Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...) fantasy, and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

Resumen: El desarrollo del arte de la ópera china en la época moderna ha cambiado mucho con el tiempo. Explicar la esencia del arte de la ópera china y la música vocal desde la teoría de la hermenéutica y la estética de la recepción occidental moderna es beneficioso para ordenar el contexto y las características de desarrollo de la ópera china en diferentes momentos. Al mismo tiempo, proporcionar un método de análisis sistemático para la estética moderna de la ópera y (...) la música vocal promueve el desarrollo estético del arte y contribuye a la innovación de la forma y la refinación técnica del arte de la ópera y la música vocal nacional. La investigación comienza con el análisis teórico de la hermenéutica y la estética de la recepción y verifica y explora la historia de desarrollo de la ópera china. El análisis de la esencia artística de la ópera y la música vocal se resumirá principalmente desde la perspectiva del objeto del texto operístico y el sujeto del público estético. El propósito de esta investigación es explicar las características esenciales del arte de la ópera y la música vocal desde la relación entre el sujeto y el objeto. Además, tiene como objetivo examinar la relación entre el comportamiento de comprensión de las masas y el comportamiento de resumen de los creadores y artistas para el arte de la ópera y la música vocal. (shrink)

In the1960s, texts by the prominent German philosopher and musicologist Theodor W. Adorno were translated into the Czech and Slovak language. This was only possible due to the more relaxed social and political atmosphere of those years. The translated essays were published in professionally-oriented periodicals. This paper is aimed to map and evaluate the reception of Adorno’s translated works in Czechoslovakia. Although these texts embraced above all Adorno’s work in the sociology of philosophy, aesthetics of literature and musicology, (...) this paper is mainly focused on Adorno’s musicological texts. Albeit mostly regarded as an original and extremely versatile author in Czechoslovakia, Adorno was also criticised on the background of Marxist-Leninist philosophy. In order to evaluate the reception of Adorno’s ideas in the Czech and Slovak environment, it is methodologically necessary to adopt a broader aesthetic-philosophical perspective that enables us to account for Adorno’s endorsement of the Marxist philosophy pursued at Frankfurt School of Philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a (...) completed thing or act and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a (...) completed thing or act and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

No-one can read far into our subject without finding an author linking aesthetic experience and freedom in one sense or another: Kant, notably of course, but also Schopenhauer, Schiller, and many more. In this article I want first [A] to remind you in a sentence or two of those by now classic ways of connecting concepts of freedom and aesthetic experience, and then [B] to outline some thoughts of my own. Section [C] opens up in more detail a less frequented (...) and less well-charted topic: basically, the many- layered nature of much aesthetic experience, and how that can involve freedom in an ‘improvisatory’ contribution by the apprec iator. Each layer can be thought of as containing a ‘given’—the product of earlier syntheses, plus a new component, in its turn, to be synthesized, whether historical, scientific, religious, or other. This probably occurs most of all in the aesthetic appreciation of nature, since art offers some controlling, ‘mastering’ of the appreciator’s response. (shrink)

This is an essay in comparative aesthetics. The history of the reception of Indian aesthetics in the UK is a history of non-reception. This essay argues that the reasons for this neglect go beyond cultural arrogance, and can be traced to deep differences in the philosophical presuppositions of Indian and Western aesthetics respectively, especially those rooted in non-Western goal of nirvana.

Cultural factors are operating in the aesthetic experience of pictorial realism, occurring in a transcultural manner, and their effects are salient in beholder’s affective reaction correlated with perceptual-cognitive operation. This paper aims to demonstrate this hypothesis, by developing two analytical tools that might explain the anti-hedonic valence of Hong Taeyong, an eighteenth-century Korean literatus’ aesthetic experience of a Western religious fresco depicting the Lamentation of Christ in a Jesuit Catholic church in Beijing. First, a complex multifold conflict between «actual affect» (...) and culturally modeled «ideal affect», operating simultaneously in his visual experience, might be translated into a highly negative valence of his global affective state. Second, the variance of processing fluencies at different levels would have made his global processing operation less fluid, and it might play a role in his negative affective valence, since the affect is inherent in processing fluency signal. (shrink)

