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Estetika : The Central European Journal of Aesthetics最新文献

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The Moral Dimension of Qiyun Aesthetics and Some Resonances with Kant and Schiller 齐云美学的道德向度及其与康德、席勒的共鸣
Q1 Arts and Humanities Pub Date : 2021-09-16 DOI: 10.33134/eeja.230
Xiaoyan Hu
In this paper, I suggest that the notion of qiyun (qi: spirit; yun: consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience, and work. By projecting Kant’s and Schiller’s conceptions of aesthetic autonomy and the moral relevance of art onto the qiyun-focused context, we see that the reflection on parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics.
在本文中,我提出了气韵(气:精神;韵(谐音)在山水画的语境中涉及到一个道德的维度。儒家关于真诚的教义涉及到使风景画家或观众的心灵与道一致,这巩固了艺术家、对象、观众和作品之间精神交流的道德维度。通过将康德和席勒的审美自主性和艺术的道德相关性的概念投射到以齐云为中心的语境中,我们看到对两种文化传统之间的相似和差异的反思有助于更好地理解齐云美学的道德维度。
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引用次数: 0
Art as Human Practice: An Aesthetics by Georg W. Bertram 作为人类实践的艺术:乔治·w·伯特伦的美学
Q1 Arts and Humanities Pub Date : 2021-09-16 DOI: 10.33134/eeja.274
L. Moland
A book review of Georg W. Bertram, Art as Human Practice: An Aesthetics. Translated by Nathan Ross. London: Bloomsbury Academic, 2019, x + 240 pp. ISBN 978-1-3500-6314-3.
乔治·w·伯特伦《作为人类实践的艺术:一种美学》书评。内森·罗斯翻译。伦敦:布鲁姆斯伯里学术,2019,x + 240页。ISBN 978-1-3500-6314-3。
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引用次数: 4
What Is a Novel? 什么是小说?
Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.33134/EEJA.215
A. Aliyev
The question ‘What is a novel?’ has received scant attention in the philosophical literature. Meanwhile, this question is important. In the light of this, in this paper, I would like to address it, suggesting a potential answer. I begin by defining what I call ‘novel in the restricted sense’ – the concept that covers all novels except the so-called nonfiction novels, graphic novels, and novels in verse. Then, drawing upon Jerrold Levinson’s approach to defining ‘art’, I provide a definition of the concept that covers nonfiction novels, graphic novels, and novels in verse. Finally, with the help of this definition and the definition of ‘novel in the restricted sense’, I formulate a definition of ‘novel’ simpliciter and defend it against potential objections.
“什么是小说?”在哲学文献中很少受到关注。同时,这个问题很重要。鉴于此,在本文中,我想对此进行探讨,并提出一个可能的答案。我首先定义了我所谓的“狭义小说”——这个概念涵盖了所有的小说,除了所谓的非虚构小说、图画小说和韵文小说。然后,借鉴Jerrold Levinson定义“艺术”的方法,我提供了一个涵盖非虚构小说、图画小说和韵文小说的概念定义。最后,在这个定义和“狭义小说”的定义的帮助下,我对“小说”的定义进行了更简单的阐述,并反驳了潜在的反对意见。
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引用次数: 0
Beyond the Pleasure Principle: A Kantian Aesthetics of Autonomy 超越快乐原则:康德的自主性美学
Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.33134/EEJA.251
D. Lopes
Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant’s third Critique contains resources for a nonhedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant’s because it ties his aesthetics into a key theme of his larger philosophy.
审美享乐主义认为,审美上的美就是取悦。对于大多数审美享乐主义者来说,审美规范就是享乐规范。本文认为,康德的《第三批判》包含了对美学规范性的非享乐主义解释的资源,其来源是自主性和自我立法。有人提出,这种说法也是康德的,因为它将他的美学与他更大的哲学的一个关键主题联系在一起。
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引用次数: 3
Literary Interventions in Justice: A Symposium 文学介入司法:研讨会
Q1 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.33134/eeja.265
K. Kirkpatrick, R. McGregor, Karen Simecek
The purpose of this symposium is to explore the ways in which literature, broadly construed to include poetry and narrative in a variety of modes of representation, can change the world by providing interventions in justice. Our approach foregrounds the relationship between the activity demanded by some individual literary works and some categories of literary work on the one hand and the way in which those works can make a tangible difference to social reality on the other. We consider three types of active literary engagement: doing philosophy, ideological critique, and necessary rather than contingent performance. Kate Kirkpatrick opens with Kamel Daoud’s The Meursault Investigation (2013), reading the narrator as not only a critic of colonial and postcolonial discourse but also a literary exemplar of the search for justice when it is difficult to know to what level of explanation to attribute its absence. Rafe McGregor demonstrates how the final season of Prime Video’s The Man in the High Castle (2015–19) makes a radical break from the previous three, exposing the misanthropy at the core of right-wing populism and calling for a fundamentally democratic response from the left. Finally, Karen Simecek argues that poetry in performance has a potentially reparative function for the ethically lonely – the vulnerable, the oppressed, and the persecuted – in society.
