Bourdieu's theory of aesthetic taste shares with social identity theory the concepts of reciprocal comparison and differentiation among social groups. This study used discourse analysis of interviews with further-education students on the topic of aesthetic taste to test the hypothesis, derived from these theories, that individuals always present their tastes in line with social differentiations. Since these students were moving from working-class to middle-class identities via education, it was expected that their discourse would be rich (...) in the inconsistencies which need discourse analysis. Most respondents denied links between social class and aesthetic taste, but produced inconsistent “individualist” and “socialisation” repertoires. The individualist repertoire gave priority to individual choice in looking forward to a middle-class identity, while the socialisation repertoire favoured egalitarianism in looking backward to working-class origins and tastes. This inconsistency was resolved in one of two ways, “reconstrue society”, or “reconstrue self”. The “reconstrue society” resolution had three versions: progressivism ; reduction of class to resistible peer pressure; and subdivision of the working class into non-cultured and cultured segments, identifying the self with the latter. “Reconstrue self presented the self as overriding socialisation forces, but split identity between a social outer appearance and a private inner self. (shrink)

Although Schopenhauer is usually described as a philosopher of pessimism, this article examines the extent to which The World as Will and Representation is concerned, not only with metaphysics, but also with social critique; and the positive, indeed ‘optimistic’, implications such a reading might have for an understanding of Schopenhauer's aesthetics. Schopenhauer's philosophy contains a moral or ethical element, which means that, even if he regarded life as ‘an unpleasant business’, it would be wrong to conclude that he (...) had no appreciation of the world as a locus for practical activity. Thanks to the cultural impact of Weimar Classicism and its controversy with the Romanticism of Jena and elsewhere, as well as through his personal acquaintance with Goethe, Schopenhauer inevitably came into contact with Schiller's aesthetic theories, which provide an indispensable background to understanding what is at stake in Schopenhauer's own aesthetics. Schopenhauer's emphasis on the impermanency of pleasure can be seen to underscore the ethical imperative to pay attention to our own life, and to question, in the most concrete, down-to-earth terms, our representation of our life and what, in life, we will. (shrink)

There are few living thinkers who have enjoyed the eminence and reown of Jürgen Hamermas. His work has been highly influential not only in philosopy, but also in the fields of politics, sociology and law. This is the first collection dedicated to exploring the connections between his body of work ahd America's most significant philosophical movement, pragmatism. Habermas and Pragmatism considers the influence of pragmatism on Habermas's thought and the tensions between Habermasian social theory and pragmatism. Essays by (...) distinguished pragmatists, legal and critical theorists, and Habermas cover a range of subjects including the philosophy of language, the nature of rationality, democracy, objectivity, transcendentalism, aesthetics, and law. The collection also addresses the relationship to Habermas of Kant, Peirce, Mead, Dewey, Piaget, Apel, Brandom and Rorty. (shrink)

A philosophical elaboration of Theodor Adorno's conception of aesthetic form. Adorno's aesthetic theory is presented through a reconstruction of the major concepts in his Aesthetic Theory and via the projects of Dialectic of Enlightenment and Negative Dialectics. The dissertation argues that the nature of social and political institutions and ideologies is best revealed through an analysis of the critical social function embodied in aesthetic form. Artworks occupy such a ripe critical position--both in society and in aesthetic (...) theory that confronts what is specifically social in form--because of the way in which artworks simultaneously instantiate and deny socially constructed reality. Modernist art represents a key moment in the history of aesthetic form because it presents the seeming impossibility of artworks asserting any meaning. ;A central task of the dissertation is to show how aesthetic form might resolve the problem of enlightenment, that is, whether and precisely how artworks might overcome the dilemma of reason being always complicit in power and domination. The concept of aesthetic appearance is examined in light of what Adorno terms the crisis of semblance in order to reveal how aesthetic form is the potential transcendence of instrumental rationality. ;The dissertation is situated within the German tradition of Kant and Hegel's aesthetic theories, in which notions of beauty and the sublime have an emphatic relationship to the constitution and form of subjectivity. The concept of the ugly is examined as a specifically modernist phenomenon that represents the aesthetic return of repressed nature. The primary concepts through which Adorno's aesthetic theory is presented include mimesis, exchange, sacrifice and identity. ;The final third of the dissertation consists of arguments against the contemporary philosophical theorists of postmodernism: Jurgen Habermas, Frederic Jameson, Jean-Francois Lyotard, Peter Burger and Albrecht Wellmer. It is argued that each of these writers fails to confront, or misreads, the core arguments and insights of Adorno's aesthetic theory. (shrink)

