Examines philosophy as an event of the city and the city as an event of philosophy and how the intertwining of the two generates an urban imaginary.

Par son étymologie, le mot d’arabesque, dans les langues européennes, renvoie à un ailleurs. Depuis le xvi e siècle, ce sentiment d’altérité n’a jamais cessé, nourrissant à la fois l’attraction et la méfiance à l’égard d’une forme dont la valeur ontologique demeure profondément ambiguë. Son appropriation dans la conscience de soi de l’Occident moderne n’enlève rien à son altérité, mais elle l’intériorise : dans l’arabesque, de la Renaissance au xviii e siècle, du Romantisme aux avant-gardes du xx e (...) siècle, l’étranger se transmue en étrangeté. Une altérité à soi s’y manifeste, inquiétante et fascinante, fissurant le règne de l’objectivité auquel cherche à s’inféoder l’image mimétique. (shrink)

Taking the arabesque as referent, the article proposes to investigate its meaning in its various meanings, starting with the musical and then continuing with the artistic and literary, in order to highlight how, especially in the literary sphere, Souriau proposes, through this figure, to examine the conditions of possibility of the interweaving of phonetic, semantic and morphological inventions that sustantiate language, but that nevertheless can never reach the threshold of saying. And which indeed seems to testify to how there (...) is always something that remains hidden in language: an intuitive presence, an image that arrives suddenly. (shrink)

Langer's first book, The Practice of Philosophy, is relevant to a discussion of the theory of the art work as symbol for the apparently perverse reason that it refers to the art work only tangentially. Where symbolism is mentioned, it is described in general terms that are largely indifferent to its consequences for the theory of art. It seems from this that Langer's consideration of the connection between the art work and the symbol is propagated by an early interest in (...) the symbol alone, and that only at a later stage in the evolution of her system does the idea of the symbol's congruity to the art work occur to her. This is not of itself a criticism of the system; but her eventual qualification of the description of art as symbol is pre-figured and underscored by the description's synthetic origins. What seems to occur by the time Problems of Art appears is that an over-literal adherence to a metaphor--the art work as a symbol of the life of feeling--is discerned, and gradually but severely reduced; the symbol, in short, collapses. (shrink)

Cet article éclaire la cohérence singulière et complexe de l’esthétique d’Étienne Souriau en montrant le rôle fondamental qu’y jouent les notions de contour, d’ornement et d’arabesque. Il analyse d’abord sa valorisation des esthétiques industrielle et animale dès lors qu’elles dépassent le fonctionnalisme en s’ouvrant à la dimension non représentative de l’ornement. L’analyse de l’esthétique animale permet à Souriau de valoriser l’esthéticité pure du mouvement associé à des jeux non figuratifs. La catégorie interartiale de l’arabesque sous-tend la valorisation par (...) Souriau de formes primaires non représentatives, y compris dans les arts représentatifs, en particulier au cinéma où c’est leur puissance d’envoûtement qui prête vie aux personnages et au monde représentés. (shrink)

law's oscillation between power and meaning -- Law's screen life : visualizing law in practice -- Images run riot : law on the landscape of the neo-baroque -- Theorizing the visual sublime : law's legitimation reconsidered -- The digital challenge : command and control culture and the ethical sublime -- Conclusion : visualizing law as integral rhetoric : harmonizing the ethical and the aesthetic.

In lieu of an abstract, here is a brief excerpt of the content:Kandinsky, Kant, and a Modern MandalaKenneth BerryWhat gods are there, what gods have there ever been, that were not from man's imagination?—Joseph Campbell, "The Way of the Myth"Michele Roberts has written of the "joy of the human imagination, without which we would be unable to understand one another, and would thus wither and perish."1 This is the baseline for my discursive analysis of imagination and beauty in art as (...) it relates to the work of Kant and Kandinsky. While both accepted the forward movement of cognition in art and aesthetics, my concern is that some cognitively minded individuals neglect the part played by imaginative intuition in the creative process. Much recent art is lacking in both imagination and beauty. Although it may be rich in concept, according to Kant creative intuition is also necessary. Postmodernists' focused emphasis on the oblique, fleeting, transient, and ephemeral—short-lived, fugitive fashions or superficial trends in art and aesthetics—confuses the fleeting and moving present, rushing us forward into the future when we might do better to look back historically and constructively at the more enduring influence of Kant and Kandinsky. Of course, it might in one sense be in the "apparently unremarkable and evanescent that our lives sometimes find their greatest meaning,"2 but this does not imply that we cannot also learn from the past.Imaginative Representation in Kant and KandinskyIn his painting of 1926, Several Circles, Kandinsky depicts a group of overlapping, partially transparent discs that appear to drift freely against a black background. Will Grohmann has described this abstract scenario as a "cosmic metaphor" that points symbolically to a "limited infinite."3 Clearly, Kandinsky is concerned here with some transcendent meaning. Jung has remarked on the poetic association of the avian contour at the lower left of the painting—perhaps this is a metaphor for flight or spiritual freedom.4 The picture, he says, seems to represent a state of universalized equilibrium and harmony. This picture constitutes, to my mind, the expression, in a Kantian sense, of aesthetic ideas,5 mediating as it does between concepts and intuitions [End Page 105] and concerned as it is with the expression of artistic ideas in an imaginative, aesthetically harmonious form. On this topic Kandinsky has said: "If your imagination is not powerful enough to develop visions which are truly your own, and which, reduced to the state of ideas, can be translated into images, then go back to the study of nature"6Nature, we are told, Kant elevated above fine art in the sense that the beauty of nature's handiwork is the sole basis of the immediate interest that is taken in it7—it is untainted by desire or any concept of perfection or use (the merely agreeable), it is pleasurably imbued with "purposiveness without purpose" in the teleological implication of the "kingdom of ends." The dynamical and morally sublime, however, implied genius. Had Kant been living in our modern age, though he still might not have been a great art lover as such, he would surely not have dismissed Kandinsky's abstract compositions—as El Lissitzky did—as being mere wallpaper patterning, decorative arabesques, and the like; Kant would surely have recognized the symbolic power of these images as art!The Gestalt TheoryAccording to Immanuel Kant (1724-1804), aesthetic ideas are representations of the imagination. Following Rudolf Arnheim, a "representation" may be understood as either a man-made image or external figuration or, in another sense, as a "mental image."8 These ideas suggest that representation, through art, involves both the internal and the external. Representation in science is the means by which we generate images of the object "out there"—the basis of an objectivist epistemology. A scientific "representation" of the Giant's Causeway, supposedly built by Finn MacCool, might involve a computer simulation of columnar polygonal fractures in topographical detail. Kant, however, was concerned with representations of ideas, specifically aesthetic ideas as distinct from rational ideas. These were based on the animating principle of the soul, or Geist. In at least one language, Icelandic, which is an aesthetically pleasing language and very visual in language terms—abstract words... (shrink)

