Die Paragonefrage, erstmals ausgiebig von Leonardo diskutiert, besitzt im gesamten Quattrocento eine rege Vorgeschichte, die bei allen frühen Impulsen durch Petrarca als die entscheidende Phase der Formierung der Debatte betrachtet werden muss. Spektakuläre Textfunde der Humanisten, Kunsttraktate, auch eigenhändig von Malern oder Bildhauern verfasst, die Blüte an Vielfachbegabungen, öffentlichen Künstlerwettbewerben und gattungsmäßigen Grenzüberschreitungen verliehen dem wertenden Vergleich der Künste im Italien des 15. Jahrhunderts sein ganz eigenes Gepräge. Erstmals steht dieses - mitsamt dem Fundus an eruierten Quellen - im Zentrum (...) einer grundlegenden Monographie. Leonardos argumentativer Eigenanteil gewinnt ebenso Konturen wie die Genese der Diskussion. Vorweg zweiseitig bemalte Bildnistafeln wie Leonardos Porträt der Ginevra de ́ Benci bieten mit Steinimitationen und Versen spannungsreiche "Übergriffe" in die Nachbargattungen. Für Piero della Francesca waren sie Programm, als er das vierteilige Landschaftspanorama im buchartigen Montefeltro-Diptychon zum Ariadnefaden einer poetischen Erzählung machte. (shrink)

An introduction to the paragone -- The archetype of beauty : Narcissus and the birth of the beau idéal -- Pygmalion and Galatea : the battle between iconophobes and iconodules -- Salomé versus Medusa.

From the beginning to the end of his career, the critical theorist and Frankfurt School philosopher Theodor W. Adorno sustained an uneasy but enduring bond with existentialism. His attitude overall was that of unsparing criticism, often verging on polemic. In Kierkegaard he saw an early paragon for the late flowering of bourgeois solipsism; in Heidegger an impresario for a "jargon of authenticity" that cloaked its idealism in an aura of pseudo-concreteness and neo-romantic kitsch; even in the more rationalist tradition of (...) Husserl's phenomenology he detected a vain attempt of the bourgeois spirit to break free from the prison-house of immanent consciousness. Yet his enduring fascination with the philosophical canons of existentialism and phenomenology suggests a connection far more complicated and productive than mere antipathy. From his first published book on Kierkegaard's aesthetic to the mature studies in negative dialectics, Adorno was forever returning to the philosophies of bourgeois interiority, seeking the paradoxical relation between their manifest failure and their hidden promise. Scholars of critical theory often regard these philosophical adventures as unfortunate lapses into reductive sociology or as marginal to Adorno's path of intellectual development. In Adorno and Existence, Peter E. Gordon challenges this assumption, showing how the confrontation with existentialism helps us toward a deeper understanding of Adorno's own intellectual commitments. In lucid prose and with a dialectical sensitivity for the links between philosophy and life, Adorno and Existence casts new and unfamiliar light on this neglected chapter in the history of Continental philosophy.--. (shrink)

An expanded edition of Hickey's controversial and exquisitely written apologia for beauty--championed by artists, reviled by art critics, and as powerful as ever 30 years on 1993: the AIDS pandemic rages through yet another decade, leaving society and the arts devastated and bereft. Dave Hickey sits down to produce a slim volume, The Invisible Dragon. The book ignites a firestorm, and from its ashes "beauty" again rises as a dominant force in artistic life. Academics argue about theoretical minutiae. Artists pass (...) the book around like a samizdat. This 30th-anniversary edition brings back into print Dragon's four essays on beauty and commingles them with five previously uncollected essays. Hickey's 1974 profile of Dolly Parton anticipates Dolly's longevity as a cultural and feminist icon; his appreciation of Richard Pryor weaves an elegiac tapestry; his review of John Rechy's seminal gay novel Numbers outs its literary innovation in the face of a homophobia that otherwise ghettoized it; and his singular essay on Ed Ruscha, a paragon of arts writing by an extraordinary prose stylist, enjoins us to listen to art, not just look at it. An afterword by Hickey's friend and Dragon's editor "queers" the brash, heterosexual gambler as it situates the creation of Dragon squarely within the AIDS pandemic. The book was in part an attempt to make beauty visible under the looming presence of death and bodily decay. Only now can we fully appreciate how artists continue to harness beauty as a source of meaning and joy. Dave Hickey (1938-2021) was one of the preeminent arts and cultural writers of the turn of the 21st century. A MacArthur "Genius" Fellow known as the "beauty guy" in the popular press, Hickey opened A Clean, Well-Lighted Place gallery in Austin, Texas, in the 1960s, before becoming executive editor at Art in America magazine. In the 1970s, he was a songwriter in Nashville, Tennessee, where he coined and helped create the "Outlaw country" music movement. By the 1990s, Hickey had made a home in Las Vegas, from where he regularly traveled to speak with audiences worldwide. (shrink)

