In lieu of an abstract, here is a brief excerpt of the content:The Demise of the Aesthetic in Literary StudyEugene GoodheartAnumber of years ago at an MLA convention I was on a search committee interviewing candidates for a position in Victorian literature in our department. One of the candidates had done a dissertation on Christina Rossetti in which “Goblin Market” played a prominent role. As I recall, the candidate was putting forth a New Historicist or feminist argument about the poem, (...) when one of my colleagues on the committee interrupted her with the question: “But is it a good poem?” The question took me by surprise, for I didn’t remember such a question having been asked of students in years. It dumbfounded the candidate. She had apparently never considered the question. The poem was there as an occasion for... I was about to write interpretation or analysis, but it would be more accurate to say: a placement in a particular discourse—historicist, feminist, deconstructionist, ideological. The candidate’s fluency about the poem came to a halt. She spluttered a few phrases about the power of the poem. She was unprepared to answer the question, having never been asked or taught to ask it by her teachers of any poem or novel or play that she had read.We may not have been fair in our judgment of her. If we had been consistent and asked the same question of all the candidates, I don’t think we would have met with greater success. Our candidate’s disability was, indeed still is, built into the profession of literary studies at the present time. That aesthetic judgment is not one of the current professional practices is clear not only from its absence in the content of literary study but from the styles of the discoursers. No longer written [End Page 139] in a vernacular style, criticism has become a species of sociological prose once held in contempt by literary scholars: ponderous, abstract, obscure, ungainly, jargonish. There are practitioners of New Historicism, ideology critique, and deconstruction who write well, but who seem to regard their own gifts of expression as incidental, and are not in the least discomfited by the bad writing of others.Style is not an incidental matter. Orwell made a compelling case for its political and moral significance. In his classic essay “Politics and the English Language,” he preaches the virtues of plain speech, the transparent and elegant style as a mark of self-honesty. (Transparency makes it difficult to conceal your ideas from yourself.) In Writing Degree Zero and subsequent writings, Barthes deconstructed, so to speak, the Enlightenment myth of transparency as a guarantor of honesty and truth. Reality was not as perspicuous to “natural” plain writing as the Enlightenment believed. Barthes’s own style (rich, inventive, personal, alternately perspicuous, and obscure) is that of an imaginative writer. I don’t want to adjudicate the differences between Orwell and Barthes, but I should note what may not be obvious: they have a shared aesthetic concern with style, a concern that has virtually disappeared from academic discourse.It has become almost an embarrassment to speak in behalf of aesthetic value in the academy. One of the few unembarrassed exceptions is the voice of Harold Bloom whose jeremiad The Western Canon begins defiantly with an affirmation of the aesthetic against its demystifiers. “‘Aesthetic value’ is sometimes regarded as a suggestion of Immanuel Kant’s rather than an actuality, but that has not been my experience during a lifetime of reading.” 1 I take it that Bloom is saying that aesthetic value is an experience and not a theory. Indeed, if we insist on a theoretical justification of the aesthetic, we will end up speaking as does Barbara Herrnstein Smith of its contingent and subjective status (it is in the eye of the beholder and every beholder sees things differently) or we may find that the aesthetic is inescapably contaminated by political, moral, and philosophical interests. “Contaminated” perhaps, but as Bloom says, not reducible to these interests. It is useful to remember that aesthetics has been traditionally associated with the idea of disinterestedness. As Jerome Stolnitz remarks, we perceive beauty when it is the object of a “disinterested and sympathetic attention... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain why we (...) chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

Thee paper presents Marcilio Ficino’s aesthetics which is of a specific kind and differs from what we usually understand under the term. It expresses more than only thoughts on beauty and art, speaks about more than only the varieties of beauty, and deals with more than just the work of art—the object of art—and its relation to beauty. Traditional concepts played an important part in Ficino’s aesthetics, but alongside narrowly understood “proper” aesthetics, he offered another, very (...) broad view of the entire aesthetic sphere, which allows his entire philosophy to be viewed as aesthetically rooted: love and beauty, which are among the driving ideas of his philosophy, are also aesthetic concepts. There are two other important elements in Ficino’s philosophy, God and the world, bound by a special relation based on his concept of the circuitus spiritualis. A cardinal theme in his philosophy, the circuitus spiritualis combines God with the world and is at once beauty, love and the highest degree of happiness. (shrink)

Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. In particular, we begin with (...) theorizations of the subject-object nexus within object-relations theory to consider the transformative potential of aesthetic experience. Using these literatures, and extending them to others within sociology of the arts and materiality, our focus is on the way aesthetic experience can fuse human subjects with aesthetic objects. We examine how viewers take an aesthetic object into themselves and in turn project themselves into the aesthetic object by various visual and imaginative techniques. Our theoretical and empirical analysis bears out the constructive and productive capacity of aesthetic experience. (shrink)

Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed (...) class='Hi'>aesthetics as "first philosophy" and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is "for us." This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Chinese Aesthetics in a Global Context by Zhirong ZhuYiping Zhang (bio)Chinese Aesthetics in a Global Context. By Zhirong Zhu 朱志榮. Translated by Xurong Kong. Singapore: Springer Nature, 2022. Pp. xi + 327. eBook €85.59, isbn 978-981-16-7749-6. Zhirong Zhu's Chinese Aesthetics in a Global Context (hereafter Chinese Aesthetics) is a translation of the author's Chinese book, which was originally published by East China Normal University (...) Press in June 2012. This book explores aesthetic issues in Chinese culture and traditions, including underlying humanistic values, with Western theories as a reference point. The current state of philosophy in China cannot be narrated without contemporary theories of aesthetics in the Western world. Buddhism, Daoism, and Confucianism played a long and unique intellectual role in China's history, and this book highlights their positive contributions. For instance, the author's two important themes are the connection of society with nature and the integration of humans with nature. Through a clear and elegant philosophical account of Chinese society, Zhu constructed a Chinese aesthetic theory within a global context and with a global perspective. As Kang Liu points out in the foreword, aesthetics became a phenomenon in China in the late 19th century, when Chinese society incorporated Western knowledge and entered the modern world, whereas aesthetics was part of the enlightenment period of Europe from the 17th to the 18th century. A major paradigm shift occurred in China, which began in 1978 with the start of the Reform and Opening-up. In the 1980s, as Liu further notes, the aesthetic fever testifies to intellectuals' universalism after decades of self-imposed isolation. Most importantly, Liu explains that emancipation gave rise to intellectuals theorizing on thinkers from Hayek to Sartre, from Bakhtin to Derrida, as well as through novels, films, and poems. This paradigm shift gave rise to a decade of reflection on culture or culture fever. Globalization marked a new era for China, with mass translations of foreign literature, theories, arts, and most importantly, comparative literature. It was during this time that aesthetics emerged and a political allegorical mode of inquiry, which defined aesthetic studies around the world of academics and intellectuals, emerged in China as a universal value. Without a doubt, Chinese Aesthetics is an important book, providing an in-depth and comprehensive account of Chinese aesthetics in a global context. [End Page 1]In the 25-page introduction (Chapter 1), made up of four sections, the author discusses the origins of aesthetic theory, offers an evaluation of modern Chinese aesthetics research, and proposes the establishment of Chinese aesthetics with a global perspective. The introduction further outlines the characteristics of aesthetics, as well as the contents and research methods of aesthetic theory. Perhaps "Establishing Chinese Aesthetics with a Global Perspective" is the most interesting part of the introduction. It discusses both Chinese tradition and contemporary Chinese culture. The author notes, for instance, that in ancient China the aesthetic experience was described as miaowu 妙悟 or "wondrous enlightenment." This understanding of the contingency and suddenness of wondrous enlightenment has formed a long-standing and profound tradition, which is richer and deeper than Western intuition theory (p. 9). Zhu aims to contextualise aesthetic theory as, firstly, an expression of diversity and national consciousness. Secondly, it should reflect both historical and contemporary consciousness. Thirdly, in aesthetic theory, history and logic should be promoted in a unified way. Fourthly, aesthetic theory should unify evidence and speculation. Chapter 2, "Aesthetic Activity," discusses the origins, nature, psychology, and characteristics of aesthetic activities. Art, for instance, is a higher-level aesthetic activity and beauty is of a lower level. As Zhu explains, aesthetic activity is but one activity among various activities in the globalized space. It is a process that starts with childhood and continues to maturity. As society evolves and advances, these two human developmental stages further advance the subject's spirit. Throughout the subject's entire life, the process of self-construction occurs and is an activity of spiritual enjoyment. There is an important continuity between Chapters 2 and 3, on the "Aesthetic Object." For the aesthetic activity to be completed, the aesthetic image needs to be created. This image is created through the... (shrink)