Illustrations: Numerous Colour and 15 B/w Illustrations Description: The volumes of the PROJECT OF HISTORY OF SCIENCE, PHILOSOPHY AND CULTURE IN INDIAN CIVILIZATION aim to discover the central aspects of India's heritage and present them in an interrelated manner. In spite of their unitary look, these volumes recognize the difference between the areas of material civilization and those of ideational culture. The Project is not being executed by a single group of thinkers, methodologically uniform or ideologically identical in their commitments. (...) Rather, contributions are made by different scholars of diverse ideological persuasions and methodological approaches. The Project is marked by what may be called 'methodological pluralism'. In spite of its primarily historical character, this project, both in its conceptualization and execution, has been shaped by scholars drawn from different disciplines. It is the first time that an endeavour of such unique and comprehensive character has been undertaken to study critically a major world civilization. History of art, unlike that of science, is not an accumulation of facts. It comprises concurrences and overlappings cutting across the linearity of time. Based on this premise the essays in this volume delve into the discourse as also forms of creativity in the Indian tradition in terms of both the perennial and the ephemeral aspects of aesthetic experience. The essays form four groups dealing with (a) core concepts which permeate the discourse on aesthetic theories, and having ramifications in many other disciplines and domains; (b) The Rasa theory in the framework of classical philosophical traditions of Vedanta, Mimamsa, Samkhya, and Kashmir Saivism, and (c) the comprehension of the foundational concepts of aesthetic theory, namely, Rasa and Dhvani from the perspectives of Indian thought traditions addressing also music, dance and the visual arts. There is no clear-cut demarcation between the four groups of essays though in their own framework they illustrate a transition from the discourse (sastra) to practice (prayoga) i.e., from theorizing on the nature of aesthetic experience to the process of concretizing it into forms of music, dance, architecture, and painting. The contributions highlight the fact that the history of Indian aesthetic tradition comprises various textual and performing traditions that have flourished in the Indian subcontinent. What we have is not a single history but multiple histories based on various philosophical and methodological approaches adopted by art historians. Some of these histories pertain to the technical details of a given art form, and some with the changes that have occurred in the evolution and development these forms. While some historical accounts focus on the relevant biographical details of the artists, some art histories focus on the social, cultural, political, and even the economic conditions of civilization that determine the nature of an art form. Considering the multi-dimensional and multi-level complexities of Indian civilization and culture, the contributions to this volume have investigated into a number of factors which are directly and indirectly relevant for comprehending the complexities of the Indian aesthetic tradition. (shrink)

The aesthetic domain is a social one. We coordinate our individual acts of creation, appreciation, and performance with those of others in the context of social aesthetic practices. More strongly, many of the richest goods of our aesthetic lives are constitutively social; their value lies in the fact that individuals are engaged in joint aesthetic agency, participating in cooperative and collaborative project that outstrips what can be realized alone. I provide an account of nature and value of (...) two such social aesthetic goods—aesthetic communities and aesthetic traditions—and further argue that such goods are a core constituent of an aesthetically good life. At the same time, I argue that the ideals of the dominant theory of aesthetic value, aesthetic value hedonism, are incompatible with a full commitment to these social aesthetic goods; the hedonist is thereby alienated from the other participants within aesthetic communities and traditions. This sets up a dilemma for the hedonist: either the hedonist must bite the bullet, accepting that the theory leads to a problematic form of aesthetic alienation; or, we must reject aesthetic value hedonism and adopt a different theory of aesthetic value which accommodates the value of social aesthetic goods. I argue that we should take the second horn of the dilemma. (shrink)

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and (...) the complementary thesis that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)

A partir de las reflexiones de dos conocidos historiadores del arte del siglo XX, Heinrich Wölfflin y Aby Warburg, se examina la vigencia de dos aspectos centrales de la teoría estética kantiana: por un lado, la posibilidad de emitir juicios de gusto plenamente acabados, lo que justificaría la empresa de una deducción trascendental de los mismos, y, por el otro, su implicación en el conjunto de la vida cultural y social, es decir, la significación de la experiencia estética de (...) la forma, tan enfatizada en la doctrina kantiana del gusto. On the basis of the reflections of two well-known art historians of the 29th century, Heinrich Wölfflin and Aby Warburg, the article examines the validity of two central aspects of Kantian aesthetic theory: on the one hand, the possibility of providing fully complete judgments of taste, which would justify their transcendental deduction, and, on the other hand, their involvement in cultural and social life, that is, the significance of aesthetic experience as emphasized in the Kantian doctrine of taste. (shrink)

본 연구에서 필자는 음악학을 위해서 루만의 체계이론을 간략하게 살펴보려고 한다. 필자는 ‘음악학적인 관점에서 체계이론을 비판적으로 다루는 것’이 충분한 연구의 가치가 있다고 확신한다. 왜냐하면 체계이론이 음악미학적 문제제기와 음악사회학적 문제제기들을 넘어서 음악사를 기술하는데 있어서 발생하는 어려운 문제들을 새롭게 생각할 수 있는 가능성을 열어준다고 생각하기 때문이다. 따라서 이 글은 루만의 체계이론을 ‘음악학적’으로 다루는 것을 목적으로 한다. 이것은 체계이론의 개괄적인 토대를 해석한 후에야 비로소 가능하다.BR 필자는 우선 루만의 체계이론이 가지고 있는 일반적이고 본질적인 특징들을 이해하는데 논의의 초점을 둘 것이다(2). 그런 후에 예술사회학에 관한 루만의 과거 (...) 논문들을 ‘예술은 일반화된 소통의 매체인가?’라는 물음과(3) ‘자율적 예술의 코드’라는 주제로(4) 논의할 것이다. 끝으로 루만의 『사회의 예술』이라는 저서를 근거로 ‘음악의 기능과 음악체계의 독립분화’를(5) 비판적으로 고찰할 것이다(6). (shrink)

