Aesthetic Qualities, Misc

Edited by Robert R. Clewis (Gwynedd Mercy University, Ludwig Maximilians Universität, München)
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139 found
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1 — 50 / 139
  1. added 2020-05-26
    Originalism and Anti-Originalism: Style and Authenticity in Aesthetic Appreciation.Lisa Giombini - 2020 - Debates in Aesthetics 15 (1):52-73.
    Since the mid-Sixties, philosophers have debated over the aesthetic relevance of authentic art-objects, perfect replicas, and restoration. In particular, a dispute has ensued concerning the cogency of our penchant for original artworks. Originalists argue that authenticity, the quality of an object being of undisputed origin or authorship, is a necessary condition for aesthetic experience, since the appreciation of an artwork presupposes its correct identification. Anti-originalists retort that we have no art-relevant reason to favour originals over visually-indistinguishable duplicates. To this extent, (...)
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  2. added 2020-03-17
    Aesthetic Experience of Beautiful and Ugly Persons: A Critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of aesthetic qualities, (...)
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  3. added 2020-03-15
    The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
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  4. added 2019-12-23
    Pleasure and Transcendence: Two Paradoxes of Sublimity.Tom Hanauer - 2018 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle, UK: Cambridge Scholars Publishing. pp. 29-44.
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  5. added 2019-09-07
    Notes on Traditional Kitsch.Aleksa Ĉelebonović - 1969 - In Gillo Dorfles (ed.), Kitsch: The World of Bad Taste. New York: Bell Publishing. pp. 280-289.
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  6. added 2019-09-02
    Contemporary Kitsch: The Death of Pseudo-Art and the Birth of Everyday Cheesiness (A Postcolonial Inquiry).Max Ryynänen - 2018 - Terra Aestheticae: Journal of Russian Society for Aesthetics 1 (1):70-86.
    The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...)
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  7. added 2019-09-02
    Nobrow.Max Ryynänen - 2005 - Nordic Journal of Aesthetics 17 (32).
    Less than an attempt to philosophically define anything, the following text should be read as a theoretical sketch to portray an artistic margin, which has not yet been much discussed, although it has been loosely touched upon as a side product of many other theoretical aspirations. Its name, ‘nobrow’, is borrowed from a use somewhat different from mine, but is accurate in pointing out that there is a dynamic position works of art can acquire when they use both high and (...)
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  8. added 2019-07-28
    Communicability Of Pleasure And Normativity Of Taste In Kant’s Third Critique.Iskra Fileva - 2007 - Postgraduate Journal of Aesthetics 4 (2):11-18.
    Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, on (...)
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  9. added 2019-07-17
    On "Aesthetics as Philosophy of Perception".Nicholas Silins - 2019 - Studi di Estetica:227-233.
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  10. added 2019-06-06
    Greek Laughter: A Study of Cultural Psychology From Homer to Early Christianity.Charles Platter - 2010 - American Journal of Philology 131 (3):529-532.
    In 1991, Stephen Halliwell published "The Uses of Laughter in Greek Culture", an essay that, among other things, rejected totalizing definitions of laughter and the laughable in favor of a more nuanced view that emphasized a distinction between laughter perceived as friendly and non-consequential, i.e., not injurious to the reputation of anyone, and laughter seen as abusive, hostile, or belittling, and so deleterious to the reputation of the target. His point was not that laughter could be classified so easily but (...)
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  11. added 2019-06-06
    Proverbs, Sententiae, and Exempla in Chaucer's Comic Tales: The Function of Comic Misapplication.Donald Macdonald - 1966 - Speculum 41 (3):453-465.
    Chaucer's comic tales contain, both in the speeches of the characters and in the form of comments by the various narrators, a substantial number of proverbs, sententiae, and exempla. The frequency with which these monitory elements occur, the fact that they appear to be almost entirely Chaucer's original contributions to the tales, and the importance of their function in comic characterization, in narrative structure, and in the control of narrative tone combine to suggest that they were employed by Chaucer with (...)
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  12. added 2019-06-06
    Butler's Humour of Homer. [REVIEW]George C. W. Warr - 1892 - The Classical Review 6 (9):398-399.
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  13. added 2019-05-06
    Impressions Of Reflection And The End Of Art: A Re-Evaluation Of Hume’s Standard Of Taste.Gary Jaeger - 2004 - Postgraduate Journal of Aesthetics 1 (1):25-31.
    In his 'Of the Standard of Taste' David Hume seems to make the paradoxical claim that even though the sentiments an agent feels in response to an artwork are subjective and unique, and it cannot be said that such sentiments are either correct or incorrect, there is a standard upon which art can be judged, which is at least partly determined by these sentiments.