Art makes its mark upon our flesh. It ravishes our eyes, invades our ears, and stirs our viscera; it commandeers our powers of attention and unsettles our body with its strangenesses. The event of art is thus an encounter both with a sensuous object and with ourselves, exposing us as subjects strangely susceptible to being moved. The 21st-century European thinkers elucidated here describe a theory of the aesthetic subject: Irigaray articulates the basic outlines of a subject ill at ease (...) with itself. Badiou, Nancy, and Perniola theorize art as an event of deformation that befalls an aesthetic subject fundamentally invested in form. Rancière and Sloterdijk explore the figuration of the body (and its limits) in contexts closer to everyday experience and our life within modern history and politics. This study brings together feminist, psychoanalytic, and phenomenological inheritances to describe the operations of the real in art and aesthetic life. (shrink)

The dissertation offers a study of Kant's aesthetic theory as it is developed in the "Critique of Aesthetic Judgment", the first half of his Critique of Judgment, which is widely acknowledged to be the founding text of modern philosophical aesthetics. I aim to show that this work elaborates an important and deeply interesting study of the nature and conditions of aesthetic judgment which---despite the recent resurgence of commentary and of secondary literature---has not yet been inherited. I give an account (...) focused on understanding Kant's idea that aesthetic judgment makes a claim to "subjective universality" and "exemplary necessity", the "twofold peculiarity" of aesthetic judgment that Kant himself presents as the main thematic guiding the course of the Critique. I argue for an interpretation of Kant's notion of aesthetic judgment which takes seriously his idea that its demand for the agreement of others takes the form of a presumption, in which the judge offers her judgment as exemplary of a "universal voice", apart from any independently or transcendentally assured authorization. (shrink)

An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, and then (...) considers and rejects twelve reasons for thinking that deriving knowledge from something is incompatible with maintaining an aesthetic attitude towards it. Two main conclusions are drawn. 1) That the representational arts are often in a good position to communicate non-propositional knowledge about human beings. 2) That while our desire to obtain pleasure from a work's manifest properties, and our desire to obtain knowledge from it, are not the same motive, the formal similarities between them are sufficiently impressive to warrant both being seen as elements of the aesthetic attitude. (shrink)

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic material.If one (...) is to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aesthetics in Feminist PerspectiveJulie Van CampAesthetics in Feminist Perspective, edited by Hilde Hein and Carolyn Korsmeyer; xv & 252 pp. Bloomington: Indiana University Press, 1993, $39.95 cloth, $14.95 paper.Has feminism been hijacked by one lock-step agenda, suppressing all dialogue and debate? Far from it, judging from this collection of seventeen essays on feminist aesthetics. The first such collection in English, it includes eleven essays previously published (...) in Hypatia (1990).This well-organized volume offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors. The section on “The Nature of Art: Some Feminist Alternatives” considers feminist perspectives as alternatives to traditional concepts of art, motivated by considerations of the art of women. Skepticism abounds in the section on “Interpretation and Point of View” concerning a “universal” or “paradigmatic” female voice in literature, film, and visual art. “Philosophical and Critical Legacies” reveals diverse feminist readings of Kant, Nietzsche, Cartesian metaphysics, and postmodernism.Co-editor Hilde Hein proposes that aesthetics provides a promising road map for feminist philosophy and indeed philosophy generally. Aesthetics has learned to reject foundationalism and essentialism in favor of pluralism, a necessity in the face of the astonishing diversity and ever-changing landscape in contemporary art. This theoretical transition in aesthetics shows how philosophy could fruitfully shed the false security of essentialism to embrace the sometimes raucous pluralism of methods, races, cultures, and genders assaulting all humanities disciplines in recent decades. As co-editor Carolyn Korsmeyer notes, feminist scholarship challenges “the mask of universality and gender-neutrality” (p. vii). [End Page 178]The myth that feminist scholarship is merely thinly veiled political action, devoid of intellectual integrity, is shattered by this collection. Well-represented is the diversity of analytic and European methodologies that enrich contemporary philosophical dialogue. Many of the articles scrutinize the nature of “feminism” itself, as well as appropriate methodologies and questions. The interdisciplinarity of feminist research also is in welcome evidence, with seven essays by scholars from English, African-American studies, music, and psychology.Should feminist art and aesthetics be “nondominative”? Should it “endorse” female experience? Do proposals for “ideal” feminist artistic expression inadvertently retreat to the essentialism and uniformity that feminists have sought to dispel? Should feminists reject the tradition of “formalism” in favor of an approach that re-integrates art with the community and the concerns of daily life? This perspective is widespread today in postmodern thought, but feminist considerations bolster the case made elsewhere for the fall of the so-called elite object.Are there distinctive features that mark the work of female artists, such as group participation, rather than performances for passive audiences? This feature is pervasive in contemporary art, from the happenings of Andy Warhol in the 1960s to the “Messiah” sing-alongs popular for decades. Is feminist art marked by a melding of aesthetic and erotic elements? Surely that is also a trait of the art of most cultures, by men as well as women.These explorations reveal a paradox in today’s feminism. In highlighting female traits (such as the virtues of being caring and nondominating), are women being celebrated, liberated, and freed? Or are they frozen into roles which not all women consider their most important attributes as persons?Female artists and theorists deserve enormous credit for encouraging a re-thinking of the ways in which art is created and understood, but many other forces drive these developments as well. Indeed, some of the harshest critics of analytic philosophy are analytic philosophers steeped in that tradition, both male and female. It seems a pointless chicken-and-egg exercise to wonder if feminists caused this re-thinking or were one of several groups in a happy confluence of re-examination from various perspectives. Fortunately, the issue need not be resolved for scholars and students to appreciate this outstanding volume.Julie Van CampCalifornia State University, Long BeachCopyright © 1995 The Johns Hopkins University Press... (shrink)

Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of modernist objects. Contributors explore the many tensions surrounding the modernist relationship to objects, things, products and artIfacts through the prism of poetry, prose, visual arts, culture and crafts.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 62-79 [Access article in PDF] Literature Itself:The New Criticism and Aesthetic Experience Daniel Green I AFTER ALMOST TWO DECADES of tumult and transformation in university departments that still claim literature as part of their disciplinary domain, what is most remarkable about literary study at the beginning of the twenty-first century is how similar it is to what passed for such study at the beginning (...) of the twentieth century. Like philology one hundred years ago, academic literary study today—at least at the most eminent universities and in the most prestigious journals—is a highly esoteric activity, unlikely to appeal to anyone outside its own "professional" boundaries, anyone whose foremost interest in works of literature is simply to read them. It is, therefore, an endeavor that could hardly exist outside the university's institutional protection, and it is most strikingly concerned not with the appreciation of the intrinsic qualities of literature but with the historical and cultural "knowledge" that can be acquired from works of literature through a special kind of analysis. The effort, chronicled by Gerald Graff in Professing Literature, to make "literature itself" the focus of academic study and to establish "aesthetic criticism" as the primary mode of literary study must surely be judged a failure, the current academic scene clearly dominated by the sort of scholars Graff terms "investigators." 1But of course the motives for rejecting the merely literary as a focus of study are quite different among current scholarly investigators as compared to the philologists of 1901. The attitude of the latter can probably be captured in the words of one of them quoted by Graff: "Why then waste time and brains in thrashing over again something which is after all only subjective opinion? Mere aesthetic theorizing [End Page 62] should be left to the magazine writer or to the really gifted critic" (p. 124). Such "researchers" did not deny the value of reading works of literature; they simply considered this value to be essentially "subjective," not an appropriate object of academic scrutiny. While these remarks do imply some condescension toward the "really gifted critic" and this critic's "mere aesthetic theorizing," they do not repudiate the very idea of an aesthetic approach to literature. The present generation of academics engaged in the investigation of literature, on the other hand, have repudiated the aesthetic approach, either explicitly, through the well-publicized critiques of the canon, of the very notion of the great work, or of the remaining approaches still associated with New Criticism, or implicitly through the gradual establishment of cultural investigation as the new norm for the professional training of graduate students and as the dominant mode of analysis in the influential journals. Moreover, the primary motive behind the renunciation of the aesthetic has more to do with politics than with methodology: for these scholars, the aesthetic is literally useless, quite irrelevant to the paramount goal of "intervening" in a continuing ideological struggle that is thought to be the main business of the university scholar.In the context of the history of modern literary criticism (as opposed to the history of the American university), the current situation mirrors that which prompted the emergence of The New Criticism in the 1930s. Although Vincent Leitch identifies "the evocative mode of Impressionist criticism, the moralism of Neo-Humanism, the anti-modernist cultural criticism of Mencken and Van Wyck Brooks," as well as the "sociologizing" of Marxist criticism" as the collective bêtes noires of the New Critics, it was clearly the latter they considered to be the most unwelcome. Not only had it effectively eclipsed the other practices, but it could be said to have exhibited most of those characteristics against which New Criticism expressed the deepest antipathy. 2 Compared to the close reading New Critics would espouse, Marxist criticism was superficial, willing to settle for the most readily available interpretation (according to the Marxists' own critical assumptions), moralistic, committed to the idea that the best literature was that which could be shown to be good for you, historicist, concerned to place works... (shrink)

Metrology is a discipline of expunging impurities. The mid-nineteenth century French physicist Henri-Victor Regnault created a whole new way of doing experiments, attempting to produce standards physically by the "direct method." His immodest ambition to control all disturbing parameters represents a relict in the physical sciences of Romantic hopes for an all-embracing, artistic and aesthetic approach to nature, expressed in the absolute, eternal determination of nature's constants and their numerical relationships. The novelist Gustave Flaubert, whose rejection of metaphysics, love for (...) finest detail, concern for impartial treatment of the human psyche, and perfectionism, made him Regnault's literary complement, likewise hoped for this utopian union of science and art. There is a romantic and a modern ring to their ideals which were not to be achieved by optimism, but by introducing systematic doubt, by thoroughly studying impurities and expunging them. Nature did not speak clearly, but hid behind a multitude of disturbing effects—revealed only by the experimenter's or writer's voluntary restraint and self-denial, a disinterestedness Regnault and Flaubert celebrated as the highest and holiest morality. For them, attention to secondary matters became primary, because they expected them to lead the way to the grail. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my (...) senior year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

Over the course of the past forty years, Ge;rard Genette’s work has profoundly influenced scholars of narratology, poetics, aesthetics, and literary and cultural criticism, and he continues to be one of France’s most influential theorists. The eighteen pieces in Essays in Aesthetics are of international interest because they are concerned either with universal aesthetic problems (the receiver’s relationship to an aesthetic object, abstract art, the role of repetition in aesthetics, genre theory, and the rapport between literature (...) and music) or with specific moments in the work of a well-known writer or artist (such as Stendhal, Proust, Manet, Pissarro, and Canaletto). Essays in Aesthetics contains a wealth of material related to the appreciation of beauty by one of the subtlest and most original minds working in aesthetics today. Genette knows the fine arts as well as he knows literature and as a result has innovative things to say to readers in that field as well as to philosophers and literary scholars. (shrink)

Introduction : aesthetics in the age of consumer culture. Some terms -- Attention and distraction : the billboard as mural form -- Fascination; or, enlightenment in the age of neon light -- Poetry, replication, late capitalism : Octavio Paz as concrete poet -- Lygia Clark, at home with objects -- Conclusion.

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

There is an analogy between a scientific approach to medicine in which the patient ultimately becomes an object of study rather than a whole person, and a post/modern aesthetic in literature in which the subject has little or no agency in a chaotic linguistic universe. Raymond Carver died of cancer in 1988, and in both his pre- and post-diagnostic poetry there is humanistic lyricism that contributes to re-establishing empathic bonds between readers and characters, and to re-humanizing the patient as (...) a whole person in the context of contemporary health institutions. Close readings of poems with descriptions of the autopsy room and of patient-doctor relations bring out the medical humanism in Carver's verse. (shrink)

Cavell’s interest in aesthetic objects can be understood to be motivated by an interest in the nature of meaning and value. The idea is that perceptual objects considered as cultural artefacts under-determine the meaning and value attributed to them. The process involved in determining their meaning and value is essentially a creative one. Through his study of film, literature and music, Cavell could be said to indirectly address the axiomatic, or what is sometimes referred to as the bedrock, of our (...) value judgments. In being embedded within larger cultural commitments, such axioms are impenetrable to the traditional analytical approaches in Anglo-American philosophy. Cavell’s style of philosophy can be understood to have been pioneered to attempt to understand and clarify aspects of experience which elude traditional analytical methods. (shrink)

