The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of a defence (...) of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay. (shrink)

The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of a defence (...) of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay. (shrink)

An art of the everyday? Parting from Georges Perec and Vilhelm Hammershøi Contemporary continental philosophy seems to be deeply connected to art, whether it is poetry and literature, painting or music. This connection is built upon the primacy of a trial of the invisible, which is very often a trial of the event. The aim of this article is to establish an art of the everyday freed from this contemporary "eventism". We thus examine how the researches of Georges Perec in (...) literature and of Vilhelm Hammershøi in painting meditate on the strangeness of the everyday – its flatness, its silence – which are irreducible to this aesthetic trial as it can be conceptualized by the philosophy of the life of Deleuze-Guattari and by the humanism of Levinas. This research thus beckons towards an art of the common contesting the contemporary primacy of the vital and the human. (shrink)