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  1. Producing marks of distinction: hilaritas and devotion as singular virtues in Spinoza’s aesthetic festival.Christopher Davidson - 2019 - Textual Practice 34:1-18.
    Spinoza’s concepts of wonder, the imitation of affects, cheerfulness, and devotion provide the basis for a Spinozist aesthetics. Those concepts from his Ethics, when combined with his account of rituals and festivals in the Theological-Political Treatise and his Political Treatise, reveal an aesthetics of social affects. The repetition of ritualised participatory aesthetic practices over time generates a unique ingenium or way of life for a social group, a singular style which distinguishes them from the general political body. Ritual and the (...)
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    The Figure of Moses: The Origins of Authority in Spinoza.Dimitris Vardoulakis - 2019 - Textual Practice 33 (5):771–85.
    How baroque was Spinoza in his treatment of the prophets? I examine this question by comparing the pictorial treatments of Moses from the Netherlands to Spinoza’s treatment of Moses at the beginning of the Theological Political Treatise. I concentrate on two representations of Moses descending from mount Sinai, one by Ferdinand Bol and the other by Rembrandt. Of particular importance is the idea of hierarchy. I will argue that Spinoza takes an ambiguous position in relation to baroque, on the one (...)
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