本次研讨会的目的是探讨文学的方式,广泛地解释为包括诗歌和叙事的各种表现模式,可以通过提供干预正义来改变世界。我们的方法一方面强调了某些文学作品和某些文学作品类别所要求的活动与这些作品对社会现实产生切实影响的方式之间的关系。我们考虑了三种类型的积极文学参与:做哲学,意识形态批判,必要而不是偶然的表演。凯特·柯克帕特里克(Kate Kirkpatrick)以卡梅尔·达乌德(Kamel Daoud)的《默尔索调查》(The Meursault Investigation, 2013)作为开篇,将叙述者解读为不仅是殖民和后殖民话语的批评家,也是在难以知道该将正义的缺失归因于何种解释水平时寻求正义的文学典范。雷夫·麦格雷戈展示了Prime Video出品的《高堡人》(the Man in the High Castle, 2015-19)的最后一季是如何与前三季彻底决裂的,他揭露了右翼民粹主义核心的厌恶人类,并呼吁左翼做出根本性的民主回应。最后,Karen Simecek认为,诗歌的表演对社会中那些道德上孤独的人——脆弱的、受压迫的和受迫害的人——具有潜在的修复功能。
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引用次数: 1
Wittgenstein, Loos, and the Critique of Ornament 维特根斯坦、卢斯与《装饰批判》
Q1 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.33134/eeja.218
Andreas Vrahimis
Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel between the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge.
阿道夫·卢斯是维特根斯坦明确指出对其思想有影响的少数人物之一。在确定维特根斯坦与现代主义的关系的背景下,以及在试图与他作为建筑师的工作达成协议时,卢斯的影响一直备受争议。本文着眼于一个不同的方向,研究了维特根斯坦对海德格尔臭名昭著的声明“无是无”的回应,引用了卢斯对装饰的批评。维特根斯坦(Wittgenstein)在要求以不清晰的声音开始哲学和需要之间进行了类比,在某些文化时期,需要使用蕾丝来突出桌布的边界。注意到维特根斯坦的这句话,可以进一步揭示出他对现代文明的思考受到了宽松主义的影响,无论是在他著名的《美学讲座》中,还是在他1930年在剑桥演讲的早期笔记中。
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引用次数: 2
Feeling the Aesthetic: A Pluralist Sentimentalist Theory of Aesthetic Experience 感受审美:审美经验的多元感伤主义理论
Q1 Arts and Humanities Pub Date : 2020-09-15 DOI: 10.33134/EEJA.212
R. R. Larsen, David Sackris
Sentimentalist aesthetic theories, broadly construed, posit that emotions play a fundamental role in aesthetic experiences. Jesse Prinz has recently proposed a reductionistic version of sentimentalist aesthetics, suggesting that it is the discrete feeling of wonder that makes an experience aesthetic. In this contribution, we draw on Prinz’s proposal in order to outline a novel version of a sentimentalist theory. Contrasting Prinz’s focus on a single emotion, we argue that an aesthetic experience is rudimentarily composed of a plurality of emotions. We acknowledge and discuss significant problems that follow from such a theory, arguing that a pluralist version of sentimentalism is nonetheless the soundest position within sentimentalist aesthetics.
从广义上讲,感伤主义美学理论认为情感在审美体验中起着重要作用。Jesse Prinz最近提出了一种感情主义美学的简化版本,他认为正是这种离散的惊奇感使一种体验具有美感。在这篇文章中,我们借鉴了普林茨的建议,以概述一个感伤主义理论的新版本。对比普林茨对单一情感的关注,我们认为审美体验基本上是由多种情感组成的。我们承认并讨论了从这种理论中产生的重大问题,认为多愁善感主义的多元版本仍然是多愁善感主义美学中最合理的立场。
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引用次数: 3
Narrative and Conservation: A Response 叙述与保护:回应
Q1 Arts and Humanities Pub Date : 2020-04-15 DOI: 10.33134/eeja.32
Nigel Walter, P. Lamarque
A response to Saul Fisher’s critical note on Peter Lamarque and Nigel Walter’s ‘The Application of Narrative to the Conservation of Historic Buildings’ (Estetika 1/2019).
对Saul Fisher对Peter Lamarque和Nigel Walter的“叙事在历史建筑保护中的应用”的评论的回应(Estetika 1/2019)。
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引用次数: 0
Stephen Snyder, End-of-Art Philosophy in Hegel, Nietzsche and Danto 斯蒂芬·斯奈德:《黑格尔、尼采和丹托的艺术终结哲学》
Q1 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.33134/EEJA.193
Šárka Lojdová
A review of Stephen Snyder’s End-of-Art Philosophy in Hegel, Nietzsche and Danto (Cham: Palgrave McMillan, 2018, 299 pp. ISBN 978-3-319-94072-4).
斯蒂芬·斯奈德在黑格尔、尼采和丹托的艺术终结哲学评论(Cham: Palgrave McMillan, 2018, 299 pp. ISBN 978-3-319-94072-4)。
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引用次数: 0
Novels in the Everyday: An Aesthetic Investigation 日常生活中的小说:一种美学考察
Q1 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.33134/EEJA.189
K. Puolakka
Everyday aestheticians have had relatively little to say about literature. Inspired by Peter Kivy’s philosophy of literature as laid out in his books The Performance of Reading and Once-Told Tales, I examine reading literature as a part of everyday life. I argue that not only do Kivy’s views help explain the value that avid readers place on their daily silent engagement with a book, but that his philosophy of literature also shows how literary works can have an aesthetic presence in our everyday lives even during periods in-between reading a book. In light of the paper, literary reading turns out to be an artistic routine that fills avid readers’ everyday lives in a very literal sense.
日常的美学家对文学几乎没有什么可说的。受彼得·基维在他的书《阅读的表现》和《曾经讲过的故事》中所阐述的文学哲学的启发,我将文学阅读视为日常生活的一部分。我认为,基维的观点不仅有助于解释狂热的读者每天默默阅读一本书的价值,而且他的文学哲学也表明,文学作品如何在我们的日常生活中具有美学意义,即使是在阅读一本书的间隙。根据这篇论文,文学阅读变成了一种艺术惯例,在非常字面的意义上填补了狂热读者的日常生活。
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引用次数: 1
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Estetika : The Central European Journal of Aesthetics
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