The article explores Adorno's theoretical efforts to think through the relationship of art and society, treating it as a significant part of his aesthetic theory. The emphasis of the article is placed on those writings that explicitly theorize the link between art and society. The essay therefore traces Adorno's theoretical statements and arguments from his 1932 essay on the situation of modern music to his late Aesthetic Theory, focusing on his methodological and aesthetic concerns: methodologically his persistent critique (...) of empiricism and quantitative research, aesthetically his preoccupation with the concept of aesthetic autonomy as the precondition of modern art. As it turns out, with in terms of its basic concepts such as commodity and reification, even his late work ( Aesthetic Theory ) remains committed to the Marxist tradition that defined his early writings. (shrink)

There is a rich history in early critical theory of attempting to harness the power of aesthetic imagination for the purposes of political liberation. But this approach has largely faded to the background of contemporary critical theory, eclipsed lately by attempts to reconstruct and apply norms of rationality to processes of democratic will formation à la Habermas. This paper represents a small attempt to return the aesthetic element to its proper place within critical theory, by investigating the (...) aesthetic aspects of certain forms of resistance to technological domination, forms of resistance that become “embodied” in technologies themselves. The phenomena of customization and personalization of technologies, although already co-opted in a variety of ways, are examples of such resistance. I begin then, by specifying the conventional method of understanding technological domination: the differentiation thesis. I then show how this understanding of technological development fails to grasp the reality of technologies as they are embodied in social contexts. A more accurate understanding of these contexts demonstrates that aesthetic imagination plays an important role in politicizing technologies, and enrolling these technologies themselves in the project of resisting the general phenomenon of technological domination. This helps us begin to understand what it might mean to translate the insights of early critical theory into a contemporary critical praxis. (shrink)

Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.

Although there are distinctly American artists-Walt Whitman, Herman Melville, Grandma Moses, Thomas Hart Benton, and Andy Warhol, for example-very little attention has been devoted to formulating any distinctively American characteristics of aesthetic judgment and practice. This volume takes a step in this direction, presenting an introductory essay on the possibility of such a distinctly American tradition, and a collection of essays exploring particular examples from a variety of angles. Some of the essays in this collection extend pragmatist and process insights (...) about the important place aesthetics has in molding and assessing experience. Other essays examine the place of American aesthetics in relation to such particular forms of art as painting, literature, music, and film. Three essays attend to the aesthetic aspects of a flourishing life. In each of the essays, American aesthetics is understood to arise out of deeply felt personal, historical, and cultural backgrounds. Consequently, not only are such relatively abstract notions as harmony, fit, elegance, proportion, and the like involved in aesthetic judgment, but also religious, political, and social factors become embroiled in aesthetic discernment. Thus the ongoing pattern of American aesthetics is shown to be distinguishable from such other varieties of aesthetic thought as analytic aesthetics, New Criticism, and postmodern approaches to aesthetics. (shrink)

Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first-hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen’s proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we care about arriving at good aesthetic beliefs (...) for the sake of the values that arise in the process of doing so. The engagement is the point, so we must use our own capacities in first-hand encounters. Here I challenge Nguyen’s account. I argue that it misconstrues the value of aesthetic belief; it conflicts with restrictions on aesthetic testimony; and it has trouble harnessing engagement-value for a theory of aesthetic value. A better approach emphasizes the social character of aesthetic valuing. On this view, aesthetic valuing is a social practice structured around the collaborative exercise and improvement of certain special capacities. The autonomy and acquaintance principles tell us to engage these capacities in forming our aesthetic beliefs. Understood aright, and contrary to consensus, these rules are identical. (shrink)

From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...) such philosophers as Plato and Aristotle concerned our involvement with art: the response we have to beautiful things, the moral and salubrious powers of art, and perhaps most of all, the power of art to transform and transcend, leading us into a condition of enhanced perception that may be wondrous, dangerous, and at times overwhelming. The classical age displayed a richness of discussion that centered on art as an activity: an activity that is at once cosmic, social, and individual; an activity that brings understanding of a sort; an activity that may be salutary and even exalting, as in Aristotle's celebrated discussion of tragedy and its cathartic effects. Since the eighteenth century, however, this has changed. Questions about art have shifted to the idea of experience, paralleling the great change in the focus of philosophy from matters of ontology to those of epistemology. In place of starting from an examination of the nature of the universe and moving to the human position in the order of things, we have come to realize, since Descartes and Kant, that all inquiry has its inception in a human locus. Now, at the end of the twentieth century, we have finally recognized that the human factor in every kind of awareness and knowledge is structurally unavoidable. Art has become both a symptom of this change and a standard for grasping it. (shrink)

