This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

This is the first modern attempt to put aesthetics back on the map in classical studies. James I. Porter traces the origins of aesthetic thought and inquiry in their broadest manifestations as they evolved from before Homer down to the fourth century and then into later antiquity, with an emphasis on Greece in its earlier phases. Greek aesthetics, he argues, originated in an attention to the senses and to matter as opposed to the formalism and idealism that were (...) enshrined by Plato and Aristotle, and through whose lens most subsequent views of ancient art and aesthetics have typically been filtered. Treating aesthetics in this way can help us perceive the commonly shared basis of the diverse arts of antiquity. Reorienting our view of the ancient vocabularies of art and experience around matter and sensation, this book dramatically changes how we look upon the ancient achievements in these same areas. (shrink)

An examination of the rise in prestige of the Bible as a literary and aesthetic model during the late eighteenth century.

This paper traces the origins of Zha Changping’s theory of world relational aesthetics to earlier works in which Zha began developing the “world-picture logic” theoretical framework. It takes into consideration Zha’s various identities including his Christian public intellectual and ecclesiastical ones.

Organized around eight themes central to aesthetic theory today, this book examines the sources and development of Kant's aesthetics by mining his publications, correspondence, handwritten notes, and university lectures. Each chapter explores one of eight themes: aesthetic judgment and normativity, formal beauty, partly conceptual beauty, artistic creativity or genius, the fine arts, the sublime, ugliness and disgust, and humor. Robert R. Clewis considers how Kant's thought was shaped by authors such as Christian Wolff, Alexander Baumgarten, Georg Meier, Moses Mendelssohn, (...) Johann Sulzer, Johann Herder, Francis Hutcheson, David Hume, Edmund Burke, Henry Home, Charles Batteux, Jean-Jacques Rousseau, and Voltaire. His resulting study uncovers and illuminates the complex development of Kant's aesthetic theory and will be useful to advanced students and scholars in fields across the humanities and studies of the arts. (shrink)

George Dickie; Symposium: Monroe Beardsley's Legacy in Aesthetics EDITED BY MICHAEL WREEN AND DONALD CALLEN: The Origin of Beardsley's Aesthetics, The Journal o.

In his Aesthetic Theory, Theodor Adorno remarks that “tragedy, which may have been the origin of the idea of aesthetic autonomy, was an afterimage of cultic acts that were intended to have real effects.” This statement and its Kantian undertones are the basis for this essay, which will take up the question of the origin of the idea of tragedy in order to elucidate the basis for Adorno’s thinking on aesthetic autonomy. I will discuss Kant’s concept of human (...) reason and its relationship to the autonomous will and the concept of necessity in order to show that the notion of humanity grounds the idea of tragedy and that without a focus on the human in matters of autonomy, tragedy is a lost art form. Finally, I will undertake to tease out the metaphysical and aesthetic aspects of tragedy in a discussion oriented towards Adorno’s relationship with metaphysics and the possibility of removing the Kantian block. The essay will conclude with a reflection on the mourning character of reason and its relation to Adorno’s “principle of Auschwitz” with a view to examining the metaphysical grounds for the tragic in modernity. (shrink)

Originally published in 1988, this book provides a comprehensive anthology in English of the major texts of German literary and aesthetic theory between Lessing ...

In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. (...) My paper starts from the main dimensions of aesthetic experience in the history of Western aesthetics as concluded by Shusterman. In terms of our experiential practices in the fragmentation of modern life and the disjointed sensationalism of the media, I also agree with Shusterman that people are losing the capacity for deep experience and feeling, especially when we are undergoing various extensive series of informational revolutions. My paper is also a response to Shusterman's claim that the concept of aesthetic experience is worth recalling, not for formal definition but for art's reorientation toward values and populations that could restore its vitality and sense of purpose. I mention the recent calls for values and life concerns in art in the Anglo-American aesthetics circles, which has also turned to the possible strength of aesthetic experience, claiming that "Aesthetics is the Mother of Ethics." Amidst the discourse is the review of John Dewey's notion of "aesthetic experience," which claims to support a transcultural view and common patterns, as the relationship is structured around human needs. A basic question posed in the article is whether this Deweyan notion still remains equally influential as in the past and whether it really provides a satisfying answer to the problem of art and value? The discussion will turn then to neo-Confucian aesthetic models for reference, and to point out some meaningful comparative revelations. (shrink)

This chapter contains sections titled: Shaftesbury and Hutcheson Du Bos Addison Baumgarten A Glimpse Ahead: Kant.

