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.
{"title":"The Moral Dimension of Qiyun Aesthetics and Some Resonances with Kant and Schiller","authors":"Xiaoyan Hu","doi":"10.33134/eeja.230","DOIUrl":"https://doi.org/10.33134/eeja.230","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"128 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78319356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Art as Human Practice: An Aesthetics by Georg W. Bertram","authors":"L. Moland","doi":"10.33134/eeja.274","DOIUrl":"https://doi.org/10.33134/eeja.274","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76018121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"What Is a Novel?","authors":"A. Aliyev","doi":"10.33134/EEJA.215","DOIUrl":"https://doi.org/10.33134/EEJA.215","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87517313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Beyond the Pleasure Principle: A Kantian Aesthetics of Autonomy","authors":"D. Lopes","doi":"10.33134/EEJA.251","DOIUrl":"https://doi.org/10.33134/EEJA.251","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75593435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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。
{"title":"Literary Interventions in Justice: A Symposium","authors":"K. Kirkpatrick, R. McGregor, Karen Simecek","doi":"10.33134/eeja.265","DOIUrl":"https://doi.org/10.33134/eeja.265","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87744136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Wittgenstein, Loos, and the Critique of Ornament","authors":"Andreas Vrahimis","doi":"10.33134/eeja.218","DOIUrl":"https://doi.org/10.33134/eeja.218","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"58 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80525469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Feeling the Aesthetic: A Pluralist Sentimentalist Theory of Aesthetic Experience","authors":"R. R. Larsen, David Sackris","doi":"10.33134/EEJA.212","DOIUrl":"https://doi.org/10.33134/EEJA.212","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91396335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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).
{"title":"Narrative and Conservation: A Response","authors":"Nigel Walter, P. Lamarque","doi":"10.33134/eeja.32","DOIUrl":"https://doi.org/10.33134/eeja.32","url":null,"abstract":"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).","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84464445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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)。
{"title":"Stephen Snyder, End-of-Art Philosophy in Hegel, Nietzsche and\u0000 Danto","authors":"Šárka Lojdová","doi":"10.33134/EEJA.193","DOIUrl":"https://doi.org/10.33134/EEJA.193","url":null,"abstract":"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).","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86365570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Novels in the Everyday: An Aesthetic Investigation","authors":"K. Puolakka","doi":"10.33134/EEJA.189","DOIUrl":"https://doi.org/10.33134/EEJA.189","url":null,"abstract":"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.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81134479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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