Étienne Souriau a classé les Sept arts - dans son livre : La Correspondance des arts, Eléments d'esthétique comparée,1969. - en distinguant entre leurs caractéristiques sensorielles. Chaque classe peut produire un art sur deux niveaux : représentative/abstraite, c'est-à-dire ; sculpture/architecture. dessin/arabesque. peinture représentative/peinture pure. musique dramatique ou descriptive/musique. pantomime/danse. littérature et poésie/prosodie pure. cinéma et lavis photo/éclairage projections lumineuses.

In lieu of an abstract, here is a brief excerpt of the content:Heavy TrafficDenis DuttonIt was the Reverend Sidney Smith who said, “I never read a book before reviewing it; it prejudices a man so.” Thirty years ago that remark was still a joke. These days, it’s a downright plausible idea, one with a distinctly postmodern ring. If the objects of experience are nothing but constructions, inventions of our cultures and mind-sets, that must go as well for all the books (...) we read—including those books which urge this fact on us. To read them is to construct them, to write them for yourself. But wait—that can’t be a fact, because facts are just prejudices too. Takes your breath away to realize how far scholarship has come.These thoughts drifted through my mind reading The Traffic in Culture: Refiguring Art and Anthropology, edited by George E. Marcus and Fred R. Myers (University of California Press, $48.00 cloth, $17.95 paper). It comprises a long introduction plus eleven chapters which “explore the boundaries and affinities between art, anthropology, representation, and culture, casting a critical, ethnographic light on the art worlds of the contemporary West and the ways they give value to cultural form—in short, a “‘traffic’ in culture.” It is not easy to make out a consistent thread in the essays themselves. Carol Vance offers a fine discussion in the form of four small essays on censorship, the NEA, Jesse Helms, and so forth. There is no discernible connection with anthropology, and I cannot see why these pieces are included. Nancy Sullivan, described as a Ph.D. candidate in Fred R. Myers’s NYU anthropology department, struggles with her cumbersome account of the artworld in the last generation. Again, I can detect no hint of how anthropology has helped her understand the artworld. Hal Foster makes a cameo appearance of only a few pages, a kind of postmodern arabesque with lots of big words. Christopher B. Steiner revisits material [End Page 283] presented in his book, African Art in Transit, which is squarely in the field, and Steven Feld agonizes about appropriation of world music into commercial music business while telling some interesting tales about a radio program he produced of music from Papua New Guinea. The feminist Judith L. Goldstein does a late-capitalist, “late-postmodernist” job on women’s makeup, with much reliance on Fredric Jameson but no anthropology I can discern, despite the fact that she gave a version of it at an American Anthropological Association conference. If we really have reached “late-postmodernism” we can only be thankful. Molly H. Mullin’s account of the nineteenth- and early twentieth-century enthusiasm for American Indian artifacts, on the other hand, may begin with clichés about “élite responses to the rise of consumer capitalism,” but it soon settles down to a solid account of the people and problems of trying to achieve recognition of Indian handicrafts as art. This was made possible, we learn, by much devoted work from people who were multiculturalists before the word existed, white Americans whose actions were based on a love of Indian cultures and arts, rather than postcolonial theory and the school of resentment. All the issues of art vs. craft, the relation of tourism to artistic development, authenticity, and so on, were raised in the 1920s and 30s, with sophistication not often seen today.But to figure out how it all is supposed to tie together, we have to turn to the book’s explanatory introduction. This is so turgidly vague that when I was done I felt like invoicing the authors for my time. These pages are peppered with half-assertions I’d half want to dispute if their meaning were plainer, and a few that are plain enough to be flat-out wrong. Among many examples: “Ironically, the very category of ‘art’—as opposed to ‘the arts’—goes unexamined in its own hierarchies of sense, so that various forms of popular performance, in which disinterested contemplation does not necessarily reign supreme, are excluded.” Excluded? Notice that irritating passive voice: who, I’d like to know, has left popular performance unexamined and excluded? What are “hierarchies of sense”? The sentence carries no reference. In... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:234 Feminist Studies 45, no. 1. © 2019 by Abigail G. H. Manzella Built for Two Abigail G. H. Manzella Arabesque, darling, arabesque. Then my grandmother would guffaw as my six-year-old leg lifted, pose unsteady Twisting, shifting in my first artistic throes still buoyant and raw. She could be brusque, Not grasping what could hurt a child’s heart, But her laughter was infectious Her eyes like mine—a (...) smile. At a distance, she supported my adventures in art. What became of your poems, she pried when I’d reached my full height. That’s kid stuff, my flippant response. She’d nod and at my next visit ask again, More shrewd than polite. A day arrived when she could ask no more. I sang to her the songs of her childhood Daisy, Daisy, give me your answer, do... She’d mouth the words and swing her leg The one still good. Just like a kid. And there I stood feeling like one, too.... (shrink)