The philosopher Graham Harman argues that contemporary debates about the nature of reality as such, and about the nature of objects in particular, can be meaningfully applied to social theory and practice. With Immaterialism, he has recently provided a case-based demonstration of how this could happen. But social theorists have compelling reasons to oppose object-oriented social theory’s 15 principles. Fidelity to Harman’s aesthetic foundationalism, and his particular use of serial endosymbiosis theory as a mechanism (...) of social change, constrain the very practices which it is supposed to enable. However, social theory stands to benefit from object-oriented philosophy through what we call posthuman relationism – characterised as a commitment to the reality of the nonhuman, but not divorced from the human. The emphasis in object-oriented social theory on how objects withdraw from cognitive or affective capture and representation needs to be tempered by an equal focus on how objects appeal. (shrink)

This book provides a presentation of the concept of “atmosphere” in the realm of aesthetics. An “atmosphere” is meant to be an emotional space. Such idea of “atmosphere” has been more and more subsumed by human and social sciences in the last twenty years, thereby becoming a technical notion. In many fields of the Humanities, affective life has been reassessed as a proper tool to understand the human being, and is now considered crucial. In this context, the link (...) between atmospheres and aesthetics becomes decisive. Nowadays, aesthetics is no longer only a theory of art, but has recovered its original vocation: to be a general theory of perception conceived of as an ordinary experience of pre-logical character. In its four parts, this volume discusses whether atmospheres could take the prominent and paradigmatic position previously held by art in order to make sense of such sensible experience of the world. (shrink)

The philosopher Graham Harman argues that contemporary debates about the nature of reality as such, and about the nature of objects in particular, can be meaningfully applied to social theory and practice. With Immaterialism, he has recently provided a case-based demonstration of how this could happen. But social theorists have compelling reasons to oppose object-oriented social theory’s 15 principles. Fidelity to Harman’s aesthetic foundationalism, and his particular use of serial endosymbiosis theory as a mechanism (...) of social change, constrain the very practices which it is supposed to enable. However, social theory stands to benefit from object-oriented philosophy through what we call posthuman relationism – characterised as a commitment to the reality of the nonhuman, but not divorced from the human. The emphasis in object-oriented social theory on how objects withdraw from cognitive or affective capture and representation needs to be tempered by an equal focus on how objects appeal. (shrink)

In this new collection of essays, Andrew Feenberg argues that conflicts over the design and organization of the technical systems that structure our society shape deep choices for the future. A pioneer in the philosophy of technology, Feenberg demonstrates the continuing vitality of the critical theory of the Frankfurt School. He calls into question the anti-technological stance commonly associated with its theoretical legacy and argues that technology contains potentialities that could be developed as the basis for an alternative form (...) of modern society. Feenberg's critical reflections on the ideas of Jürgen Habermas, Herbert Marcuse, Jean-François Lyotard, and Kitaro Nishida shed new light on the philosophical study of technology and modernity. He contests the prevalent conception of technology as an unstoppable force responsive only to its own internal dynamic and politicizes the discussion of its social and cultural construction. This argument is substantiated in a series of compelling and well-grounded case studies. Through his exploration of science fiction and film, AIDS research, the French experience with the "information superhighway," and the Japanese reception of Western values, he demonstrates how technology, when subjected to public pressure and debate, can incorporate ethical and aesthetic values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Appropriate Indecorum Rhetoric and Aesthetics in the Political Theory of Jacques RancièreEthan StonemanJacques Rancière is one of France's leading intellectuals and a recent addition to the who's who of Continental philosophy. Since his time as a student at the Ecole normale supérieure, Rancière has generated a body of work that is at once wide-ranging, interdisciplinary, and consistent. His arguments for a postfoundational and postliberal democratic understanding of (...) politics have influenced, echoed, or demanded critical response from such other Continental luminaries as Slavoj Žižek (1999, 2004) and Alain Badiou (2005). Much of this cachet is no doubt due to Rancière's central thesis regarding the sources, uses, and ends of politics. According to this argument, politics does not derive from putative a priori truths about knowledge, human nature, or social interaction; it is not a function of particular forms of government, and it neither establishes nor ensures socioeconomic order. Rather, for Rancière politics is a dissensual activity consisting solely in the demonstration of equality. But rather than designating something to be attained, preserved, or balanced against competing factors, Rancière's equality names an assumption that political subjects must presuppose on their own account and exhibit through their own actions. Insofar as a given social arrangement is hierarchical, the egalitarian presupposition will be necessarily agonistic and symbolically disruptive of that order. [End Page 129] In a word, Rancière champions a politics from the ground up, one that defends without patronizing the down-and-out, the disenfranchised, the unseen, and the unheard.During the last quarter of the twentieth century, while Rancière was formulating his theory of politics, American rhetoricians began to assert the continued relevance of decorum to the analysis of contemporary social phenomena (see, e.g., Fantham 1984; Leff 1987, 1990; Rosteck and Leff 1990; Hariman 1992, 1995; Smith 1992; Deem 1995). These efforts were concurrent with other attempts to foreground the aesthetic capacity of rhetoric to create, sustain, and transform perception via the symbolic manipulation of appearances (see, e.g., Farrell 1993; Whitson and Poulakos 1993; Vitanza 1997; Greene 1998). It is surprising, however, that these efforts to revitalize decorum and aesthetics have largely fail to reference recent Continental theories of aesthetics, many of which have tacit but unexplored bearing on decorum and rhetoric in general. Equally surprising is the tendency, within rhetorical studies, to discuss aesthetics without so much as broaching the subject of decorum. One exception to this trend is Robert Hariman (1992, 1995), who makes a convincing case for the conceptual intimacy between decorum and aesthetics. The classical theory of decorum, he argues, "blended significant aspects of rhetorical practice, social awareness, and political structure into an aesthetic sensibility that directed the selection of diction appropriate to one's subject or situation" (1992, 152). According to this account, decorum in the classical era engendered an aesthetic orientation toward one's sociopolitical environment and the rhetorical practices therein.I contend that Rancière's political theory makes significant strides toward bridging the gap between decorum, aesthetics, and politics while at the same time focusing attention on the role of equality and the empowering potential of indecorum. Although rhetoricians have tended not to address the inventional possibilities of indecorum per se, there has been a recurring effort among those writing on decorum to explicate the conditions of rhetorical performances of confrontation, nonadjustment, and resistance—performances that would eschew a logic of influence and assent for a tactics of opposition and disturbance. This trend has been accompanied by periodic attempts to account for rhetoric's potential to interrupt dominant modes of discourse and rationality and to identify its countervailing forces and formal constraints (Scott and Smith 1969; Windt 1972; Campbell 1973; Phillips 1996; Doxtader 2000). It is my contention that Rancière's political vocabulary can extend this line of inquiry by [End Page 130] expanding the possibility for indecorum to subvert the symbolic structures of oppression and domination while avoiding the pitfalls of adaptation and co-optation, that is, the reconstitution of decorum via dialectical syntheses of competing codes of conduct. Specifically, rhetoricians may interpret Rancière's political theory as answering Melissa Deem's... (shrink)

