In lieu of an abstract, here is a brief excerpt of the content:Aesthetics As First EthicsLevinas and the Alterity of Literary DiscourseHenry McDonald (bio)1Notwithstanding the considerable amount of scholarly attention paid since the 1980s to Emmanuel Levinas’s ethical philosophy of “the other,” critics and theorists have generally approached the relation between ethics and aesthetics in his work warily. Although readings of poetry and fiction inspired by Levinas’s philosophy continue to grow at a rapid rate, arguments applying that philosophy to literary (...) and aesthetic theory have been few and tentatively advanced. Some critics have contended that Levinas was something of a Platonic moralist who “disparaged” and “denounced” art and literature as failing to conform to his idea of what was “ethical.”1 If there is a critical consensus on the issue, it would seem to be that Levinas believed that art and ethics are incompatible.2Based on the aesthetic writings that Levinas produced over a four-decade period, as well as on the role literature played in the genesis and development of his ethical philosophy, such assessments seem puzzling. A Lithuanian Jew who studied with Husserl and Heidegger in 1929–30, Levinas (1906–95) came to philosophy initially through literature, especially Russian literature and Shakespeare: “the whole of philosophy,” he said, “is only a meditation of Shakespeare.”3 In the first work of his philosophical maturity, Existence and Existents (1947), discussions of aesthetics and literature introduce and develop the notion of being as il y a (there is), an account which, in giving emphasis [End Page 15] to being’s “horror” (horreur), simultaneously critiques ontology and places ethics on a tragic basis.4 The il y a, along with its temporal counterpart, the entretemps (between times), introduced just one year later in “Reality and Its Shadow” (1948), are of particular importance to his writings on aesthetics, produced during a period from the 1940s through the 70s.5 The latter provide abundant evidence of the potential for ethical meaning, indeed transcendence, he attributed to the artwork, as in “The Poet’s Vision” (1956), in which he asserts: “Literature is the unique adventure of a transcendence beyond all the horizons of the world... the authenticity of art must herald an order of justice” [“The Poet’s Vision” 134, 137]. Although Levinas never completed anything approximating a “system of aesthetics,” it is nonetheless true that in pieces ranging from developed essays on literary theory and aesthetics to brief commentaries on dozens of literary figures and works, he gave substantive indications of the ways in which his radically nonconceptual, nonontological account of ethics might alter our understanding of the status of “the literary artwork.”Most crucial among those indications is the close connection he posited between the alterity, or otherness, of the artwork and its tragic nature, which he defined in terms of his antiontological accounts of “being” and especially “time” (entretemps, “between times”). As early as “Reality and Its Shadow,” Levinas proposed the thesis, extended in his later essays, that the alterity of art and literature was located not in any ontological or conceptual “beyond”—in a spiritual dimension “which sets itself up as knowledge of the absolute” [1]—but in the “interstices” of language [3], in the “between times” (entretemps) of its modes of temporality: which can be accessed only by way of “the tragic” in art. Time in Levinas’s aesthetics is signified diachronically, from within a region of diaspora. What Levinas terms “alterity,” or otherness, points not toward a privileged, interpersonal dimension freed from the problematics of modernity, but strives to expose the complicity between the West’s concept of rationality and its history of barbarism exemplified by the Holocaust, its history, as Levinas put it, of “National Socialism, Stalinism, the camps, the gas chambers, nuclear weapons, terrorism and unemployment.”6 Art and literature demonstrate a utopian, emancipatory potential in revealing the fissures and hidden pathways that run through the hegemonic structures and totalizing frameworks of modernity.A central aspect of such an aesthetics is its privileging of music and musicality, which Levinas shares with a more recent thinker and critic, Paul Gilroy.7 Like Gilroy, Levinas deploys “musicality,” which he characterizes as “writing in its significance without signifiers” [157] not just to “refute,” as Gilroy... (shrink)