Bath structures, which emerged as a result of the importance given to washing since ancient times and which mean "place to wash", provided continuity with the style created in the Roman and Byzantine periods. Turkish baths, shaped on the bath tradition of the Roman and Byzantine periods, gain a unique form in time, especially after the adoption of Islam. It is seen that with the differences with the beliefs and behaviours brought by Islam the important changes in the structure of (...) the Turkish baths emerged with the new arrangements made of the plan typology in the Ottoman period. In addition, some another various functions are attributed to these structures in the Ottoman Empire and baths are generally built for income. After the Ottoman-Russian war between 1828-1829, the "Turkish Bath" built by the Russian Tsar Nicholas as a message for his own political purposes carries traces of the aforementioned Ottoman baths. The Turkish bath, which the tsar ordered to be built in the park of Ekaterinburg, becomes a product of the project on which the important Russian architect Monigetti meticulously emphasized. Although the structure in question differs from the Ottoman bath formation, it has similar features in terms of function and decoration details. However, the external appearance of the work, which is the subject of our study, with the form of the minaret next to it, resembles the Turkish Mosque architecture. In terms of decorative features, an oriental arabesque style of decoration dominates the building. As a matter of fact, our aim in this study is to first explain the characteristics of a Turkish structure built in Russian and completely from a Russian point of view, and then reveal the similarities and differences between both the two constructions. (shrink)

