Filosofi: æstetik

These two essays by Raïssa Maritain-"Sense and Non-Sense in Poetry" and "Magic, Poetry, and Mysticism"-comprise an often forgotten but significant contribution to Catholic letters. Maritain considers the way true poetry always transcends its "logical sense" in order to convey a "poetic sense." Poetry is a human thing, but it stirs the human beyond mere "logic" in the direction of the divine. In his introduction, James Matthew Wilson explains that, "Poetry is the fruit of a contact of the spirit with reality, which is in itself ineffable, and with the source of reality, which we believe to be God himself in that movement of love which causes him to create images of his beauty." While the poet might be prayerful and the mystic might wax poetic, there is a "fundamental difference which separates the poetic experience from the mystical experience: while the poet progresses toward the Word, the mystic tends toward Silence." As Raïssa Maritain expounds, mystics may be moved to describe their heightened experiences, but for them this "expression is not a means of completing the experience." For the furnishing of her interior castle, a mystic like St. Teresa of Avila needs no speech; her talk, the record she left us of the "prayer of quiet," is "only a result of superabundance, a generous attempt at communication."The poet, on the contrary, cannot do without words. They are the vital stuff of his service to the world. Albert Béguin corroborates Maritain's conclusion, contending that "whatever value one attributes to the poetic act, it remains an act submitted to the necessity of form. It ends at the word." On the other hand, the poetic word points beyond language, ever striving for a fuller communion with reality and its Maker.Inhabiting the tensions between sense and nonsense, poetry and mysticism, articulation and its absence, Maritain manifests the hidden mysteries at the heart of all poetry worthy of the name.

Tobias O. Meißner zeigt mit seinen Romanen, wie sich die vermeintlich engen Grenzen der Genreliteratur dehnen lassen. Durch Brechung und Verfremdung entfaltet er das innovative Potential, das Konvention und Tradition mit sich bringen. Dabei zeichnen sich seine Werke nicht nur durch einen innovativen Umgang mit dem gegebenen Genre aus, sondern präsentieren eine ernsthafte Auseinandersetzung mit philosophischen und ästhetischen Themenkomplexen, die im Genre gemeinhin nicht vermutet wird. Seine Science-Fiction-, Fantasy- und Horrorromane sind gleichzeitig unterhaltsam und sperrig, brutal und reflektiert, handlungsgetrieben und formal komplex.Der Band enthält auch eine unveröffentlichte Kurzgeschichte von Tobias O. Meißner, ein Interview mit ihm sowie eine Chronologie der Textentstehung.

This volume explores and expands a Wittgensteinian account of philosophy as an ongoing transformative practice. It investigates the simultaneously aesthetic and ethical dimension of philosophical exercises, so as to uncover their transformative potential for and within ordinary practice, conceived of as a weave of inherited embodied habits. For this purpose, the volume focuses on three intertwined aspects. First, it analyzes the aesthetic form of Wittgenstein's writings. In particular, it considers the use of pictures, dialogues, comparisons, and instructions as exercises to be enacted by readers, thereby exploring their transformative (aesthetic and ethical) effects. Second, it draws a number of connections between Wittgenstein's philosophical exercises and particular aesthetic practices. Third, it sheds light on continuities and discontinuities between Wittgenstein's philosophy and the ancient understanding of philosophy as an exercise and a way of life, so as to sketch out an account of ethics as a practical attitude and way of being. In addition, by including pictures and a text in three different languages, this volume explores new ways of doing philosophy in a Wittgensteinian spirit.

Bestselling author de Botton considers how individuals' private homes and public edifices influence how they feel, and how dwellings could be built in such a way as to promote a sense of happiness.

This book finds Heidegger's Aristotle interpretation integral to his idea of leading metaphysics back to its own presuppositions, and his reflection on art as necessitating a revision of this interpretation. It argues that this tracing is vital to engaging with the historical significance of his thinking, and with modern metaphysics and aesthetics.

Explores how historical, artistic, and technological developments and cross-cultural exchange have altered our conceptions of creativity.

This anthology is intended to supplement courses in which Japanese aesthetics and culture are taught. The essays assume little background knowledge; they do represent seminal thought in literary, cultural, and aesthetic criticism, and are well known to scholars for their clarity and straightforward exposition, making them especially useful to the Westerner who does not speak Japanese.Some of the essays provide a general introduction to the basic theories of Japanese aesthetics, others deal with poetry and theater, and a third group discusses cultural phenomena directly related to classic Japanese literature. The text includes notes on historical periods and language, a glossary of the most significant literary and aesthetic vocabulary, and an extensive, annotated bibliography that guides the reader to primary materials, critical studies, general histories, anthologies, encyclopedias, and lists of films and audio-visual materials.

Like artists, important writers defy unequivocal interpretations. Gao Xingjian, winner of the Nobel Prize in literature, is a cosmopolitan writer, deeply rooted in the Chinese past while influenced by paragons of Western Modernity. The present volume is less interested in a general discussion on the multitude of aspects in Gao's works and even less in controversies concerning their aesthetic value than in obtaining a response to the crucial issues of freedom and fate from a clearly defined angle. The very nature of the answer to the question of freedom and fate within Gao Xingjian's works can be called a polyphonic one: there are affirmative as well as skeptical voices. But polyphony, as embodied by Gao, is an even more multifaceted phenomenon. Most important for our contention is the fact that Gao Xingjian's aesthetic experience embodies prose, theater, painting, and film. Taken together, they form a Gesamtkunstwerk whose diversity of voices characterizes every single one of them.