What did Rousseau's readers mean when they called him an ‘Epicurean’? A seemingly simple question with complex implications. This article attempts to answer it by reconstructing Rousseau's contemporary reception as an Epicurean thinker. First, it surveys the earliest and most widely read critics of the second Discourse: Prussian Astronomer Royal Jean de Castillon, Jesuit priest Louis Bertrand Castel, and Hanoverian biblical scholar Hermann Samuel Reimarus. These readers branded Rousseau an Epicurean primarily to highlight his atheism, his anti-providential and materialist (...) natural philosophy. Then, it discusses Genevan pastor Jacob Vernet's positive assessment of Rousseau as a critic of ‘fashionable’ Epicureanism, before reconstructing Rousseau's critique of the reception of Alexander Pope's Essay on Man as an Epicurean text. These sources elucidate Rousseau's engagement with a range of ideas and argumentative positions that would inform his later self-identification as a ‘refined’ Epicurean. In particular, they highlight his interest in how a sentimental awareness of beauty might mitigate the potentially vicious effects of hedonism. The article concludes with novelist Mme. de Genlis’ critique of Rousseau's Wise Materialism, using his thoughts on the imagination to suggest some of the ways the neglected aesthetic dimensions of Rousseau's reception of Epicureanism might be developed. (shrink)

Focillon fastens exactly on a deep difference in the understanding of aesthetic contemplation in the Western and Eastern traditions. Western analyses presuppose and embody assumptions about the ontological ultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. Focillon grasped this, and his views are contrasted with those of Bergson, as well as being confirmed by his contemporary, the eminent Japanese philosopher Nishida.

This essay focuses on a point in Henri Focillon's interpretation of the aesthetics of Japanese art. Focillon fastens very precisely on a deep difference which exists in the understanding of the idea of aesthetic contemplation in the Western and Eastern traditions. Western traditional analyses of contemplation presuppose and embody assumptions about the ontologicalultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. In particular, the idea that the absolute is fully manifested (...) in each phenomenal individual is absent from Western aesthetics. Focillon grasped this, and his views are contrasted with those of Bergson, and confirmed by those of the eminent Japanese philosopher Nishida Kitaro, who was his contemporary. (shrink)

A general tension in contemporary aesthetics can be described as existing between objective truth claims and historical relativity. The former is generally represented by the Enlightenment approaches and its descendants that ground aesthetic judgment in rationality. The latter characterizes the postmodern appeal to historicity and the exposure of historical prejudice. Following mostly the hermeneutical philosophy of Heidegger, Gadamer, Ricoeur, and Dupré, this paper argues how aesthetic theory, defined by either pole, inadequately accounts for historicity. In response to this critique, (...) this paper attempts to navigate between these two poles in returning to an analysis of the nature of history and its phenomenological and ontological significance. It is in the very depth of the historical experience that aesthetics gains its greatest fecundity by means of its commitment to meaning and communication within history. (shrink)

In seinem Aufsatz hebt der Verfasser hervor, dass Croces Asthetik weltweit eines der einflussreichsten Kulturphanomene war, was nicht nur fur die erste Halfte des 20. Jahrhunderts gilt, sondern ebenso fur spatere Reflexe und Erganzungen in der zweiten Jahrhunderthalfte. Die Crocerezeption in Kroatien in der ersten Halfte unserers Jahrhunderts geht in erster Linie auf Mihovil Kombols ganzlich croceanisch begrundetets Werk "Poviject hrvatske knjizevnosti do preporoda" (Geschichte der kroatischen Literatur bis zur Wiedergeburtsbewegung, 1945) zuruck, ferner auf den eher soziologistischen Zugang zur Literatur (...) von Antun Barac, ist zum uberwiegenden Teil aber Albert Haler als einem der grossten Propagatoren der croceanischen Philosophie zu verdanken. (edited). (shrink)

Review of: Marino, Stefano, Terzi, Pietro, Kant’s “Critique of Aesthetic Judgment” in the 20 th Century. A Companion to Its Main Interpretations, Berlin/Boston, Walter De Gruyter, 2020, pp. 361, ISBN 978-3-11-059613-7.

