Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.04
Anne L. Cavender
The “classic” is a vexed term in the work of William Carlos Williams. He uses the category to describe both the stale classicism of T. S. Eliot and Ezra Pound and, conversely, the authentic, “aberrant” classic of James Joyce and surrealism. Analyzing unpublished archival manuscripts alongside the posthumously published collection of essays, The Embodiment of Knowledge, I approach the classic through Williams's theories of pedagogy. Williams parodies and rejects academic modes of reading that cling to the “malignant rigidities” of the past. Yet Paterson and The Embodiment also theorize the reader's interpretive power to disrupt any homogenizing conformity latent in the literary tradition. This dissonant hermeneutics can recuperate the classics and represents a form of resistance to a binary logic of past versus present, or European versus American literature.
在威廉-卡洛斯-威廉斯的作品中，"经典 "是一个令人困扰的术语。他用这个词来形容艾略特（T. S. Eliot）和埃兹拉-庞德（Ezra Pound）的陈腐古典主义，反之，他也用这个词来形容詹姆斯-乔伊斯（James Joyce）和超现实主义的真实、"反常 "的古典主义。通过分析未发表的档案手稿以及死后出版的论文集《知识的化身》，我通过威廉斯的教育学理论来探讨这部经典。威廉斯嘲弄并摒弃了固守过去 "恶性僵化 "的学术阅读模式。然而，《帕特森》和《化身》也从理论上阐明了读者的阐释能力，可以打破文学传统中潜藏的同质化一致性。这种不和谐的诠释学可以重拾经典，是对过去与现在、欧洲文学与美国文学二元逻辑的一种抵抗。
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Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.01
Richard Shusterman
After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence and autonomy from ordinary reality and practical life, he insists that aesthetics cannot directly contribute to transformative praxis in the real world but can operate only indirectly by transforming our sensibilities. Pragmatist aesthetics, particularly though somaesthetics, resolves the dilemma in Marcuse's aesthetics of liberation by bridging the alleged gap between aesthetics and praxis by reeducating our sensibilities in a more direct, practical, embodied way. The article further exemplifies the overlaps and differences between Marcuse's critical theory and pragmatist somaesthetics by focusing on erotic experience, which is essential to Marcuse's liberational program and increasingly present in somaesthetics’ concern with aesthetic reeducation of our senses and sensibilities.
{"title":"Art, Eros, and Liberation: Aesthetic Education between Pragmatism and Critical Theory","authors":"Richard Shusterman","doi":"10.5406/15437809.58.1.01","DOIUrl":"https://doi.org/10.5406/15437809.58.1.01","url":null,"abstract":"\u0000 After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence and autonomy from ordinary reality and practical life, he insists that aesthetics cannot directly contribute to transformative praxis in the real world but can operate only indirectly by transforming our sensibilities. Pragmatist aesthetics, particularly though somaesthetics, resolves the dilemma in Marcuse's aesthetics of liberation by bridging the alleged gap between aesthetics and praxis by reeducating our sensibilities in a more direct, practical, embodied way. The article further exemplifies the overlaps and differences between Marcuse's critical theory and pragmatist somaesthetics by focusing on erotic experience, which is essential to Marcuse's liberational program and increasingly present in somaesthetics’ concern with aesthetic reeducation of our senses and sensibilities.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140353418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.06
Edward R. O'Neill
For almost 300 years, five different art forms have used the same instructional method. This Common Arts Instructional Method (CAIM) can be explained using a variety of theories. The CAIM also offers the opportunity to understand instructional methods under the banner of design: instances of types rather than applications of laws or principles. The differences between theory and design are explored, and some recommendations are offered for striking new instances of this common type.