Jakob Friedrich Fries (1773-1843): A Philosophy of the Exact Sciences -/- Shortened version of the article of the same name in: Tabula Rasa. Jenenser magazine for critical thinking. 6th of November 1994 edition -/- 1. Biography -/- Jakob Friedrich Fries was born on the 23rd of August, 1773 in Barby on the Elbe. Because Fries' father had little time, on account of his journeying, he gave up both his sons, of whom Jakob Friedrich was the elder, to the Herrnhut Teaching (...) Institution in Niesky in 1778. Fries attended the theological seminar in Niesky in autumn 1792, which lasted for three years. There he (secretly) began to study Kant. The reading of Kant's works led Fries, for the first time, to a deep philosophical satisfaction. His enthusiasm for Kant is to be understood against the background that a considerable measure of Kant's philosophy is based on a firm foundation of what happens in an analogous and similar manner in mathematics. -/- During this period he also read Heinrich Jacobi's novels, as well as works of the awakening classic German literature; in particular Friedrich Schiller's works. In 1795, Fries arrived at Leipzig University to study law. During his time in Leipzig he became acquainted with Fichte's philosophy. In autumn of the same year he moved to Jena to hear Fichte at first hand, but was soon disappointed. -/- During his first sojourn in Jenaer (1796), Fries got to know the chemist A. N. Scherer who was very influenced by the work of the chemist A. L. Lavoisier. Fries discovered, at Scherer's suggestion, the law of stoichiometric composition. Because he felt that his work still need some time before completion, he withdrew as a private tutor to Zofingen (in Switzerland). There Fries worked on his main critical work, and studied Newton's "Philosophiae naturalis principia mathematica". He remained a lifelong admirer of Newton, whom he praised as a perfectionist of astronomy. Fries saw the final aim of his mathematical natural philosophy in the union of Newton's Principia with Kant's philosophy. -/- With the aim of qualifying as a lecturer, he returned to Jena in 1800. Now Fries was known from his independent writings, such as "Reinhold, Fichte and Schelling" (1st edition in 1803), and "Systems of Philosophy as an Evident Science" (1804). The relationship between G. W. F. Hegel and Fries did not develop favourably. Hegel speaks of "the leader of the superficial army", and at other places he expresses: "he is an extremely narrow-minded bragger". On the other hand, Fries also has an unfavourable take on Hegel. He writes of the "Redundancy of the Hegelistic dialectic" (1828). In his History of Philosophy (1837/40) he writes of Hegel, amongst other things: "Your way of philosophising seems just to give expression to nonsense in the shortest possible way". In this work, Fries appears to argue with Hegel in an objective manner, and expresses a positive attitude to his work. -/- In 1805, Fries was appointed professor for philosophy in Heidelberg. In his time spent in Heidelberg, he married Caroline Erdmann. He also sealed his friendships with W. M. L. de Wette and F. H. Jacobi. Jacobi was amongst the contemporaries who most impressed Fries during this period. In Heidelberg, Fries wrote, amongst other things, his three-volume main work New Critique of Reason (1807). -/- In 1816 Fries returned to Jena. When in 1817 the Wartburg festival took place, Fries was among the guests, and made a small speech. 1819 was the so-called "Great Year" for Fries: His wife Caroline died, and Karl Sand, a member of a student fraternity, and one of Fries' former students stabbed the author August von Kotzebue to death. Fries was punished with a philosophy teaching ban but still received a professorship for physics and mathematics. Only after a period of years, and under restrictions, he was again allowed to read philosophy. From now on, Fries was excluded from political influence. The rest of his life he devoted himself once again to philosophical and natural studies. During this period, he wrote "Mathematical Natural Philosophy" (1822) and the "History of Philosophy" (1837/40). -/- Fries suffered from a stroke on New Year's Day 1843, and a second stroke, on the 10th of August 1843 ended his life. -/- 2. Fries' Work Fries left an extensive body of work. A look at the subject areas he worked on makes us aware of the universality of his thinking. Amongst these subjects are: Psychic anthropology, psychology, pure philosophy, logic, metaphysics, ethics, politics, religious philosophy, aesthetics, natural philosophy, mathematics, physics and medical subjects, to which, e.g., the text "Regarding the optical centre in the eye together with general remarks about the theory of seeing" (1839) bear witness. With popular philosophical writings like the novel "Julius and Evagoras" (1822), or the arabesque "Longing, and a Trip to the Middle of Nowhere" (1820), he tried to make his philosophy accessible to a broader public. Anthropological considerations are shown in the methodical basis of his philosophy, and to this end, he provides the following didactic instruction for the study of his work: "If somebody wishes to study philosophy on the basis of this guide, I would recommend that after studying natural philosophy, a strict study of logic should follow in order to peruse metaphysics and its applied teachings more rapidly, followed by a strict study of criticism, followed once again by a return to an even closer study of metaphysics and its applied teachings." -/- 3. Continuation of Fries' work through the Friesian School -/- Fries' ideas found general acceptance amongst scientists and mathematicians. A large part of the followers of the "Fries School of Thought" had a scientific or mathematical background. Amongst them were biologist Matthias Jakob Schleiden, mathematics and science specialist philosopher Ernst Friedrich Apelt, the zoologist Oscar Schmidt, and the mathematician Oscar Xavier Schlömilch. Between the years 1847 and 1849, the treatises of the "Fries School of Thought", with which the publishers aimed to pursue philosophy according to the model of the natural sciences appeared. In the Kant-Fries philosophy, they saw the realisation of this ideal. The history of the "New Fries School of Thought" began in 1903. It was in this year that the philosopher Leonard Nelson gathered together a small discussion circle in Goettingen. Amongst the founding members of this circle were: A. Rüstow, C. Brinkmann and H. Goesch. In 1904 L. Nelson, A. Rüstow, H. Goesch and the student W. Mecklenburg travelled to Thuringia to find the missing Fries writings. In the same year, G. Hessenberg, K. Kaiser and Nelson published the first pamphlet from their first volume of the "Treatises of the Fries School of Thought, New Edition". -/- The school set out with the aim of searching for the missing Fries' texts, and re-publishing them with a view to re-opening discussion of Fries' brand of philosophy. The members of the circle met regularly for discussions. Additionally, larger conferences took place, mostly during the holidays. Featuring as speakers were: Otto Apelt, Otto Berg, Paul Bernays, G. Fraenkel, K. Grelling, G. Hessenberg, A. Kronfeld, O. Meyerhof, L. Nelson and R. Otto. On the 1st of March 1913, the Jakob-Friedrich-Fries society was founded. Whilst the Fries' school of thought dealt in continuum with the advancement of the Kant-Fries philosophy, the members of the Jakob-Friedrich-Fries society's main task was the dissemination of the Fries' school publications. In May/June, 1914, the organisations took part in their last common conference before the gulf created by the outbreak of the First World War. Several members died during the war. Others returned disabled. The next conference took place in 1919. A second conference followed in 1921. Nevertheless, such intensive work as had been undertaken between 1903 and 1914 was no longer possible. -/- Leonard Nelson died in October 1927. In the 1930's, the 6th and final volume of "Treatises of the Fries School of Thought, New Edition" was published. Franz Oppenheimer, Otto Meyerhof, Minna Specht and Grete Hermann were involved in their publication. -/- 4. About Mathematical Natural Philosophy -/- In 1822, Fries' "Mathematical Natural Philosophy" appeared. Fries rejects the speculative natural philosophy of his time - above all Schelling's natural philosophy. A natural study, founded on speculative philosophy, ceases with its collection, arrangement and order of well-known facts. Only a mathematical natural philosophy can deliver the necessary explanatory reasoning. The basic dictum of his mathematical natural philosophy is: "All natural theories must be definable using purely mathematically determinable reasons of explanation." Fries is of the opinion that science can attain completeness only by the subordination of the empirical facts to the metaphysical categories and mathematical laws. -/- The crux of Fries' natural philosophy is the thought that mathematics must be made fertile for use by the natural sciences. However, pure mathematics displays solely empty abstraction. To be able to apply them to the sensory world, an intermediatory connection is required. Mathematics must be connected to metaphysics. The pure mechanics, consisting of three parts are these: a) A study of geometrical movement, which considers solely the direction of the movement, b) A study of kinematics, which considers velocity in Addition, c) A study of dynamic movement, which also incorporates mass and power, as well as direction and velocity. -/- Of great interest is Fries' natural philosophy in view of its methodology, particularly with regard to the doctrine "leading maxims". Fries calls these "leading maxims" "heuristic", "because they are principal rules for scientific invention". -/- Fries' philosophy found great recognition with Carl Friedrich Gauss, amongst others. Fries asked for Gauss's opinion on his work "An Attempt at a Criticism based on the Principles of the Probability Calculus" (1842). Gauss also provided his opinions on "Mathematical Natural Philosophy" (1822) and on Fries' "History of Philosophy". Gauss acknowledged Fries' philosophy and wrote in a letter to Fries: "I have always had a great predilection for philosophical speculation, and now I am all the more happy to have a reliable teacher in you in the study of the destinies of science, from the most ancient up to the latest times, as I have not always found the desired satisfaction in my own reading of the writings of some of the philosophers. In particular, the writings of several famous (maybe better, so-called famous) philosophers who have appeared since Kant have reminded me of the sieve of a goat-milker, or to use a modern image instead of an old-fashioned one, of Münchhausen's plait, with which he pulled himself from out of the water. These amateurs would not dare make such a confession before their Masters; it would not happen were they were to consider the case upon its merits. I have often regretted not living in your locality, so as to be able to glean much pleasurable entertainment from philosophical verbal discourse." -/- The starting point of the new adoption of Fries was Nelson's article "The critical method and the relation of psychology to philosophy" (1904). Nelson dedicates special attention to Fries' re-interpretation of Kant's deduction concept. Fries awards Kant's criticism the rationale of anthropological idiom, in that he is guided by the idea that one can examine in a psychological way which knowledge we have "a priori", and how this is created, so that we can therefore recognise our own knowledge "a priori" in an empirical way. Fries understands deduction to mean an "awareness residing darkly in us is, and only open to basic metaphysical principles through conscious reflection.". -/- Nelson has pointed to an analogy between Fries' deduction and modern metamathematics. In the same manner, as with the anthropological deduction of the content of the critical investigation into the metaphysical object show, the content of mathematics become, in David Hilbert's view, the object of metamathematics. -/-. (shrink)