The article analyzes the concept of «reception», which has recently gained popularity, but remains not sufficiently clarified in studies of the history of philosophy. It is assumed that the concept has become the subject of explicit methodological reflection only in the reception aesthetics (Rezeptionsästhetik) of the Constance School of Literary Studies, where it not only opposes the concept of influence, but is interpreted in the context of a horizontal structure for text understanding. At the same time, it (...) is important to distinguish not only the «historical horizon» and the «horizon of modernity» (Gadamer), but also the «horizon of expectations» in its duality: both coded in the text itself and the life practice of the reader, «inter literary» and «external literary» horizons of expectation. The empirical trend of the reception study, developed later, makes it possible to formulate a number of specific proposals for the methodology of historical and philosophical research, which focuses on the principle of «history of receptions». It is clear that only «reproductive» and «productive» reception categories are relevant to this type of research. In particular, it is an analysis of the institutional prerequisites for the reception, the classification of the source base of that received, the channels (re)broadcast of that received, the specification of the types of scientific communication, the tradition determined positive or negative factors of reception, the status of philosophy in particular historical periods. (shrink)

Receptive Spirit develops the thesis that the notion of self-induced mental activity at the heart of German idealism necessitated a radical rethinking of humans’ dependence on culturally transmitted models of thought, evaluation, and creativity. The chapters of the book examine paradigmatic attempts undertaken by German idealist thinkers to reconcile spontaneous mental activity with receptivity to culturally transmitted models. The book maps the ramifications of this problematic in Kant’s theory of aesthetic experience, Fichte’s and Hegel’s views on the historical character of (...) philosophy, the Fichtean model of philosophical communication, and Friedrich Schlegel’s theory and practice of literary communication and criticism. Drawing on Gadamer and McDowell, I argue that the conceptual framework established by the Idealists remains indispensable for orientation in the contemporary intellectual landscape. (See the PDF file below for a synopsis). (shrink)

This study aims to account for the reception of the philosophy of Carl Stumpf since the turn of the twenty-first century and to emphasize the actuality of some of the aspects of his philosophy. The present text is subdivided into several sections, each corresponding to one of the main topics discussed in the recent literature on the work of Stumpf. In the first section, I try to show, using his classification of sciences, that Stumpf's empirical work is driven by (...) a unitary philosophical program. I then examine the ramifications of this program in several areas of philosophy that have been the subject of recent commentaries and publications. I begin with the commentaries on the recent publication of Stumpf's thesis on mathematical axioms, which stress Stumpf's contribution to the philosophy of mathematics and to theory of knowledge, and more specifically to the debate on logical psychologism that Frege and Husserl will address a few years later. I conclude this section by examining the second of two major themes in the work of Stumpf that have been the subject of several recent studies, namely, on the one hand, logic and the nature of states of affairs and, on the other hand, Stumpf's contribution to the mind-body problem and to the topic of relations. The third section is divided into two parts. In the first one, I try to briefly account for the vast literature on Stumpf's contribution to psychology understood broadly enough as to include his work on the psychology of sound, Gestalt psychology, animal psychology and the psychology of child development. I provide, in the second part of this section, a summary of his studies in the area of aesthetics and musicology in general, i.e. his contribution to the history of music and its origins, to ethnomusicology, and to acoustics. Although this study does not aim at being exhaustive, it provides an overview of the important aspects of Stumpf's contribution to philosophy. (shrink)

This well-written, engaging volume by Stephen Teo is a welcome intervention in the field of film studies in that it confronts the hegemony of Western theoretical approaches to cinema and provides a counterbalancing model that applies what Teo calls “Eastern theory” to Western film classics. Although Teo’s use of terms such as “Eastern theory” and “Eastern essence” could be construed as perilously totalizing--painting “the East” with a monochromatic brush that beckons toward a regression into Orientalizing--his apologia for the study and (...) his execution of the analyses are sufficiently adept and focused to remediate the occasional sweeping generalization. Indeed, Teo spends much of his introduction and first chapter... (shrink)

