What is the night? How can we define it and mark its edges? The gaze of those observing it is more or less mobile; does the night maintain its function as a frame? How does the difficulty to see ...clearly favour the artistic invention, the wondering on the infinite and death, the questions on the imaginary, the dream, the memory and the oblivion? Anna Dolfi started from questions like these in devising a book of great novelty and suggestion which, between nocturnes and music, wonders how literature, painting, cinema, opera, popular traditions and songs have narrated about blindness and vision, obsession and fear, or said nights were "tender", desperate, sublime, mysterious and mystical, told about nights of 'sickness', of repairing nights, white nights and sleepless nights, when the attempt is to resist while creating in order to challenge the breaking of dawn. The icon of Mozart’s Queen of night, together with that of Schönberg’s Pierrot, has accompanied about fifty Italian and foreign scholars and young researchers in an almost backlit way; they started from the 18th century and from Ossian's songs, continuing along a European night-themed path supported by theorists (Nietzsche, Bachelard, Jankélévitch...) and music (Mozart, Chopin, Schubert, Schumann, Fauré, Debussy, Britten...), and have worked on Novalis, Hölderlin, German Romanticism, Rilke, Celan, Müller, Hugo, Chenier, Baudelaire , Proust, Cocteau, Bonnefoy and many others, declining the Italian nocturnes from the graveyard elegies of Pindemonte to Leopardi, Di Giacomo, D'Annunzio, Onofri, Campana, Saba, Ungaretti, Sbarbaro, Montale, Penna, Pavese, Gatto, Caproni, Luzi, Bigongiari , Fortini, Jacobbi, Ripellino, Pasolini, Giudici, Rosselli, Sanguineti, De Signoribus, la Anedda, Magrelli and such. The work opens with unpublished Portuguese texts by Ruggero Jacobbi, and with verses and translations of De Signoribus and Vegliante. Starting with Donizetti’s night, the volume comes to the night of different Italian singers and songwriters (De Gregori, Dalla and more), pushing the limit of electric nocturnes which, through poetry, reveal the urban glimpses of a tormented society between the end of the century and the beginning of the millennium.
Art of the Modern Age Rendall, Steven; Schaeffer, Jean-Marie
2000, 2023-09-26, Letnik:
2
eBook
This is a sweeping and provocative work of aesthetic theory: a trenchant critique of the philosophy of art as it developed from the eighteenth century to the early twentieth century, combined with a ...carefully reasoned plea for a new and more flexible approach to art.
Jean-Marie Schaeffer, one of France's leading aestheticians, explores the writings of Kant, Schlegel, Novalis, Hegel, Schopenhauer, Nietzsche, and Heidegger to show that these diverse thinkers shared a common approach to art, which he calls the "speculative theory." According to this theory, art offers a special kind of intuitive, quasi-mystical knowledge, radically different from the rational knowledge acquired by science. This view encouraged theorists to consider artistic geniuses the high-priests of humanity, creators of works that reveal the invisible essence of the world. Philosophers came to regard inexpressibility as the aim of art, refused to consider second-tier creations genuine art, and helped to create conditions in which the genius was expected to shock, puzzle, and mystify the public. Schaeffer shows that this speculative theory helped give birth to romanticism, modernism, and the avant-garde, and paved the way for an unfortunate divorce between art and enjoyment, between "high art" and popular art, and between artists and their public.
Rejecting the speculative approach, Schaeffer concludes by defending a more tolerant theory of art that gives pleasure its due, includes popular art, tolerates less successful works, and accounts for personal tastes.