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  14. added 2019-02-28
    Nietzsche (as) Educator.Babette Babich - 2018 - Educational Philosophy and Theory 51 (9):871-885.
  15. added 2019-01-31
    Go Bleep Yourself!: Why Censorship is Funny.Robert T. Valgenti - 2016 - Angelaki 21 (3):103-114.
    This essay argues that the use of the censor's bleep for comedic effect in cases when an actual expletive is not present can contribute not only to our understanding of traditional theories of humor but also uncover a deep connection between censorship, humor, and human speech. The essay begins with a description of the phenomenon of “unnecessary censorship” within the context of prime-time television and the growing use of profane and indecent language. To understand why unnecessary censorship works as a (...)
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  16. added 2019-01-31
    A Timeless Sublime?: Reading the Feminine Sublime in the Discourse of the Sacred.Patrick Wright - 2010 - Angelaki 15 (2):85-100.
  17. added 2018-11-30
    Some Ways to Speculative Aesthetics.Tom Sparrow - 2017 - Philosophy Today 61 (3):523-38.
    Continental philosophy is witnessing a global renaissance of speculative philosophy. And while some corners of this movement are gaining traction in art- and architecture-theoretical circles, its application to philosophical aesthetics has been forestalled in favor of metaphysical and, secondarily, epistemological inquiry. This essay tracks some of the ways that speculative aesthetics is emerging, and opening new pathways, within the renaissance. It accomplishes three primary tasks. First, it enumerates several of the ways that the name “speculative aesthetics” has been mobilized in (...)
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  18. added 2018-11-26
    The Sublime Reader.Robert R. Clewis (ed.) - 2019 - London: Bloomsbury.
    The first English-language anthology to provide a compendium of primary source material on the sublime. The book takes a chronological approach, covering the earliest ancient traditions up through the early and late modern periods and into contemporary theory. It takes an inclusive, interdisciplinary approach to this key concept in aesthetics and criticism, representing voices and traditions that have often been overlooked. As such, it will be of use and interest across the humanities and allied disciplines.
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  19. added 2018-11-26
    A Kantian Analytic of the Ugly.Christopher Buckman - 2017 - International Philosophical Quarterly 57 (4):365-380.
    Kant’s theory of taste, as expounded in the Critique of Judgment, deals exhaustively with judgments of beauty. Rarely does Kant mention ugliness. This omission has led to a debate among commentators about how judgments of ugliness should be explained in a Kantian framework. I argue that the judgment of ugliness originates in the disharmonious play between the faculties of imagination and understanding. Such disharmony occurs when the understanding finds that it cannot in principle form any concept suitable to a representation (...)
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  20. added 2018-10-02
    Josef Albers, "So ist Kunst ... Erlebnis", Weimarer Verlagsgesellschaft: Wiesbaden 2018.Martina Sauer - 2018 - Wiesbaden, Germany: Weimarer Verlagsgesellschaft.
    This is the first coherent monography about the life and work of the important Bauhaus master Josef Albers. It aims to discover Albers as a teacher and an artist anew. Thus, 40 years after his death an artist shall be honored, who has had till now not enough attention within the Bauhaus masters. It fall too short to introduce him solely as the teacher and idea provider of the basic course at the Bauhaus. After his emigration to the US he (...)
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  21. added 2018-05-26
    A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists.Emine Hande Tuna - 2016 - Journal of Aesthetics and Art Criticism 74 (4):397-411.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...)
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  22. added 2018-02-17
    The Art of Theater.James R. Hamilton - 2007 - Wiley-Blackwell.
    _The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.
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  23. added 2018-02-10
    Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.
    Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about secondary properties such as colours. By contrast, I advance a novel realist position about aesthetic properties, which is based on a disanalogy between aesthetic properties and colours. Whereas colours are usually perceived as relatively steady features of external objects, aesthetic properties are perceived as unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this (...)
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  24. added 2018-01-17
    The Philosophy of Style.Herbert Spencer - unknown
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  25. added 2018-01-17
    Jokes and Their Relation to Social Reality.Anton C. Zijderveld - forthcoming - Social Research.
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  26. added 2018-01-17
    Do Gestalt Effects Show That We Perceive High-Level Aesthetic Properties?Raamy Majeed - 2018 - Analysis 78 (3):440-450.
    Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level properties. Gestalts effects, of course, are widely observed, which (...)
