Search results for "aesthetics"
showing 10 items of 552 documents
Two Ways of Understanding Persons: A Husserlian Distinction
2019
This paper clarifies the distinction that Edmund Husserl makes between two different ways of understanding other persons, their actions and motivations: the experiential or empirical way, on the one hand, and the genuinely or authentically intuitive way, on the other hand. The paper argues that Husserl’s discussion of self-understanding clarifies his concept of the intuitive understanding of others and allows us to explicate what is involved in it: not just the grasping of the other’s actual motivations of action but also the grasping of her motivational possibilities. The paper ends by discussing the dynamic character of the personal subject.
‘Childish’ beyond Age
2020
This chapter explores the concept of ‘aesthetic sublation’ – a performative mode of meaning making that seeks to degrade its object (; ). Here, the phenomenon of aesthetic sublation is discussed as a form of resistance. Moreover, it is related to intergenerational negotiations through cases in which the labels of ‘childish’ and ‘horrific’ or ‘nasty’ converge. The chapter offers a review of how resistance is conceptualized in, for example, childhood studies, aesthetics and research on popular culture and it asks what can be gained by reconceptualising these instances as aesthetic sublation. peerReviewed
The Janus Face of Political Experience
2018
Arendt’s concept of experience can contribute in important ways to the contemporary debates in political and feminist theory. However, while the notion is ubiquitous in Arendt’s thinking we lack an understanding of experience as a concept, as opposed to the impact of Arendt’s personal experiences on her thought. Drawing from her notes for “Political Experiences in the Twentieth Century,” the article seeks to enrich our understanding of the Janus-faced character of political experience. It emphasizes the importance of vicariousness, and argues that experience should be understood as a process of suffering, enduring, and re-experiencing events beyond our conscious control. The article further…
USA on the road: da The Americans di Robert Frank ad American Surfaces di Stephen Shore
2018
Robert Frank’s and Stephen Shore’s photographic reportages and their travels document an identity of the United States different from the conventional representations that usually show a successful country, able to enforce its social, economic, political, and aesthetics models. These reportages represent an other America, far from the stereotypes and full of contradictions: the places of common experience (almost non-places), the characters disillusioned and frustrated by the American dream, the banality of the situations represented, the commonplace, show that besides a winner’s imagery (like, recently, the one represented by Trump but also by Pete Souza, official photographer of Barack Ob…
La flessibilità dell’organizzazione biologica. Strutture e funzioni alla luce di un modello gerarchico e pluralista dell’omologia
2016
Ciò che si intende mettere in evidenza nel presente saggio è come l’assunzione di un paradigma gerarchico dell’organizzazione biologica consentirebbe di fornire una nuova formulazione del concetto di omologia e conseguentemente dell’unità dell’evoluzione. Si vedrà, infatti, come i concetti di omologia, analogia, omoplasia, convergenza e parallelismo possano essere considerati al di fuori delle opposizioni omologia vs. analogia, omogenia vs. omoplasia, parallelismo vs. convergenza. Piuttosto tali concetti si riferiscono a piani e livelli biologici che sono diversi, ma in relazione l’uno con l’altro nel mondo complesso dell’evoluzione, poichè il mondo biologico è esso stesso gerarchico, ossia…
En deça de la sublimation. L'ego alter
2012
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Herder e la questione dell’Einfühlung. Estetica e teoria della conoscenza fra Mitfühlen e Familiengefühl
2011
Herder is usually considered to be one of the mayor sources of the aesthetics of empaty. The present contribution aims at offering a brief rewiew of some main places in Herder aesthetical theory and at reconstructing the genesis of the family of concepts including fühlen, Gefühl, Mitfühlen, Familiengefühl, in order to understand their relationship with regard to the theory of knowledge, the aesthetics, the politics.
Desarrollo de ciudadanía desde la educación artística y patrimonial: Identidades urbanas en Iberoamérica
2015
En este artículo planteamos una nueva mirada hacia la ciudad, una mirada desde la perspectiva de los docentes. Descubrimos inusuales espacios vinculados al ámbito cultural urbano, geografías aptas para crear escenarios de aprendizaje y para revisar la mirada del profesorado hacia el espacio urbano. Los educadores constituyen un poderoso referente cultural y social capaz de articular el complejo entramado humano que delimita la ciudad. Partimos de las aportaciones que desde la cultura visual y la educación en artes visuales han planteado diversos autores. Nuestro trabajo utiliza metodológicamente el estudio de caso y se asienta en el análisis las encuestas realizadas a docentes de Santiago y…
The oceanic feeling in painterly creativity
2014
The oceanic feeling has been a relatively persistent topic of discussion in both creativity research and aesthetics. Characterized by a sensation of self-boundary dissolution, the feeling has often been reported to involve experiences of fusion with various objects, including works of art. In this article, I will discuss the oceanic feeling in the specific context of painterly creativity. I will begin by arguing that the oceanic feeling cannot be classified as an emotion, mood, or bodily feeling in the established senses of these terms. I will then introduce philosopher Matthew Ratcliffe’s theory of existential feelings to help formulate a more accurate view of the oceanic feeling. More spe…
Neoestetica: un archetipo disciplinare
2011
The paper focuses on Du Bos’ contribution to the birth of aesthetics. Du Bos elaborates – in an anticlassicistical tone – three central notions: 1) that of “artificial passion”, 2) of the taste of “the public” (which is in turn linked to a peculiar conception of “feeling”) and 3) of “artistic genius”. The main tenet will be that such an approach does lead to a “philosophy of fine arts” (or of “artistic beauty”), i.e. the discipline with which modern aesthetics ends up identifying at the end of the xviii century. Hence the theoretical, and not just historical, interest for this author, especially when having an eye to neoaesthetics, viz. aesthetics as begotten by the crisis of the modern aes…