through the convergence of the Vedāntin, the Aesthetic and the Vaiava traditions, and argues that it is the doctrine of Pariāma which underlies the treatise. I first examine the Bhāgavata Purāa's literary components; the roots of these are traced back historically to the Vedānta and Ālvār traditions, and the Bhāgavata Purāa's nature as an opus universale, representing an all Indian cultural 'melting pot', is (...) highlighted. The paper then looks at the relations of Vaiavism and dramaturgy, both historically as well as theologically, and argues that the Bhāgavata Purāa was traditionally read as a drama. It proceeds to decipher the aesthetic theory underlying the Bhāgavata Purāa, and argues that it is Bharata's dramaturgical rasa theory. Within the rasa tradition, Abhinavagupta's and Bhoja's positions are highlighted and compared through three seminal points and it becomes apparent that the Bhāgavata Purāa's underlying aesthetic theory is close to the Pariāma doctrine of Bhoja where gāra is considered to be the supreme rasa. As Bhoja's date is no doubt later than the Bhāgavata Purāa's it is assumed that the Bhāgavata Purāa was influenced by one of Bhoja's predecessors. The paper ends by reinforcing this analysis by highlighting a later tradition which had actually accepted this point of view and that is the Gauiya Vaiava tradition. (shrink)
This collection of essays on anthropological approaches to art and aesthetics is the first in its field to be published for some time. In recent years a number of new galleries of non-Western art have been opened, many exhibitions of non-Western art held, and new courses in the anthropology of art established. This collection is part of and complements these developments, contributing to the general resurgence of interest in what has been until recently a comparatively neglected field of academic study (...) and intellectual debate. -/- Unlike many previous collections, the focus of this volume is resolutely anthropological. The contributors draw on contemporary anthropological theory and exchange, to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. In addition, the cross-cultural applicability of the very concepts 'art' and 'aesthetics' is assessed. -/- Each essay illustrates a specific approach and develops a particular argument. Many present new ethnography based on recent field research among Australian Aborigines, in New Guinea, Indonesia, Mexico, and elsewhere. Others draw on classic anthropological accounts of, for example, the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan, putting this material to new uses. -/- Sir Raymond Firth's introductory overview of the history of the anthropological study of art makes this volume particularly useful for the non-specialist interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general. -/- With its wide geographical and cultural coverage and plentiful illustrations, many of which are in colour, Anthropology, Art, and Aesthetics will be a valuable resource for all serious students of the subject. (shrink)
In the world of globalization religious-artistic works remain a phenomenon study of which allows to observe the main tendencies of socio-cultural dynamics taking into account complicated and multi-plan contexts of its realization. Methodological peculiarities of the suggested approach base on philosophic comparative study and interdisciplinary method, which allow neutralizing negative consequences of scientist approach based on physiological–ideological projectivity. In this case correlation of sacral and aesthetic works as crossing of “vertical” and “horizontal” dimensions which opens “the second derivative” of (...) thecreative process – its Stereological orientation. At the threshold of the second decade of the 21 century it is expedient to activate comparative analysis of the problem of creation through the prism of cultures of various types at the specific material. This will allow us to understand more fully opportunities of global strategy of unity of the humanity on the basis of great achievements of culture having determined its boundaries and perspectives. (shrink)
I consider and reject four possible arguments directed against the preservation of natural aesthetic conditions. (1) Beauty is not out there in nature, but is “in the eye ofthe beholder.” I argue that since ingredients ofnature cause aesthetic experiences, we cannot justifiably disregard and exploit nature. Preservation of aesthetic conditions is compatible with both objective and nonobjective theories of aesthetic value. (2) Frequent aesthetic disagreements bring about irresolvable disputes concerning which segments of nature to preserve. I claim that these disputes (...) are not irresolvable. Not all disputes about nature’s aesthetic values are purely aesthetic disputes: ecological balance, community identity, historic continuity, and economics are relevant; aesthetic experts can help; and such disputes can be put to a vote. (3) Natural beauty is not important compared to nonaesthetic values of nature. I show that this is questionable. Current awareness of environmental problems includes a rapidly growing concern for natural aesthetics. Moreover, even if majority preference is for nonaesthetic uses of nature, this does not settle the question of whether we ought to preserve nature’s attractive features. (4) From neither a utilitarian nor a deontological viewpoint do we have an obligation to preserve natural aesthetic conditions for future generations. I argue that even if we do not have a strict obligation, it does not follow that it makes no moral difference whether we preserve. Not yet existing people may have no rights against us, but this does not mean that we do no wrong in polluting and destroying aesthetic conditions of the natural world in which future people will live. (shrink)