This paper examines Hegel’s place in the philosophy of Eval’d Il’enkov (1924–1979). Hegel’s ideas had a huge impact on Il’enkov’s conception of the nature of philosophy and of the philosopher’s mission, and they formed the core of his distinctive account of thought and its place in nature. At the same time, Il’enkov was victimized for his “Hegelianism” throughout his career, from the time he was sacked from Moscow State University in 1955 to the ideological criticisms that preceded his death in (...) 1979. After considering Hegel’s influence on the history of Russian thought, the paper focuses on Hegelian themes in Il’enkov’s 1974 book, Dialektičeskaja logika and evaluates their philosophical significance. Finally, parallels are explored between Il’enkov’s situation at the end of his life and the plight of Nikolaj Bukharin, incarcerated in the Lubjanka prison in 1936 and at work on Philosophical arabesques. Both thinkers confronted the contradiction between their confidence in the rationality of history and the tragic absurdity of Soviet reality, and both responded by affirming their fidelity to Lenin and his vision of Marxism. In this way, they sought to make sense of their respective situations in the face of extreme adversity. That they so much as thought it worth trying owed much to Hegel’s influence. (shrink)

The essay examines both the dances and the dance notation of renowned nineteenth century choreographer Carlo Blasis. It looks in detail at Blasis major treatise The Code of Terpsichore in an effort to evaluate how Blasis linked a science of movement to a conception of the body oriented around the prevailing aesthetics informing all of the fine arts. Identifying Blasis as both a philosopher and a mechanist, this essay analyzes his approach to teaching basic ballet vocabulary, and in particular the (...) arabesque. Whereas Kleist, with his Marionettentheater, proposes the puppet as a figure of grace, located somewhere between animal and doll, Blasis brings together the movement science of mechanics and the descriptive theory of grace in a poetics of the arabesque, a synthesis of elevation and evanescence, which we see when we conjure up pictures of nineteenth century Romantic ballet. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