Like artists, important writers defy unequivocal interpretations. Gao Xingjian, winner of the Nobel Prize in literature, is a cosmopolitan writer, deeply rooted in the Chinese past while influenced by paragons of Western Modernity. The present volume is less interested in a general discussion on the multitude of aspects in Gao's works and even less in controversies concerning their aesthetic value than in obtaining a response to the crucial issues of freedom and fate from a clearly defined angle. The very nature (...) of the answer to the question of freedom and fate within Gao Xingjian's works can be called a polyphonic one: thereare affirmative as well as skeptical voices. But polyphony, as embodied by Gao, is an even more multifaceted phenomenon. Most important for our contention is the fact that Gao Xingjian's aesthetic experience embodies prose, theater, painting, and film. Taken together, they form a Gesamtkunstwerk whose diversity of voices characterizes every single one of them. (shrink)

This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to this shortage, I (...) note that, while certainly not identical, Hugo and Hegel share an aesthetic family resemblance in how they hold similar ideas on architecture’s symbolic function, cognitive content, and, ultimately, how the artform’s ability to remain a standing paragon of meaning was razed by successive modes of cultural communication. Consequently, the essay works to show some congruent aesthetic affinities between these two great figures, but which appears to be overlooked in the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nishida and Western PhilosophyAmos YongNishida and Western Philosophy. By Robert Wilkinson. Aldershot, UK: Ashgate, 2009. vii + 175 pp.Robert Wilkinson is a comparative philosopher who teaches at Open University in Edinburgh and has worked for years in the areas of comparative philosophy of mind and comparative aesthetics. This book should be read as part of a larger discussion of the philosophy of Nishida Kitarō (1870–1945), which began (...) with Keiji Nishitani (Nishida Kitarō, trans. S. Yamamoto and J. W. Heisig, University of California Press, 1991) and continues with Robert E. Carter (The Nothingness Beyond God: An Introduction to the Philosophy of Nishida Kitaro, Paragon House, 1997) and Robert J.Wargo (The Logic of Nothingness: A Study of Nishida Kitarō, University of Hawai‘i Press, 2005), among others. Going beyond his predecessors, however—even though it is unfortunate that Wilkinson does not interact much with them explicitly—Nishida and Western Philosophy prosecutes a clear even if perhaps controversial thesis: that in the end, Nishida’s philosophy of self-contradictory identity was, as a natural outgrowth of his Buddhist and Zen experience of satori (awakening), fundamentally incommensurable with the philosophy of identity that has characterized the major trajectory of the Western philosophical tradition.There are four chapters to the book (besides the introduction and then the summary and conclusions). The first focuses on Nishida’s starting point, the Zen Buddhist experience of enlightenment regarding the ultimate emptiness (mu), which albeit a difficult term to translate can be understood at least in part as referring to the nonduality, or even the interrelatedness, of all reality. Nishida’s work can be seen as a lifelong quest to formalize this experiential insight systematically in dialogue with the Western philosophical tradition. In a sense, this can be understood as a spirituality in search of a metaphysic, and given the emergence of Japan on the world stage at the beginning of the twentieth century, it is not surprising that up-and-coming Japanese philosophers like Nishida sought to legitimate their own insights in the Western idiom. But precisely for the same reason, however, Nishida rarely appealed to Asian sources, even within the Buddhist tradition, especially in his earlier work.Chapter 2 explicates Nishida’s early philosophy of pure experience, particularly as summarized in his Inquiry into the Good (1911; English translation: Yale University Press, 1990). The major dialogue partner at this point was William James and his notion of radical empiricism, which provided Nishida with Western conceptual resources to think through the primordial base from out of which conscious experience emerged. Thus did pure experience point to the nondual dimension of consciousness before the split between subject and object. Nishida never repudiated his Jamesian connection, although his ongoing work pushed him further and deeper into the metaphysical and ontological dimensions of consciousness that eventually left behind James’s more psychologically driven formulations.Next Wilkinson turns to Nishida’s second major book, Intuition and Reflection in [End Page 231] Self-Consciousness (1917; English translation: State University of New York Press, 1987), and focuses primarily on the Japanese philosopher’s interactions with the Neo-Kantian school of philosophy, Fichte, and Bergson. Each of these provided specific resources for this stage of Nishida’s philosophical project. The Neo-Kantians helped him to think about how the noumena-phenomena and fact-value distinctions contrasted with his own philosophical intuitions regarding their primordial unity in historicity. Fichte enabled the forging of a philosophy of action-consciousness, which promised to go beyond the subject-object distinction, even if in the end (for Nishida), the Fichtean ego remained “trapped” within the logic of identity rather than becoming “delivered” by or within the Zen logic of no-thingness. Bergson, meanwhile, was attractive precisely because of his dynamic (rather than static) philosophy of elan vital or conscious becoming even if Nishida was already discerning at this time that the Bergsonian elan both presumed an ontological togetherness that succumbed to the Western logic of identity on the one hand, and was not sufficiently attentive to the contrary of becoming—death, or the lapsing back into no-thingness—which was a prominent feature of historical reality on the other hand. Yet these Western interlocutors... (shrink)