The decades following the civil rights and decolonization movements of the sixties and seventies - termed the post-soul era - created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of 'Black aesthetic time' - a multipronged theoretical concept that analyzes the ways race and time collide (...) in the process of cultural production - she assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without borders - or, to use her concept, from the permeable, supple place of Black aesthetic time. Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves. (shrink)

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as (...) an introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Praise of Blandness: Proceeding from Chinese Thought and AestheticsJoseph GrangeIn Praise of Blandness: Proceeding from Chinese Thought and Aesthetics. By François Jullien. Translated by Paul M. Varsano. New York: Zone Books, 2004. Pp. 1,969.A book praising "blandness"—which is the translator's English word for the French fadeur, which is the author's translation of the Chinese dan!—and a book that is at once fascinating and "repellent" (to use (...) the translator's description of his tortuous search for an equivalent of fadeur and dan), In Praise of Blandness: Proceeding from Chinese Thought and Aesthetics by François Jullien is a "globalizing" philosophical essay bent on stopping readers in their tracks at every twist and turn of the text. Is it worth the trouble? I shall venture a response in this review.More than once while reading this book, I was reminded of Plato's Sophist, where the difficulty in locating the sophist is described in such intricate detail. First he is here, but then he is over there; on the other hand, he could be hiding near by— but wait, maybe he has disappeared. So it is also with blandness. And perhaps it should be so, because once you have located the bland, it ceases to be bland and turns into something else. To take a fix on blandness Jullien throws it against a number of traits, qualities, experiences, and events: strength, music, sounds, signs, landscapes, painting, tastes, literature, ideology, margins and centers, and, finally, the fact that "transcendence is natural." At the same time, the author weaves these contrasts and comparisons through the history of Chinese culture, especially in the evolution of its painting and poetry. [End Page 484]Foremost among the qualities associated with blandness is inner detachment. What come immediately to mind are Daoism, Chan Buddhism, and aspects of Confucian teaching. Jullien has already given us a splendid treatise in his The Propensities of Things, and in some ways this volume rings many changes on that study of Chinese culture. But there is more to blandness than causal efficacy. It also suggests openness and a mood of friendliness toward the other, the different, and all things strange. Further, blandness is similar to harmony in the sense that it does not insist on its own presence. Rather, it constantly blends together opposites through its own power.It is power and its expression that is at the heart of the author's project. He attempts over and over again to show how the seemingly weak is actually the strong, that the far away is really close to hand, that emptiness is charged with spontaneous creative energy. Thus, what lingers is not yet finished expressing itself. And the translator tells us that a gustatory sense is the primary base of fadeur, dan, and blandness. The body is the region within which the bland can have its most powerful effect. Think of Chinese medicine, where "the web that has no weaver" (the title of Ted Kaptchuk's brilliant book) is the object of the physician's art. Or consider the power of water to yield and then conquer all. Or remember the Mahāyāna Buddhist's invocation of śūnyatā as the source of healing and renewal. Or recall the many times that Confucius advises silence rather than words. All these moments are akin to what Jullien calls "blandness."One way to grasp the insight into Chinese culture that Jullien is struggling with is to express it by way of Neoplatonism and Spinoza. What is often forgotten in expositions of these formidable philosophies is the way in which they use a novel doctrine of causality to bind together different realms of beings. For Plotinus and Spinoza the cause never really leaves the effect but remains there, hidden but effective. It is through this lingering presence that transcendence and immanence, body and soul, and God and the World remain conjoined. The image of the ladder so frequently found in these texts must be understood to run in both directions—up and down. So also, blandness is a dao that opens up experience to further depths and heights.Jullien's major concern is aesthetics... (shrink)

Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her (...) work into two parts: In the first, she summarizes the major theories defining art and beauty; in the second, she explores the nature of aesthetic evaluation and appreciation. As Sheppard explains, there are three main approaches to defining art, all focused on what art objects share. One proposes that all art imitates something in life, another that it expresses something (such as anger or ecstasy), still another suggests that all art has formal qualities. There is also a fourth which offers that all art shares the quality of beauty. In the second part, which concentrates on literary art, Sheppard explores such philosophic topics as critical judgment, meaning and truth in literature, and the relationship between art and morals. She raises such questions as whether there is one correct interpretation of a work of art and whether art has a moral effect on its audience and, citing specific examples, explores the views that have been put forth. A wide-ranging, intriguing book, which assumes no formal knowledge on the part of its readers, Aesthetics opens the door to a greater understanding and appreciation of art. (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

Based on archival and ethnographic data, this article analyzes the iconic-making, iconoclastic unmaking, and iconographic remaking of national identifications. The window into these processes is the career of Saint John the Baptist, patron saint of French Canadians and national icon from the mid-nineteenth century until 1969, when his statue was destroyed by protesters during the annual parade in his honor in Montréal. Relying on literatures on visuality and materiality, I analyze how the saint and his attending symbols were deployed in (...) processions, parades, and protests. From this analysis, I develop the sociological concept of aesthetic revolt, a process whereby social actors rework iconic symbols, redefining national identity in the process. The article offers a theoretical articulation and an empirical demonstration of how the context, content, and the form of specific cultural objects and symbols—national icons—are intertwined in public performance to produce eventful change, and shows why and how the internal material logic and the social life of these icons shape the articulation of new national identities. (shrink)

This paper argues that the cognitive sciences need to incorporate aesthetic study of the arts into their methodologies in order to fully understand the nature of human cognitive processes, because the arts reflect insights into human experience that are unobtainable by the methodologies of the natural sciences. These insights differ from those acquired by scientific exploration because they arise not from the conceptual logic of reason but from the precategorial intuition of imagination. Aesthetics provides a methodology whereby we are (...) able to understand how art enables us to experience emotions caused by sense impressions. This methodology lies at the heart of Giambattista Vico’s Principi di scienza nuova (1725-44), which attempts to account for the way we live and participate in cultural, social, and civic communities. Vico’s theory challenges certain Western philosophical presuppositions that still inform much of cognitive science, such as the relation of language to our experience of the natural world, the nature of subjective and objective representations, and the role of the arts in the evolutionary development of the human mind. In basing my approach to literature on Vico’s, Susanne K. Langer’s (1953, 1967) and Merleau-Ponty’s (1962[1945], 1968) theories, I argue that the language of literature is distinguished from conventional language use by its imaginative use of aesthetic patterns that make manifest the inherent character of the external world as we experience it. By introducing the concepts of minding, metaphor, and icon as structures of the imagination, I show how the language of poetic expression in Matthew Arnold’s poem, “Dover Beach,” enables us to apprehend the ways in which we intuitively participate in the reality that underlies our conscious experience. Such participation occurs because sensory impressions of the world we experience cause modifications in the human mind that result in affective responses. Current research in the cognitive sciences increasingly indicates that such modification occurs; aesthetic study of the arts provides a means whereby we can know what it is like to experience such modifications. (shrink)