In the summer of 1991, the first issue of the Israeli journal Teoria Ubikoret published an essay of mine on Anton Shammas, a Palestinian citizen of Israel, who wrote the Hebrew novel Arabeskot .1 In this essay I traced Shammas's subversion of the Jewish ethnocentrism of the Hebrew literary canon.2 Shammas's novel reveals how the Hebrew canon in Israel, in the guise of the apparently neutral term Hebrew Literature, which only apparently bases itself on the Hebrew language as the common (...) literary language of Jews and Arabs, has in fact imposed an exclusionary policy. That is, in order to enter its realm, those who write in Hebrew must be Jewish. Shammas, I argued, sought to de-Judaize the Hebrew language and turn it into a language shared by all Israelis, Jews and Arabs alike.Now, twenty years later, Teoria Ubikoret has published a different essay of mine, this time on Tuvya haholev , Dan Miron's Hebrew translation of the great Yiddish writer Shalom Aleichem's novel Tevye der Milhiker. I claim that while Miron's Hebrew indeed Hebraicizes Aleichem's Yiddish, it also moves in the opposite direction; it Yiddishizes Hebrew, giving Yiddish a prominent presence in the Hebrew translation and thus decentering Israeli subjectivity and undermining the cohesive force of Hebrew.3 · 1. See Anton Shammas, Arabeskot ; trans.Vivien Eden under the title Arabesques.· 2. See Hannan Hever, “Ivrit be-eto shel aravi,” Teoria Ubikoret 1 : 23–38, “Hebrew in an Israeli Arab Hand: Six Miniatures on Anton Shammas's Arabesques,” The Nature and Context of Minority Discourse, ed. Abdul R. JanMohamed and David Lloyd , pp. 264–93, andProducing the Modern Hebrew Canon: Nation Building and Minority Discourse , pp. 175–204.· 3. See Hever, “Tuvia haholev beivrit,” review of Tuvya Haholev by Shalom Aleichem, trans. Dan Miron,Teoria Ubikoret 36 : 227–30. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Queering Buen AmorGregory S. Hutcheson (bio)The naturalization of both heterosexuality and masculine sexual agency are discursive constructions nowhere accounted for but everywhere assumed....—Judith Butler, Gender TroubleAmérico Castro’s España en su historia: Cristianos, moros y judíos (1948) not only instigated the “culture wars” that rocked Hispanism in the mid-twentieth century, but also made the fourteenth-century Libro de buen amor a centerpiece of debate.1 In a crucial chapter of his study, (...) Castro tackles head-on Eurocentric readings of the Libro de buen amor by arguing for its cultural hybridity, or in more extreme terms, its fixedness in the cultural prerogatives of Arabic-speaking al-Andalus. “Los métodos usados para entender la poesía románico-cristiana fallan,” he affirms in an opening salvo, “porque el Libro de Buen Amor es un reflejo castellano de modelos árabes [The methods used to comprehend Romance-Christian poetry are doomed to failure because the Libro de buen amor is a Castilian reflection of Arabic models]...” [España en su historia 355]. By relocating the author’s poetic impulse in the Arab world, Castro seeks to explain not only the Libro de buen amor’s open, “arabesque” structure—its spontaneous gliding from holy to profane, serious to comical, generic-abstract to concrete-sensible—but also the ambiguous nature of buen amor. For Castro, buen amor is the simultaneous compulsion toward spiritual transcendence and sexual fulfillment, best understood within the context of an Islamic theological system in which sexual desire is not categorically opposed to godliness.Not surprisingly, Castro’s scholarship was judged harshly by his critics as historical revisionism of the most pernicious sort, a deliberate erosion of those values and certainties that make it possible to read Spain as a full player in the march of Western civilization. Most vehement in his attack was Claudio Sánchez-Albornoz, who authored the two volumes of his España: Un enigma histórico (1956) as both an explicit defense against the “magnetic seduction” [1: 9] of Castro’s prose and a reaffirmation of national consciousness. Sánchez-Albornoz’s take on the Libro de buen amor falls neatly in line with the thinly disguised nationalism of his opus as a whole. He rejects soundly Castro’s claims of cultural hybridity in favor of a Libro de buen amor located safely on this side of the cultural “abyss” between Latin Christendom and the Islamic world. What is more, he resists the queernesses that spin out of Castro’s scholarship, the threat of contamination of the national character in unspeakable ways. If Spain had been exposed to the cultural proclivities of al-Andalus, Sánchez-Albornoz argues, so too would it have been exposed to al-Andalus’s “ambiguous” notion of love, a love “que no excluía las ‘amistades particulares,’ ni la sentimental inclinación, e incluso la pasión carnal, de varón a varón [that did not exclude ‘special friendships,’ nor sentimental inclination–and even carnal passion [End Page 104] –between one man and another]” [458].2 Here Sánchez-Albornoz slams the closet door shut by constructing Spain as the bastion of straight desire and Juan Ruiz as its virtual posterboy: “En el clérigo de Hita triunfaba la robusta, natural y simplista concepción heterosexual del amor de la Castilla de su época [There triumphed in the cleric of Hita a robust, natural, uncomplicated heterosexual concept of love characteristic of the Castile of his period]” [458–59].I begin with the Castro/Sánchez-Albornoz polemic because it exposes the presence and functions of “normativity” in Libro de buen amor studies throughout much of the twentieth century. With few exceptions, readings prior to Castro’s overlooked what was odd about the Libro de buen amor in order to engage in an obsessive archaeology of sameness, a plotting of conventional values and meanings that served to render the work as familiar, if not necessarily equal to other master works of the Western canon. Félix Lecoy emerged as the doyen of this critical school, publishing in 1938 an excruciatingly detailed study of the work’s language, structure, and sources whose primary objective was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Queering Buen AmorGregory S. Hutcheson (bio)The naturalization of both heterosexuality and masculine sexual agency are discursive constructions nowhere accounted for but everywhere assumed....—Judith Butler, Gender TroubleAmérico Castro’s España en su historia: Cristianos, moros y judíos (1948) not only instigated the “culture wars” that rocked Hispanism in the mid-twentieth century, but also made the fourteenth-century Libro de buen amor a centerpiece of debate.1 In a crucial chapter of his study, (...) Castro tackles head-on Eurocentric readings of the Libro de buen amor by arguing for its cultural hybridity, or in more extreme terms, its fixedness in the cultural prerogatives of Arabic-speaking al-Andalus. “Los métodos usados para entender la poesía románico-cristiana fallan,” he affirms in an opening salvo, “porque el Libro de Buen Amor es un reflejo castellano de modelos árabes [The methods used to comprehend Romance-Christian poetry are doomed to failure because the Libro de buen amor is a Castilian reflection of Arabic models]...” [España en su historia 355]. By relocating the author’s poetic impulse in the Arab world, Castro seeks to explain not only the Libro de buen amor’s open, “arabesque” structure—its spontaneous gliding from holy to profane, serious to comical, generic-abstract to concrete-sensible—but also the ambiguous nature of buen amor. For Castro, buen amor is the simultaneous compulsion toward spiritual transcendence and sexual fulfillment, best understood within the context of an Islamic theological system in which sexual desire is not categorically opposed to godliness.Not surprisingly, Castro’s scholarship was judged harshly by his critics as historical revisionism of the most pernicious sort, a deliberate erosion of those values and certainties that make it possible to read Spain as a full player in the march of Western civilization. Most vehement in his attack was Claudio Sánchez-Albornoz, who authored the two volumes of his España: Un enigma histórico (1956) as both an explicit defense against the “magnetic seduction” [1: 9] of Castro’s prose and a reaffirmation of national consciousness. Sánchez-Albornoz’s take on the Libro de buen amor falls neatly in line with the thinly disguised nationalism of his opus as a whole. He rejects soundly Castro’s claims of cultural hybridity in favor of a Libro de buen amor located safely on this side of the cultural “abyss” between Latin Christendom and the Islamic world. What is more, he resists the queernesses that spin out of Castro’s scholarship, the threat of contamination of the national character in unspeakable ways. If Spain had been exposed to the cultural proclivities of al-Andalus, Sánchez-Albornoz argues, so too would it have been exposed to al-Andalus’s “ambiguous” notion of love, a love “que no excluía las ‘amistades particulares,’ ni la sentimental inclinación, e incluso la pasión carnal, de varón a varón [that did not exclude ‘special friendships,’ nor sentimental inclination–and even carnal passion [End Page 104] –between one man and another]” [458].2 Here Sánchez-Albornoz slams the closet door shut by constructing Spain as the bastion of straight desire and Juan Ruiz as its virtual posterboy: “En el clérigo de Hita triunfaba la robusta, natural y simplista concepción heterosexual del amor de la Castilla de su época [There triumphed in the cleric of Hita a robust, natural, uncomplicated heterosexual concept of love characteristic of the Castile of his period]” [458–59].I begin with the Castro/Sánchez-Albornoz polemic because it exposes the presence and functions of “normativity” in Libro de buen amor studies throughout much of the twentieth century. With few exceptions, readings prior to Castro’s overlooked what was odd about the Libro de buen amor in order to engage in an obsessive archaeology of sameness, a plotting of conventional values and meanings that served to render the work as familiar, if not necessarily equal to other master works of the Western canon. Félix Lecoy emerged as the doyen of this critical school, publishing in 1938 an excruciatingly detailed study of the work’s language, structure, and sources whose primary objective was... (shrink)

