Philosophers working on aesthetics have paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on the emergence of aesthetics as a branch of philosophy over the course the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to one (...) another. (shrink)

In "Off Track" art and philosophy are the inspiration to look differently at daily life and organizations. The book is a plea to approach the complexity of the current world with new metaphors. The author calls this "hinking around". She sees that in "square worlds" there is a need for tools to approach entrenched patterns and systems differently and to get thought processes moving. Sarai van de Boel challenges the reader to look at one's own systems from the inside with (...) a philosophical approach. In eight chapters there are eight "tracks" to follow, but it is also possible to go off the rails. More than fifty works of art by well-known and lesser-known artists and designers play a role in these traces. The author questions the essence of their works and asks philosophical questions about phenomena they evoke. With Marlene Dumas, Marinus Boezem, L.A. Raeven, Ed Atkins, Wong Ping, Kazumasa Nagai, Remy Jungerman, Otto Piene, Eiko Ishioka, Campana brothers, Ann Demeulemeester and Kara Walker. The book ends with the Art & Philosophy Strategy, a theoretical framework for the use of art and philosophy. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to (...) what extent formal conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

Margaret J. Osler - Early Modern Philosophy: Mind, Matter, and Metaphysics - Journal of the History of Philosophy 44:3 Journal of the History of Philosophy 44.3 478-479 Christia Mercer and Eileen O'Neill, editors. Early Modern Philosophy: Mind, Matter, and Metaphysics. New York: Oxford University Press, 2005. Pp. xxi + 298. Cloth, $55.00. The editors of this collection of essays by the late Margaret Wilson's former students and colleagues present this book "as a snapshot of state-of-the-art history of early (...) modern philosophy" . Many of the usual suspects make an appearance in these pages: Descartes, Spinoza, Locke, Berkeley, Malebranche, and Kant. A couple of new faces also come on stage: Damaris Cudworth , best known as Locke's companion but presented here as a philosopher in her own right, and the Cartesian Bernard le Bouvier de.. (shrink)

The biological sciences -- Mathematics and the physical sciences -- The arts -- The social sciences, philosophy, and religion -- Politics and the law.

History of Modern Philosophy From Nicolas of Cusa to the Present Time by Richard Falckenberg In no other department is a thorough knowledge of history so important as in philosophy. Like historical science in general, philosophy is, on the one hand, in touch with exact inquiry, while, on the other, it has a certain relationship with art. With the former it has in common its methodical procedure and its cognitive aim; with the latter, its intuitive character and the endeavor (...) to compass the whole of reality with a glance. Metaphysical principles are less easily verified from experience than physical hypotheses, but also less easily refuted. Systems of philosophy, therefore, are not so dependent on our progressive knowledge of facts as the theories of natural science, and change less quickly; notwithstanding their mutual conflicts, and in spite of the talk about discarded standpoints, they possess in a measure the permanence of classical works of art, they retain for all time a certain relative validity. The thought of Plato, of Aristotle, and of the heroes of modern philosophy is ever proving anew its fructifying power. Nowhere do we find such instructive errors as in the sphere of philosophy; nowhere is the new so essentially a completion and development of the old, even though it deem itself the whole and assume a hostile attitude toward its predecessors; nowhere is the inquiry so much more important than the final result; nowhere the categories "true and false" so inadequate. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a more (...) spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a more (...) spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect (...) to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience (the reciprocal glance between who regards and what is regarded) and on a (...) phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content to the concept of post-modern art. (shrink)

Modern Philosophy, the third volume in the history of philosophy series edited by Etienne Gilson, is a comprehensive critical study of philosophical thought from Descartes to Kant. Containing detailed discussions of individual figures, both major and minor, it treats not only their metaphysical and epistemological views but also their philosophies of art, religion, morals, and politics. It presents the historical settings in which they wrote and shows the dialectical interplay among their views. As Gilson and Langan point out, there (...) inevitably is some arbitrariness in deciding what to include or emphasize in a volume such as this, but, in my opinion, it would be difficult to give a more balanced and complete survey than theirs. (shrink)