An increasing sensitivity towards films and other forms of visual experience has become apparent in social theory. Recent explorations of new media of communication and entertainment have criticized the emphasis on the hegemonic or manipulative power of cultural industries and popular forms of leisure. Films, like many other discursive and visual forms, have been considered as signifying practices and investigated as processes of production, exhibition and reception. This article takes these recent contributions as its point of departure and (...) investigates two Brazilian films, made in the 1950s and 1990s, based on a play that retells the Greek legend of Orpheus in Brazilian social and cultural settings. This article considers the different historical contexts, explores discursive and visual forms of representation, struggles for power within the narratives, unconscious systems of signification, and makes some considerations about the aesthetic dimension present in each film. (shrink)

In response to the discussion between William W. Morgan and Annette Kolodny in the Summer 1976 issue of Critical Inquiry I would like to address the issue of separating judgments based on feminism as an ideology from purely aesthetic judgments. Peripherally this included the issue of "prescriptive criticism," so labeled by Cheri Register in Feminist Literary Criticism: Explorations in Theory.1 In the same book, as Kolodny points out,2 I called for criticism that exists in the "prophetic mode." Kolodny indicates (...) reservations about both concepts without fully exploring the issue. I would like to explain my statement here and to explore further the issue of feminism and aesthetics. When I called for criticism in the prophetic mode, I did not intend to promote an idea of the critic as ideological prophet. Rather, as I explain in the context from which the term is taken,3 I am speaking of the engaged scholar who is concerned to influence the future by her/his work today. S/he chooses her/his work with an eye to encourage political and social changes. Obviously, for a feminist this translates into a concern for a future in which women will be free from many of the restrictions that have held them down in the past. Much feminist criticism is thus corrective criticism designed to redress the imbalance in current literary curricula, and more generally to reintroduce "the feminine" into the public culture. · 1. Cheri Register, "American Feminist Literary Criticism: A Bibliographical Introduction ," Feminist Literary Criticism: Explorations in Theory, ed. Josephine Donovan pp. 11-24.· 2. Annette Kolodny, "The Feminist as Literary Critic," Critical Inquiry 2 : 828.· 3. Josephine Donovan, "Critical Re-Vision," Feminist Literary Criticism, p. 81, n. 2. Josephine Donovan, currently working on a literary biography of Sarah Orne Jewett, has written "Feminist Style Criticism," "Sexual Politics in the Short Stories of Sylvia Plath," and has edited Feminist Literary Criticism: Explorations in Theory. Although the occasion for this response was the exchange between Annette Kolodny and William W. Morgan , the questions raised by Ms. Donovan have some bearing on other topics discussed in Critical Inquiry—e.g., the nature of accepted canons in the arts . In addition the question of how we may interpret literary works from the past that contain currently unacceptable representations of women has implications as well for how we respond to "objectionable" representations of ethnic and religious groups and even of social classes. The editors expect to see these issues explored further in the future. (shrink)