Drawing on recent attempts to critically reconstruct the ideas of Heinrich Wölfflin, this paper argues that there is a specific ‘logic of depiction’ that is distinctive to visual as opposed to verbal forms of representation. The aim is to provide a set of objective parameters that can allow a comparative analysis of the formal organization of pictures despite differences in period, subject matter, format, etc. The paper seeks to show that such an analysis is possible and that it possesses (...) explanatory force. Its frame is a critical engagement with Richard Wollheim's theory of style. Wollheim holds that general style terms are merely tools of classification and that they are relative to the changing point of view of those who seek to understand the art of the past. However, the critical reconstruction of Wölfflin's fundamental concepts aims to identify necessary conditions for visual representation as such. The fundamental concepts function not as taxonomic categories but as ‘limit concepts’ that demarcate a scale of possibilities and thus enable meaningful comparison of artworks. (shrink)
Wei-Jin period is characterized by neo-Daoism ( xuanxue 玄學), and J I Kang lived in the midst of this philosophical exploration. Adopting the naturalism of the Zhuangzi , J i Kang expressed his socio-political concerns through the medium of music, which was previously regarded as having moral bearing and rectitude. Denying such rectitude became central for J i Kang, who claimed that music was incapable of possessing human emotion, releasing it from the chains of Confucian ritualism. His investigation into the (...) name and reality of musical expression gave music an “aesthetic turn” lacking in Qin and early Han thought, and by making use of concepts such as natural harmony and spontaneity, J i Kang was able to turn away from the negative aesthetics of earlier thinkers such as H e Yan and W ang Bi to one cherishing the naturalism espoused by Zhuangzi. (shrink)
This essay retrieves the meaning and importance of renga, or linking poetry. Long forgotten, even in Japan, it was the form of which the great Bashō was the mater (not haiku as is now believed). When examining renga poetry, one can see that it is based not on authorial vision, but rather the trans-subjective mood that guides the different links made by the various poets who collaborate in the “rolling” of a renga. The radical implications of this form for both (...) aesthetics and ethics will be considered. (shrink)
In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann Herder and the (...) Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment. "--John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment Zammito's book finally fills it. All students and scholars of Kant will want to consult it."--Frederick Beiser, Times Literary Supplement. (shrink)
Genuineness is an important property of objects that are rare, old, or preserved as memorials. Being genuine enhances economic value for objects such as works of art, and it is obviously critical for historical purposes, such as assessing the artefacts from a past culture. Here I argue that genuineness is also an aesthetic property that delivers an experience of its own. I contend that the sense of touch covertly operates in such experiences, as this sense conveys the impression of being (...) in contact with the ‘real thing’. Touch seems to operate with a kind of transitivity that conducts the past into the present. However, the foundation for that impression may appear dubious, as it compares closely with what has been dubbed ‘magical thinking’. Under these circumstances, is the aesthetic value accorded genuineness sensible or irrational? An apprehension of something real or a pleasant delusion? I defend the transitivity of touch by comparing it to similar phenomena already recognized in studies of perception and emotion. (shrink)
There are indications of a positive trend in education. International comparative investigations on academic achievement (Programme for International Student Assessment, PISA) and longitudinal studies on life courses prove the need for and the importance of children’s high intellectual knowledge. At the same time, new research initiatives and projects comply with the demand that aesthetic/cultural education1 be “more” than a marginal complement to intellectual education and instead be “fundamental for thinking and acting.”2 Aesthetic education is to provide soft skills, to (...) shape children’s characters, and to improve their social competences, representing “the Other of school.”3 The text below deals with poetry for .. (shrink)
This paper clarifies the nature of moral experience, examines its evidential role in supporting moral judgments, and argues that moral experiences can be among the things having intrinsic value. Moral experience is compared with aesthetic experience and contrasted with its close relative, non-moral experience combined with moral beliefs. The concluding sections explore the case for the organicity of intrinsic value and the kind of role such value can play in grounding moral obligation.
