This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers (...) a uniquely synthetic definition of art. It captures the artwork’s relations between form and content, art’s independent ontology and autonomy, art’s internal completeness, criticism, immunity to recruitment, the uniqueness of each medium, and musicality, as well as the logical-theoretical affiliation of art for art’s sake to epistemology, ethics and philosophy of language.<BR> Those are used by Michalle Gal to formulate a definition of art in terms of a theory of Deep Formalism, setting aestheticism, which aspires to preserve the artistic medium, as a critique of the current linguistic-conceptual aesthetics that developed after the linguistic turn of aesthetics. (shrink)

This study examines the changing role of art and artist during the turn-of-the-century period, offering a consideration of the multiple dichotomies of art and life, aesthetics and economics, production and consumption, and centre and periphery.

This article seeks to identify and address the normative void that resides at the heart of postmodernist-feminist theory, and to propose a philosophical framework – beyond postmodernism, but incorporating its central insights – for thinking through the normative questions with which feminists are inevitably confronted in their engagements with positive law. Two varieties of postmodernist-feminism are identified and critically analysed: the ‘corporeal feminism’ of Elizabeth Grosz and Judith Butler, which seeks to ground feminist critical practice in the irruptive capacities of (...) the material body considered as an arte fact of social construction; and the deconstructionist feminism of Drucilla Cornell, for whom ‘the feminine’ is an indeterminate but disruptive force beyond its construction in law and in other social sites. The first component of the argument elaborated here is that each of these approaches ultimately reduces to a form of aestheticism which is incapable of generating a worthwhile and workable feminist approach to the restructuring of politics and law. The second component of the argument involves a return to aesthetics, in particular to the philosophical aesthetics of Kant’s Critique of Judgement. Kant’s aesthetic philosophy, it will be suggested, yields a framework of concepts which, duly re-manipulated, could speak to the very concerns that have inspired postmodernist-feminism: how to attend to (bodily) particularity while avoiding the dangers associated with ‘essentialism’; and how to theorise the propensity of the unrepresentable power of the feminine to exceed both embodied human capacities and the confining rein of socially privileged rationalities. Crucially, however it also responds to a set of preoccupations – those of the feminist lawyer – that cannot be accommodated by postmodernism: how to translate embodied experience into (legal) norms; generalise from the particular; seek consensus; and codify an endless potentiality in the form of law. (shrink)

Postmodern aestheticism is defined as a way of thinking that privileges the art of continual reversal. The dynamics of reversal operate according to a theoretical model that, historically speaking, has been the vehicle for blatantly masculinist ideologies. This creates problems for feminist thinking that would appropriate the postmodern conception of the subjectivity of the artist or the aestheticist dissolution of the distinction between life and art.

R K Elliott; Aestheticism, Imagination and Schooling: a reply to Ruby Meager, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 33–42.

R K Elliott; Aestheticism, Imagination and Schooling: a reply to Ruby Meager, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 33–42.

This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to (...) here as “deep formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

Book description:* The only accessible and authoritative guide to the continental traditions in philosophy * 20 brand-new contributions by an outstanding international team * Valuable for anyone working on continental philosophy, European literature, the history of ideas, and cultural studies The Oxford Handbooks series is a major new initiative in academic publishing. Each volume offers an authoritative and up-to-date survey of original research in a particular subject area. Specially commissioned essays from leading figures in the discipline give critical examinations of (...) the progress and direction of debates. Oxford Handbooks provide scholars and graduate students with compelling new perspectives upon a wide range of subjects in the humanities and social sciences. The Oxford Handbook of Continental Philosophy is the definitive guide to the major themes of the continental Euopean tradition in philosophy in the nineteenth and twentieth centuries. Brian Leiter and Michael Rosen have assembled a stellar group of contributors who provide a thematic treatment of continental philosophy, treating its subject matter philosophically and not simply as a series of museum pieces from the history of ideas. The scope of the volume is broad, with discussions covering a wide range of philosophical movements including German Idealism, existentialism, phenomenology, Marxism, postmodernism, and critical theory, as well as thinkers like Hegel, Marx, Nietzsche, Freud, Heidegger, and Foucault. This Handbook will be an essential reference point for graduate students and professional academics working on continental philosophy, as well as those with an interest in European literature, the history of ideas, and cultural studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame (...) of reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