The Baltic philosopher Vasily Sesemann (1884-1963), rooted in the Classics and influenced but not dominated by Kant, Herder, Bergson, Husserl, and Lossky, was a first-rate scholar in the fields of aesthetics, epistemology, logic, and history of philosophy. But he is still relatively unknown internationally because he wrote mostly in Lithuanian and some of his many works are only now being translated into English. This successor volume to his Aesthetics collects eight noteworthy essays, ranging from the scholarly to the popular, on (...) aesthetics, aesthetic education, national culture, and theory of knowledge. They reveal a sympathetic and responsive mind equally at home in Ancient Greek and modern French, German, and Russian philosophy; and capable both of untendentiously expounding their dominant ideas and fruitfully anticipating newer developments even as the latter began to take shape in early-to-mid-20th-century Western European philosophy. Hallmarks of Sesemann's thought are the Heraclitean preference for becoming (dynamism, change) over being (stasis, timelessness) and the idea that any culture, in order to survive and grow, must be intellectually deep and open to foreign influences. This insight has crucial relavance to the debates about multiculturalism today. Does it make sense to refer to the social and political existence of the Baltic countries as to being between civilizations of East and West, or as being on the boundary of two worlds? What are the most characteristic features of modern moral imagination? How does it manifest itself in the politics and cultures of the Baltic countries? These will be the main foci of the book series intended and launched as a critical examination of identity, politics, and culture in the Baltic countries. We are not going to confine this series to Soviet and post-Communist studies. By offering a wide scope of the social science and humanities disciplines, we would like to encourage intercultural dialogue and also to pursue interdisciplinary research in the field of Baltic studies. (shrink)

ABSTRACT This contribution to phenomenological aesthetics takes inspiration from Martin Heidegger’s idea that poetry arises out of the experience of thinking and thinking out of the experience of poetry. The mutual nourishment of philosophy and poetry is put into practice here through a presentation of three poems and the reflections they provoke. The poems are the work of a contemporary Lithuanian-American poet, Rita Malikonytė Mockus. The reflections derive their basic orientation from Heidegger’s phenomenological philosophy of art. This philosophy is phenomenological (...) inasmuch as it views art in terms of what Being and Time characterizes as the preeminent phenomenon, the one bestowing presence on beings while itself receding from presence. This phenomenon, for Heidegger the one and only phenomenon in the strict sense, is Being as bestower of presence. For Heidegger, art in general and especially poetry might “awaken and found anew our vision of, and trust in, that which bestows.” Such vision and trust correspond to the ancient attitude of reverence for what has been bestowed, versus the hubristic attitude of modern technology. The goal of the paper is to appeal to poetry in order to help awaken this reverential attitude which Heidegger sees as the antidote to the thrall cast over us by the things of modern technology. At the end, reverence is brought into relation with Kant’s conception of the beauty of nature as purposiveness without a purpose. (shrink)

In large and small villages, regardless of tourist attraction, cultural life is faded; people's initiative is low as urban migration is extremely high. Many ethnographic villagers do not realize that they live in a significant for the state areas. The younger generation is embarrassed by local traditions, folklore. The low level of aesthetic education, and the poor possibilities of organizing artistic celebrations for the younger generation make them the users of the lowest level of urban culture. The relevance of the (...) research: employees of Lithuanian rural culture centers - a group uniting almost three thousand people, invited to make sense of rural people's leisure time, to create conditions for the development of amateurism in small villages. 882 country cultural centers in villages, towns and cities are institutions of universal use or specific activities. Their work varies, depending on what traditions have formed, the ambitions of the district or eldership that local cultural and sports departments seek. You will not find a cultural center where they would not sing, dance, play, perform, or celebrate. Also, exhibitions are regularly opened. Obviously, more intensive activity takes place in metropolitan areas, district centers, and in resorts during the summer. As here there is more space, more culture and more communities. Village and town culture institutions that are constantly communicating with schools, libraries, religious communities, neighborhoods, and sports clubs are also gaining significant results. However, it is appropriate to move to specific data from the theoretical point of view. Those members of rural communities who go in for sport individually face health supervision problems. Inadequate attention is paid to the development of personal responsibility for one's health and the promotion of a healthy life: proper nutrition, active rest, less health-hazardous environment, abandoning harmful habits and etc. in an environment contrary to life in the countryside. It is important to develop a physically active and healthy society, consciously aware of the importance of a healthy lifestyle, to create a favorable environment for leisure time and sport and for the improvement of health of rural population, moreover, to increase the development of physical education and sports services in rural districts of Lithuania, to increase the quality of sports services, giving rural residents wider opportunities to meet their needs. The problem of the research: the lack of cultural and sporting services in rural communities. The analysis of the problem is based on scientific data of Aleksandravičius and Žukovskis, Baršauskienė, Leliūgienė, Kroeber A., Kluckhohn, Nefas, Paulikas, Adomonis, Putnam, Biologur, documents regulating the activities of rural communities. Methodology of the research: In order to achieve the goal, the analysis and synthesis of scientific literature, legal documents and other information sources and statistical data are used. The aim of the research: to reveal the factors of cultural and sports development in rural communities. Research objectives: to describe the development of cultural and sports services in the context of rural communities' activities; to identify the most significant factors in the development of cultural and sporting services in rural communities. Conclusion. Activities carried out by organizations of rural communities include a wide range of community needs, including the organization of cultural and sporting events, improvement of environmental management assistance, and others. As the main problems of rural community activities, the poor condition of rural social infrastructure objects are mentioned, therefore the process of establishment of community centers for the establishment of universal multifunctional centers is one of the significant tools for the development of rural communities and thus the development of cultural and sports activities. (shrink)

This is a philosophical study by Lithuanian authors on issues related to how to teach philosophy, especially moral philosophy, through films, paintings, images, etc. The topics include multimodality as a synthesis; semiotics and language and image; cinema and philosophical education; postructuralism; film education; value education through spiritual cinema; Eastern Ethics for Western students through multimodal education; philosophy for children; sound and multimodality; Pedagogy of aesthetic to eco-pedagogy, etc.