{"title":"A Common Arts Instructional Method and the Logic of Design","authors":"Edward R. O'Neill","doi":"10.5406/15437809.58.1.06","DOIUrl":"https://doi.org/10.5406/15437809.58.1.06","url":null,"abstract":"\u0000 For almost 300 years, five different art forms have used the same instructional method. This Common Arts Instructional Method (CAIM) can be explained using a variety of theories. The CAIM also offers the opportunity to understand instructional methods under the banner of design: instances of types rather than applications of laws or principles. The differences between theory and design are explored, and some recommendations are offered for striking new instances of this common type.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140356731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.03
Mario Attie-Picker, Tara Venkatesan, George E. Newman, Joshua Knobe
Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation.
{"title":"On the Value of Sad Music","authors":"Mario Attie-Picker, Tara Venkatesan, George E. Newman, Joshua Knobe","doi":"10.5406/15437809.58.1.03","DOIUrl":"https://doi.org/10.5406/15437809.58.1.03","url":null,"abstract":"\u0000 Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140356651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.05
Dennis L. Sansom
Art works provide a unique and influential way to teach human virtues because they can place individuals (or particular artistic expressions) within the ambiguities, complexities, and forces of the human experience. I use four art works to teach about the virtue of kindness: Giotto di Bondonie's Scene 2: St. Francis Giving His Mantle to a Poor Man; Bishop Charles Francois in Victor Hugo's Les Misérables; Adam in William Shakespeare's As You Like It; and Sonya in Fyodor Dostoevsky's Crime and Punishment. In these four examples, we see necessary characteristics of being a kind person: supererogatory behavior, altruistic behavior, a display of the way the world ought to be, and the presence of a kind soul.
{"title":"Teaching the Virtue of Kindness through Using Art Works","authors":"Dennis L. Sansom","doi":"10.5406/15437809.58.1.05","DOIUrl":"https://doi.org/10.5406/15437809.58.1.05","url":null,"abstract":"\u0000 Art works provide a unique and influential way to teach human virtues because they can place individuals (or particular artistic expressions) within the ambiguities, complexities, and forces of the human experience. I use four art works to teach about the virtue of kindness: Giotto di Bondonie's Scene 2: St. Francis Giving His Mantle to a Poor Man; Bishop Charles Francois in Victor Hugo's Les Misérables; Adam in William Shakespeare's As You Like It; and Sonya in Fyodor Dostoevsky's Crime and Punishment. In these four examples, we see necessary characteristics of being a kind person: supererogatory behavior, altruistic behavior, a display of the way the world ought to be, and the presence of a kind soul.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140354321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.02
Alison Stone
Joanna Baillie (1762–1851) came to fame in 1798 with the first volume of her Plays on the Passions, which included her theoretical account of drama, including tragedy. This article reconstructs Baillie's theory of tragedy and shows how the theory informs the design of the Plays on the Passions. For Baillie, all human beings have powerful and dangerous passions that we need to learn to regulate. Tragedy can help with this and can serve an educative purpose by presenting us with narratives in which the protagonists repeatedly fail to check the growth of a particular passion, such as jealousy or hatred. We witness this passion gain more and more hold over the character's mind until they are destroyed. This offers a warning and motivates us to watch out for the growth of our own passions and keep them in check. Baillie's theory of tragedy is original and combines a moral orientation, a voluntarist belief in free will, and optimism about the human condition. For her, the sufferings undergone by tragic characters could have been avoided had the characters made better choices. Thus the message of tragedy is not that suffering is inescapable but that suffering can be minimized if we cultivate self-knowledge and emotional self-control.