Karl Popper stellt in seinem Hauptwerk, der Logik der Forschung, die Erkenntnistheorie als Methodologie dar, die erklärt, warum unser Wissen fehlbar ist und warum wir nicht primär aus erfüllten, sondern aus gescheiterten Erwartungen lernen: Der Erkenntnisfortschritt resultiert aus Versuch und Irrtum. Die bedeutendsten Resultate des Buches sind das Falsifizierbarkeitskriterium zur Abgrenzung wissenschaftlicher Sätze und Poppers Vorschlag zur Lösung des Problems der empirischen Basis der Wissenschaft."[...] gehört Poppers Buch zu den wichtigsten gegenwärtigen Arbeiten auf dem Gebiet der Wissenschaftslogik. [...] Es wird Zustimmung und Widerspruch auslösen..."Rudolf Carnap in Erkenntnis, Bd. 5 (1935) S. 294

Det er en bemærkelsesværdig tekst, den er filosofisk, psykologisk, æstetisk, antropologisk, som franske filosofiske bidrag ofte er, og som François Flahaults tekster har været siden forfatterskabets start i de tidlige 1970ere. Men denne artikel er også i denne kontekst noget særligt; han har gjort en opdagelse – en iagttagelse, som jeg tror indfører en ny dimension i forståelsen af nutidig kunst og sandsynligvis i forståelsen af kunst i det hele taget.— Per Aage Brandt

The history of modern design and architecture has seen many attempts to embrace and merge different art forms, and to bring art into the framing of everyday life and the organisation of modern society, in a process understood as total design or total architecture. These attempts were historically based on the romanticist idea of merging all art forms into a uniting and transgressing work of art, mostly associated with – but certainly not limited to – Richard Wagner’s theoretical writings and musical dramas.This utopian dream of the Gesamtkunstwerk, or Total Work of Art, was intended both to bring unity to the people and to bring art into the everyday life of their homes, as well as into factories, cities and even modern media. As a result, the experiments ranged from music, poetry and drama to architecture, design, visual communication and city-planning. These ideas of merging art forms into more immersive and transgressive installations or design interventions to change everyday life are widespread today, but their complex and often problematic roots are mostly ignored. Design and architecture have delivered some of the broadest and most influential experiments with the Gesamtkunstwerk, from garden cities for workers and corporate identity design to the German AEG corporation.

Inspired by the fresh perspective of a collector and an adventurer, westep into a rare universe of Ancient Miniature Art humbly illuminatingcritical historical principles we have forgotten.A crisp presentation of more than three hundred photographs withdescriptions tiptoes us back to the beginning of Western culture. Wediscover hidden art and artists who were silent visionaries interpretingmessages in astrology, politics, medicine, science, love and emotions.Apollo to Apollo is our ‘wake-up call’ to explore, not just the stars in ourskies, but much closer; the intuitive world of Ancient Miniature Art thatwe, today, can still hold in our hands.

Niels Thomassen har igennem mere end 60 år læst, undervist, diskuteret og filosoferet med udgangspunkt i den kontinentalfilosofiske tradition. Han har især været engageret i spørgsmålet om, hvad et godt og lykkeligt liv er, og af alt det, der står det i vejen, det onde, ulykkelige og fortvivlende. Thomassen har ikke mindst knyttet an til Søren Kierkegaards og K.E. Løgstrups tænkning, men er også hjemme i den positivistiske og analytiske filosofi, som har haft en stor plads i det danske filosofiske miljø i hans virketid. Denne bog er et indblik i filosofien i Danmark igennem anden halvdel af det 20. århundrede og et indblik i universitetsverdenens maskinrum. Derudover er bogen fuld af nærværende og personlige erindringer, også om to af Danmarks største tænkere i nyere tid, K.E. Løgstrup og David Favrholdt. Thomassen har studeret hos Løgstrup og i mere end 30 år været kollega med Favrholdt på Syddansk Universitet.

Det er ofte en tabu at sige, at vores liv på nogen måde er hårdt eller besværligt. Lige siden vi var børn har vi fået at vide, at vi har et godt liv, og at vi burde være taknemlige for det. Og på mange måder er det sandt. Vi sulter ikke, vores samfund er for det meste stabilt, og vi frygter meget sjældent for vores liv. Men der er mange andre problemer i vores liv, som nødvendigvis ikke er forbundet til liv og død, men forhindrer os i at opnå ligeså meget livsglæde som vi har mulighed for, og medvirker til at gøre livet mere besværligt end det behøver at være. Vi siger måske aldrig at livet er hårdt, men vi siger heller ikke at livet er nemt.Problemerne, der gør livet unødvendigt besværligt, er ofte meget personlige som vi ikke fortæller andre om af mange forskellige årsager, men føler stadig at vi har brug for hjælp til, for at kunne håndtere dem. Det er netop disse problemer som denne bog vil belyse fra et filosofisk perspektiv.