The collection provides an analysis of the concept of beauty in the evaluation of experiments. What properties do practicing experimenters value? How have the aesthetic properties of scientific experiments changed over the years? Secondly, the volume looks at the role that aesthetic factors, including negative values such as ugliness, as well as experiences of the sublime and the profound, play in the construction of an experiment and its reception. Thirdly, the chapters provide in-depth historical case studies from the Royal (...) Society, which also allows for a study of the depiction of scientific experiment in artworks, as well as contemporary examples from the LHC and cases of AI-designed experiments. Finally, it offers a exploration of the commonalities between how we learn from experiments on the one hand, and the cognitive value of artworks on the other. (shrink)

Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative (...) Cinema (1975) were fundamental for recognizing the exclusion of women from the history of the great visual artists and how the male gaze is a predominant kind of depiction that satisfies and is designed from a masculine and heterosexual point of view. -/- During the 1970s and 1980s it started the analysis of the male gaze in literature, film and visual arts, but also the women’s artistic production demanding its recognition. However, it was not until the 1990s that philosophical feminist aesthetics was first addressed as an important and necessary area of study with the special issues Feminism and aesthetics (Hein, Korsmeyer 1990) in “Hypatia: a journal of Feminist Philosophy”, and Feminism and traditional aesthetics (Brand, Korsmeyer 1990) in “The Journal of Aesthetics and Art Criticism”. And the first introductory book on the field, Gender and aesthetics: an introduction by Carolyn Korsmeyer (2004) was published during the first decade of the 2000s. -/- Although feminist aesthetics came later than feminist political philosophy, it appeared almost at the same time as feminist perspectives of other philosophical fields, such as epistemology and philosophy of science. Like other feminist approaches to different philosophical domains, there is not a unitary feminist perspective on aesthetics, however, despite the variety of approaches, all implicitly or explicitly demand the recognition of women in its sphere of influence, that is, philosophy and the arts. Nevertheless, contrary to other fields it does not only take contributions from analytic and continental feminism, but also from cultural theory, art history, comparative literature, film theory, psychoanalysis, just to name a few disciplines and theories. Feminist aesthetics’ literature covers a broad range of topics, but the most important are the feminist critique of philosophical aesthetics and the feminist philosophy and theory of the arts. (shrink)

The article analyzes the influence of Kantian philosophy on the problems and development of Russian empiriocriticism. It is shown that the critical pathos of Kant’s philosophy, as well as his call for intellectual honesty in philosophy, was appreciated first of all. Relying on Kant, Russian empiriocritics proved the inconsistency of metaphysics in both its religious and materialistic forms. In addition, the teachings of the founders of empiriocriticism, E. Mach and R. Avenarius, were also criticized because some dogmatic assumptions were found (...) in them. Attempts to eliminate these assumptions resulted in a dynamic concept of experience, based on which the concepts of empiriomonism (A. Bogdanov), empiriosymbolism (P. Yushkevich), scientific philosophy (V. Lesevich), positive philosophy of life (S. Suvorov), positive aesthetics (A. Lunacharsky), ethics of mutual joy (A. Bogdanov) and many others were developed. Special attention was paid to the analysis of the “thing-in-itself” since this very concept of Kantian philosophy was used by G. Plekhanov to justify “orthodox” Marxism. Russian empiriocritics opposed Plekhanov’s identification of the “thing in itself” and the material object, arguing that the concept of matter is a metaphysical assumption and, for this reason, cannot contribute to refuting dualism and Kantian “agnosticism.” From the monistic point of view, the “thing-in-itself” should be understood on the basis of experience as a necessary form of its organization. According to Bogdanov, there is nothing a priori in the “thing-in-itself”; this idea appeared as a result of substituting the known for the unknown and expressed a process rather than essence. Kant’s aesthetics and moral philosophy were also actively discussed in Russian empiriocriticism. The interpretation of beauty as “expediency without purpose” was extended to the fundamental principle of the “aesthetic worldview,” which gave credibility to the doctrine of the ideal, the practice of social construction, etc. As a result of the polemic with the ethics of compassion, of which Kant was considered the most authoritative defender, an alternative ethic of mutual joy was created. Thus, the influence of Kantian philosophy on Russian empiriocritics was complex and contributed to the development of new ideas. (shrink)