This article is primarily concerned with Zygmunt Bauman's ‘adoption’ of Levinas's ethic of primordial responsibility, and his attempt to found a ‘sociological’ critique of postmodern ambivalence upon the erasure of the face and loss of moral proximity. I have argued that the reading of Levinas which Bauman presents in Modernity and the Holocaust and Postmodern Ethics is radically incompatible with the redemptive significance of the Levinasian commandment; and that consequently, his attempt to determine the cognitive and aesthetic forms involved in (...) the adiaphorising trend of postmodern societies is unable to salvage the ethical relation from its own comprehensive/totalising necessity. I have also suggested that Derrida's reading of Totality and Infinity, discloses a certain ‘provocation’ in Levinas's writing; one which gestures towards a conception of ‘the ethical’ as an unforeseen possibility deployed within the resources of social identity. Thus, the idea of ‘situating’ Bauman's thought refers to what I consider to be his ambiguous position with regard to the ‘reflective’ project of a critical theory, and the transcendent necessity of the Levinasian commandment. Ultimately, it is this ambiguity which structures Bauman's writing of the ‘postmodern condition’. For having described the overwhelming powers of cognitive and aesthetic ‘heteronomy’ in the postmodern world, his only recourse is to a ‘politics of distant consequences’ in which the absolute difference of the face would have its originary demand intensified and retransmitted. Such a programmatic demand, I have argued, is radically at odds with an ‘ethical’ reception of racial, sexual or cultural ‘otherness’. (shrink)

Stemming from a study of social aesthetics, in which public reaction to human physical appearance is addressed, the present analysis considers the practice of humans associating themselves with nonhuman animals on the basis of the latter's appearance. The study found these nonhuman animals are intended to serve as a positive reflection on the humans who deliberately choose them for their “special” traits, which the humans then utilize to enhance their own social standing. The study compares this to (...) the same practice used by humans to associate themselves with attractive humans and serves the similar purpose of amassing social status by virtue of the association. This paper explains the phenomenon in theoretical terms; namely, symbolic interactionism, paying special attention to impression-management and dramaturgy, along with other interactionist features of attribution and social exchange. Where available, the paper uses scholarly, empirical work on the topic, supplemented by popular media observations and news articles. Viewed from an interactionist perspective, these empirical and non-empirical examples provide a novel picture of human-and-animal society as a unidirectional, status-seeking interaction intended to benefit human actors. (shrink)

The essay draws on Michel Serres’ writings on education in order to derive from them a general theory. Though the polyglot philosopher never presented his philosophy of education as a formal system, it was a lifelong concern that he addressed from the perspectives of mathematics and physics; literature and myth; art and aesthetics; justice and the law. Ever elusive in his prose style, Serres was a magnetic and infectious educator who, ironically, and perhaps understandably, did not gain the (...) sort of following enjoyed by other French philosophers with whom he cuts such a contrast. The essay assesses the Serresian pedagogy in three key areas: the mutual translatability of the pedagogies of the humanities and arts versus those of the social and hard sciences; the urgent need for an environmental ethics of education; and the permeation of effective instruction by aesthetics. (shrink)

This paper analyzes how 'Jewishness' functions as a scapegoat for the apparently unbridgeable gap between spirit and matter in Hegel's social and aesthetic theory. If Hegel accuses 'the Jews' and 'Judaism' of inhabiting a radical divide between the empirical and the spiritual - a divide that coincides with the one between body and body politic - he follows the trajectory of Kant's opposition between autonomy and heteronomy. Kant's notion of freedom describes reason's transcendence of the material world, but (...) this state of autonomy paradoxically depends on the heteronomous force of legal power that enforces a 'Mine and Yours' ownership and property distinction. In Kant's account 'Jewishness' embodies a social way of life founded on superstition (Aberglaube) that enacts the opposite of autonomy and is heteronomously bound to objects of empirical reality, whereas the 'Mine and Yours' ownership and property distinction of a Kantian civil society teaches the foregoing of material goods, if contact with them violates positive law. Developing Kant's idealism, Hegel accuses 'the Jews' of making immediate being absolute. By conflating 'Jewishness' and materialism, Hegel excludes 'the Jews' from his idealist conception of the body politic. Key Words: anti-Semitism • autonomy • body • culture • dialectics • German idealism • Hegel • heteronomy • immutability • Kant. (shrink)

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. (...) The stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge (...) to the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. ists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. (shrink)

