This series of interpretations of selected classics examines premodern Japanese literature from the perspective of conflictual ideologies. Professor Marra's analysis of such works as the Ise Monogatari, the Hojoki, and Tsurezuregusa highlights the existence of discontent in the authors of the so-called high tradition and explains the means these authors used to express their social dissatisfaction in literary texts. His aim is to recover the validity of the historicist approach in literary studies by focusing on the importance of the (...) context in the formation of the text. The text is seen as a product of ideological manipulation on the part of those who, by reading, writing or editing, appropriate it according to specific and private concerns. Professor Marra displays both sensitivity to the texts and a comprehensive grasp of Japanese and Western scholarship in making his argument that aesthetics and politics in premodern Japanese literature are mutually defining. (shrink)

These essays recover the lively discussions on the topics of "magnificence" and "the sublime" in the art and literature of antiquity, the Renaissance, and the ages following, and apply them to the Middle Ages to draw exciting new conlusions"--Provided by publisher.

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

Aestheticism is broader in scope than the philosophy of art. It is also broader than the philosophy of beauty, in that it applies to any of the responses we might expect works of art or entertainment to elicit, whether positive or negative. That is why the articles in this collective volume aim to highlight the various reverberations of aestheticism on literature and education over the centuries.

In this short discussion of the Irish modernist writer, the author establishes a link between the mind of James Joyce and medieval theology. He shows how Joyce's fiction was suffused by his reading of St. Thomas Aquinas, Giordano Bruno and Nicola da Cusa and the book creates a dialogue between the saint, the novelist and the critic.

The notion of aesthetic illusion relates to a number of art forms and media. Defined as a pleasurable mental state that emerges during the reception of texts and artefacts, it amounts to the reader's or viewer's sense of having entered the represented world while at the same time keeping a distance from it. Aesthetic Illusion in Literature and the Arts is an in-depth study of the main questions surrounding this experience of art as reality. Beginning with an introduction providing (...) historical background to modern discussions of illusion, it deals with a wide range of theoretical issues. The collection explores the nature and function of the aesthetic illusion as well as the role of affect and emotion, the implications of aesthetic illusion for the theory of fiction, the variable forms of aesthetic illusion and its relationship to other components of aesthetic response. Aesthetic Illusion in Literature and the Arts brings together a team of scholars from philosophy, literature and art and presents an interdisciplinary examination of a concept lying at the heart of contemporary aesthetics. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

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

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the author (...) argues that medieval music was quintessentially a practice of the flesh. The book reveals a medieval world in which erotic desire, sexual practice, torture, flagellation, and even death itself resonated with musical significance and meaning. In its insistence on music as an integral part of the material cultures of the Middle Ages, the book presents a revisionist account of an important aspect of premodern European civilization. (shrink)

This paper will look at Kant’s views of the aesthetic experience, in relationship to Buddhist philosophical and political discussions of art and social organization. The primary focus in Kantian literature explores the relationship between free and dependent beauty, as well as Kant’s paradox of taste. The central argument of the Kantian portion is going to navigate the paradox of taste via Graham Priest’s epistemic and conceptual distinction pertaining to the limits of thought. Secondly, I shall contextualize the debate with (...) similar argumentation found in medieval Tibetan literature, by thinkers such as Tsongkhapa and Drakpa Gyaltsen. Lastly, I shall look at the political and artistic state of affairs in Yuan and Ming Dynasties and assert the applicability of both Kantian and Tibetan discussions of effibility in the context of Tibetan poetry and Thangkas. (shrink)

This is the first English-language book on the philosophy of Ji Kang. Moreover, it offers the first systematic treatment of his philosophy, thus filling a significant gap in English-language scholarship on early medieval Chinese literature and philosophy. David Chai brings to light Ji Kang's Neo-Daoist heritage and explores the themes in his writings that were derived from classical Daoism, most notably the need for humanity to return to a more harmonious co-existence with Nature to further our own self-understanding. His (...) analysis is unique in that it balances translation and annotation with expositing the creative philosophizing of Neo-Daoism. Chai analyzes the entirety of Ji Kang's essays, exploring his philosophical reflections on music, aesthetics, ethics, self-cultivation, and fate. Reading Ji Kang/s Essays will be of interest to scholars and students of Chinese philosophy and literature. It offers the first comprehensive philosophical examination of a heretofore neglected figure in Neo-Daoism. (shrink)

