This essay argues that Antony and Cleopatra’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The protest, the passion (...) and singularity, lives mainly through its expressive emphases – such as hyperbole – and the re-functioning of the very dominative roles and norms being opposed. This reflects the restricted but critical – aesthetic – status of early modern drama, and specifies its opposition to the deepening attack on sensate knowing in its world. (shrink)

This araticle examines elements of Jean-François Lyotard’s paradoxical negotiations with aesthetic experiences in order to characterize his critical involvement with discursivized forms of knowing and explanation. These elements are offered as salient and salutary correctives to the symmetrical dogmas of disenchanting naturalisms and culturalisms currently programming typical misprisions of the aesthetic. Lyotard’s 1971 Discourse, Figure, as well as some of his later writings on visual art and artists, are not interpretatively integrated here but instead explored in terms of an anti-discursive (...) logic that actually animates what appear to be their own anti-aesthetic commitments and conclusions. The article tracks the ambivalent, but persistent, role that perception, art-medium and sensate experience play in Lyotard’s efforts to see beyond them. This result impacts not only on the kinds of ‘demystification’ his work should be seen to espouse, but on that pervasive pseudo-category itself. (shrink)

This araticle examines elements of Jean-François Lyotard’s paradoxical negotiations with aesthetic experiences in order to characterize his critical involvement with discursivized forms of knowing and explanation. These elements are offered as salient and salutary correctives to the symmetrical dogmas of disenchanting naturalisms and culturalisms currently programming typical misprisions of the aesthetic. Lyotard’s 1971 Discourse, Figure, as well as some of his later writings on visual art and artists, are not interpretatively integrated here but instead explored in terms of an anti-discursive (...) logic that actually animates what appear to be their own anti-aesthetic commitments and conclusions. The article tracks the ambivalent, but persistent, role that perception, art-medium and sensate experience play in Lyotard’s efforts to see beyond them. This result impacts not only on the kinds of ‘demystification’ his work should be seen to espouse, but on that pervasive pseudo-category itself. (shrink)