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience and on a phenomenological interpretation of significance. In other words, this phenomenological interpretation (...) gives a positive content to the concept of post-modern art. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience (the reciprocal glance between who regards and what is regarded) and on a (...) phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content to the concept of post-modern art. (shrink)

Spinoza has very little to say concerning the creative arts. A careful consideration of those passages in which he discusses art, however, reveals art to have an importance for him that far outstrips what his relative silence might suggest. In this paper, I argue that Spinoza situates art at the genesis of rational, philosophical knowledge. The importance of abstract reason, Spinoza’s “second kind” of knowledge to which most of philosophy belongs, has been well appreciated by scholars. In the Ethics, Spinoza (...) offers a developmental account of this kind of knowledge: reason develops out of the knowledge of sense experience. By tracing his account of this process, I argue that art has an important role to play in the transition from sense experience to philosophical knowledge. (shrink)

Anders Pettersson presents a comprehensive account of the foundations of literature, grounded in an original analysis of the interactions between author and reader. Drawing on post-Gricean pragmatics and Nicholas Wolterstorff's notion of presentationality, Pettersson develops the idea of the verbal text and conveys an integrated and nuanced understanding of literary experience, its conditions, and the values it affords. In the second part of Verbal Art he systematically examines the cognitive, affective, and formal aspects of the literary work and explores their (...) interrelations.Pettersson demonstrates the implications and applications of the theory through a series of detailed studies of literary works, taking care to show that his theory is compatible with a broad variety of perspectives. Combining an intimate knowledge of modern literary theory and the aesthetics of literature with innovative applications of linguistics and cognitive psychology to the literary work, he provides a thorough treatment of fundamental problems in the area, including the concept of a text or work, the concept of form, and the distinctiveness of the literary use of language. (shrink)

The relationship between philosophy and aesthetic criticism has occupied Robert Pippin throughout his illustrious career. Whether discussing film, literature, or modern and contemporary art, Pippin's claim is that we cannot understand aesthetic objects unless we reckon with the fact that some distinct philosophical issue is integral to their meaning. In his latest offering, Philosophy by Other Means, we are treated to a collection of essays that builds on this larger project, offering profound ruminations on philosophical issues in aesthetics along (...) with revelatory readings of Henry James, Marcel Proust, and J. M. Coetzee. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Early Modern Philosophy: Mind, Matter, and MetaphysicsMargaret J. OslerChristia Mercer and Eileen O’Neill, editors. Early Modern Philosophy: Mind, Matter, and Metaphysics. New York: Oxford University Press, 2005. Pp. xxi + 298. Cloth, $55.00.The editors of this collection of essays by the late Margaret Wilson's former students and colleagues present this book "as a snapshot of state-of-the-art history of early modern philosophy" (8). Many of the (...) usual suspects make an appearance in these pages: Descartes, Spinoza, Locke, Berkeley, Malebranche, and Kant. A couple of new faces also come on stage: Damaris Cudworth (Lady Masham), best known as Locke's companion but presented here as a philosopher in her own right, and the Cartesian Bernard le Bouvier de Fontenelle. As the title suggests, most of the papers deal with metaphysical topics, including the nature of matter, the nature of mind, and arguments for the existence of God. Notably absent from the stage are other figures who played key roles in seventeenth-century philosophy, such as Hobbes, Gassendi, and the Cambridge Platonists. The authors stay fairly close to the traditional canon of early modern philosophers and philosophical issues, but, then, so did Margaret Wilson.In their Introduction, Mercer and O'Neill briefly outline the recent historiography of early modern philosophy, at least as practiced in the Anglo-American tradition. These approaches range from the logical analysis of the arguments of historical figures to accounts that situate their subjects in the context of their times. Mercer and O'Neill identify two methodological principles that have emerged since the 1960s and that depart from the older analytic approach, which sought to use historical sources for new philosophical insights. The two principles, articulated by Janet Broughton in her paper in the volume, encourage a greater historical sensibility: (1) the history of philosophy should aim "to articulate how previous philosophers saw their projects"; and (2) the history of philosophy should accept "how remote the fundamental concerns of previous philosophers may be from our own (and how historically conditioned both their concerns and ours may be)" (4–5). The editors claim that all the authors in the volume accept principle (1), but disagree about whether they should abide strictly by the principle or go on to debate with their historical subjects about philosophical issues. Would that the essayists had been as historiographically aware as their editors.It is not surprising that a book honoring Margaret Wilson should contain four articles on Descartes. With a few noteworthy exceptions, the articles deal with very traditional problems growing out of the analytic tradition. Janet Broughton describes the results of a close reading of Descartes's skeptical arguments in the Meditations. Michael Ayers examines Descartes's dualism, demonstrating its relevance to modern discussions of personal identity and the mind-body problem. Edwin Curley considers Descartes's ontological argument for the existence of God, revisiting his own earlier analysis of this question. And Louis E. Loeb provides a critical analysis of Descartes's mind-body dualism. Although all these papers are based on close textual analysis, they largely ignore the historical and intellectual context within which Descartes was writing, focusing instead on the logic of his arguments. They give little acknowledgement to the fact that Descartes was working in intellectually turbulent times as philosophers wrestled with the relationships among the foundations of knowledge, natural philosophy, and theology, or that these factors might have been formative influences on the development of his thought.Most of the other papers take a similar approach. Catherine Wilson sets out to find contradictions between Spinoza's "severe ontology" and his ethical program, and proceeds to explain why his ethical theory has been less influential on modern ethical theory than the ideas of Hume or Kant. She ignores the influence of medieval Jewish philosophy on [End Page 478] Spinoza's thinking, suggesting instead a Platonic influence for which she provides no textual evidence. Roger S. Woolhouse and Jonathan Bennett provide close readings of Locke's theory of matter. Useful as explications, neither paper contains any discussion of the mechanical philosophy more generally or the theological implications of matter theory in seventeenth-century natural philosophy. Vere Chappell examines Locke... (shrink)