Le christianisme a mené une guerre contre le paganisme et ses manières végétales de faire des mondes, qui ont été reléguées dans l'indifférence ou la simple ornementation. Refoulées, elles n'ont cessé pourtant de rejaillir : en philosophie, mais aussi dans l'architecture ou la littérature. La description de la cathédrale gothique, de l'arabesque musulmane ou du roman proustien, par exemple, ouvrent un nouveau champ pour l'esthétique, comprise comme l'ensemble des expériences faites sur un monde commun pour créer des mondes nouveaux. (...) Un principe de floraison dégagé au ras des herbes et de la poussée des plantes remplace alors le principe de raison sacrificielle juché au surplomb du monde, qui nous rend incapables d'entendre les forces imperceptibles de la croissance végétale. Comme un premier pas sur le chemin d'une nouvelle philosophie de la Nature... (shrink)

Étienne Souriau was a refined and demanding thinker, with an aristocratic demeanour, far removed from the currents of ideas dominant in his time. A difficult and erudite author, out of tune with the times he lived in, he would seem the least likely candidate to appeal to a hurried and globalised public like that of the twenty-first century. A sophisticated representative of a rationalist positivism, no stranger to the Husserlian canon and not even insensitive to the motivations dear to the (...) gnoseological debate of Cartesian and Kantian matrix (as well as to the major themes of classical metaphysics), Souriau pursues the ideal of a constructive philosophy, capable of understanding – and at the same time favouring – the advancement of the creative process conceived as a set of poetic acts and progressive dynamic operations. In his texts, Souriau is attentive to grasping the correspondences, exchanges and reciprocal transitions between one mode of existence and another, as well as the resonances between the various art forms in the different fields of knowledge, testing an original method that is epistemologically very fruitful. The aim of this monographic issue of Aisthesis dedicated to Étienne Souriau is to explore his thought in its multiple aspects, in order to measure its topicality in relation to the themes and problems that characterise contemporary philosophical debate, with particular reference to aesthetics and ontology as well as to the dense network of connections between the two fields. One of the most interesting characteristics of Souriau’s thought that has stood the test of time would appear to be its multifacetedness: the quality of lending itself to being applied even to spheres that are apparently very distant from reflection on art, such as cultural anthropology, political philosophy or morality. It seemed to us that it largely owes its relevance precisely to the intersections between one field of knowledge and another. The issue contains twelve contributions on Souriau that explore his main aspects in depth. They range from analyses devoted to the architecture of Souriau’s thought (his general philosophy) in the essays by Dominique Chateau and Filippo Domenicali, which can furnish a useful overall picture of the man, to essays that attempt to focus on the more properly ontological core of this thought, such as those devoted to the arabesque motif (Luigi Azzariti-Fumaroli), the theory of the soul (Sjoerd Van Tuinen) or the multiplicity of worlds (Noëlie Plé). Interspersed between these are contributions that focus more on the comparison between Étienne Souriau’s thought and the philosophers of his time, such as Dufrenne (Maryvonne Saison), or with well-known later philosophers who explicitly referred to him, prolonging his creative impetus, such as Gilles Deleuze (Casey Boyle) and Bruno Latour (Aline Wiame), the true architect of the current Souriau “comeback”. Finally, in addition to essays of a more theoretical nature, there are contributions that attempt to re-evaluate certain aspects of Souriau’s aesthetics, such as the fruitfulness of the cues that can come from his thought for the debate on animal aesthetics (Maddalena Mazzocut-Mis and Andrea Scanziani), or the possible topicality of his theory of forms (Isabelle Rieusset-Lemarie). In the “Miscellaneous” section, this issue hosts a number of studies that aim to explore the aesthetic implications of new technologies, the themes of ecological aesthetics, as well as to offer an unusual profile of Baumgarten. (shrink)