Although research to date has helped in important ways to shed light on the penetration of Burke’s Enquiry into the German-language area, a comprehensive treatment of this reception as a process distinguished not only by changes over time, but also characterized by regional variations, remains lacking. Based on the lectures on aesthetics by August Gottlieb Meißner at Prague University in the late eighteenth and early nineteenth centuries, the paper seeks to illuminate this underexposed regional aspect. The first phase (...) of the reception of the Enquiry took place especially in Berlin immediately after its publication in London in 1757. The second phase can be located mainly in the northern maritime centres of German culture, particularly Königsberg, Riga, Hamburg as well as Copenhagen. Christian Garve’s translation, published anonymously by Hartknoch in Riga in 1773, and Kant’s Critique of Judgement constitute two peaks of north-German interest in Burke’s Enquiry. The intense reception of the Critique of Judgement within German aesthetics around and after 1800 subsequently led to the polemic with the British author becoming a part of Idealist interpretations for the next few decades. Outlining the three centres of the German reception of Burke’s Enquiry begs the question which of them should be connected with Meißner’s remarks concerning Burke’s ideas. Leipzig is presented as another important German-language centre disseminating knowledge of Burke’s Enquiry, especially in the first half of the Seventies, moreover the decisive intermediary for the penetration of the Enquiry into the south-German Roman Catholic areas, Prague in particular. (shrink)

Aesthetics and Modernity brings together Agnes Heller's most recent essays on aesthetic genres such as painting, music, literature and comedy, aesthetic reception and embodiment in the context of the continuing pitfalls of modernity. The essays also throw light on Heller's theories of values, emotions and feelings, embodiment, and modernity. Those with an interest in philosophy, critical theory, aesthetics, and social theory will find this collection illuminating, and an essential addition to any philosophy bookshelf.

This article explores the aesthetic dimensions of scientific experimentation, addressing specifically how aesthetic features enter the construction, evaluation and reception of an experiment. I highlight the relationship between experiments and artistic acts in the early years of the Royal Society where experiments do not serve only epistemic aims but also aim to generate feelings of awe and pleasure. I turn to analysing which aspects of experiments are appreciated aesthetically, identifying several contenders, from the ability of an experiment to uncover (...) nature’s beauty, to encapsulating original designs and human creativity. Following this analysis, I focus on the notion of beauty: what makes an experiment beautiful? Several common qualities are explored, from the simplicity and economy of the experiment, to the significance of the experimental results. (shrink)

It seems to be the case that when we look at a flower in the way that the scientist does, we see the flower in one way, but when we look at the flower in a way as to view it as a thing of beauty, charm, elegance, we see it in a different way; we see it as an aesthetic object. Viewing the flower in such a way as to see it, or any object, as an aesthetic object, is (...) to be in the aesthetic attitude. What this work means to do is to formulate necessary and sufficient conditions for adoption of the aesthetic attitude. ;Analytically and traditionally, the aesthetic attitude is an attitude or state-of-perceiving that is entered into by an agent which serves to make the agent receptive to the having of an aesthetic experience, and transform the object of the agent's attention from an object-in-the-world into an aesthetic object. ;The aesthetic attitude has figured prominently in aesthetics from the Enlightenment until the present. Its most important formulations are disinterestedness , Psychical Distance , Aldrich's Impressionistic Viewing, Scruton's Empiricistic Account, and the naturalistic work of John Dewey and Monroe Beardsley. I conclude that a naturalistic formulation of the aesthetic attitude is correct. (shrink)

Hume's Reception in Early America: Expanded Edition brings together the original American responses to one of Britain's greatest men of letters, David Hume. Now available as a single volume paperback, this new edition includes updated further readings suggestions and dozens of additional primary sources gathered together in a completely new concluding section. From complete pamphlets and booklets, to poems, reviews, and letters, to extracts from newspapers, religious magazines and literary and political journals, this book's contents come from a wide (...) variety of sources published in colonial America and the early United States between 1758 and 1850. As well as classics by Thomas Jefferson, John Adams and Alexander Hamilton, it contains scores of unknown and hard-to-locate items, many of which have not been reprinted since their original publication. These responses are divided into four parts covering Hume's Essays; his Philosophical Writings; his History of England; and his Character and Death. Each of those parts has a separate introductory essay, and every selection is introduced by a short headnote that sets the piece in its historical context and provides bibliographical references. Packed with new insights into Hume and American thought and culture, Hume's Reception in Early America reveals the relevance and impact of Hume on American political, philosophical, historical, religious, and aesthetic debates. (shrink)