This collection is the final volume of a four book survey of the state of phenomenology fifty years after the death of Edmund Husserl. Its publication represents a landmark in the comprehensive treatment of contemporary phenomenology in all its vastness and richness. The diversity of the issues raised here is dazzling, but the main themes of Husserl's thought are all either explicitly treated, or else they underlie the ingenious approaches found here. Time, historicity, intentionality, eidos, meaning, possibility/reality, and teleology are (...) the main concerns of this collection devoted to studies in aesthetics, metaphysics and literary interpretation, written by such authors as, among others, R. Cobb-Stevens, C. Moreno Marquez, J. Swiecimski, Sitansu Ray and M. Kronegger. These original studies of phenomenological aesthetics and literary theory by scholars from all parts of the world were gathered by the World Institute for Advanced Phenomenological Research and Learn ing during the year 1988/89 during its assessment of the phenomeno logical movement, fifty years after Husserl's death. IX A -T. Tymieniecka (ed.), Analecta Husserliana, Vol. XXXVII, ix. (shrink)

In this article, I deal with the concept of aesthetics in its broader sense: the ability of feeling, thinking, and creating. My theory is that this aesthetics was born 40,000 years ago in the Paleolitical caves and that it has been characterizing human creativity from its remote origins up to now. Following this theory, we should not define human creativity as a greater cleverness than that of other living species; however, we should think of it as a refined (...) aesthetic ability of mind in connecting different worlds, enacting different levels of communication, and creating images and symbols. (shrink)

This book reverses the fundamental tenet of phenomenology-that all consciousness is intentional . Mitscherling rehabilitates the pre-modern concepts of 'intentional being' and 'formal causality' in the construction of a comprehensive phenomenological analysis of embodiment, aesthetic experience, interpretation of texts, moral behavior, and cognition.

롱기누스는 시, 비극, 수사학에서 장엄함과 경이로움으로 경탄을 불러일으키는 것, 내적 힘이 작용하여 우리의 영혼이 고양되고 기쁨으로 충만하게 되는 것을 진정한 숭고로 정의한다. 이 글은 롱기누스의 숭고론에 기초하여 숭고의 기원과 미적 현상을 밝히는데 목적이 있다. 고대 그리스 신화, 디오니소스 제전, 비극은 숭고가 뮤즈 신의 영감을 얻어 시를 노래하는 시인으로부터 시작되었으며, 신적 열광에 사로잡힌 사람들의 광기, 격정, 해방감, 즐거움에 기초한 미적 현상임을 말해준다. 숭고는 시, 음악, 춤을 통해 탈아와 영감, 광기, 카타르시스를 경험할 때의 심미적 현상이다. 영감에 사로잡혀 자신의 일상적 자아를 망각하는 것, (...) 광기를 통해 영원한 것, 아름다운 것, 위대한 것을 보는 것, 음악적 감화를 통해 혹은 모방된 사건을 통해 정화를 경험하는 것이 숭고 현상이다. 플라톤은 숭고 현상을 시인이 영감과 광기를 통해 신적인 것을 보는 것으로 이해하지만 아리스토텔레스는 무대 위에 연출된 사건을 통해 연민과 공포, 쾌감을 간접적으로 환기하는 것으로 이해한다. 롱기누스는 플라톤과 아리스토텔레스의 관점을 비판적으로 수용하면서 신적 성질이 언어의 기술을 통해 환기될 수 있다는 입장을 취한다. 즉, 자연과 기술이 상보적 관계를 맺고 있을 때 숭고가 위험에 노출되지 않고 그 목적을 달성할 수 있다고 본다. 고대 그리스에서 숭고는 단지 쾌락이나 감정의 흥분이 아니라 인간이 자기 한계 너머로까지 생명력을 확장해 가고자 하는 의지와 열정, 욕망에 기초한 생명철학적 가치를 지닌다. (shrink)

Abstract:This article enquires into a transcultural aesthetic: bi-xing (inspired metaphor) in China and symbolic representation in the West, which share the common logic of correlative thinking. By examining its earliest provenance in the Zhouyi (Book of Changes) and Shijing(Book of Songs) in China's high antiquity in relation to divination, symbolization, and poetic creation in the West, it argues that this aesthetic arose from omen readings in divination, went through symbolism in linguistic representation, and became a poetic principle in aesthetic thought. (...) It concludes that correlative thinking was an approach to knowledge production and conception in traditional thought across cultures. (shrink)

Condillac's Essay on the Origin of Human Knowledge, first published in French in 1746 and offered here in a new translation, represented in its time a radical departure from the dominant conception of the mind as a reservoir of innately given ideas. Descartes had held that knowledge must rest on ideas; Condillac turned this upside down by arguing that speech and words are the origin of mental life and knowledge. He argued, further, that language has its origin (...) in human interaction and in our natural capacity to react spontaneously and instinctively to the expression of emotions and states of mind in others. The importance of this pointedly anti-Cartesian view, and its relevance to both aesthetics and epistemology, were quickly understood, and Condillac's work influenced many later philosophers including Herder, Rousseau, and Adam Smith. His conception also anticipated Wittgenstein's view of language, its usage, and its relation to mind and thought. (shrink)

The time of the landscape is not the time when people started describing landscapes in poems or representing gardens in works of art: it is the time when the landscape imposed itself as a specific object of thought. This object of thought was constituted through quarrels about how gardens were to be arranged, through accounts of travels to solitary lakes and remote mountains, or through evocations of mythological or rustic paintings. Jacques Rancière retraces these narratives and quarrels, showing how they (...) gave rise to a form of sensibility capable of modifying the existing configuration of modes of perception and objects of thought. The time of the landscape is the time when both the harmony of arranged gardens and the disharmony of wild nature contributed to a revolution in the criteria of the beautiful and the meaning of the word ‘art’. It coincided with the birth of aesthetics, understood as a regime for the perception of and thinking about art, and also with the French Revolution, understood as a revolution in the very idea of what binds a human community. The time of the landscape was the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only state laws or artistic norms, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts and the humanities generally, and it will appeal to anyone interested in critical theory and philosophy. (shrink)