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  27. added 2018-01-17
    ‘Nothing but Nonsense’: A Kantian Account of Ugliness.Matthew Coate - 2018 - British Journal of Aesthetics 58 (1):51-70.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comWhat does it mean for a thing to be ugly, or perhaps better, for something to be judged as such? We should admit that the matter is not transparent. Maybe that seems odd, since we find things ugly all the time; should not this be plain as day, then? But usually, it is what seems (...)
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  28. added 2018-01-17
    Plato and the Spectacle of Laughter.Michael Naas - 2016 - Angelaki 21 (3):13-26.
    This essay examines the critical role played by comedy and laughter in Plato. It begins by taking seriously Plato's critique of comedy and his concerns about the negative effects of laughter in dialogues such as Republic and Laws. It then shows how Plato, rather than simply rejecting comedy and censuring laughter, attempts to put these into the service of philosophy by rethinking them in philosophical terms. Accordingly, the laughable or the ridiculous is understood not just in relation to the ugly (...)
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  29. added 2018-01-17
    Aesthetic Quality: A Darwinian View. Perricone - 2016 - Journal of Aesthetic Education 50 (2):45-56.
    Je sais que la poesie est indepensable, mais je ne sais pas a quoi. [I know poetry is indispensable, but I don’t know what for.]A crucial characteristic of any aesthetic education is to understand the nature of aesthetic quality, that is, how to determine whether one artwork is superior to another. For example, I want to say that J. S. Bach’s Sixth Suite for Unaccompanied Cello performed by YoYo Ma is superior to “Thriller,” composed by Rod Temperton and performed by (...)
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  30. added 2018-01-17
    Aesthetics of the Sublime and Moral Education.Youngdon Youn - 2016 - Journal of Ethics 1 (108):31-49.
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  31. added 2018-01-17
    27. Beauty and the Emotions.Guy Sircello - 2015 - In New Theory of Beauty. Princeton University Press. pp. 94-97.
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  32. added 2018-01-17
    The Sublime in Art: Kant, the Mannerist, and the Matterist Sublime. Vandenabeele - 2015 - Journal of Aesthetic Education 49 (3):32-49.
    Numerous contemporary artworks are found repellent, even by genuine art lovers, either because they deliberately derange our perception and imagination by an abundance of incoherent representations and stimuli or because they demand that we value seemingly nonsensical objects or all kinds of disgusting materials. Installations, collages, and so-called unassisted ready-mades especially cannot count on too much appreciation, unless the artists in question are sufficiently supported by clever managers who reduce their work to commodities, which then serve merely as illustrations of (...)
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  33. added 2018-01-17
    The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature. By Emily Brady. [REVIEW]Michael R. Spicher - 2014 - American Catholic Philosophical Quarterly 88 (3):598-600.
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  34. added 2018-01-17
    The Boring.Dan Moller - 2014 - Journal of Aesthetics and Art Criticism 72 (2):181-191.
    This article discusses the aesthetic concept of boringness, of which there has been relatively little philosophical discussion, especially along its objective, nonpsychological dimensions. I begin by confronting skepticism about the validity of judgments about boringness and rebut suggestions to the effect that these judgments are inevitably compromised by mistakes or vices of the audience. The article then develops an account focused on certain kinds of reasonable expectations we form in a given aesthetic context. I go on to confront the question (...)
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  35. added 2018-01-17
    The Sublime : Process and Mediation.Liza McCosh - 2013 - In Estelle Barrett & Barbara Bolt (eds.), Carnal Knowledge: Towards a 'New Materialism' Through the Arts. I.B. Tauris.
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  36. added 2018-01-17
    On Laughter and Other Sacrifices.Natalie Strobach - 2013 - Angelaki 18 (2):77 - 89.
    (2013). ON LAUGHTER AND OTHER SACRIFICES. Angelaki: Vol. 18, No. 2, pp. 77-89.
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  37. added 2018-01-17
    Listening to Many Voices: Athenian Tragedy as Popular Art.William Allan & Adrian Kelly - 2013 - In Anna Marmodoro & Jonathan Hill (eds.), The Author's Voice in Classical and Late Antiquity. Oxford University Press. pp. 77.
    By analysing how the audience interpreted the many voices of tragic performance, this chapter suggests a new model for understanding tragedy’s relationship to the world of the watching community. Although the idea that the poet expresses his personal opinions through the chorus or his characters is now rightly seen as old-fashioned and naïve, it is still legitimate to ask how the poet uses his heroic characters and their voices to speak to his contemporary audience—using ‘speak to’ in the broadest sense, (...)