This book presents a timely reconfiguration of the relations between art, philosophy, ethics, and aesthetics. Through connection with a range of contemporary social and philosophical issues and movements, this collection of essays highlights the imperative of sensorial aesthetics. The book focuses on the radical philosophical approach to aesthetics enabled by the works of Jean-François Lyotard and Gilles Deleuze. From these philosophers an older meaning of aesthetic has been recalled. Before it indicated primarily the theory of art and (...) beauty, “aesthetic” referred to the sensibility, the capacity to receive sensations. In summoning this “sensorial” meaning of aesthetics in their respective works, Lyotard, Deleuze, and other recent thinkers turn the philosophical theory of aesthetics away from the dominance of cognitivist and reception theories, and towards a thinking of aesthetics through considerations of the movements of matter, affect, and sensation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics, Education, the Critical Autonomous Self, and the Culture IndustryMarianna Papastephanou (bio)IntroductionE Lucevan le Stelle disconnected both from Tosca and Puccini becomes incidental music and brings strong recollections of the detergent advertisement it once coated. Last Year in Marienbad has caused some of the deepest yawn relief to many hopefuls for the title of the sophisticated who wished to cash out the film's cultural and social capital. A (...) painting by a well-known artist in the living room of a middle-upper-class residence often matches the colors of the carpet, and a piece of African art in the corner testifies to the hosts' cosmopolitan respect for otherness and the proper dose of hybridity in their selfhood. The young of the family are said to search for freedom from the puritan lifestyle in Ecstasis. Or, they rebel against the oppressive order of the system through idolizing music bands of an unconventional style and, as a matter of fact, of "unconventional" wealth accumulated precisely through the systemic exploitation of their idolization. The whole family, including the discontented young, will unite in the enjoyment of a new movie in which, just as in hundreds before it, police detectives can solve cases only after their suspension from duty and foreigners prefer to converse in perfect English when they are alone. What all members of the family are sure of by the end of the day, some of them through the prism of heavy drinking and others in the sober appreciation of the latest reality show, is that they exercised once again their free will in all instances. For they oriented their desires, treated as natural and self-posited, to objects they initially lacked but "autonomously" and "critically" found and selected from a rich and all-encompassing marketplace of culture. [End Page 75]How are art, its education, and its educational ideals of autonomy and critique related to this particular cultural reality that I have highlighted? Pseudo-individualism, escapism, Ersatzbefriedigung, fetishization, reification, and educationalization are some of the terms Adorno employed to approach the reality of artistic production and reception in capitalist times while preserving the distance that art offers for critiquing reality.1 In contrast with the above-sketched reality, in Adorno's ultimate aesthetic vision through art the self is not supposed to "forget in dreams the present world, but to change it by the strength of an image."2 Adorno attacks the drive toward a "totally administered" society—that of late capitalism—which "reduces every aspect of present-day life to the dead level of conformist popular 'taste' as dictated by a wholesale culture industry given over to the purposes of mass indoctrination."3 Fundamentally, the culture industry hinders the formation of autonomous, critical, and independent individuals.4I shall argue that such a theoretical framework gives us additional insight through which to combat what has already been perceived in pedagogical discourse as educational inability to cultivate reflective and critical subjectivities. Instead of autonomy, education nurtures narcissism. and instead of critique, it promotes appeasement5 —all the more so when education succumbs to the culture industry or fails to encourage students' critical stance to its imperatives.My position here is that by reclaiming their own valuable connection to reflective artistic experience and reception, aesthetic theory and art education can contribute to a reconceptualization of autonomy and critique and, perhaps more importantly, to a reorientation of educational practice.6 Adorno's aesthetics is exceptionally relevant to this aim because his work exemplifies in a unique way the necessary awareness of the antinomic qualities of autonomy and critique, their ineluctable dependence on society and culture, and their secret culpability in domination. Moreover, Adorno's cultural criticism comprises an unsurpassable diagnosis of those social pathologies that leads away from critical and reflective subjectivity and offers conceptual means for setting a critical eye on some current impoverished practices of teaching art. Above all, Adorno's aesthetic theory displays a remarkable topicality regarding contemporary positions on purely artistic concerns and contentions. Thus, the current neglect of his work in aesthetic educational theory7 must be dealt with since accommodation of such aesthetics within art educational discourse will serve significantly the latter's... (shrink)