Consider such light musical pieces as Schumann's and Debussy's Arabesques, Schumann's Traumerie, Debussy's Petite Suite, Tschaikowsky's Andante Cantabile, and so on. They all strike their new listener very forcefully; indeed, if you can find music lovers who have not heard one of these you can easily move them to tears by a good performance. Yet they wear out, some with the first hearing, some with the tenth. To be really both immediately very impressive and very durable, like Debussy's Fetes and (...) Mozart's standard music, is every artist's dream, yet many serious composers prefer the durable over the immediately impressive, and take comfort in the fact that Bach's monumental works, The Art of Fugue. The Musical Offering, the Goldberg Variations, and the Mass in B Minor, take a lot of sustained effort from their audience, as do most of Beethoven's later compositions, except for his ninth symphony and similar bits. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THIS MESSAGE IS FOR YOU. MAYBE. by Joseph Agassi There is a mood often enough conjured in science fiction literature to be familiar to every fan, the mood of seemingly intentional yet probably remdom contact between two individuals across immense space-time expanses. The hero of a complicated chase story has lost contact with the mother planet, has long ago leuided on a strange pleuiet, emd there, right now, just (...) walking across the plaza he sees a huge poster, with a piece of commercial advertisement or some similar message of purely local import printed on it. The poster is decorated with an arabesque which puzzles him, quickens his pulse, intrigues him, fascinates him — until it hits him insteinteuneously in full force: the arabesque is a message, written in his own native language, telling him how to reestablish contact. The story, as I say, has many veurietnts. And it has, it seems, a very widespread appeal. It is couched in terms of adventure stories, but its mood is not diat of adventure. The mood is more of die one associated with the idea of the eterned return, die idea of timelessness or of time standing still (and space vanishing), the idea the western philosophies usually associate with the ideas of Nicholas, the Renaissance mystic bishop ofCusa, though it is a recurrent idea in many cultures, of the identity of the vanishingly smedl and the infinitely large. Indeed, the meeting of the message and the recipient is symbolized by the meeting of the infinite line and the point of vanishing length. Whence this universality? I suppose it is a fact of biological nature. Think of the scent a living thing, be it a fish or em emtelope, leaves behind to contact a possible mate. It is a few complex molecules in a sea of molecules of astronomical numbers: just this room contains more molecules than you can imagine. And the animal follows a long tortuous path to find its mate. According to Willietm Craig and Konrad Lorenz, an animal does not have the slightest clue what it is after. Even while building a nest it has no complete 95 96Philosophy and Literature picture of its task. In each of its stages it goes after diverse kinds of things, yet it knows not which things, let alone their inborn rigidly fixed sequence. Yet the animal in charge of a tetsk, whether of finding a mate or of finding a twig for a nest, will be resdess — say Craig and Lorenz — and move about, and try to read the message in any piece of arabesque, until one day one piece of arabesque will med«: sense and enable its finder to complete die next step in the mysterious complex task and open up die search for the next message, the next step further along die unfolding series of preordained ordeals that life is strewn widi. Consider writing proper, like my writing this message for you right now. We do not know the background to literacy, much less its actual origins, except that these were far from unique: though many cultures eire illiterate or have acquired literacy from more evolved neighbors, mere eire many places on earth where literacy evolved independently. Yet even here we see a sequence: many independent ideographic scripts, some ofthem evolving into syllabic scripts and one or two of these evolving into an alphabet proper. How and why, we do not know. There is room for speculation, though. It is hard to imagine how the very first writer conceived of the very first message he wrote without consulting his recipient first. There are a few possible explemations here. First, that writer and recipient are one: writing was a form ofmemorizing, or ofconsigning matters to memory more stable than that of the human brain — the granite rock, for instance. The ancient Egyptian god of literacy was the god of memory. Primitive shepherds use knots in their rope and cuts on their sticks as aides memoire, as bookkeeping of sorts, and scholars consider these the origins of writings. This is evidenced by the runic writings of the Norse, whose letters are images of sticks with cuts on them. Yet runic writing is alphabetic and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence (...) of Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

Is discomfort intrinsic to wonder? The author pursues this question by showing how early visitors to the Niagara Falls found that efforts to improve the view eliminated the difficulty that made viewing the falls rewarding in the first place. Visitors’ experiences accord with eighteenth-century accounts that suggest that wonder thrives on difficulty and desire thrives on inaccessibility. This aesthetic effect finds expression in The Arabian Nights and other texts that both represent and enact narrative withholding, and also in the visual (...) form of the arabesque, which beguiles the eye with movement but does not go anywhere. The essay concludes by connecting these insights into aesthetic difficulty to present-day concerns that attempts to bring the humanities to a broader audience may “dumb down” art. I conclude that such concerns miss the point that aesthetic experiences depend upon a tension between legibility and illegibility that artworks continue to generate in new and unforeseen ways. (shrink)

Is discomfort intrinsic to wonder? The author pursues this question by showing how early visitors to the Niagara Falls found that efforts to improve the view eliminated the difficulty that made viewing the falls rewarding in the first place. Visitors’ experiences accord with eighteenth-century accounts that suggest that wonder thrives on difficulty and desire thrives on inaccessibility. This aesthetic effect finds expression in The Arabian Nights and other texts that both represent and enact narrative withholding, and also in the visual (...) form of the arabesque, which beguiles the eye with movement but does not go anywhere. The essay concludes by connecting these insights into aesthetic difficulty to present-day concerns that attempts to bring the humanities to a broader audience may “dumb down” art. I conclude that such concerns miss the point that aesthetic experiences depend upon a tension between legibility and illegibility that artworks continue to generate in new and unforeseen ways. (shrink)

On the stupidity of oysters -- Divining creaturely love -- Horsing around: the marriage blanc of Nietzsche, Andreas-Salomø, and Røe -- Groping for an opening: Rilke between animal and angel -- Electric caresses:Rilke, Balthus, and Mitsou -- Between perfection and temptation: Musil, Claudine, and Veronica -- The biological travesty -- "The creature whom we love": Proust and jealousy -- The love tone: capture and captivation -- "The soft word that comes deceiving": Fournival's bestiary of love -- The cuckold and the (...) cockatrice: Fourier and Hazlitt -- The animal bride and horny toads -- Unsettled being: Ovid's metamorphoses -- Fickle metaphysics -- Nymphomania and faunication -- Senseless arabesques: Wendy and Lucy -- The goat in the machine (a reprise) -- On cetaceous maidens -- Animal magnetism and alternative currents (or Tesla and the white dove). (shrink)

Dans leurs écrits sur l’art, Diderot et Baudelaire montrent comment les lignes des tableaux dirigent l’œil pour générer un intérêt, voire un choc déclencheur d’une expérience esthétique lorsqu’elles sont brisées. Les rides, fissures, plis qui rompent l’harmonie des figures sont pour Diderot une source profonde d’émotion, tandis que la ligne serpentine est de préférence infléchie en arabesque par Baudelaire. À leur façon, le philosophe et le poète montrent ainsi comment la pensée esthétique moderne se nourrit de ces désordres et (...) irrégularités de l’art en redéfinissant le beau idéal classique en une brisure de l’idéal. (shrink)

MS. Cromwell 22 was among the Greek books thought to have been donated by Oliver Cromwell, Lord-Proctor and Chancellor of the University of Oxford, to the Bodleian Library in 1654. It received its first full description in the catalogue of Greek manuscripts compiled by Coxe. A modern approach to the description of the codex can be found in the entry that Cromwell 22 obtained in the catalogue of illuminated manuscripts by Irmgard Hutter, principally thanks to a headpiece arabesqued in penwork (...) at p. 22. (shrink)