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  38. added 2018-01-17
    The Joycean Sublime.Anthony Moreno - unknown
    The purpose of my thesis is to analyze notions of the sublime in James Joyce’s Ulysses and how the sublime is evoked and presented in Joyce’s work. The present work will examine concepts of the sublime from the Classical and Medieval period, through the Enlightenment, and into the Romantic era to develop my own definition. Placing the sublime in a historical perspective allows me to discover how the sublime is at work through Joyce’s creative use of complex narrative approaches. The (...)
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  39. added 2018-01-17
    A Sense Sublime.Richard Quinney - 2013 - Borderland Books.
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  40. added 2018-01-17
    Aesthetic Supervenience Revisited.D. H. Hick - 2012 - British Journal of Aesthetics 52 (3):301-316.
    In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and other objects depend upon their formal/structural properties (...)
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  41. added 2018-01-17
    Sufi Aesthetics: Beauty, Love, and the Human Form in the Writings of Ibn 'Arabi and 'Iraqi.Cyrus Ali Zargar - 2011 - University of South Carolina Press.
    Perception according to Ibn 'Arabi: God in forms -- Perception according to 'Iraqi: witnessing and divine self-love -- Beauty according to Ibn 'Arabi and 'Iraqi: that which causes love -- Ibn 'Arabi and human beauty: the school of passionate love -- 'Iraqi and the tradition of love, witnessing, and shahidbazi -- The amorous lyric as mystical language: union of the sacred and profane.
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  42. added 2018-01-17
    The Kantian Sublime and the Revelation of Freedom by Clewis, Robert.Stefan Bird-Pollan - 2011 - Journal of Aesthetics and Art Criticism 69 (3):348-350.
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  43. added 2018-01-17
    Lo Sublime y Lo Impensado En la Apuesta Vanguardista de Miltín 1934 de Juan Emar.Malva Marina Vásquez - 2011 - Aisthesis 50:216-229.
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  44. added 2018-01-17
    Language and the Most Sublime in Kant's Third Critique.James Rasmussen - 2010 - Journal of Aesthetics and Art Criticism 68 (2):155-166.
  45. added 2018-01-17
    Materialist Apocalypticism: The Comic-Ethical Vision of Nathanael West.Mark David Wright - 2010 - Dissertation, The Claremont Graduate University
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  46. added 2018-01-17
    A Timeless Sublime?: Reading the Feminine Sublime in the Discourse of the Sacred.Patrick Wright - 2010 - Angelaki 15 (2):85-100.
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  47. added 2018-01-17
    ‘Having a Laugh’: Masculinities, Health and Humour.Robert Williams - 2009 - Nursing Inquiry 16 (1):74-81.
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  48. added 2018-01-17
    Ambiguous Subjects: Dissolution and Metamorphosis in the Postmodern Sublime.Jennifer Wawrzinek - 2008 - Rodopi.
    In the history of ideas, the aesthetic categories of the sublime and the grotesque have exerted a powerful force over the cultural imagination. Ambiguous Subjects is one of the first studies to examine the relationship between these concepts. Tracing the history of the sublime from the eighteenth century through Burke and Kant, Wawrzinek illustrates the ways in which the sublime has traditionally been privileged as an inherently masculine and imperialist mode of experience that polices and abjects the grotesque to the (...)
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  49. added 2018-01-17
    Irony in the Age of Empire: Comic Perspectives on Democracy and Freedom.Cynthia Willett - 2008 - Indiana University Press.
    Comedy, from social ridicule to the unruly laughter of the carnival, provides effective tools for reinforcing social patterns of domination as well as weapons for emancipation. In Irony in the Age of Empire, Cynthia Willett asks: What could embody liberation better than laughter? Why do the oppressed laugh? What vision does the comic world prescribe? For Willett, the comic trumps standard liberal accounts of freedom by drawing attention to bodies, affects, and intimate relationships, topics which are usually neglected by political (...)
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  50. added 2018-01-17
    Contributing to the Development of Postmodern Critical Theory with Eastern Philosophy.Jae Seong Lee - 2008 - Proceedings of the Xxii World Congress of Philosophy 26:69-75.
    This paper concerns broadly with the works of such ethical postmodern theorists as Jacques Derrida, Emmanuel Levinas, Giles Deleuze, focusing on how we can contribute to the development of their ideas by discussing Laozi and Zhuanzi’s Taoism, Buddhism, and modern Korean Neo-Confucianism of Toe-gae Lee. I claim that for criticism and art, literature, film and culture as well as philosophy itself, we are now facing this new need of another notion of subjectivity that not only accepts difference but takes the (...)
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