Hannah Arendt’s aesthetic approach to politics is regarded as frequently reflecting the anti-political substitution of nonpolitical concerns for political ones characteristic of the German tradition from Schiller to Heidegger and beyond. Arendt’s relationship to this tradition can be understood as squarely calling into question her central claim to have rehabilitated the political. This paper examines the relationship between Arendt’s and Heidegger’s political thought in light of the distinction between an aestheticism and an aesthetic approach. Two issues are at stake: (...) can such a distinction help distance Arendt’s aesthetic approach from those elements we find so troubling in Heidegger’s thinking and his relation to politics? Can this help us to recuperate a certain aspect of German political thought which is reflected in Arendt’s work? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame (...) of reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

The nature of learning processes as well as evolutionary considerations suggest that aesthetic judgement is of central importance in the formation of custom. Learning and extrapolation rely on evaluations of non-instrumental features like simplicity, analogy, straightforwardness, and clarity. Further, learning is particularly effective if it is driven by an active desire to uncover new regularities, rather than merely gathering information in a passive way.From an evolutionary perspective, learning has evolved as an adaptation to fast and transitory environmental changes which cannot (...) be effectively traced by the slow and long-term evolutionary processes which take place on the genetic level. The evolutionary raison d’être of learning is to enable the individual to incessantly search for upcoming new regularities, and to act appropriately on them. As learning depends on aesthetic judgement, the evolutionary selection for learning implies an evolutionary molding of an aesthetic sense, and a preference for patterns and patterned action which ultimately leads to the formation of custom and social learning. The paper presents, thus, an evolutionary underpinning for the behavioral tendencies underlying my theory of custom. (shrink)

It is only through the duality of the `masculine' and the `feminine' that the `human' finds full realization.Pope John Paul IISee the power of national emblems. Some stars, lilies, leopards, a crescent, a lion, an eagle, or other figure, which came into credit, God knows how, on an old rag of bunting, blowing in the wind, on a fort, at the ends of the earth, shall make the blood tingle under the rudest or the most conventional exterior. The people fancy (...) they hate poetry, and they are all poets and mystics! Ralph Waldo Emerson. (shrink)

