Journal of Aesthetics and Phenomenology最新文献

{"title":"Editors’ Introduction","authors":"Jussi Backman, Harri Mäcklin, Raine Vasquez","doi":"10.1080/20539320.2017.1396695","DOIUrl":"https://doi.org/10.1080/20539320.2017.1396695","url":null,"abstract":"In 2016, when we first began planning this special issue, eighty years had passed since Heidegger’s 1935–36 lectures on “The Origin of the Work of Art” momentously turned the philosophical attention from the beauty of art to its truth—to the process of truth “setting itself to work” in the work of art, now understood as the exposition of the conflictual interaction or “strife” between the meaningful configuration of a historical “world” and its material seat in the “earth.” In the course of those decades, the Western art world has undergone profound transformations. Very generally speaking, the visual arts have witnessed a passage from the peak of modernism in the interwar period, through post-war late modernist movements such as abstract expressionism and postmodernist tendencies such as pop art and conceptual art, to the polyvocal world of today described by labels such as post-postmodernism, metamodernism, contemporaneity, and post-contemporaneity. General trends such as the progressive experimentalism of modernism, the postmodern disillusionment with modernist utopias and the associated playful eclecticism and blurring of distinctions between “high” and “popular” cultural forms, as well as the various more recent reactions against the ironical nihilism of postmodernism, have also been reflected in literature and classical music. Traditional boundaries between different art forms and between art and non-art have become increasingly fluid as the arts interact ever more intensely with one another and with other modes of human culture, such as the media, popular culture, science, and technology. New artistic genres, practices, and theories—from bio art to Internet art, from virtual realities to posthumanism—pop up faster than one can keep track. These developments within the art scene echo wider cultural and societal transformations of the late twentieth century brought about by the postindustrial changes and globalization of developed consumer economies, digital technologies, and new mass and social media. Even if the physical and mental distances between people across the globe have shrunk with the emergence of unforeseen possibilities and intensities of communication, the accelerating flow of information, images, ideas, opinions, and innovations also contributes to an increasing fragmentation of the contemporary context, at least in Western and Westernized societies. The loss of credibility of grand metanarratives proclaimed by Jean-François Lyotard in his 1979 The Postmodern Condition and the proliferation of competing micronarratives appear to take us farther and farther from the kind of relatively stable cultural unities and historical continuities Heidegger still seems to presuppose in the mid-1930s as he reflects—without being immune to the nationalist fervor and totalitarian","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"93 - 99"},"PeriodicalIF":0.1,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1396695","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44031163","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}

{"title":"Margarete and Her Spectre","authors":"Dror Pimentel","doi":"10.1080/20539320.2017.1319627","DOIUrl":"https://doi.org/10.1080/20539320.2017.1319627","url":null,"abstract":"Abstract Paul Celan was undoubtedly the greatest post-World War II German-writing poet, and Anselm Kiefer one of the greatest living German artists. These two giants can be seen to meet through a series of artworks that Kiefer dedicates to the depiction of Celan’s Todesfugue (Fugue of Death). Bringing together the verbal and the visual, the color of gold symbolizes life, while ashes symbolize exile and death. In a melancholic gesture of thought, Germany claims ownership of the gold and by extension over Origin. In this way, the Jews are reduced to ashes. Behind this traumatic encounter between gold and ashes, that appears in both Celan’s and Kiefer’s work, there looms a no less traumatic encounter between fire and spirit: the German soul is metaphorically identified with the inflaming and illuminating element of fire, while the Jewish soul is aligned with the element of spirit, or ether. The values of gold and ashes on the one hand, and of fire and spirit on the other, are intrinsically connected; and following Heidegger and Derrida, it can be said that the identification of the German soul with fire is precisely what gives it the claim of sovereignty over gold, and ultimately over Origin. This is also the source of Germany’s philosophical justification for expelling the Jews to exile and death. The Judeo-German differend, with all its horrific violence, so this article argues, is locked within this quadrangle chest of gold, ashes, fire and spirit.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"15 - 29"},"PeriodicalIF":0.1,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1319627","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48794589","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}