Transparence et opacité fut écrit à la fin des années 1960 et parut pour la première fois en 1975. Cet essai majeur sur les fondements théoriques de l'art moderne avait disparu des librairies depuis près de vingt ans. Partant d'une analyse de la théorie de l'art de Konrad Fiedler, qui écrivit entre 1876 et 1895, Philippe Junod se livre en fait à une archéologie de la modernité et envisage l'ensemble de la théorie de l'art et de l'esthétique depuis Platon et (...) Aristote. Il établit que l'idée d'art moderne naît quand sont abandonnées aussi bien la voie du réalisme que celle de la peinture d'idées, le naturalisme comme le symbolisme, pour en venir à une troisième voie, celle de l'opacité où l'œuvre opère dans son autonomie, sans transparence ni référence, en faisant prévaloir les droits de la vision et du visible sur ceux de la reconnaissance et du déchiffrement. À un moment où le moderne apparaît comme un moment de l'histoire de l'art, l'enquête riche et minutieuse de Philippe Junod permet de comprendre les questionnements et les enjeux de toute une époque dont nous sortons à peine. (shrink)

Fifty years after his death, Walter Benjamin remains one of the great cultural critics of this century. Despite his renown, however, Benjamin's philosophical ideas remain elusive/m-/often considered a disaggregated set of thoughts not meant to cohere. This book provides a more systematic perspective on Benjamin, laying claim to his status as a philosopher and situating his work in the context of its time. Exploring Benjamin's theory of language, spoken and nonspoken, Rainer Rochlitz shows how Benjamin reconceptualized traditional ideas of language, (...) art, and history. Offering an expansive assessment of a unique twentieth-century thinker, this volume provides an indispensable guide for readers of Benjamin's recently released collected works. (shrink)

This view encouraged theorists to consider artistic geniuses the high-priests of humanity, creators of works that reveal the invisible essence of the world."--BOOK JACKET.

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides (...) a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

This is a new release of the original 1953 edition.

In Aesthetic Theory, Adorno argues that, in modernity, art and philosophy are reciprocally dependent upon each other for legitimation and critical force. This claim has puzzled scholars and provoked controversy. I argue that Adorno’s thesis may be comprehended in the following manner: art requires philosophy because, without the latter, art would lack the power to critique social and historical reality (in particular, the ideological elements that often remain invisible as second nature), and to rationally interpret the material particularity expressed by (...) such reality; and, conversely, philosophy requires art because the latter expresses historical experience to reason. Such material historical experience is necessary in order to prevent philosophy from falling into ideological convention; idle speculation; or abstract and reified instrumentality. Thus, the constellation of history, art, and philosophy is essential to Adorno’s aesthetics. (shrink)

The interrupted absolute : art, religion and the "new categorical imperative" -- "The ever-broken promise of happiness" : interrupting art, or Adorno -- "Absolute insomnia" : interrupting religion, or Levinas -- "To preserve the question" : interrupting the book, or Jabès -- Conclusion : sharing the imperative.