La nature des processus d’apprentissage ainsi que les considérations évolutionaires suggèrent que le jugement esthétique est d’une importance centrale dans la formation des coutumes. L’ apprentissage et l’extrapolation prennent appui sur les évaluations de caractéristiques noninstrumentales telles que la simplicité, l’analogie, la droiture et la clarté. De plus, l’apprentissage est particulièrement efficace s’il est animé par un désir actif de découvrir de nouvelles régularités, plutôt que de rassembler simplement des informations de manière passive.A partir d’une perspective évolutionaire, l’apprentissage a évolué (...) par adaptation aux changements rapides et environnementaux qui ne peuvent être efficacement traduits par les processus évolutifs lents et de long terme qui se situent au niveau génétique. La “raison d’être” évolutionaire de l’apprentissage est de permettre aux individus de chercher sans cesse à découvrir de nouvelles régularités et d’agir sur elles de manière appropriée. De même que l’apprentissage dépend des jugements esthétiques, la sélection évolutionaire pour l’apprentissage implique une matrice évolutionaire du sens esthétique, et une préférence pour des modèles et des actions stéréotypées qui en fin de compte conduisent à la formation de coutumes et d’une compréhension sociale. L’article est, ainsi, une présentation évolutionaire étayée des tendances “behaviorales” sous-tendant ma théorie des coutumes.The nature of learning processes as well as evolutionary considerations suggest that aesthetic judgement is of central importance in the formation of custom. Learning and extrapolation rely on evaluations of non-instrumental features like simplicity, analogy, straightforwardness, and clarity. Further, learning is particularly effective if it is driven by an active desire to uncover new regularities, rather than merely gathering information in a passive way.From an evolutionary perspective, learning has evolved as an adaptation to fast and transitory environmental changes which cannot be effectively traced by the slow and long-term evolutionary processes which take place on the genetic level. The evolutionary raison d’être of learning is to enable the individual to incessantly search for upcoming new regularities, and to act appropriately on them. As learning depends on aesthetic judgement, the evolutionary selection for learning implies an evolutionary molding of an aesthetic sense, and a preference for patterns and patterned action which ultimately leads to the formation of custom and social learning. The paper presents, thus, an evolutionary underpinning for the behavioral tendencies underlying my theory of custom. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism and SpiritualismA Narrative Study of the Exploration of Self through the Practice of Chinese CalligraphyMing-Tak Hue (bio)IntroductionCalligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a (...) nation, and a country. Hence, it has very great educational value. In China calligraphy is done with a brush, which was a common writing implement in ancient times. In addition to its utilitarian function, calligraphy is the most fundamental element in other types of art, such as painting and seal-carving, and is closely connected to many subject disciplines, such as literature, history, and philosophy. Brush calligraphy is still popular in Chinese society and is frequently used in different forms of publication, such as banners and newspapers; however, it is becoming more popular for these publications to be created mechanically or in electronic form with computers rather than by hand. In the context of schooling, a similar phenomenon can be seen. Many teachers in Hong Kong, as elsewhere, are concerned that fewer and fewer students have the chance to write with a pen and enjoy the beauty of writing, as the use of computers and different types of electronic devices for writing become more popular with the general public.The aim of this article is to examine the meaning of the practice of Chinese calligraphy from a cultural perspective and to draw school practitioners' attention to the importance of calligraphy education in the promotion of the whole-person growth of students and of multicultural education. Relevant literature on Western and Chinese calligraphy will be reviewed. Then an explanation will be given on how a narrative approach to the personal experience method and textual analysis were adopted for the data analysis. The article argues that calligraphy serves more than a utilitarian function. It [End Page 18] has also been used as an aesthetic practice and spiritual discipline. Hence, it is suggested that the calligraphy of brushwork is not only delightful to the eye but also an inspiration to the spirit. It is a practice of mindfulness for promoting self-reflection and self-cultivation, which leads calligraphy practitioners to reflect in their mind and heart, and so brings them into a harmonious relationship with others and the natural world.Literature ReviewIn Western societies for the last one hundred years, calligraphy has been rediscovered and relearned.1 Knight pointed out that the heritage and traditions of calligraphy have not been properly addressed and inherited in Western societies. Uyehara further suggested that calligraphy had been basically restudied and relearned in Europe and the United States up until the end of World War II. Edward Johnston (1872-1944) could be the most influential scholar who attempted to rediscover the art of Western calligraphy, lettering, and illuminating. In his study of ancient inscriptions and old manuscripts, three essential qualities of calligraphy were identified: "legibility," "beauty," and "character."2 When creating a piece of artwork, calligraphers have to ensure the legibility of the letter forms, the mastery of the skills of creating beautiful writing, and the readability of their works. As he explained,To make good letters and to arrange them well. To make good letters is not necessarily to "design" them—they have been designed long ago—but it is to take the best letters we can find, and to acquire them and make them our own. To arrange letters well requires no great art, but it requires a working knowledge of letter-forms and of the reasonable methods of grouping these forms to suit every circumstance.3Similarly, Knight highlighted the essential qualities of "legibility" and "beauty." Further, he stressed that the "creativity" of calligraphy should be imposed upon the tradition and cultural heritage of ancient manuscripts. As he said,[M]any of the conventions we use today in letter design and typography were established during the manuscript age. To know the classic work of this period is to know more about the ground we stand upon. If we grasp the... (shrink)