"A remarkable work... Schaeffer's writing is governed by ... the ideals of clarity and consequence, the ideas of logic, truth, and evidence... Schaeffer is so precise and unrelenting a philosophical critic that one wonders how some of the philosophies he anatomizes here can possibly survive the operation."--From the foreword by Arthur C. Danto
Durante el siglo XX se ha desarrollado un progresivo análisis de las implicancias que tiene la estética sobre la geopolítica y la ordenación del territorio. Si hasta ahora la perspectiva ...renacentista, en tanto técnica propia de medición del espacio, había posibilitado el desarrollo de la (geo)política como soberanía territorial, las nuevas tecnologías de la información y la comunicación han puesto en crisis la posibilidad misma de control y medición sobre dicho espacio de aparición política. A través de los textos de Paul Virilio, el presente artículo analiza la crisis del espacio como posibilidad de medida y organización de la producción en la era de la información, identificando las principales consecuencias que tiene el declive de la (geo)política sobre las relaciones sociales y urbanas.
Ética e estética na formação humana Chaves, Amanda Pires; Goergen, Pedro
Revista Exitus (Online),
2017, Letnik:
7, Številka:
2
Journal Article
Recenzirano
Odprti dostop
This article examines the relationship between rationality, ethics and aesthetics in
human education in the contemporary context. Starting with the development of
science and technology and the ...debate on the process of globalization, it is possible
to notice the limits and challenges of the modern process of rationalization, which
became the central and unilateral focus of the whole educational process. As a
result, we put forth, with views to a concept of integral education of the human
being, the revaluation of ethics and aesthetics, in the broader perspective of the
care of themselves. The goal is to argue in defense of a model of integral education
for educational institutions at all levels. In conclusion, it argues in favor of the
education of critical subjects, socially co-responsible, able to act as citizens in terms
of social welfare, in a contemporary capitalist and globalized scenario, full of
contradictions, uncertainties, inequalities and social injustices.
Este artigo analisa a relação entre racionalidade, ética e estética na formação humana no contexto contemporâneo. Iniciando com o desenvolvimento da ciência e tecnologia e o debate sobre o processo de globalização, constata-se os limites e desafios do processo moderno de racionalização que se tornou o foco central e unilateral de todo o processo formativo. Na sequência, defende-se, com vistas a um conceito de formação integral do ser humano, a revalorização das dimensões ética e estética, na perspectiva mais ampla do cuidado de si. O objetivo é argumentar em defesa de um modelo de formação integral para as instituições educacionais em todos os níveis. Concluindo, argumenta em prol da formação de sujeitos críticos, corresponsáveis socialmente, capazes de agir como cidadãos na perspectiva do bem-estar social, em um cenário contemporâneo capitalista e globalizado, pleno de contradições, incertezas, desigualdades e injustiças sociais.
Este artículo analiza la relación entre racionalidad, ética y estética en formación
humana en el contexto contemporáneo. A partir del desarrollo de la ciencia y
tecnología y el debate sobre el proceso de globalización, los límites y desafíos del
proceso moderno de racionalización que se convirtió en el foco central y unilateral
de todo el proceso formativo. En la secuencia, se defiende, con vistas a un
concepto de formación integral del ser humano, la revalorización de las
dimensiones ética y estética, en una perspectiva más amplia del cuidado de sí. El
objetivo es argumentar en defensa de un modelo de formación integral para las
instituciones educativas en todos los niveles. Se concluye, argumentando a favor de
la formación de sujetos críticos, corresponsables, capaces de actuar como
ciudadanos en términos de bienestar social, en un escenario contemporâneo
capitalista y globalizado, lleno de contradicciones, incertidumbres, desigualdades
e injusticias sociales.
This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in ...relation to different aspects of the museum’s identity as an art institution. The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern. This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.