It is considerably easier to say that modern philosophy began with Descartes than it is to define the modernity and philosophy to which Descartes gave rise. In _Lines of Thought_, Claudia Brodsky Lacour describes the double origin of modern philosophy in Descartes’s _Discours de la méthode_ and _Géométrie_, works whose interrelation, she argues, reveals the specific nature of the modern in his thought. Her study examines the roles of discourse and writing in Cartesian method and intuition, and (...) the significance of graphic architectonic form in the genealogy of modern philosophy. While Cartesianism has long served as a synonym for rationalism, the contents of Descartes’s method and _cogito_ have remained infamously resistant to rational analysis. Similarly, although modern phenomenological analyses descend from Descartes’s notion of intuition, the “things” Cartesian intuitions represent bear no resemblance to phenomena. By returning to what Descartes calls the construction of his “foundation” in the _Discours_, Brodsky Lacour identifies the conceptual problems at the root of Descartes’s literary and aesthetic theory as well as epistemology. If, for Descartes, linear extension and “I” are the only “things” we can know exist, the Cartesian subject of thought, she shows, derives first from the intersection of discourse and drawing, representation and matter. The crux of that intersection, Brodsky Lacour concludes, is and must be the _cogito_, Descartes’s theoretical extension of thinking into material being. Describable in accordance with the _Géométrie_ as a freely constructed line of thought, the _cogito_, she argues, extends historically to link philosophy with theories of discursive representation and graphic delineation after Descartes. In conclusion, Brodsky Lacour analyzes such a link in the writings of Claude Perrault, the architectural theorist whose reflections on beauty helped shape the seventeenth-century dispute between “the ancients and the moderns.” Part of a growing body of literary and interdisciplinary considerations of philosophical texts, _Lines of Thought_ will appeal to theorists and historians of literature, architecture, art, and philosophy, and those concerned with the origin and identity of the modern. (shrink)

In this publication, the author attempts to develop an aesthetic theory from Heidegger's phenomenological concepts. She analyzes Heidegger`s concepts of truth, world, space, and related concepts and establishes a formal, contextual and material method of analysis for the purpose of examining works of art. This new method of analysis is applied to three pieces by the artist Joseph Beuys as a case study.

This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the anthology. (...) Unlike other anthologies on the market, The Philosophy of Art is both comprehensive and affordable, making it the ideal book for course use. (shrink)

A new reading of the philosophy of contemporary art by the author of The Politics of Time Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that “contemporary art is postconceptual art,” (...) the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism. Winner of the 2014 Annual Book Prize of the Association for the Study of the Arts of the Present (USA). (shrink)

In the first part of this paper I explore a recently conceived notion of a modern liberal arts education which brings the ancient Aristotelian search for first principles into a modern metaphysics of Kant and Hegel. In the second part I examine two ways in which this modern conception of a liberal arts education intervenes in important social and political debates in Western culture. My concluding comments centre on the belief that twenty-first-century liberal arts education needs to (...) provide more resistance to a culture of capitalism by orienting itself to the tradition from a modern standpoint. (shrink)

© Mind Association 2018Some time ago I was at the Bibliothèque Nationale in Paris investigating the teaching of philosophy during Descartes’ time. Fine monographs had already been published on the various regimens and practices at Descartes’ college at La Flèche, and Jesuit institutions in general, as well as the collegiate curriculum in seventeenth-century France. But as interested as I was in the form of the teaching—how philosophy was taught, where, and when—I was more interested in its content—what was actually taught. (...) A fair number of early modern textbooks and some manuscripts of lectures and student notebooks were still available; beyond that, one could find reports of weekly or monthly disputations, condemnations of specific doctrines, various broadsheets, manifestos, and student theses and dissertations. After overcoming some administrative resistance, I found myself in a room at the Cabinet d’Estampes looking at a... (shrink)