. The problem of evil is widely considered a problem only for traditional Western monotheists who believe that there is an omnipotent and morally perfect God. I argue, however, that the problem of evil, more specifically a variant of the problem of evil which I call the ‘problem of impermanence’, arises even for those adhering to the philosophical and religious traditions of the East. I analyse and assess various responses to the problem of impermanence found in medieval Japanese literature. (...) I argue that the only response that is potentially satisfactory requires supernaturalism. I conclude, therefore, that the problem of impermanence is a unique problem posing a greater challenge to naturalists than to supernaturalists. (shrink)

ArgumentThis essay seeks to identify the cultural significance of Goethe's scientific writings. He reformulates, in the light of his own concrete experience, “crucial turning-points” in the history of science – key ideas, the historical understanding of which is vital to present understanding – thus situating his own scientific work at the bi-polar center of the Western scientific tradition, conceived as the dramatic interplay over centuries of two opposing modes of thought. For in his experimentation he recaptures the glimpse of living (...) form gained in aesthetic perception, from which such inherited theoretical positions are ultimately derived. At each stage of this process, imagination, in its aesthetic modality, is essential, for it alone reveals the world as it truly is. The literary quality of his writings on nature, as on culture, reveals Goethe's stylistic achievement in devising a medium in which the insights gained in contemplation may be so transmitted as to make a similar, imaginative, appeal to his reader – re-enacting the abstract-concrete equilibrium characterizing all aesthetic experience. Matching his style to the subtle, delicate, connectedness of Nature, Goethe recreates the delights of participating in natural creativity. His Janus-faced, scientific-literary, style illustrates “binary synthesis,” the principle that unites Goethe's science with his art.Beauty is the normal state.There can be no such thing as an eclectic philosophy, but there can be eclectic philosophers. But an eclectic is anyone who, from whatever exists and is happening round about, appropriates the things he or she finds congenial to her or his nature; and this context validly includes all that can be called culture and progress in a theoretical and practical sense. It follows that two eclectic philosophers could turn into the greatest opponents if they are antagonistic to one another, each picking out whatever suits him or her in every traditional system of philosophy. (shrink)

Conventional wisdom suggests that aesthetic experiences - those moments when the senses come to life - are important only after more basic needs have been met. In this inspiring wealth of provocative ideas, Yi-Fu Tuan demonstrates that feeling and beauty are essential parts of life and society. The aesthetic is shown to be not merely one aspect of culture but its central core - both its driving force and its ultimate goal. Beginning with the individual and the physical world, the (...) author's exploration progresses from the simple to the complex. Tuan starts by examining the building blocks of aesthetic experience - sight, hearing, smell, touch, taste - and gradually expands his analysis to include the most elaborate of human constructs, including art, architecture, literature, philosophy, music, and landscape. This leads him to the realm of politics, where he grapples with the fundamental question of the relationship between goodness and beauty, and of how the aesthetic can become a moral force within society. To guide the reader along this journey, the author describes how the aesthetic operates in four widely disparate cultures: Australian aboriginal, Chinese, medieval European, and modern American. Yi-Fu Tuan, one of our most influential and original thinkers, brilliantly conveys the profound fascination of multisensory reality, and in so doing enables us to make connections among even the most diffuse elements of our lives. While Tuan does not ignore human folly, Passing Strange and Wonderful is a celebration of the world around us, our experiences, and our creations. (shrink)

Papers presented at the Seminar on Ethics and Aesthetics in Indian Literary Practices, held at Udaipur in Rajasthan, India in 2009; organized by Department of English, Mohanlal Sukhadia University, Udaipur, India.

Preface -- Introduction -- The burden of English -- Who claims alterity? -- How to read a "culturally different" book -- The double bind starts to kick in -- Culture: situating feminism -- Teaching for the times -- Acting bits/identity talk -- Supplementing Marxism -- What's left of theory? -- Echo -- Translation as culture -- Translating into English -- Nationalism and the imagination -- Resident alien -- Ethics and politics in Tagore, Coetzee, and certain scenes of teaching -- Imperative (...) to re-imagine the planet -- Reading with Stuart Hall in "pure" literary terms -- Terror: a speech after 9/11 -- Harlem -- Scattered speculations on the subaltern and the popular -- World systems and the creole -- The stakes of world literature -- Rethinking comparativism -- Sign and trace -- Tracing the skin of day. (shrink)