When, in 1735, Alexander Gottlieb Baumgarten added a new discipline to the philosophical system, he not only founded modern aesthetics but also contributed to shaping the modern concept of art or 'fine art'. In The Founding of Aesthetics in the German Enlightenment, Stefanie Buchenau offers a rich analysis and reconstruction of the origins of this new discipline in its wider context of German Enlightenment philosophy. Present-day scholars commonly regard Baumgarten's views as an imperfect prefiguration of Kantian and post-Kantian (...) aesthetics, but Buchenau argues that Baumgarten defended a consistent and original project which must be viewed in the context of the modern debate on the art of invention. Her book offers new perspectives on Kantian aesthetics and beauty in art and science. (shrink)

In this edition, the Breviary of Aesthetics is presented in a brand new English translation and accompanied by informative endnotes that discuss many of the philosophers, writers, and works cited by Croce in his original text.

In his Nobel Prize acceptance speech in 1987, the Russian-born American poet Joseph Brodsky argued that aesthetics is the mother of ethics. However, there is an ambiguity in his use of the term aesthetics. In the first part of this article, I distinguish between Brodsky’s narrow use of aesthetics, which refers to problems of beauty, and the broader sense, which refers to the cognitive function of sensibility and feeling. I then suggest that good sense can be made (...) of the claim about the origins of ethics only if we employ the broader sense of aesthetics. The second part draws on examples from Brodsky and the American poet Jorie Graham to illustrate the ways in which the feelings generated by human sensuous receptivity transform the world from a meaningless physical system into meaningful sets of life-valuable relationships. The third part sharpens this conclusion by considering the conditions under which the world can appear to be meaningless. In the final section I link Brodsky’s poetic responsiveness to the world to John McMurtry’s philosophical analysis of “the felt side of being.” Poetic evocation and philosophical argument are two approaches to the same problem which, when brought together, provide a comprehensive explanation of why aesthetics is the mother of ethics. (shrink)

Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...) pleasure in contemplation, not value extracted from the object by activities other than contemplation. The theory is that aesthetic pleasure is a motivation for learning skills. Two forms of pleasure are postulated. The first accompanies the spontaneous activity necessary for learning a more or less universal basic level of skill. The second accompanies highly skilled activity. This second kind of pleasure is specific to art as such. (shrink)

within western philosophy, there is a long and rich tradition of treating the beautiful and the good as closely related and mutually reinforcing.1 Different models of the relation have been proposed. An ‘identity’ model can be seen in Plato’s identification of the beautiful and the good in the Symposium and perhaps in the Greek notion of kalokagathia.2 Yet, according to Plato’s Republic, the form of the good illuminates, and differs from, the forms of beauty and truth: “both knowledge and truth (...) are beautiful things, but the good is other and more beautiful than they,”3 suggesting that beauty is a mode of the good. Likewise, according to Plotinus’s chronologically first treatise, “On... (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The aim of this paper is to demonstrate that aesthetics had its place in Fichte’s early system of the WL, and that due to contingent circumstances he did not have the chance to expound it. But we can reconstruct the main lines of what his aesthetics would have looked like if we pay attention to the article sent to Schiller in 1795 on the “spirit” and the “letter” in philosophy, completing it with the courses he gave in the (...) preceding months on that topic and with other sources. We discover not only that aesthetics is an important part of the philosophical system but that art stands close the act of philosophising itself. In fact, both the philosopher and the artist draw from the same original source: “spirit” as defined in Kant’s third Critique. For the philosopher as well as for the artist the central faculty is then “imagination”, an imagination that relies on “feeling”. In the end Fichte sketches an aesthetics based on the creative genius of the artist, leaving little room for the faculty of judgment and for taste, that is: the receptive attitude toward beauty, that play a prominent role in Kant’s aesthetics. (shrink)

In addition to recognizing the connection between aesthetic judgment and mindfulness to better understand the continuity between humans and nonhuman animals, a shift of the discussion of the origins of mind to the origins of mindfulness ...

Within the book, he discussed the origin and forms of musical activity as well as various theories on the origin of music. This is the first time that this important work is available in English.

The essay attempts to offer an alternative genealogy of aesthetics from the perspective of a post-colonial history. Here a painting from the Philippines, Juan Luna's Spoliarium (1884), is reworked to offer insights into this possible operation that exceeds the typical methods of relativization and the exclusively nationalist anti-colonial critique. It focuses on both art and the discourse about it, including the oration of the National Hero Jose Rizal, and how these intersect with the end of the colony and the (...) compelling emergence of the aesthetic in eccentric grounds. (shrink)

Michael Haneke’s film The White Ribbon narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal relationship between (...) the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past. (shrink)