This essay attempts a critical analysis of the boom in 'uncanny' theory. As the 'uncanny' has carved its image in cultural, political, sociological and aesthetic theory, there has been little attempt to challenge the notion that all critical work is or should be uncanny. Introductions to the concept, such as those by Nicholas Royle and more recently Anna Masschelein, have tended to promote its ubiquity and irreducibility, even while acknowledging a dramatic shift in its fortunes since the 1990s. (...) Opening with a brief genealogy of uncanny theory in the late twentieth century (looking to work on Freud, the influence of Derrida and American deconstruction) the article pays particular attention to the watershed of the late 1980s when the uncanny is increasingly assimilated to the 'spectral' and begins to take shape as an autonomous theory. It probes the influence of Heidegger, who inflected Derrida's own turn to spectres, and the way the uncanny is mobilised on cultural and sociological terrain as a specifically ethical tool: a site of historical mourning or sociological resistance. The article proposes that the anti-conceptualism of the uncanny is a transcendant gesture which needs to be read in the context of a crisis in the theorisation of Marxism at the end of the 1980s. In all the clamour over the disturbing and in-coercible logic of the uncanny, there has been little analysis of its potentially reactionary function on the contemporary scene. (shrink)

In this provocative contribution to both psychoanalytic theory and the philosophy of science, Louis Berger grapples with the nature of "consequential" theorizing, i.e., theorizing that is relevant to what transpires in clinical practice. By examining analysis as a genre of "state process formalism" - the standard format of scientific theories - Berger demonstrates why contemporary theorizing inevitably fails to explain crucial aspects of practice. His critique, in this respect, pertains both to the formal structure of psychoanalytic explanation and the (...) technical language through which this structure gains expression. The pragmatic recommendations that issue from this critique are illustrated with respect to a number of perennial problem areas besetting analysis and cognate disciplines. In a discussion that encompases theories of affect, issues in family therapy, the nature of first-language acquisition, and the philisophical topics of free will and determinism, Berger shows that certain systems of representation _can_ describe the psychological realm adequately, and that such systems necessarily follow modern physics in rejecting naive assumptions about the separability of theory and practice. His proposals culminate in a "nonhierarchical" conception of psychoanalytic theory that assigns a separate status to the clinically pragmatic level of theorizing. In both his critique of contemporary analysis and his reconstructive proposals, Berger fuses into a highly readable argument a fascinating range of insights culled from epistemology, linguistics, physics, logic, computer science, history, and aesthetics. More impressively still, he demonstrates how an investigation of psychoanalytic theory can serve as a vehicle for examining pervasive epistemological issues in both philosophy and the social sciences. (shrink)

One of the more compelling features of Denis Dutton’s The Art Instinct is its theoretical parsimony. Utilizing what essentially amounts to one explanatory principle—that of Darwinian selection—Dutton advances a theory of aesthetics that is at once general enough to account for cross-cultural variations in artistic production and sufficiently nuanced to promote insights into individual artworks. In doing this, Dutton’s work could not offer a greater contrast to some of the more vocal trends in contemporary aesthetic theory, where (...) ponderous theorizing and rebarbative jargons have violently opposed the idea—otherwise so modest—that aesthetic activities might draw on the evolved capacities of the human imagination. On .. (shrink)

In his published lectures on aesthetics, and in his Encyclopedia, Hegel goes into a systematic and relatively unambiguous exposition of his philosophy of aesthetics. In the latter part of the Phenomenology, however, Hegel’s exposition of aesthetics is complicated by and somewhat obscured by the following factors: a) the investigation of aesthetics is simultaneous with the investigation of religion; b) the prime concern of the Phenomenology is neither aesthetics nor religion, but aesthetics and religious experience; (...) c) the aforesaid experience is not considered in-itself, but from the vantage point of the “experience of experience,” which is the general vantage point of the Phenomenology; d) this “experience of experience” is presented as derived or deduced from a whole host of historical and cultural antecedents presented in Part II of the Phenomenology; e) the cultural and social context of Part II is itself derived or deduced from the dialectic of progressions in individual experience presented in Part I. (shrink)