This essay engages in a comparative analysis of Theodor W. Adorno and Hannah Arendt. It does so by situating both thinkers in terms of their respective Auseinandersetzungen with the fundamental ontology of Martin Heidegger. While Heidegger seeks to engage in a Destruktion of the opposition between time and being, Adorno and Arendt seek to understand this relation critically in terms of the concept of ‘natural history’. For both, a reading of Kant’s Third Critique becomes the indispensable means by which (...) it is possible to locate a path pointing beyond the chiasmic structure of natural history. Key Words: Adorno • aesthetic experience • Arendt • Heidegger • history • inter-subjectivity • judgement • phenomenology • politics • writing. (shrink)
Most scientists and philosophers of science recognize that, when it comes to accepting and rejecting theories in science, considerations that have to do with simplicity, unity, symmetry, elegance, beauty or explanatory power have an important role to play, in addition to empirical considerations. Until recently, however, no one has been able to give a satisfactory account of what simplicity (etc.) is, or how giving preference to simple theories is to be justified. But in the last few years, two different but (...) related accounts have appeared, both of which address the above issues. On the one hand, James McAllister has argued that aesthetic criteria in science reflect scientists' judgements about what kind of theory is most likely to be empirically successful, based on the relative empirical success and failure of different kinds of theories in the past. Scientists employ what McAllister dubs "the aesthetic induction". On the other hand, I have argued that we need to see science as making a hierarchy of metaphysical assumptions about the comprehensibility and knowability of the universe, these assumptions asserting less and less as one ascends the hierarchy. One of the more substantial of these assumptions is that the universe is physically comprehensible. The key non-empirical feature a body of fundamental theories in physics must possess to be acceptable is unity. The better such a body of theory exemplifies the metaphysical thesis that the universe is physically comprehensible, in the sense that it has a unified dynamic structure, so the more acceptable such a body of theory is, from this standpoint. This affects not just theoretical physics, but the whole of natural science. In this paper I compare and contrast, and try to assess impartially the relative merits of, these two views. (shrink)
The Hypocritical Imagination: Between Kant and Levinas is an outstanding contribution to this vacuum. Focusing on Kant and Levinas, John Llewelyn takes us on a dazzling tour of the philosophical imagination. He shows us that despite the different treatments they accord to the imagination, there is much to be gained from comparing these two key thinkers. From Kant, Llewelyn shows how the imagination is the common root of all understanding. He contrasts this with the thought of Emmanuel Levinas, for whom (...) the imagination plays an ambivalent role both as necessary for and a threat to recognition of the other. John Llewelyn also introduces the importance of the work of Heidegger, Schelling, Hegel, Arendt, and Derrida on the imagination and what this work can tell us about the relationship between the imagination and ethics, aesthetics, and literature. (shrink)
“What would have provoked Duchamp to madness or murder … would be the sight of aesthetes mooning over the gleaming surfaces of the porcelain object he had manhandled into exhibition space: ‘How like Kilamanjaro! How like the white radiance of Eternity! How Arctically sublime!’ (Bitter laughter at the Club des artistes.)”1 Marcel Duchamp, of course, is one of Arthur Danto’s artworld heroes, primarily because Duchamp, through his readymades, most famously the porcelain urinal coyly titled Fountain, managed to throw off art’s (...) “bondage to prettiness”. “I owe to Duchamp the thought that from the perspective of art aesthetics is a danger,” Danto acknowledges.2 But if art is to avoid “prettiness,” what should art seek? According to Danto, Duchamp’s work implies “that art already is philosophy in a vivid form, and has now discharged its spiritual mission by revealing the philosophical essence at its heart”.3 The philosophical essence of art is its “aboutness”.4 Sometimes Danto says that artworks have “semantic character”.5 “To see an artwork without knowing it is an artwork is comparable in a way to what one’s experience of print is, before one learns to read; and to see it as an artwork then is like going from the realm of mere things to a realm of meaning”. (shrink)
Sensibility, in any of its myriad realms – moral, physical, aesthetic, medical and so on – seems to be a paramount case of a higher-level, intentional property, not a basic property. Diderot famously made the bold and attributive move of postulating that matter itself senses, or that sensibility (perhaps better translated ‘sensitivity’ here) is a general or universal property of matter, even if he at times took a step back from this claim and called it a “supposition.” Crucially, sensibility is (...) here playing the role of a ‘booster’: it enables materialism to provide a full and rich account of the phenomena of conscious, sentient life, contrary to what its opponents hold: for if matter can sense, and sensibility is not a merely mechanical process, then the loftiest cognitive plateaus are accessible to materialist analysis, or at least belong to one and the same world as the rest of matter. This was noted by the astute anti-materialist critic, the Abbé Lelarge de Lignac, who, in his 1751 Lettres à un Amériquain, criticized Buffon for “granting to the body [la machine, a common term for the body at the time] a quality which is essential to minds, namely sensibility.” This view, here attributed to Buffon and definitely held by Diderot, was comparatively rare. If we look for the sources of this concept, the most notable ones are physiological and medical treatises by prominent figures such as Robert Whytt, Albrecht von Haller and the Montpellier vitalist Théophile de Bordeu. We then have, or so I shall try to sketch out, an intellectual landscape in which new – or newly