This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); (...) his defense of the view that literature discloses life (sect. 4); and the link between cognitive value and the ontology of the literary work (sect. 5). Finally, I discuss Hartmann’s focus on the concept of “truth” in the light of recent debates on knowledge of “what it is like” and on “understanding” (sect. 6). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ornament, Fantasy, and Desire in Nineteenth-Century French LiteratureGeoffrey Galt HarphamOrnament, Fantasy, and Desire in Nineteenth-Century French Literature, by Rae Beth Gordon; xvii & 288pp. Princeton: Princeton University Press, 1992, $42.50.As Rae Beth Gordon notes in the introduction to her stimulating and original book, ornament, which is devoted to grace, charm, and attractiveness, becomes the object of suspicion and moralizing disdain when it exceeds what numerous commentators refer (...) to as “its proper limits.” The limits are set low by those who wish to maintain the integrity of the center—the melodic line, the text, the main image, the literal sense, the consensual meaning—against the disruptive and excessive forces of the margin. Transgress the margin to which ornament is properly confined, as artists in virtually every medium available in nineteenth-century France did, and a series of crucial binary distinctions collapses, threatening not only the center, but ornament itself, which is defined by its limits, its position on a well-defined edge.What distinguished nineteenth-century French literature was, from Gordon’s point of view, a sustained interest, among critics as well as artists, in cultivating the creative possibilities opened up by compromising the boundary between ornament and its other. So fertile and successful has this project proven to be that today’s postmodernity has not come to an end of it, continuing to discover its most interesting possibilities on the margin. And within the field of art history, we see that ornament, once widely denigrated as the source of confusion, has become virtually orthodox; as the title of Ernst Gombrich’s book on the subject indicates, ornament is now held to appeal to and gratify The Sense of Order.Gordon takes advantage of the posthistory of her subject, applying to studies of Nerval, Mallarmé, Gautier, Huysmans a theoretical armature drawn from the psychoanalytic theories of Freud, Winnicott, and Lacan. Drawing attention to a dimension of meaning or intention that has been “suppressed or excluded from the central field,” ornament, she argues, “anticipates the way psychiatry, perceptual psychology, and aesthetics converge in the fin de siècle.” Ornament, in other words, is cognate with the unconscious, and its prevalence in fin de siècle art and literature may be considered a sign of a certain cultural receptivity to the discoveries Freud was about to make, the “French” modality of a phenomenon to which Freud would give a “Viennese” formulation. [End Page 364]It is fashionable, especially in medieval studies, to focus on the disruptively counter-doctrinal potential of marginal elements such as gargoyles or textual illuminations. But Gordon generally argues another kind of case altogether, one that has, perhaps, even greater contemporary interest. Ornament, she claims, discloses the essential principles of aesthetic production. The expressive power of line, the “sense of order” to which it appeals, the subordination of literal depiction to design, the primacy of relationships over individual figures—all these reflect, as Wilhelm Worringer was explicitly to claim in 1908, energies deriving from the very beginnings of art itself.Thus, when principles and figures of ornament began to invade the “sense” or “business” of the text itself, as they did in nineteenth-century French literature, what is happening is not only a radical adjustment of a certain conception of ornament, but a large movement of return. Art becomes under these circumstances both decadent and primordial, devoting itself to both meaningless proliferation and to “pure art.” Gordon tracks this ambivalent movement with very considerable assurance and learning in an argument as sinuous as the ornamental line itself. The chapters on Nerval (“Lace as Textual Metaphor”) and Gautier (“Trills, Frills, and Decorative Frames for the Object of Desire”) are particularly illuminating, inspired by a kind of theoretical wit that does justice to their objects. Gordon is somewhat less successful in communicating the relevance to Mallarmé of Lacan, the exposition of whom—of which?—is laborious. But the responsibility probably lies more heavily with Lacan than with Gordon. Labored accounts of Lacan may even be considered as a species of ornament, a refinement and a new barbarism, peculiar to critical discourse in the fin of our own siècle.Geoffrey Galt HarphamTulane UniversityCopyright... (shrink)

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial (...) concerns) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

Dans la littérature arabe médiévale, il existe une façon spécifique de mourir à cause d’une passion amoureuse, liée à la conception d’un amour chaste qui possède ses propres valeurs et qui ne peut s’exprimer que dans les limites de ses propres règles. Le présent article étudie les vers récités par les amants avant d’exhaler leur dernier souffle contenus dans une vingtaine de notices d’al-Wāḍiḥ al-mubīn fī ḏikr man ustušhida min al-muḥibbīn (ou Précis des martyrs de l’amour) de Mughulṭāy (m. 1361). (...) En analysant les situations dans lesquelles ces vers sont prononcés, nous avons essayé de comprendre s’il existe (ou non) une manière spécifique, déclinée au féminin, d’exprimer son émotion avant de mourir. (shrink)

The volume provides an overview of the origins of early medieval aristocratic literature. Although there are regional, linguistic and formal differences, one can observe a number of similarities. Oral literature disseminates a range of themes that are shared by narratives in most parts of the continent. The authors address these similarities in Roman, Nordic, Anglo-Saxon and Germanic literature and use different methodologies to explain them.