At the heart of Karl Rahner’s ecclesiology is a sacramental understanding of the church. This approach, which has its grounding in Rahner’s trademark theology of grace, connects the church with both God’s self-communication in history and human freedom. Sacramental ecclesiologies, however, are subject to the criticism that they do insufficient justice to “mission” as formative of the church’s identity and purpose. Determining whether Rahner’s theology articulates adequately the mission of the church in the world is a primary concern of this (...) paper. As part of its exploration, the paper identifies the echoes of Rahner’s sacramental approach in contemporary Protestant sacramental ecclesiologies. (shrink)

Inspired by Helen Longino’s ‘critical contextual empiricism’, in this paper I argue that art arises from social epistemic procedures that encompass both aesthetic functions and institutional practices. Within these procedures, aesthetic functions are developed, validated, and enforced through institutional practices, rather than being solely tied to the artistic outcomes of those practices. I call this approach ‘critical contextual aestheticism’.

Calligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a nation, and a country. Hence, it has very great educational value. In China calligraphy is done with a brush, which was a common writing implement in ancient times. In addition (...) to its utilitarian function, calligraphy is the most fundamental element in other types of art, such as painting and seal-carving, and is closely connected to many subject disciplines, such as literature, history, and philosophy. Brush calligraphy .. (shrink)

The idea of a new aestheticism is now explicit in both philosophical aesthetics and cultural theory with the publication of Gary Iseminger's The Aesthetic Function of Art and an anthology of essays edited by John Joughin and Simon Malpas critiquing the anti-aestheticism of literary theory. Both are significant in marking a wider trend reacting to, broadly speaking, intellectualised and historicised accounts of art, refocusing on the idea of appreciation itself, and working away from the emphasis on ideology and (...) disregard for the particularity of works in, especially, literary theory. This broader context also includes renewed debates running within philosophical aesthetics about non-perceptual aesthetic properties and the aesthetic experience of conceptual artworks, and about beauty in art, considerations that have engaged two philosophers normally identified by their commitment to art theoretical and historical (and by extension, non-aesthetic) accounts of artistic making and viewing, namely Noël Carroll and Arthur Danto. So Carroll acknowledges that what's at stake is an aesthetic theory of art that is potentially 'back in business', while Danto's 'surprising' theoretic re-engagement with the concept of beauty has been noted by Diarmuid Costello. (shrink)

This essay seeks to overcome the divide that has emerged in recent scholarship between Alexander Nehamas’s reading of Nietzsche as an aestheticist who eschews the dogmatism implicit in the scientific project and Brian Leiter's reading of Nietzsche as a hard-nosed naturalist whose project is continuous with the natural sciences. It is argued that Nietzsche turns to the natural sciences to justify a relationalist ontology that not only eliminates metaphysical concepts such as ‘being’ and ‘things-in-themselves’, but also can be linked to (...) key components of the aestheticist reading. As a result, Nietzsche's naturalism should not be understood as opposing important features of his aestheticism. Instead, Nietzsche's project should be understood in terms of a naturalized aestheticism that rejects the metaphysical-moral interpretation of existence espoused by philosophers such as Plato, Kant, and Schopenhauer. (shrink)

In recent years, a divide has emerged in Anglo-American scholarship between Alexander Nehamas’ reading of Nietzsche as an aestheticist who eschews the dogmatism implicit in the scientific project and Brian Leiter’s reading of Nietzsche as a hardnosed naturalist whose project is continuous with work in the natural sciences. In this paper, I argue that this divide is a false one. This is because Nietzsche thinks that a certain worldview, which he associates with the philosophy of Heraclitus, is conducive to the (...) flourishing of art, and rather than avoiding the dangers of dogmatism in presenting this view, he turns to the natural sciences to show why everyone should accept it. As a result, the crucial divide in Nietzsche’s thinking is not between naturalism and aestheticism and so science and art, but between the naturalism and aestheticism that flourished during what Nietzsche calls the tragic age of the Greeks and the metaphysics and morality characteristic of the Platonic-Christian tradition. (shrink)