{"title":"The Phenomenology of Dance","authors":"Herman F. Jiesamfoek","doi":"10.1080/20539320.2017.1319624","DOIUrl":"https://doi.org/10.1080/20539320.2017.1319624","url":null,"abstract":"This book on its 50th anniversary is like a little gem. Similar to the characteristics of a fine gem, it is unique, brilliant, and timeless; it is hard and has potential. The brilliance of the book...","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"89 - 91"},"PeriodicalIF":0.1,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1319624","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46750466","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}

{"title":"Toward an Aesthetics of Creative Practice","authors":"Aaron Stoller","doi":"10.1080/20539320.2017.1319629","DOIUrl":"https://doi.org/10.1080/20539320.2017.1319629","url":null,"abstract":"Abstract This paper is an argument for drawing creative practice to the center of philosophical aesthetics. Such an approach would engage philosophical problems that originate from artistic practices. It would also give aesthetics a role in the cultivation of creative practices, both inside and outside of traditional artistic fields. As such aesthetics would begin to engage questions that are pertinent to creativity and the enhancement of artful living.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"45 - 56"},"PeriodicalIF":0.1,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1319629","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43616996","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}

{"title":"Why Painting Matters: Some Phenomenological Approaches","authors":"A. Rudd","doi":"10.1080/20539320.2017.1319628","DOIUrl":"https://doi.org/10.1080/20539320.2017.1319628","url":null,"abstract":"Abstract The question of the value of painting—why paintings should matter to us—has been addressed by a number of Phenomenological philosophers. In this paper, I critically review recent discussions of this topic by Simon Crowell and Paul Crowther—while also looking back to work by Merleau-Ponty and Michel Henry. All the views I discuss claim that painting is important (at least in part) because it can make manifest certain philosophically important truths. While sympathetic to this approach, I discuss various problems with it. Firstly, are these truths verbally explicable, or only communicable through the artwork itself? Secondly, if its truthfulness is the reason why we value painting, can this criterion track our intuitive judgements about relative artistic merit? Thirdly, can the truthfulness of painting be a reason for valuing it if that truth is divorced from its traditional association with Beauty and Goodness? I suggest ways in which the first and second problems could in principle be solved, but argue in response to the third that truth must indeed be seen in the context of other values if it is to explain why painting matters.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"1 - 14"},"PeriodicalIF":0.1,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1319628","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42177810","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}

{"title":"The Ethical Value of Narrative Representation","authors":"R. McGregor","doi":"10.1080/20539320.2017.1319626","DOIUrl":"https://doi.org/10.1080/20539320.2017.1319626","url":null,"abstract":"Abstract The purpose of this paper is to defend a deflationary account of the ethical value of narrative representation. In sections 1 and 2 I demonstrate that there is a necessary relation between narrative representation and ethical value, but not between narrative representation and moral value. Ethical is conceived in terms of moral as opposed to amoral and moral in terms of moral as opposed to immoral and the essential value of narrative representation is restricted to the former. Recently, both theorists involved in the ethical turn in criticism and analytic philosophers have erred in conflating these two distinct kinds of value. In sections 3 to 5 I defend my deflationary view against three attempts to elevate the ethical value of narrative representation to moral value: Martha Nussbaum’s theory of realist novels, Noël Carroll’s virtue wheels, and Geoffrey Galt Harpham’s closural moral order.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"57 - 74"},"PeriodicalIF":0.1,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1319626","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46345138","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}