{"title":"Joanna Baillie's Theory of Tragedy","authors":"Alison Stone","doi":"10.5406/15437809.58.1.02","DOIUrl":"https://doi.org/10.5406/15437809.58.1.02","url":null,"abstract":"\u0000 Joanna Baillie (1762–1851) came to fame in 1798 with the first volume of her Plays on the Passions, which included her theoretical account of drama, including tragedy. This article reconstructs Baillie's theory of tragedy and shows how the theory informs the design of the Plays on the Passions. For Baillie, all human beings have powerful and dangerous passions that we need to learn to regulate. Tragedy can help with this and can serve an educative purpose by presenting us with narratives in which the protagonists repeatedly fail to check the growth of a particular passion, such as jealousy or hatred. We witness this passion gain more and more hold over the character's mind until they are destroyed. This offers a warning and motivates us to watch out for the growth of our own passions and keep them in check. Baillie's theory of tragedy is original and combines a moral orientation, a voluntarist belief in free will, and optimism about the human condition. For her, the sufferings undergone by tragic characters could have been avoided had the characters made better choices. Thus the message of tragedy is not that suffering is inescapable but that suffering can be minimized if we cultivate self-knowledge and emotional self-control.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140356908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.04
S. Ashrafi, Michael Garbutt, Altyn Kapalova
Abstract:The article presents a phenomenological-hermeneutic account of everyday aesthetics based on the Playful Eye, an experiential method for encountering the "Other" through contemplative, somatic, and embodied practices informed by the concept of play. The experiences co-curated with participants—illustrated here by a Playful Eye event held in Osh, Kyrgyzstan—are grounded in an understanding of the relationship between the self and Other, cultivating a sense of inner truth that is unconcealed when the sensing agent experiences itself through being sensed. It is contended that everyday aesthetics provides a muted, fleeting experience of the Other, the seamless and ceaseless succession of the parts that constitute the totality of engagement with the world. This transformative understanding as "extended self," also evident in many Indigenous traditions, can provide the common ground for dialogue, empathy, and compassion in contexts where conflicting values and beliefs might otherwise result in indifference or hostility.
{"title":"Beyond the Art Museum: A Phenomenological-Hermeneutic Account of Everyday Aesthetics","authors":"S. Ashrafi, Michael Garbutt, Altyn Kapalova","doi":"10.5406/15437809.57.2.04","DOIUrl":"https://doi.org/10.5406/15437809.57.2.04","url":null,"abstract":"Abstract:The article presents a phenomenological-hermeneutic account of everyday aesthetics based on the Playful Eye, an experiential method for encountering the \"Other\" through contemplative, somatic, and embodied practices informed by the concept of play. The experiences co-curated with participants—illustrated here by a Playful Eye event held in Osh, Kyrgyzstan—are grounded in an understanding of the relationship between the self and Other, cultivating a sense of inner truth that is unconcealed when the sensing agent experiences itself through being sensed. It is contended that everyday aesthetics provides a muted, fleeting experience of the Other, the seamless and ceaseless succession of the parts that constitute the totality of engagement with the world. This transformative understanding as \"extended self,\" also evident in many Indigenous traditions, can provide the common ground for dialogue, empathy, and compassion in contexts where conflicting values and beliefs might otherwise result in indifference or hostility.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43648040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.06
Sara Ishii
Abstract:Queer Chicana author Gloria Anzaldúa often used visual art to develop and teach her theories, which address issues relating to social identity and institutions as well as creativity and spirituality. Her large collection of archived sketches at the Gloria Evangelina Anzaldúa Papers at the University of Texas demonstrates her drive to visually express ideas. The archive also holds unpublished works and talks in which Anzaldúa discusses her concepts of creativity and the image-making process. Despite the prevalence of images in her work, few scholars have analyzed her artwork or her writings on creativity. To address this gap, I explore the question: How do Anzaldúa's sketches inform her theoretical concepts of creativity and image-making? Analyzing her visual work significantly contributes to academic scholarship, especially for scholars looking to engage with Anzaldúan theorizing beyond that of her written works.