The key concept in Kant’s aesthetics is “aesthetic reflective judgment,” a critique of which is found in Part 1 of the Critique of the Power of Judgment (1790). It is a critique inasmuch as Kant unravels previous assumptions regarding aesthetic perception. For Kant, the comparative edge of a “judgment” implicates communicability, which in turn gives it a public face; yet “reflection” points to autonomy, and the “aesthetic” shifts the emphasis away from objective properties to the subjective response evoked by (...) the object. Contrary to the view he had inherited, Kant did not treat aesthetic judgments as confused perceptions or inferior cognitions, but rather put them in a category of their own. For Kant, aesthetic reflective judgments implicated not only the processes involved in understanding the empirical world but also the processes involved in ascribing ideas or meaning to experience (which go beyond what is given in perception/cognition). This “going beyond cognition” may have been referred to by Kant as non-cognitive, but it is conditioned on a way of cognizing the object. Kant describes the features of such judgments in the Analytic of the Beautiful before addressing their possibility in subtle ways throughout the Deduction of Pure Aesthetic Judgments. Kant’s critique gives rise to three apparent dichotomies: immediate intuition and prior learning; autonomy and communicability; and non-cognitive response and aesthetic ideas. An interpretation of Kant’s theory can be deemed correct to the degree that it succeeds in showing that the contradictions are only apparent. I will argue that the resulting positive account of Kant’s aesthetic theory offers an understanding of aesthetic reflective judgment that is quite different from the standard formalism that the critics of formalism usually target and by which they misrepresent Kant’s aesthetic theory. When I refer to Kant’s formalism, then, I mean something quite different by this than what is meant by “standard formalism.” The latter is the representation given Kant’s formalism by its contemporary critics and is the typical account of formalism found in the art theory and philosophy of art literature, as will be demonstrated. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics (...) of nature. These include: how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

The object of the study is one of the significant manifestations of classical Chinese aesthetics - kunqu opera. The subject of the study is the foundations of the formation of this aesthetics in terms of both material and spiritual cultural practices, as well as to investigate its cultural centripetal role in the context of modern society. The relevance of the study is determined by the novelty of the approach, which involves examining the spiritual imagery of Kunqu opera (...) through the prism of analysing its material basis and interpreting the interaction between ‘materiality’ and ‘object form’ in the process of creating Kunqu opera. In addition, the relationship between Kunqu opera and Chinese classical aesthetics is explored. The aim of this study is to deeply analyse Kunqu opera as an important element of traditional Chinese culture in order to understand the extent to which Kunqu embodies the Chinese aesthetic tradition. A variety of methods including literature analysis, case study, historical and literary research. The article is divided into three main parts: the first part focuses on the material level, arguing that the physical presence in Kunqu opera serves as an important support for the formation of the performance system; the second part reveals how the material components of the performance infiltrate the spiritual aesthetic, while the formation of the opera's aesthetics is influenced by Chinese philosophical thought and lyrical culture, using comparative analysis; the final part emphasises the cultural independence and the cultural identity of the opera's performers. The results of the study demonstrate that classical Chinese aesthetics act as the ‘spiritual core’ of Kunqu opera, reflecting traditional Chinese values, ethics and philosophy, which in turn influences the structure of the works, performance style, music and text requirements, as well as plot moves and stage design. (shrink)

First published in 1953. This title provides an exposition and discussion on Hippolyte Taine, the leader of the Naturalist movement in French criticism. The book examines his theories and some of his practice, as a critic of literature and art. A more general consideration of the chief issues raised by his central problem is also given, namely the attempt to approach the analysis and judgement of works of art historically, and thus to provide an objective basis of criticism. This title (...) will be of interest to students of art history and philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joseph Margolis LITERATURE AND SPEECH ACTS The trivial truth that literature employs language has been fastened on regularly and repeatedly to spawn a remarkable variety of misconceptions. Most famously, in the context of aesthetics, it has led to the untenable thesis that all art is language,1 and to the more pointed claim that works of art somehow affirm propositions that may be linguistically rendered and straightforwardly judged true (...) or false. It has also embarrassed a good deal of theorizing about the nature of aesthetic experience and the aesthetic orientation, and has led to preposterous views about the aesthetic status of the literary arts and the exaggerated importance of words in literature. These developments are reasonably well known, partly because they form a venerable portion of the history of aesthetics, partly because the doctrines at stake take so many apparently persuasive guises—even in our own time. There are other views, however, also largely based on the example of literature, that are at once useful because they are corrective of other abuses and are in their turn prone to newer mistakes that bid fair to become fashionable. The ambivalent corrective I have in mind may be marked by the thesis that a work of art is an utterance of some sort. In effect, the thesis stresses the distortion that results from pretending to address art relevantly solely in terms of the palpable properties of some object or product—more or less on the model of examining a perceptually accessible physical object. Attention is required, on the theory, to the act or agency of the artist by which the work is "uttered," in a sense quite close to that in which a forger is said to "utter" a bad check: by this simple strategem, we are led to see that biographical, historical, intentional considerations are instructive about a work of art in an essential way and that the properties of an artwork cannot possibly be restricted to its merely sensory or sensuous features (if indeed, admitting conceptual art, a particular work has any such features at all). The proposal, therefore, is at least a heuristically useful one. Whether it ought also to be enshrined as definitional of 39 40Philosophy and Literature art is another question altogether, qualified partly by its being entirely possible to save the corrections without the thesis, partly by the debatable force of definitions themselves. A rather specialized but utterly misleading and unpromising version of the utterance theory maintains that literature as such, as well as such particularly important distinctions within literature as fiction, poetry, and metaphor, may be perspicuously defined or distinguished in terms of a speech-act model. We must be careful here. The general thesis that the phenomenon of language cannot be adequately analyzed apart from contextual considerations bearing on speakers' intentions, shared assumptions and background beliefs between speakers and hearers, and the actual histories of conversations and the like has now been abundantly confirmed by a variety of theorists—including, prominently, J. L. Austin, P. F. Strawson, H. P. Grice, John Searle, Keith Donnellan, George Lakoff, and Zeno Vendler. Still, the general concession that familiar syntactic and semantic studies of the phenomenon of language omit an entire dimension of language, as Austin so ably demonstrated, has rather little to say about the distinctions normally debated in the context of literary theory and the appreciation and criticism of literature. (This may well seem paradoxical. The argument has yet to be supplied.) But since the application of the speech-act model to literary analysis shows some tendency to attract advocates, it may be useful to draw explicit attention here to the inherent limitations and difficulties of the enterprise. Obviously, if language must be analyzed at least in part in terms of the context of performing speech acts, it will be impossible to ignore altogether the speech-act dimension of literary utterances. The question remains: what can and what cannot be illuminated by means of the speech-act model? Precisely how restricted a general speech-act model is—that is, one not restricted just to literature—can be seen at a stroke simply by noting that the meanings of sentences (i) cannot be equated with what speakers... (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique, the Critique of the Power of Judgment. The latter contains two parts, the ‘Critique of the Aesthetic Power of Judgment’ and the ‘Critique of the Teleological Power of Judgment’. They reveal a new principle, namely the a priori principle of purposiveness (Zweckmäßigkeit) of our power of judgment, and thereby offer new a priori grounds for beauty and biology within (...) the framework of Kant's transcendental philosophy. They also unite the previous two Critiques, the Critique of Pure Reason and the Critique of Practical Reason. Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis, genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