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge (...) to the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. ists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Aesthetics and Aesthetic Teaching:Toward a Deweyan PerspectiveDavid A. Granger (bio)The educational writings of John Dewey continue to be invoked by scholars in education on a regular basis and in relation to a wide variety of issues, from social learning theory and situated cognition to constructivism and whole-language literacy instruction. More recently, this scholarship has begun to expand to include books and essays that look to (...) tie Dewey's aesthetics to his work in education in a substantive way. Notably, this is not something that Dewey attempted himself, since his major work in aesthetics, Art as Experience, was not published until he was seventy-five, and he seemingly had neither the time nor means at that point in his life to develop this link to his satisfaction. In addition, many educators are only familiar with Dewey's more explicitly educational writings, most of which came earlier in his career and tend to speak more of the merits of science than of art. As a result, scholars in education have only recently begun to examine the possible significance of Dewey's aesthetics for the practices of teaching and learning.1It is still the case, however, that writers on Dewey have traditionally focused their critical energies on his expansive claims for "the method of science" as a vehicle for solving numerous educational and social problems, and as the only authentic means of learning about our everyday world. Such critical attention is not, I believe, without warrant; though Dewey's use of "science" was a very loose and liberal one, he was a staunch critic of the positivistic model of science often presumed by these writers. Nonetheless, this critical focus has unfortunately led many writers to dismiss or marginalize the Dewey who, for instance, proclaims in "Art in Education—and Education in Art" that theModern preoccupation with science and with industry based on science has been disastrous; our education has followed the model that [End Page 45] they have set. It has been concerned with intellectual analysis and formularized information.... It is disastrous because it has fixed attention upon competition for control and possession of a fixed environment rather than upon what art can do to create an environment.... It is disastrous because civilization built upon these principles cannot supply the demand of the soul for joy, or freshness of experience; only attention through art to the vivid but transient values of things can effect such refreshment.2As Dewey sees it, science and other forms of knowledge are properly "handmaidens" to art, intellectual tools for enhancing the overall quality and value of human life and activity.3 This means that they are largely subordinate to the direct qualitative meaning of experience. They are, Dewey says, transformed in aesthetic experience in that they are "merged with non-intellectual elements to form an experience worth while as an experience."4 Art objects may well be the most potent and ready source of such enhanced, aesthetic experience, being intentionally created to refine and intensify in certain ways the experience of the perceiver. But they are not, to Dewey's way of thinking, the sole or even principal medium of the aesthetic. Art, he tells us, is best seen more liberally as "a quality that permeates an experience," whereby, in any number of life contexts, the meanings of objects and events become "the matter of a clarified, coherent, and intensified or 'impassioned' experience" (AE, 329, 295). If all of this can be taken to mean that art or the aesthetic, and not science, is paradigmatic of optimal human experience, then current efforts to integrate Dewey's aesthetics with his thinking about education are an important endeavor and one that should bear considerable fruit. Then, too, much of the popular literature in art and aesthetic education, which situates art and the aesthetic squarely within the cognitive domain of experience, is significantly at odds with Dewey's radically holistic and vigorously anti-elitist aesthetics.5Accordingly, this article will explore the idea of aesthetic education—conceived in its broadest sense—using a mainly Deweyan lens. Moreover, it will do so by examining everyday classroom practices as they are informed by the general... (shrink)

The collaborative ‹Big Science’ approach prevalent in physics during the mid- and late-20th century is becoming more common in the life sciences. Often computationally mediated, these collaborations challenge researchers’ trust practices. Focusing on the visualisations that are often at the heart of this form of scientific practice, the paper proposes that the aesthetic aspects of these visualisations are themselves a way of securing trust. Kant’s account of aesthetic judgements in the Third Critique is drawn upon in order to show that (...) the image-building capability of imagination, and the sensus communis, both of which are integral parts of aesthetic experience, play an important role in building and sustaining community in these forms of science. Kant’s theory shows that the aesthetic appeal of scientific visualisations is not isolated from two other dimensions of the visualisations: the cognitive-epistemic, aesthetic-stylistic and interpersonal dimensions, and that in virtue of these inter-relationships, visualisations contribute to building up the intersubjectively shared framework of agreement which is basic for trust. (shrink)

Aesthetic cosmopolitanism is conceptualized here as a cultural condition in which late modern ethno-national cultural uniqueness is associated with contemporary cultural forms like film and pop-rock music, and as such it is produced from within the national framework. The social production of aesthetic cosmopolitanism is analyzed through elaborations on Bourdieu's field theory, as an outcome of the intersection of and interplay between global fields of art and fields of national culture. A sociological explanation for the emergence of aesthetic (...) cosmopolitanism is proposed. It focuses on claims by social sectors within national contexts for status and recognition of their own contemporary cultural uniqueness. (shrink)

The book is a comparative analysis of all the major social science/political science grand theories. It focuses on developmentalism, dependency theory, the world systems approach, Marxism, institutionalism, rational choice, psychoanalysis, political sociology, sociobiology, environmentalism, neuro-politics, transitions to democracy, and non-Western systems of analysis. To facilitate comparison and analysis, a common framework and outline are employed throughout. An integrating introduction and conclusion help tie the book together.

The Creativity in Health and Care Workshops programme was a series of investigative workshops aimed at interrogating the subject of creativity with an over-arching objective of extending the understanding of the problems and possibilities of applying creativity within the health and care sector workforce. Included in the workshops was a concept analysis, which attempted to gain clearer understanding of creativity and innovation within this context. The analysis led to emergent theory regarding the central importance of aesthetics, emotion and (...) empathetic imagination to the generation of creative and innovative outcomes that have the capacity to promote wellbeing in the health and social care workforce. Drawing on expertise in the field, this paper outlines the concept analysis and subsequent reflection. (shrink)

This review explores the present fashion for aesthetics in contemporary sociology. It evaluates the claims that society is undergoing a deep-seated process of aestheticization, and that sociology is experiencing an aestheticization of its epistemological concerns. The aestheticization literature is divided as follows: (1) the re-reading of classical sociological theory through the aesthetic dimension of modernity; (2) the claim that postmodern society involves an `aestheticization of everyday life'; and (3) those sociological theories which stress that contemporary society is more (...) and more like a work of art in its form. The argument is made that the discovery of aesthetics as a way of problematizing sociological reasoning is to some extent rediscovery, returning to various Kantian precepts: the disinterestedness characteristic of aesthetic experiences; the antinomy between the individual and the social aspects of taste; and the work of art as an organism predicated on an inner teleology. (shrink)