articulated – properties such as irritability and sensibility are presented either as an experimental property of muscle fibers, that can be understood mechanistically (Hallerian irritability, as studied recently by Hubert Steinke and Dominique Boury) or a property of matter itself (whether specifically living matter as in Bordeu and his fellow montpelliérains Ménuret and Fouquet, or matter in general, as in Diderot). I am by no means convinced that it is one and the same ‘sensibility’ that is at issue in debates between these figures (as when Bordeu attacks Haller’s distinction between irritability and sensibility and claims that ‘his own’ property of sensibility is both more correct and more fundamental in organic beings), but I am interested in mapping out a topography of the problem of sensibility as property of matter or as vital force in mid-eighteenth-century debates – not an exhaustive cartography of all possible positions or theories, but an attempt to understand the ‘triangulation’ of three views: a vitalist view in which sensibility is fundamental, matching up with a conception of the organism as the sum of parts conceived as little lives (Bordeu et al.); a mechanist, or ‘enhanced mechanist’ view in which one can work upwards, step by step from the basic property of irritability to the higher-level property of sensibility (Haller); and, more eclectic, a materialist view which seeks to combine the mechanistic, componential rigour and explanatory power of the Hallerian approach, with the monistic and metaphysically explosive potential of the vitalist approach (Diderot). It is my hope that examining Diderot in the context of this triangulated topography of sensibility as property sheds light on his famous proclamation regarding sensibility as a universal property of matter. (shrink)
Scholars of Frege have spent a good deal of energy in discussing his views about truth, logic, and the relation between them.1 To one set of clues, however, scant attention has been paid. Repeatedly throughout his career, Frege attempted to illuminate the relation between logic and truth by comparing it to the relations between ethics and the good and aesthetics and the beautiful. Truth, beauty and goodness, of course, have had a long history in platonic philosophy. By the beginning of (...) Frege's career, they were also coming to play a prominent role in neo−Kantian thought, particularly that of Wilhelm Windelband. It is plausible to conjecture that Frege was inspired to look at ethics and aesthetics to understand the link between logic and truth by their connection in the work of Windelband or other neo−Kantians, though I know of no direct evidence that he was.2 But whatever the sources of Frege's use of the analogy, it is to his own writing that we must look for its meaning. (shrink)
Mountains were once no less feared and loathed than wetlands. Mountains, however, were aesthetically rehabilitated (in part by modern landscape painting), but wetlands remain aesthetically reviled. The three giants of American environmental philosophy--Thoreau, Muir, and Leopold--all expressed aesthetic appreciation of wetlands. For Thoreau and Muir--both of whom were a bit misanthropic and contrarian--the beauty of wetlands was largely a matter of their floral interest and wildness (freedom from human inhabitation and economic exploitation). Leopold's aesthetic appreciation of wetlands was better informed (...) by evolutionary natural history and ecology. For example, cranes--wetland denizens--are more ancient than other large American avifauna and this evolutionary information and perspective enhances our aesthetic experience of them; and the ecological relationships between wetland species--such as sphagnum moss, tamaracks, and pitcher plants--informs our aesthetic experience of the wetlands biotic community. The Leopold land aesthetic involves all sensory modalities, emphasizes cognition as well as sensation (in this regard it may fruitfully be compared to the philosophy of Kant), and is more akin to an aesthetic of muisic than to an aesthetic of painting. (shrink)
In his book Divine Beauty: The Aesthetics of Charles Hartshorne, Daniel A. Dombrowski performs a welcome service by bringing into clear focus a large number of the extensive writings of Hartshorne and relating them to the topic of aesthetics.1 In so doing, he shows how central Hartshorne’s analysis of aesthetic experience is to various aspects of his thought, including but by no means restricted to his views on the nature of art and the place of the arts in human life. (...) Dombrowski brings Hartshorne’s ideas on aesthetic experience into the context of the writings of aestheticians and other thinkers, comparing and contrasting his views with theirs, and in that way elaborating and clarifying Hartshorne’s views. He .. (shrink)
Philosophy is the study of the most general and fundamental problems of human life. The main areas of study in philosophy includes metaphysics, epistemology, logic, ethics and aesthetics etc. there are other several branches of philosophy which characterize different branches of knowledge. Philosophy being a very abstract branch of study, has not much scope of using equipment on a large scale to supplement the normal lecture schedules. However, in some papers/areas there are comparatively better scope to make the lectures more (...) concrete and interesting through proper use of various teaching aids and modes. We include logic, philosophy of science, applied philosophy, applied ethics, social and political philosophy, philosophy of mind, philosophy of cognitive science and history of philosophy etc., we can use various modern aids. In this article my attempt is to draw out an outlines of aids and modes for effective philosophy teaching. (shrink)
This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation1 has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work.2 Werner Pluhar’s more recent translation,3 which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation (henceforth referred to as GM) that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable (in ways that, for the most part, lie beyond the scope of this review), this supplementary material makes the present edition into a valuable resource even for those able to read the text in German.. (shrink)