[full article, abstract in English; only abstract in Lithuanian] Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the (...) depicted object situated from the space in which the viewer of the photograph resides that renders the photograph spatially agnostic. It is the timeless photographic world rather than the photographic object that renders egocentric spatial information inert. With this new formulation of spatial agnosticism, I propose that spatial agnosticism needs to be coupled with the temporal dimension in the efforts to refute the thesis of transparency of photographs. (shrink)

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

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)

An exploration of the role of pleasure or delight (le樂) in classical Confucian ethics. Building on Michael Nylan's account of the role of pleasure in public spectacle and social order, I explore how the meaning of delight (le樂) derives from the features and effects of music (yue樂). Drawing on Dewey's aesthetics and accounts of music in Confucian texts, I explore a conception of Confucian ethics, in which delight—like states generated through everyday social interaction are foundational.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

The purpose of this paper is to introduce everyday aesthetics in education. First, it presents everyday aesthetics as a subdiscipline within philosophical aesthetics, that revisits sensory perception as the backdrop of all experience, claims ordinary life is a proper venue for aesthetic inquiry, and problematizes the impact aesthetic preferences have on habitual decisions. Second, the paper argues that among the diverse matters students learn in school, they learn—explicitly or implicitly—what and how to perceive, as well as the pedagogical purposes of (...) daily perception. School models the relationships that students will develop between what they perceive, what they think about it, and how they act accordingly. Next, the paper elaborates on the notions of “school aesthetic matrixes” and “space and place in school”. School aesthetic matrixes refer to perceptual patterns that allow characterizing relationships between daily perception and the pedagogical project of a school. They manifest through expressions such as prison school, home school, mall school, etc. Space and place in school allude to concomitant experiences, of corporeal basis, that allow describing how we inhabit the world. What distinguishes them is the approach each one gives to the senses and the body. The paper concludes by calling attention to the comprehension and role of perception in education, urging to mind the aesthetic-pedagogical character that students develop throughout 12 years of schooling. Ultimately, the key relationships we develop with ourselves, others, and the world, entail a basic perceptual dimension that can be educated to become more purposefully and integrally present in life. (shrink)

Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, (...) and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics. (shrink)

A comprehensive and accessible introduction to the development of and current debates in the aesthetics of food and drink.

Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer (...) new orientations to our understanding of embodied cognition and of aesthetics as a fundamental part of it. We argue that aesthetic experience, especially its emotional dimension, is an evaluative process that influences the anticipation for stable and successful interactions with the environment. In other words, aesthetics facilitates sense-making as they affect what might be anticipated by an action tendency with respect to an environment. (shrink)

Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed. But aesthetics is not a discourse. It is an historical regime of the identification of art. This regime is paradoxical, because it founds the autonomy of art only at the price of suppressing the boundaries separating its practices and its objects from those of everyday life and of making free aesthetic play into the promise (...) of a new revolution. Aesthetics is not a politics by accident but in essence. But this politics operates in the unresolved tension between two opposed forms of politics: the first consists in transforming art into forms of collective life, the second in preserving from all forms of militant or commercial compromise the autonomy that makes it a promise of emancipation. This constitutive tension sheds light on the paradoxes and transformations of critical art. It also makes it possible to understand why today's calls to free art from aesthetics are misguided and lead to a smothering of both aesthetics and politics in ethics. (shrink)

When, in 1735, Alexander Gottlieb Baumgarten added a new discipline to the philosophical system, he not only founded modern aesthetics but also contributed to shaping the modern concept of art or 'fine art'. In The Founding of Aesthetics in the German Enlightenment, Stefanie Buchenau offers a rich analysis and reconstruction of the origins of this new discipline in its wider context of German Enlightenment philosophy. Present-day scholars commonly regard Baumgarten's views as an imperfect prefiguration of Kantian and post-Kantian aesthetics, but (...) Buchenau argues that Baumgarten defended a consistent and original project which must be viewed in the context of the modern debate on the art of invention. Her book offers new perspectives on Kantian aesthetics and beauty in art and science. (shrink)