{"title":"\"Creative Acts of Vision\": Connecting Art and Theory through Gloria Anzaldúa's Archived Sketches","authors":"Sara Ishii","doi":"10.5406/15437809.57.2.06","DOIUrl":"https://doi.org/10.5406/15437809.57.2.06","url":null,"abstract":"Abstract:Queer Chicana author Gloria Anzaldúa often used visual art to develop and teach her theories, which address issues relating to social identity and institutions as well as creativity and spirituality. Her large collection of archived sketches at the Gloria Evangelina Anzaldúa Papers at the University of Texas demonstrates her drive to visually express ideas. The archive also holds unpublished works and talks in which Anzaldúa discusses her concepts of creativity and the image-making process. Despite the prevalence of images in her work, few scholars have analyzed her artwork or her writings on creativity. To address this gap, I explore the question: How do Anzaldúa's sketches inform her theoretical concepts of creativity and image-making? Analyzing her visual work significantly contributes to academic scholarship, especially for scholars looking to engage with Anzaldúan theorizing beyond that of her written works.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46106499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.02
A. Kraus, Maria Pemsel
Abstract:The focus of this article is on the social and personal development of children. The essay's point of departure is a specific idea about holistic personal development in the classroom with reference to the philosopher Michel Serres. A historical perspective will be added by the concept of the bildungsreise (in French, Le Grand Tour; in English, educational or cultural journey). This perspective allows us to raise the question of how the idea of increasing self-awareness, coping with life challenges, and the tuning of long-standing aspirations through an educational journey can be related to the concepts of bildung (German) and bildning (Swedish). To understand bildning, a girl's survival in a wide, mystical forest in Astrid Lindgren's novel Ronia, the Robber's Daughter will be sketched as an example of a bildningsresa. A bildningsresa differs somewhat from a bildungsreise. We subsume bildungsreise and bildningsresa under the concept of the educational journey, with the awareness that this term has its own history that we cannot thematize. Modelling the idea of bildung and bildning within the glocalized world, the idea of an educational journey will be connected to personality development in the classroom, seen in Serres's terms.
摘要：本文的重点是儿童的社会和个人发展。这篇文章的出发点是参考哲学家米歇尔·塞雷斯关于课堂上整体个人发展的具体观点。bildungsreise（法语，Le Grand Tour；英语，教育或文化之旅）的概念将增加历史视角。这种观点使我们能够提出一个问题，即通过教育之旅提高自我意识、应对生活挑战和调整长期愿望的想法如何与bildung（德语）和bildning（瑞典语）的概念相关。为了理解在阿斯特丽德·林德格伦的小说《罗妮娅》中，一个女孩在广阔而神秘的森林中生存，《强盗的女儿》将被描绘成一个bildningsresa的例子。bildningsrea与bildungsrise有些不同。我们将bildungsreise和bildningsresa纳入教育之旅的概念中，意识到这个术语有自己的历史，我们无法将其主题化。用Serres的话来说，教育之旅的概念将与课堂上的人格发展联系起来，这是对全球化世界中的诈骗和诈骗的建模。
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Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.03
Abel B. Franco
Abstract:I defend that the distinctive object of our aesthetic evaluation of films is the full emotional experience, taken as a unified whole, that we go through as we watch a film and that I call the viewer's film emotional life. The aesthetic value itself—the positive quality we perceive in the experience of having had a certain film emotional life—is in the significance we experience in that film emotional life insofar as it contributes to the discovery and the exploration of the viewer's human and individual emotional nature. I finally suggest that the explanation of the positive felt quality of such experience is in the progress it represents regarding our resourcefulness as emotional subjects toward the realization of our individual ideal of life.
{"title":"The Aesthetic Value of Film","authors":"Abel B. Franco","doi":"10.5406/15437809.57.2.03","DOIUrl":"https://doi.org/10.5406/15437809.57.2.03","url":null,"abstract":"Abstract:I defend that the distinctive object of our aesthetic evaluation of films is the full emotional experience, taken as a unified whole, that we go through as we watch a film and that I call the viewer's film emotional life. The aesthetic value itself—the positive quality we perceive in the experience of having had a certain film emotional life—is in the significance we experience in that film emotional life insofar as it contributes to the discovery and the exploration of the viewer's human and individual emotional nature. I finally suggest that the explanation of the positive felt quality of such experience is in the progress it represents regarding our resourcefulness as emotional subjects toward the realization of our individual ideal of life.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47231509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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