Trauma Culture Kaplan, E. Ann
2005, 20050711, 2005-07-11
eBook
It may be said that every trauma is two traumas or ten thousand-depending on the number of people involved. How one experiences and reacts to an event is unique and depends largely on one's direct or ...indirect positioning, personal psychic history, and individual memories. But equally important to the experience of trauma are the broader political and cultural contexts within which a catastrophe takes place and how it is "managed" by institutional forces, including the media.In Trauma Culture, E. Ann Kaplan explores the relationship between the impact of trauma on individuals and on entire cultures and nations. Arguing that humans possess a compelling need to draw meaning from personal experience and to communicate what happens to others, she examines the artistic, literary, and cinematic forms that are often used to bridge the individual and collective experience. A number of case studies, including Sigmund Freud's Moses and Monotheism, Marguerite Duras' La Douleur, Sarah Kofman's Rue Ordener, Rue Labat, Alfred Hitchcock's Spellbound, and Tracey Moffatt's Night Cries, reveal how empathy can be fostered without the sensationalistic element that typifies the media.From World War II to 9/11, this passionate study eloquently navigates the contentious debates surrounding trauma theory and persuasively advocates the responsible sharing and translating of catastrophe.
Unutar umjetnosti radikalnog enformela nalazimo djela izražene nepikturalnosti, nesemantičnosti i nereferencijalnosti, kao i težnju prema entropiji, raslojavanju i razjedinjavanju forme kroz ...destruktivne procese deformiranja, perforiranja, urezivanja, grebanja, gomilanja struktura i masa, fragmentacije, skidanja slojeva i spaljivanja. U ovom je radu naglasak stavljen na teoretske modele tumačenja radikalnog enformela kroz koncepte estetike ružnoće, odnosno brutalne estetike, kao što su: (1) deformacija, (2) disfiguracija, (3) neformnost, i (4) entropija – na primjerima enformelnog stvaralaštva Ive Gattina, Eugena Fellera i Marijana Jevšovara, koji su proizašli iz njihovih svjetonazora prema umjetnosti i slici. Umjetnici su intencionalno stvarali slike koje nisu »lijepe« suprotstavljajući se klasičnim vrijednostima umjetnosti i ljepote kroz opozicijski i negacijski pristup, nihilizam, destrukciju, deformiranje i poništavanje slikarske površine kao vidovima anti-estetike.
In the art of radical Informel, we encounter works with emphasised non-pictoriality, non-semantics and non-referentiality, as well as a tendency towards entropy, layering and the disintegration of form through destructive processes such as deformation, perforation, incision, scratching, the accumulation of structures and masses, fragmentation, stripping and burning. In this paper, theoretical models of interpretation for the art of radical Informel are pointed out through the concepts of the aesthetics of ugliness, i.e. brutal aesthetics, such as (1) deformation, (2) disfiguration, (3) formlessness and (4) entropy – using the example of the informal works of Croatian authors Ivo Gattin, Eugen Feller and Marijan Jevšovar, which result from their attitude towards art and painting. The artists have deliberately created paintings that are not “beautiful” by opposing the classical values of art and beauty through oppositional and negative approaches, nihilism, destruction, deformation and the abolition of the surface of the painting as forms of anti-aesthetics.
The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, ...his moral philosophy answers central questions in ethics.
The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes that he treats beauty in nature and art and moral beauty as similar in kind, and applies the conclusions about his aesthetics to his moral thought. Chapter 3 solves a puzzle to which this gives rise, namely, how individuals both accept general standards that they also contravene in the course of aesthetic and moral activity. Chapter 4 takes up the normative aspect of Hume's approach by understanding moral character through his view of moral beauty.
The second aim of the book is realized in chapters 5-7 by entertaining three objections against Hume's moral philosophy. First, if morality is an immediate reaction to the beauty of vice and the deformity of virtue, why is perfect virtue not the general condition of every human individual? Second, if morality consists of sentiments that arise in the subject, how can moral judgments be objective and claim universal validity? And third, if one can talk of "general standards" governing conduct, how does one account for the diversity of moral systems and their change over time? The first is answered by showing that like good taste in aesthetics, 'right taste' in morals requires that the sentiments are educated; the second, by arguing against the view that Hume is a subjectivist and a relativist, and the third (chapter 6), by showing that his approach contains a view of progress left untouched by any personal prejudices Hume himself might harbor. The book concludes in chapter 7 by showing how Hume's view of philosophy affects the scope of any nor
PDF