The inclusion of ethics and politics into artistic creation process is for many contemporary creators/artists an essential motivation while they consciously act in an aesthetic space polluted with the realities of a world in crisis. Art, which produces visible and sensible forms, can reveal aesthetic ideas and fundaments through aesthetic objects: drawing, video-installing or poem/poetry. And artists can make someone feel with their creations—whether these are beautiful, sublime, tragic, or ironic—ethical contentions violated by human action or the exertion/exercise of political (...) power. Works of art that are not only guided by the categories signed by beauty, because in artistic languages, violence and suffering also make/create form. And times of crisis are the ideal sphere/dimension for an art that gives a vivid way of seeing/watching the uncertainty, the perversion, the terrible. In bringing these philosophical—ethical, aesthetic and political—topics, I do it from an approach that departs form artistic creations and curatorial research. I try to penetrate the narrow thread between an ethical topic and the plastic form in which it incarnates/embodies itself, or between a political action and the aesthetic structure of language as a creative, expressive consequence. (shrink)

For the New Objectivity art, both literature and paintings, urban reality played a significant role. The aesthetics of the New Objectivity, movement that bloomed in the 20s and 30s, was defined through urban issues. This tendency can be observed primarily in the so-called Zeitroman that became a topic of interest for German literary studies earlier. In contrast to the prose, the New Objectivity poetry was rarely an object of studies. In the article, selected urban verses are analysed and (...) connected with the New Objectivity paintings on a modernist background. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 61-72 [Access article in PDF] From Personal to Social Transaction:A Model of Aesthetic Reading in the Classroom Mark A. Pike This article seeks to define more precisely the nature of the individual transaction that occurs between reader and text and the potential for aesthetic reading in literature classrooms by relating knowledge of the way pupils engage in literary transactions to theoretical perspectives (...) that address the issue. The validity of Louise Rosenblatt's transactional theory of the literary work, expounded in Literature as Exploration and The Reader, The Text, The Poem, and its relevance for contemporary educators, particularly in the field of English education, has recently been reasserted by Jeanne Connell in her timely and cogent article in this journal. 1 The present article, however, seeks to refocus debate by problematizing and subsequently developing some aspects of key theories such as Rosenblatt's while examining the individual and social nature of reading in schools. Rosenblatt's view that aesthetic experiences can have both social origin and effect certainly deserves further theorizing if aesthetic experience in school communities and classrooms is to flourish.The influence of John Dewey's Art as Experience upon Rosenblatt is evident as this seminal text conceives of our primary task as the restoration of "continuity between the refined and intensified forms of experience that are works of art and everyday events." 2 Such continuity with experience is vital because, for Dewey, "experience is the fulfillment of an organism in its struggles and achievements in a world of things, it is art in germ." 3 Applying such a notion to education in schools, Rosenblatt saw the aim of literature lessons as the growth of experience rather than the acquisition of knowledge. Yet, despite such progress, in the United Kingdom, teachers of English are in the unenviable position of having to deliver an extensive body of knowledge prescribed by the National Curriculum and also to focus explicitly upon the features of certain types of text as they teach the National Literacy Strategy. 4 In Rosenblatt's work the emphasis on our experience of [End Page 61] literary works provides a much needed alternative to positions such as that adopted by New Criticism where "it is never what a poem says which matters, but what it is" because we acknowledge we can only ever gain access to what a poem says as "the sentence that seems to need no interpretation is already the product of one." 5 Clearly, understanding the reader's transaction with texts is where we must begin if we wish to foster aesthetic reading in our classrooms.Transactional theory also appears to be closely related to Martin Heidegger's thought in Being and Time where Dasein (givenness, existence, being) is seen as a distinctive characteristic of the human being as our consciousness projects things of the world and is also subjected to the things of the world which belong to us, in some sense, only as long as our consciousness is projecting them. 6 The validity of Dewey's view, where experience is not separated from art, can be seen when we acknowledge that we can "never adopt an attitude of detached contemplation, looking down on the world as if from a mountain top" for we are "inevitably merged with the very object of our consciousness." 7Such a view reflects Hans-Georg Gadamer's position in Truth and Method in which Heidegger's explanation of situation is applied to literary theory because, for Gadamer, the literary work cannot appear as a packaged and completed artefact in which meaning is neatly wrapped because it is influenced by a particular reader's actions at a particular moment. 8 Rosenblatt's realistic conception that "each reading involves a particular person at a particular time and place" is developed in this article as it seems that, even now, many reader response critics and curriculum designers "write as though people read literature in a vacuum or in a generalized kind of academic setting" which often does not apply... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly confronted (...) with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration, just as it left the painter's studio. And what a picture! Neither the beautiful signature... nor the pointillé on the bread which Christ is blessing, is necessary to convince us that we have here—I am inclined to say—the masterpiece of Johannes Vermeer of Delft... quite different from all his other paintings and yet every inch a Vermeer. In no other picture by the great master of Delft do we find such sentiment, such a profound understanding of the Bible story—a sentiment so nobly human expressed through the medium of highest art.2The author of these lines is Professor Abraham Bredius, the nestor of Holland's art historians and the greatest authority on seventeenth-century Dutch painting. The source is The Burlington Magazine for Connoisseurs, the most prestigious periodical for the history of art of the period. The year is 1937. The painting, however, is not a masterpiece of Vermeer but a fake produced by the mediocre Dutch artist Han van Meegeren.The Problem of ForgeryMany art dealers have been financially ruined, and many art historians academically discredited, because of incorrect attribution. Apart from the practical problems that worry curators and art historians, there is also a theoretical problem, which has become a subject of heated discussions since the late 1960s. The dispute gained a momentum with the publication of Nelson Goodman's Languages of Art. In its third chapter titled "Art and Authenticity," [End Page 58] which put the problem of forgeries on the agenda of contemporary aesthetics, Goodman states that a "philosopher of art caught without an answer to [the] question... why there is any aesthetic difference between a deceptive forgery and an original work... is at least as badly off as a curator of paintings caught taking a Van Meegeren Vermeer for a Vermeer."3Although the literature on the problem of forgeries is extensive, the answers that have been put forward fall roughly into three categories: the formalist answer, which states that there is no aesthetic difference between an original painting and a deceptive forgery; the reductionist answer, which claims that there is such a difference and that it can be traced to the minute physical differences between originals and its copies; and the historicist answer, which also asserts that there must be an aesthetic difference but claims that it stems from the different histories of the two objects.The most prominent proponent of the formalist approach is Monroe C. Beardsley. His theory is based on the assumption that "two objects that do not differ in any observable qualities cannot differ in aesthetic value."4 Aesthetic formalism, as the name suggests, maintains that works of art should be judged according to their form. Only the visual features of the painted surface—the configuration of its lines and colors, composition, spatial relations, texture, design, etc., are relevant for its appreciation. The subject of our evaluation is the finished product, not the information pertaining to the history of its production. Who, when, and where painted the picture, just like the intentions of the painter, are irrelevant for the assessment of its aesthetic qualities. Only the "internal" properties, that is, the properties of the "work itself," count. The "external" properties, by which Beardsley means anything that "relates to something existing before the work itself, to the manner in which it was produced, or its connection to antecedent objects," have no bearing on aesthetic value. Hence the conclusion that if fakes resemble the original "in their internal characteristics, so that no one could tell them apart just by looking at them" there can be no aesthetic difference between them.5 Originality is thus excluded... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Aesthetics and Aesthetic Teaching:Toward a Deweyan PerspectiveDavid A. Granger (bio)The educational writings of John Dewey continue to be invoked by scholars in education on a regular basis and in relation to a wide variety of issues, from social learning theory and situated cognition to constructivism and whole-language literacy instruction. More recently, this scholarship has begun to expand to include books and essays that look to tie Dewey's (...) aesthetics to his work in education in a substantive way. Notably, this is not something that Dewey attempted himself, since his major work in aesthetics, Art as Experience, was not published until he was seventy-five, and he seemingly had neither the time nor means at that point in his life to develop this link to his satisfaction. In addition, many educators are only familiar with Dewey's more explicitly educational writings, most of which came earlier in his career and tend to speak more of the merits of science than of art. As a result, scholars in education have only recently begun to examine the possible significance of Dewey's aesthetics for the practices of teaching and learning.1It is still the case, however, that writers on Dewey have traditionally focused their critical energies on his expansive claims for "the method of science" as a vehicle for solving numerous educational and social problems, and as the only authentic means of learning about our everyday world. Such critical attention is not, I believe, without warrant; though Dewey's use of "science" was a very loose and liberal one, he was a staunch critic of the positivistic model of science often presumed by these writers. Nonetheless, this critical focus has unfortunately led many writers to dismiss or marginalize the Dewey who, for instance, proclaims in "Art in Education—and Education in Art" that theModern preoccupation with science and with industry based on science has been disastrous; our education has followed the model that [End Page 45] they have set. It has been concerned with intellectual analysis and formularized information.... It is disastrous because it has fixed attention upon competition for control and possession of a fixed environment rather than upon what art can do to create an environment.... It is disastrous because civilization built upon these principles cannot supply the demand of the soul for joy, or freshness of experience; only attention through art to the vivid but transient values of things can effect such refreshment.2As Dewey sees it, science and other forms of knowledge are properly "handmaidens" to art, intellectual tools for enhancing the overall quality and value of human life and activity.3 This means that they are largely subordinate to the direct qualitative meaning of experience. They are, Dewey says, transformed in aesthetic experience in that they are "merged with non-intellectual elements to form an experience worth while as an experience."4 Art objects may well be the most potent and ready source of such enhanced, aesthetic experience, being intentionally created to refine and intensify in certain ways the experience of the perceiver. But they are not, to Dewey's way of thinking, the sole or even principal medium of the aesthetic. Art, he tells us, is best seen more liberally as "a quality that permeates an experience," whereby, in any number of life contexts, the meanings of objects and events become "the matter of a clarified, coherent, and intensified or 'impassioned' experience" (AE, 329, 295). If all of this can be taken to mean that art or the aesthetic, and not science, is paradigmatic of optimal human experience, then current efforts to integrate Dewey's aesthetics with his thinking about education are an important endeavor and one that should bear considerable fruit. Then, too, much of the popular literature in art and aesthetic education, which situates art and the aesthetic squarely within the cognitive domain of experience, is significantly at odds with Dewey's radically holistic and vigorously anti-elitist aesthetics.5Accordingly, this article will explore the idea of aesthetic education—conceived in its broadest sense—using a mainly Deweyan lens. Moreover, it will do so by examining everyday classroom practices as they are informed by the general... (shrink)