{"title":"God Making: An Essay in Theopoetic Imagination","authors":"R. Kearney","doi":"10.1080/20539320.2017.1319625","DOIUrl":"https://doi.org/10.1080/20539320.2017.1319625","url":null,"abstract":"Abstract This paper looks at the phenomenon of theopoetic art. The word theopoetic dates back to the Patristic authors—referring to the making divine of the human and the making human of the divine—and has been radically revived as part of the recent religious turn in continental phenomenology and hermeneutics (Keller, Caputo, Nancy, Kearney). Looking at an example of religious art, Andrei Rublev’s Trinity, the author traces the development of the idea of “God making” from Jewish and Christian literature to contemporary debates on the relationship between the secular and the sacred.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"31 - 44"},"PeriodicalIF":0.1,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1319625","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46664484","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}

{"title":"Présence et représentation: La temporalité de l’œuvre d’art (Presence and Representation: The Temporality of the Work of Art)","authors":"F. Dastur","doi":"10.1080/20539320.2017.1319623","DOIUrl":"https://doi.org/10.1080/20539320.2017.1319623","url":null,"abstract":"Argument Il s’agira, en s’appuyant sur les analyses de Heidegger, Merleau-Ponty et Gadamer, et sur des exemples empruntés aussi bien à l’architecture et à la peinture qu’à la littérature, à la poésie et à la musique, de montrer que l’œuvre d’art, loin d’être intemporelle, possède une temporalité spécifique, qui est celle de la présence actuelle et de la contemporanéité.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"4 1","pages":"75 - 87"},"PeriodicalIF":0.1,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2017.1319623","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45562626","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}

{"title":"Intuitive cities: pre-reflective, aesthetic and political aspects of urban design","authors":"Matthew Crippen","doi":"10.1080/20539320.2016.1256067","DOIUrl":"https://doi.org/10.1080/20539320.2016.1256067","url":null,"abstract":"Abstract Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that design embodies implicit values, research in this field lacks sustained attention to largely unconscious background biases or values, rooted in cultural attitudes and personal interests, that lead theorists and planners—often too narrowly—to promote design organized around specific values such as defensibility. In examining these points, I draw on J. J. Gibson, a central figure for some writing on aesthetics and cities, and whom pragmatists and phenomenologists in turn influenced. Taking a cue from pragmatists in particular, I argue that Gibson’s perceptual theory of affordances entails a theory of values, meaning our perception and therewith movements are inherently value-based. I advocate design that accounts for relatively constantly held values such as safety, while also handling the vast pluralism that exists and not crushing the aesthetic vibrancy of city life.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"3 1","pages":"125 - 145"},"PeriodicalIF":0.1,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2016.1256067","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60042708","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}

{"title":"On the experience of temporality: existential issues in the conservation of architectural places","authors":"F. Meraz","doi":"10.1080/20539320.2016.1256070","DOIUrl":"https://doi.org/10.1080/20539320.2016.1256070","url":null,"abstract":"Abstract In discussions of the conservation of culturally significant architecture, awareness about issues of temporality and its theoretical import has been approached from varied, partial, perspectives. These perspectives have usually focused on accounts of temporality that focus on the past and the present—and more rarely the future—without considering either the complete spectrum of human temporality or its ontological bases. This article addresses this shortcoming with a phenomenology of conservation grounded on the fundamental attitudes of cultivation and care. After a phenomenological and existentialist analysis of Cesare Brandi’s thought—focusing on his paradigmatic Theory of Restoration—his attitude comes forth as a limited instance of the modern conservation attitude that is concerned exclusively with architecture as art. This attitude results in a limited temporal intentionality. Following Ingarden and Ricoeur, the existential approach here applied to the deduced dimensions of the space and time of Dasein—in Heidegger’s terms—outlines the grounding of conservation on an existential interpretation of the more fundamental notions of cultivation and care. This interpretation suggests a solution for the modern impasse with an existential account of both the artistic grounding of architecture and its characterization as the place that temporally accompanies Dasein. Architecture thus emerges as a manifold being, constituting existentially the space for the authentic human being, whose temporal consciousness compels it to cultivate and care about that space, thus enriching the possible approaches to conservation as a collective endeavor.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"135 1","pages":"167 - 182"},"PeriodicalIF":0.1,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2016.1256070","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60043005","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}