Filosofi: æstetik

The novelist and philosopher Iris Murdoch and the painter Harry Weinberger engaged in over twenty years of close friendship and intellectual discourse, centred on sustained discussion of the practice, teaching and morality of art. This book presents a reappraisal of Murdoch¿s novels ¿ chiefly, three mature novels, The Sea, The Sea (1978), Nuns and Soldiers (1980) and The Good Apprentice (1985), and two enigmatic late novels, The Green Knight (1993) and Jackson¿s Dilemma (1995) ¿ which are perceived through the prism of her discourse with Weinberger. It draws on a run of almost 400 letters from Murdoch to Weinberger, and on Murdoch¿s philosophical writings, Weinberger¿s private writings, the remarks of both artists in interviews, and other material relating to their views on art and art history, much of which is unpublished and has received no previous critical attention. Scrutiny of their shared values, methods and the imagistic dialogue that takesplace in their art provides original perspectives on Murdoch¿s creativity, and new ways of understanding her experimentation with the visual arts. This book offers a new line of enquiry into Murdoch's novels, and into the relationship between literature and the visual arts.

Serendipity and creativity are both broad, widely disputed, and yet consistently popular concepts which are relevant to understanding the positive aspects of our daily lives and even human progress in the arts and sciences. The chapters in this book reflects a variety of theoretical and practical approaches to serendipity in various domains, including creative problem solving, sculpture, writing, theatre and design. Chapter authors address issues such as the nature of the ¿prepared mind¿, the role of accidents, serendipity as a skill or way of engaging with the world and, indeed, how serendipity works as a concept and practice in relation to the dynamic flow of the creative system. Those who wish to explore the nature of chance in art and creativity, as well as in their daily lives, will find much to ponder in these pages.

This is a personal view of what happiness really means and how it might be achieved. It is meant as a starting point for those who may seek answers to some of life's bigger questions, like why are we here and what is the purpose of life. It looks at the role the mind has to play and the importance of relationships. It has a gentle life philosophy based around kindness, love and compassion.

Lettres sur l'éducation esthétique de l'homme est un traité de Friedrich Schiller rédigé sous forme épistolaire qui discute les thèses de Kant sur l'esthétique et analyse le déroulement de la Révolution française.Elles ont pour origine les lettres que Schiller adressa au duc Frédéric-Christian de Schleswig-Holstein entre février et décembre 1793. Celles-ci disparurent dans un incendie. En février 1794, Schiller commença à en rédiger une nouvelle version. Les lettres furent publiées en 1795 dans la revue « les Heures ».

The publication aims to make suggestions for a 'decolonisation of aesthetics' within an Afro-European framework. The texts (whose authors come from different cultural contexts between Germany, France, Senegal, Benin, Nigeria and Tunesia) do not only refer to heterogenous aesthetic practices understood as subversive and decolonial strategies, but also discuss philosophical questions of a renewed (non-in)dividual humanism. The artistic practices analyzed include artistic installations and ensembles as well as actions in urban and rural space, deceptive man¿uvres at the borders and their photographic documentation, and many more.

The overzealousness of man to push beyond destiny in an attempt to achieve success in life had always been the regrettable aftermath that tends to hunt starving innocent souls to damnation. The issue of compromise between failure to achieve the golden flees of life creates an inner war, within which a decision has to be made.If the cardinal principles of life are to exist as inheritors of what had been, designated for mankind by the creators, shouldn't it be the duty of man to do what ought to be in order to possess possession? Or could it be in conformity with what the Lord Jesus said: Out of thy perspiration shall thou eat bread?

Over the last three decades Slavoj ¿i¿ek has become an iconic figure of intellectuel engagé and his works have engendered ongoing reflection within as different academic disciplines as philosophy, literature or cultural, gender, postcolonial and film studies. But when it comes to music, things look different.With an emphasis on the German modernist tradition from Wagner to Schönberg, a whole range of references to music are scattered throughout ¿i¿ek¿s copious body of works. However, these efforts seem to go almost unnoticed within academia ¿ at least on first glance. Looking more closely, one notices a subtle but nevertheless consistent adoption of ¿i¿ek¿s theories within musicology, spreading across a broad range of topics and approaches. So, ¿i¿ek has become part of musicology, even if his presence is still uncharted territory.The present volume, which appeals to musicologists and philosophers alike, intends to map different ways in which ¿i¿ek¿s philosophy has been adopted in order to approach many of musicology¿s core questions, from musical analysis to the opera studies, from contemporary music to the history of the discipline itself. At the same time it both reflects on and questions ¿i¿ek¿s positions on musical aesthetics as expressed in his writings. Last but not least, the volume also features two essays by ¿i¿ek himself, reflecting his different approaches to writing about music.

This book makes a compelling case for utilising experiences of resonance in various academic and societal fields. The concept of resonance was first introduced by Hartmut Rosa to foreground the importance of affective, emotional, transformative and uncontrollable experiences in socio-political contexts that he characterizes as alienating. Based on a critical reading of Rosäs theory and further developed through engagement with Theodor W. Adorno, Gilles Deleuze, Hannah Arendt, Judith Butler and others, this book introduces the notion of a ¿spectrum of resonance¿ which encompasses both critical resonance and affirmationist resonance. This spectrum of resonance is used to analyse various forms of aesthetic experience illustrated with reference to Edgar Reitz¿s film Heimat and the music of Nick Cave and Kayhan Kalhor.The spectrum is also deployed in the fields of museum, memory and trauma studies to show how experiences of resonance contribute to the constitution of political and social identities. The focus here is on memory practices in the Kurdistan Region of Iraq and the book seeks to decolonize resonance theory.

The contemporary idea of the ';work of art' is paradoxically both widely used and often unexamined. Therefore, we must re-evaluate the concept before we can understand what the deconstruction of aesthetics means for thinkers like Jacques Derrida, Jean-Luc Nancy, and Philippe Lacoue-Labarthe. By examining their analyses of works of visual art and contextualizing their thinking on the matter, Martta Heikkil asserts that the implications of the ';work of art,' ';art,' and ';the aesthetic' apply not only to philosophical questions but also to a broader area. Instead of the totality represented by the historical concept of Art, poststructuralist thinkers introduce the idea of the radical multiplicity of art and its works. From this notion arises the fundamental issue in Derrida and the poststructuralist tradition: how can we speak philosophically of art, which always exists as singular instances, as works? In Deconstruction and the Work of Art: Visual Arts and Their Critique in Contemporary French Thought, Heikkil shows that the deconstructionist notions of art are still influential in the discourses of contemporary art, in which artworks proliferate and the concept of ';work' is open-ended and expanding. This book offers an introduction to the deconstructionist theory of art and brings new perspectives to the complex, undecidable relation between philosophy and art.

With contributions by leading scholars in the field, this book is the first collection in the English language devoted to Baumgarten's aesthetics.

This Element argues that aesthetics broadly conceived plays a significant role in Wittgenstein's philosophy. In doing so, it draws on the interpretative tradition that emphasizes affinities between Wittgenstein's thought and Kant's philosophy. Following the chronology of Wittgenstein's philosophical work, this Element addresses Wittgenstein's early equation between ethics and aesthetics, his middle-period discussion on the normative character of aesthetic judgments and the possibility of their justification, and his later comparison between language and music. As a whole, it traces a continuous line of thought pertaining to a non-conceptual form of encounter with reality, which is developed in close conjunction with aesthetics and contributes to Wittgenstein's understanding of language and the method of philosophy throughout his career.