In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation (...) of works of art. (And along the way, I worry about whether we offer the same kinds of interpretations of the objects of our aesthetic pleasures, properly considered, that we clearly do offer with respect to works of art.) The thesis I propose—the achievement model—is not original with me. What is original, perhaps, is that it is posed as an alternative to two other views of artistic evaluation, namely the appeal to “ideal critics” and the appeal to one way of understanding our preferences with regard to works of art. I do not attempt to show that each of these alternatives meets with insuperable problems; but I do indicate what I take to be the substantive content of those problems. In the end, in order to flesh out the thesis I propose, I borrow some material from the literature on human well-being concerning how we determine what an achievement is. (shrink)

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Values of Beauty: Historical Essays in AestheticsDabney TownsendValues of Beauty: Historical Essays in Aesthetics, by Paul Guyer; 359 pp. Cambridge: Cambridge University Press, 2005, $75.00, $27.99 paper.This volume collects thirteen essays that range over topics from the eighteenth century to the twentieth century. The earliest was published in 1986, the last in 2004, and three appear here for the first time. They are grouped topically by period—"I. (...) Mostly before Kant; II. Mostly Kant; III. Mostly After Kant"—rather than chronologically. While this order is useful, it introduces some dislocation if one approaches the book as a whole since the last essay in the book is the first chronologically, and part of the interest of the book lies in the changes in Paul Guyer's positions over time that are reflected in his careful reconsideration of topics that he has dealt with more extensively in his volumes on Kant's [End Page 422] philosophy. As one of the most important contemporary interpreters of Kant's aesthetics, those reconsiderations are well worth attending to.The focus of all of the essays is clearly on Kant's aesthetics. That perspective is clear even when Guyer is discussing the history of aesthetics prior to Kant. As he notes, "this history of the first decades of modern aesthetics has obviously been written with an eye to Kant" ("Origins of Modern Aesthetics: 1711–1735," pp. 32–33). It continues in the discussions of recent aesthetics. For example, Guyer concludes that "the effect that is intended on the revised Beardsleyan definition [of art] is in the tradition of the Kantian concept of the free play of imagination and understanding" ("From Jupiter's Eagle to Warhol's Boxes," p. 313). Danto and Mothersill are also, it is argued, in the Kantian tradition.There are, of course, some problems with this perspective, especially with regard to the pre-Kantian history of aesthetics. For example, Guyer finds Kant's distinction between pure beauty and apprehended beauty reflected in an earlier distinction between beauty of form and beauty of interest or utility. He writes: "The foundation of this theory [Hume's theory of beauty in the Treatise and An Enquiry Concerning the Principles of Morals] is the division of beauty into two classes, the first that of pleasurable sentiment caused by an immediate response—that is, a response not mediated by the intervention of imagination or judgment—to the form or other perceptual qualities of an object, and the second that of pleasurable sentiment, which arises only when the perception of the form of an object is supplemented by a concept or concepts brought to bear on it by imagination or judgment." ("The Standard of Taste and the 'Most ardent Desire of Society,'" p. 46). What Guyer identifies as a distinction between kinds of beauty is for Hume a distinction between sources of ideas, however. The second kind of beauty requires reflection and the combination of other ideas. For Hume, there are not two kinds of beauty but two ways that the ideas of beauty, which is just a form of pleasure, are sorted. Reservations about Guyer's perspective on the earlier history of aesthetics do not detract from the interest of his analysis, however, which is always careful and detailed.The central eight essays labeled "Mostly Kant" trace themes that Guyer has treated in much greater detail in his earlier books. Two central themes are especially prominent throughout these essays. First, Guyer views Kant's theory of beauty as the harmony of the imagination and the understanding: "The concept of the free yet harmonious play between the cognitive powers of imagination and understanding is the central concept in Kant's explanation of the experience of beauty and the analysis of the judgment of taste" ("The Harmony of the Faculties Revisited," p. 77). He refers back to essentially this formulation throughout the subsequent essays. Much of the interest of these essays lies in the way Guyer explicates and defends this central thesis against alternative readings of Kant and objections that it is inconsistent with the freedom from concepts and the purity of beauty that Kant claims.Second, Guyer reads Kant's aesthetics as... (shrink)