Surely amongst the most exciting and vindicating features of philosophy and criticism of art are the interactions that they have with the actual practices of art. The histories of art and current discussions about art are dotted with special moments in which philosophers or critics—from Ruskin through to Danto and beyond—become influenced, or were influenced by, the art of their times. More curious—and less common still—is the influence of philosophy of art on art criticism, or the other way around. The (...) guidance or sway of one relative to the other is sporadic and not clearly or universally welcome. Identifying significant instances of such influence should prompt the re-examination of connections between the two endeavors, in historical and normative terms.Michalle Gal offers just such a prompt. Her study of the nineteenth century Aestheticism of Pater, Wilde, and Whistler takes that critical movement as precursor to another critical movement, the early formalism of Fry and Bell. In her recasting of this history of criticism, the two movements are joined by a philosophy which she terms ‘Deep Formalism’. (shrink)

Ruby Meager; The Dangers of Aestheticism in Schooling, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 23–30, https://doi.org/10.1111.

Ruby Meager; The Dangers of Aestheticism in Schooling, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 23–30, https://doi.org/10.1111.

What is form? Why does form matter? In this imaginative and ambitious study, Angela Leighton assesses not only the legacy of Victorian aestheticism, and its richly resourceful keyword, 'form', but also the very nature of the literary. She shows how writers, for two centuries and more, have returned to the idea of form as something which contains the secret of art itself. She tracks the development of the word from the Romantics to contemporary poets, and offers close readings of, (...) among others, Tennyson, Pater, Woolf, Yeats, Stevens, and Plath, to show how form has provided the single most important way of accounting for the movements of literary language itself. She investigates, for instance, the old debate of form and content, of form as music or sound-shape, as the ghostly dynamic and dynamics of a text, as well as its long association with the aestheticist principle of being 'for nothing'. In a wide-ranging and inventive argument, she suggests that form is the key to the pleasure of the literary text, and that that pleasure is part of what literary criticism itself needs to answer and convey. (shrink)

"Foucault's Aestheticism" asks to what extent critique as Foucault conceives it can be read as a form of style. Starting from Foucault's description of "aestheticism" as "self-transformation," Lamb argues that accounts of Foucauldian critique have often sought to establish Foucault's position as one of affirmation or opposition without carefully setting out the terms by which his practice and relation to the self shift with respect to the institutions, disciplines, and practices that form his objects of study. By focusing (...) on Foucault's description of modernity as an ethos against the reception of his history of classical ethics, the essay concludes not only that an impersonal style often functions crucially in Foucault's critical practice but also that no account of his style can afford to ignore the changed understanding of style at which Foucault ultimately arrives, an understanding in which style constitutes less the final expression of an authorial position than a provisional practice of self-modification. (shrink)

The rise of literary theory spawned the rise of anti-aestheticism, so that even for cultural theorists, discussions concerning aesthetics were often carried out in a critical shorthand that failed to engage with the particularity of the work of art, much less the specificities of aesthetic experience. This book introduces the notion of a new aestheticism--"new" insofar as it identifies a turn taken by a number of important contemporary thinkers towards the idea that focussing on the specifically aesthetic impact (...) of a work of art or literature has the potential to open radically different ways of thinking about identity, politics and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, nuanced, erudite (...) — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

Mr. Ayer , in Language, Truth and Logic , says: “Sentences which simply express moral judgments do not say anything. They are pure expressions of feeling and as such do not come under the category of truth and falsehood.... Aesthetic terms are used in exactly the same way as ethical terms.".