This 1990 book is a survey of the critical reaction to Beethoven's music as it appeared in the major musical journals, French as well as German, of his day, and represents the first published history of Beethoven reception. The author discusses the philosophical and analytical implications of these reviews and reassesses what has come to be the accepted view of a nineteenth-century musical aesthetics rooted in Romantic Idealism. Wallace sees Beethoven's critics as in fact providing a link between (...) two apparently antithetical approaches to music: the eighteenth-century emphasis on expression and extra-musical interpretation and the nineteenth-century emphasis on 'absolute' music and formal analysis. This book thus provides, in addition to a carefully documented study of Beethoven's critical reception, a re-evaluation of his oeuvre and its significance in music history. An index of all reviews cited is provided, and a further appendix contains the quoted material in its original language. (shrink)

This is the first study to recognise the broad impact of opera in early-modern French culture._Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to the aesthetic and political agendas of the time; and the long-term development of opera in eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Enlightenment concerns with sensibility (...) and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theatre and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth. (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)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and (...) high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

How is it possible that works of art exist? How do we become receptive aesthetic subjects? The Specificity of the Aesthetic extends these fundamental ontological and phenomenological questions around which Georg Lukács's theory of art was organised. This late work of aesthetics seeks to solve a puzzle that neither philosophy nor socialist politics was able to: the fundamental ethical question of what individuals and humanity as a whole ought to do. Art offers Lukács the already-existing means through which the (...) damaged edifice of Marxism might be reconstructed on a durable basis on which to rest the philosophy, politics, and ethics of a non-Soviet-style Marxism. Erik M. Bachman, Ph.D. (2011), University of California at Santa Cruz, is a Lecturer at that university. Author of Literary Obscenities: U.S. Case Law and Naturalism after Modernism (2018), he has also published numerous essays on modernism, film, and Lukács. Tyrus Miller, Ph.D. (1994), Stanford University, is the Dean of the School of Humanities at the University of California at Irvine. He has published and edited many notable monographs and essays on modernism, critical theory, and the avant-garde. (shrink)

This essay discusses certain problems raised by Edmund Husserl’s conception of meaning with regard to the analysis of aesthetic experience. By referring to Jacques Derrida’s critique of phenomenological idealism I show that the metaphor of “stratification”, adopted by Husserl in his “Ideas” to a problem of discursive expression, if applied to the analysis of a work of art i.e. painting, allows to avoid the objection of “metaphysics of presence” commonly raised towards the phenomenological method.To present the major issue from the (...) perspective of artistic practice, I interpret Honore de Balzac’s short story “Chef-d’oeuvre inconnu”. In conclusion I show that aesthetic consciousness establishes an affective and receptive dimension that is no longer logocentric. This is the main reason why modern phenomenology should focus on the problem of aesthetic experience. (shrink)

This book’s main claim is that political art should not disregard questions of aesthetic reception and value. It argues that some neglected aspects of traditional aesthetics actually enhance the relationship between art and politics more than contemporary art theorists are keen to admit.

Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through this huge, (...) difficult, but revelatory work. Its extended argument is that, despite Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his idea of artistic truth content offers crucial insights for contemporary philosophical aesthetics.The eleven chapters are divided into three parts: Context, Content, and Critique. The first part offers a brief biography, describes Adorno's debates with Benjamin, Brecht, and Lukács, and outlines his philosophical program. The second part is an interpretation of Adorno's aesthetics, examining how he situates art in society, production, politics, and history and uncovering the social, political, and historical dimensions of his idea of artistic truth. The third part evaluates Adorno's contribution by confronting it with the critiques of Peter Bürger, Frederic Jameson, and Albrecht Wellmer.Lambert Zuidervaart is Professor of Philosophy at Calvin College. (shrink)