This book theorizes aesthetic classroom management through a hermeneutical approach with three fields of literature: history and philosophical foundations of chivalry, chivalry’s promulgation through the Victorian Age, and parallel issues of identity in twenty-first century teacher education. The aim of the book is to examine the relationship between chivalric ethos and education. The presented case study addresses more specifically the following question: how can chivalry be re-imagined or theorized in an educational setting? Few studies address the concept of aesthetics (...) and hermeneutical context in American classroom management and classroom life, and Attwood pinpoints and traces the medieval social concept of chivalry through the centuries and argues it has manifested itself in classroom social construction in the twenty-first century. (shrink)

EDITORS' INTRODUCTION B he Vedas tell of a conversation between a young man, Shvetaketu, and his father concerning what the son had learned in his education ...

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of romanticism"; to (...) show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

This contribution examines the relationship between human beings and landscape in selected medieval texts. Literary concepts of landscape appear innately bound up with human experiences that lend expression to religious, political and aesthetic convictions. The religious appropriations of landscape revolve around cosmological ideas for or against life in this world in political contexts, landscape functions as a medium of power for the legitimisation of rule, or as an apocalyptic backdrop. Courtly poetry exploits certain details of landscape to symbolise the status (...) of individuals in society or the condition of society itself. In accounts of pilgrimage, the sense of landscape is reduced to a consideration of the accessibility of holy sites and the measurable distance of the journey. (shrink)

Our current society seems to require a sharp separation between what can be tolerated in public and what must remain hidden. There is explicit and implicit censorship of both the subject of death and of the crying and suffering of surviving relatives and friends. Medieval literature and literary studies, however, show how the experience of dying and its appropriate manifestations of grief seemed to be more integrated into everyday life, as opposed to the apparent “disintegration” of nowadays. It is (...) possible to begin to detect this evolution already in medieval Hispanic literature itself, from an apparently more public, visible and integrated death in 13th-century Hispanic literature to a more private, concealed and disintegrated death in 15th-century Hispanic literature. This process will continue its journey to the present society of eternal springs and summers from which we have eradicated autumns and winters, seasons as necessary for the cycle of life – for personal, psychological and social balance – as the first two. Keywords: death; mourning; crying; medieval literature. Resumen Nuestra sociedad actual parece presentar una tajante separación entre lo que puede ser tolerado en público y lo que debe permanecer oculto. Hay una censura explícita e implícita tanto del tema de la muerte como del llanto y el sufrimiento de los familiares y amigos supervivientes. Sin embargo, la literatura medieval y los estudios literarios sobre la misma muestran cómo la experiencia del morir y sus apropiadas manifestaciones de dolor parecían estar más integradas en la vida cotidiana en contraposición a la aparente “desintegración” actual. Es posible comenzar a detectar esta evolución ya en la propia literatura hispánica medieval, desde una muerte aparentemente más pública, visible e integrada en la literatura hispánica del siglo XIII hasta una muerte más privada, oculta y desintegrada en la literatura hispánica del siglo XV. Este proceso continuará su recorrido hasta una sociedad actual de eternas primaveras y veranos de la que hemos erradicado los otoños e inviernos, estaciones tan necesarias para el ciclo de la vida —para el equilibrio personal, psicológico y social— como las dos primeras. Palabras clave: muerte; duelo; llanto; literatura medieval. (shrink)

To speak of aesthetic development in dance implies that there is a condition of aesthetic maturity which can be identified as a continuum of growth in aesthetlc understanding, and that aesthetic maturity in dance is distinct from aesthetic maturity in, say, the visual arts, literature, or music. This paper is an attempt to identify the "aesthetic behaviours" unique to dance, and to examine the notion that there is a growth of aesthetic understanding which can be monitored monl'tored.

Usually thoughts are not in isolation but in varing degrees have interrelations with each other. With regard to this historical fact as a classist want to explore the reception of a few medieval Arabic texts and writers of Socrates available teachings about politics.