In every chapter of this dissertation---chapters which consider work by John Locke, Lord Shaftesbury, David Hume, Adam Smith, Samuel Richardson, Jane Austen and Sir Joshua Reynolds---I show that the appeal each of these authors makes to the "common sense" of the reader mounts a deeply persuasive appeal to a collective vision of how things ought to be. Within empiricist epistemology, moral philosophy, fiction, and the discourse of art and aesthetics, I find that by assuming a moral consensus that unites (...) that community of readers he or she addresses, each of these writers initiates the reader into such a consensus. A double moment underlies the ideal and description of a common sense: what enables the claim that one's judgment is commonsensical is the assumption that such a judgment would find general assent, general agreement. At the same time, judgments that make these claims model for the community the kind of judgments that ought to find agreement. The idea of community rests on the possibility that each and every agent is capable of an objective assent to its terms and conditions, and that, given this ability, each would arrive at the consensus which supports the community. ;One of the paradoxes of eighteenth-century British empiricist epistemology is that it suggests the clearest views are those offered through the arts. That is, the frame provided by the arts creates a space which abstracts from a common-sense view of things to things "as they really are"---which is, really, as they ought to be. I explain the much noted intensity of the interest in developing a discourse of the aesthetic in the eighteenth century, or the emphasis placed on the idea of a single "standard of taste," as a consequence of the impasse in Locke's empiricist epistemology on the matter of objective judgments. The ability of perceivers to share a clear view of facts and objects, the view of reason and common sense, predicates Locke's project, yet the very possibility of such a view becomes more and more remote as his Essay proceeds. The model of aesthetic judgment which developed in the wake of Locke's Essay prioritized detachment and disinterest, and therefore offered the possibility of a distanced, and therefore objective, point of view, the point of view invoked in the appeal to common sense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ornament, Fantasy, and Desire in Nineteenth-Century French LiteratureGeoffrey Galt HarphamOrnament, Fantasy, and Desire in Nineteenth-Century French Literature, by Rae Beth Gordon; xvii & 288pp. Princeton: Princeton University Press, 1992, $42.50.As Rae Beth Gordon notes in the introduction to her stimulating and original book, ornament, which is devoted to grace, charm, and attractiveness, becomes the object of suspicion and moralizing disdain when it exceeds what numerous commentators refer (...) to as “its proper limits.” The limits are set low by those who wish to maintain the integrity of the center—the melodic line, the text, the main image, the literal sense, the consensual meaning—against the disruptive and excessive forces of the margin. Transgress the margin to which ornament is properly confined, as artists in virtually every medium available in nineteenth-century France did, and a series of crucial binary distinctions collapses, threatening not only the center, but ornament itself, which is defined by its limits, its position on a well-defined edge.What distinguished nineteenth-century French literature was, from Gordon’s point of view, a sustained interest, among critics as well as artists, in cultivating the creative possibilities opened up by compromising the boundary between ornament and its other. So fertile and successful has this project proven to be that today’s postmodernity has not come to an end of it, continuing to discover its most interesting possibilities on the margin. And within the field of art history, we see that ornament, once widely denigrated as the source of confusion, has become virtually orthodox; as the title of Ernst Gombrich’s book on the subject indicates, ornament is now held to appeal to and gratify The Sense of Order.Gordon takes advantage of the posthistory of her subject, applying to studies of Nerval, Mallarmé, Gautier, Huysmans a theoretical armature drawn from the psychoanalytic theories of Freud, Winnicott, and Lacan. Drawing attention to a dimension of meaning or intention that has been “suppressed or excluded from the central field,” ornament, she argues, “anticipates the way psychiatry, perceptual psychology, and aesthetics converge in the fin de siècle.” Ornament, in other words, is cognate with the unconscious, and its prevalence in fin de siècle art and literature may be considered a sign of a certain cultural receptivity to the discoveries Freud was about to make, the “French” modality of a phenomenon to which Freud would give a “Viennese” formulation. [End Page 364]It is fashionable, especially in medieval studies, to focus on the disruptively counter-doctrinal potential of marginal elements such as gargoyles or textual illuminations. But Gordon generally argues another kind of case altogether, one that has, perhaps, even greater contemporary interest. Ornament, she claims, discloses the essential principles of aesthetic production. The expressive power of line, the “sense of order” to which it appeals, the subordination of literal depiction to design, the primacy of relationships over individual figures—all these reflect, as Wilhelm Worringer was explicitly to claim in 1908, energies deriving from the very beginnings of art itself.Thus, when principles and figures of ornament began to invade the “sense” or “business” of the text itself, as they did in nineteenth-century French literature, what is happening is not only a radical adjustment of a certain conception of ornament, but a large movement of return. Art becomes under these circumstances both decadent and primordial, devoting itself to both meaningless proliferation and to “pure art.” Gordon tracks this ambivalent movement with very considerable assurance and learning in an argument as sinuous as the ornamental line itself. The chapters on Nerval (“Lace as Textual Metaphor”) and Gautier (“Trills, Frills, and Decorative Frames for the Object of Desire”) are particularly illuminating, inspired by a kind of theoretical wit that does justice to their objects. Gordon is somewhat less successful in communicating the relevance to Mallarmé of Lacan, the exposition of whom—of which?—is laborious. But the responsibility probably lies more heavily with Lacan than with Gordon. Labored accounts of Lacan may even be considered as a species of ornament, a refinement and a new barbarism, peculiar to critical discourse in the fin of our own siècle.Geoffrey Galt HarphamTulane UniversityCopyright... (shrink)

This book locates the paradoxical process of collecting (as an activity that necessarily involves displacement and dispersal) in the ways nineteenth- and twentieth-century German-language literature (and in one case, cinema) attempts to represent ephemeral, discarded, and trivial things.

In this first full-length study of male homosexuality in Cather's short stories and novels, John P. Anders examines patterns of male friendship ranging on a continuum from the social to the sexual. He reveals how Cather's work assumes an unexpected depth and complexity by drawing on both the familiar tradition of friendship literature inspired by classical and Christian texts and a homosexual legacy that is part of, yet distinct from, established literary traditions. Anders argues that Cather's artistic achievement is distinguished (...) by her sexual aesthetics, an elusive literary style inextricably associated with homosexuality. His analysis demonstrates how a homosexual ethos and eros helped Cather develop a sensitivity to human variation and a style to accommodate it and thus became the objective correlative of her art, dramatizing the diversity of human nature as it deepens the mystery of her work. (shrink)