JOURNAL OF AESTHETICS AND ART CRITICISM最新文献

Many authors have had occasion to explore the practice of signifyin(g), a seminal expressive concept within African American culture most often described as a rhetorical and literary device. Few, however, have examined the practice of signifyin(g) within African American musical composition in the European, or “classical,” style. This article explores the application of signifyin(g) as an analytical lens in the examination of “classical” music by African American composers, beginning with the previous investigation of signifyin(g) practices within other forms of African American music, ranging from Miles Davis's jazz standards to the lyrics of Nas and Cardi B. This exploration concludes with the analysis of a specific classical work by an African American composer (Coleridge-Taylor Perkinson's Lament for Viola and Piano) as a case study.

Among the many historical examples in which the Orient has been imaginatively associated with magic, one of the most fascinating involves an actual overlap between race and magic in the popular performances of yellowface magicians at the turn of the twentieth century. I use this example to show and analyze some of the dynamics between magic and the aesthetics of race, especially as these play out through one of the most influential and long-standing contradictions of the “Yellow Peril”: Chinese people are unassimilable, yet Chinese aesthetics are easily appropriated.

This article calls for an examination of the spectral operations of the perceptual architecture of colonization in conjunction with the enactment of a decolonial feminism as proposed by María Lugones. The first section discusses both the notion of ghostly subjectivity from Lugones's early work as well as the echoes of this notion in her recent work on the coloniality of gender that emphasizes the gender/race/sex nexus. Subsequently, through a photographic example, the article presents an analysis of the perceptual operations of specter-making in practices of colonization in light of Lugones's understanding of the “light” and “dark” sides of the coloniality of gender. This analysis highlights not only the intricate nexus between racialization and gender and sex norms both in the past and in the present context, but it also points to the necessity for of a decolonial feminism attuned to perceptual practices or a decolonial aesthesis.

In the closing episode of Diamela Eltit's 1988 novella The Fourth World, the city of Santiago de Chile—including its inhabitants—goes up for sale. Eltit's investigation of the specter of all-out commodification illuminates the entwinements of aesthetics and race under finance capitalism. Published at the tail end of the Pinochet dictatorship, the novel makes a poignant contribution to the debate over the “lettered city” in Latin America. Briefly situating The Fourth World in this context and placing it in conversation with current lines of reflection on social identity and the notion of the aesthetic, this article analyzes the novel's implications for a philosophical understanding of the aesthetics–race relation: one, the work attests to an expansive conception of racial identity; two, it comprehends aesthetic agency as a much-needed and potentially critical site of transformed racial existence; and, three, it calls for multimodal forms of address to counter neoliberal rationality. The article brings out these points through a close reading of passages and by highlighting the novel's decolonial feminist aesthetic. In ending, the article takes note of the new notions of creativity and political participation that arise.

In this article I revisit the question of why people like to listen to sad music. If music can induce genuine sadness in listeners, why would we deliberately seek out such negative experiences? Drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect, I argue to shift the focus of the question to music-induced moods, not emotions. This reframes the debate but does not dissolve the puzzle. To understand what is appealing about the affective experience of listening to sad music, I suggest we take into account the unique features of music-induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other.