Passivité et création est un livre ancré dans une double pratique: la peinture et la philosophie. Sa composition s'inspire du trajet suivi par Maurice Merleau-Ponty dans l'élaboration de son cours au Collège de France de 1954-1955: "Le problème de la passivité: le sommeil, l'inconscient, la mémoire". A partir de l'étude de la pratique de certains artistes et de l'analyse de textes philosophiques, il s'agit de décrire une passivité de forme particulière, une passivité "opérante", corrélative d'une forme dynamique de la subjectivité. (...) Cette passivité, "dimension d'un mouvement dont je suis le médiateur, mais qui d'une certaine façon se fait en moi sans moi, à mon insu", de nombreux artistes du 20. siècle s'en sont faits les témoins (Arp, Bacon, Dubuffet, Klee, Michaux, Rauschenberg, Schwitters, Spoerri, Nicolas de Staël, Bram Van Velde...), appelant aussi cette expérience "inconscient", "hasard", "imprévu", "surprise". Dans la perspective esquissée ici, l'accès aux autres cesse alors d'être un "problème". L'autre a déjà sa part dans mon expérience la plus singulière. Mon expérience peut devenir expérience pour d'autres parce qu'elle s'inscrit au sein d'une dimension phénoménologique qui n'est ni de moi ni d'autrui, mais commune. Quel est le rôle de cette passivité structurelle dans la création comprise comme transformation de la vision et du monde lui-même? Et comment peut-on en retourner la fragilité en pouvoir? (shrink)

Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Jacques Rancière shows how the break with the hierarchical conception of time implies a completely different idea of the modern. He sees the fulfilment of (...) this in two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, and exposed the rift between the revolution of artists and that of strategists. (shrink)

Pandey, V. Introduction.--Kalelkar, K. S. Jainism, a familyhood of all religions.--David, M. D. From Risabha to Mahavira.--Chalil, J. E. Glimpses of Southern Jainism.--Gopani, A. S. Life and culture in Jaina narrative literature, 8th, 9th and 10th century A.D.--Gopani, A. S. Position of women in Jaina literature.--Ranka, R. Evolution of Jaina thought.--Pandey, V. Jaina philosophy and religion.--Shah, C. C. Jainism and modern life.--Sankalia, H. D. The great renunciation.--Shah, U. P. Jaina contribution to Indian art.--Gorakshkar, S. Early metal images of the (...) Jainas.--Bhagwati, U. Bibliographical aids for the study of Jainism. (shrink)

This is a sweeping and provocative work of aesthetic theory: a trenchant critique of the philosophy of art as it developed from the eighteenth century to the early twentieth century, combined with a carefully reasoned plea for a new and more flexible approach to art.Jean-Marie Schaeffer, one of France's leading aestheticians, explores the writings of Kant, Schlegel, Novalis, Hegel, Schopenhauer, Nietzsche, and Heidegger to show that these diverse thinkers shared a common approach to art, which he calls the "speculative theory." (...) According to this theory, art offers a special kind of intuitive, quasi-mystical knowledge, radically different from the rational knowledge acquired by science. This view encouraged theorists to consider artistic geniuses the high-priests of humanity, creators of works that reveal the invisible essence of the world. Philosophers came to regard inexpressibility as the aim of art, refused to consider second-tier creations genuine art, and helped to create conditions in which the genius was expected to shock, puzzle, and mystify the public. Schaeffer shows that this speculative theory helped give birth to romanticism, modernism, and the avant-garde, and paved the way for an unfortunate divorce between art and enjoyment, between "high art" and popular art, and between artists and their public.Rejecting the speculative approach, Schaeffer concludes by defending a more tolerant theory of art that gives pleasure its due, includes popular art, tolerates less successful works, and accounts for personal tastes."[A] remarkable work.... [Schaeffer's] writing is governed by... the ideals of clarity and consequence, the ideas of logic, truth, and evidence.... Schaeffer is so precise and unrelenting a philosophical critic that one wonders how some of the philosophies he anatomizes here can possibly survive the operation."--From the foreword by Arthur C. Danto. (shrink)