The literary work of Enrique Vila-Matas has a multiplicity of metaliterary resources that will undoubtedly make it transcend to our time. Specifically, his novel París no se acaba nunca is in itself ...a living example of a work that reflects on a wide variety of aspects that concern metafiction, literary theory and philosophy of art. Metafiction is a narrative resource deeply consolidated in universal literature and it is part of a discipline such as literary theory. This work proposes the use of the tools of philosophical materialism to analyze the Vilamatian novel about the aspects that metafiction deals with. This research aims to analyze the novel París no se acaba nunca as a work that addresses the main issues of reflection on literature, metafiction and literary theory. It also develops a critical perspective on everything that affects the writing process. Enrique Vila-Matas invites the reader to deal with classic topics that affect literary production, such as intertextuality, fiction and substantivity in narrative texts.
La obra literaria de Enrique Vila-Matas tiene una multiplicidad de recursos metaliterarios que sin duda la harán trascender a nuestra época. En concreto, su novela París no se acaba nunca supone en sí misma el vivo ejemplo de una obra que reflexiona sobre una gran variedad de aspectos que conciernen a la metaficción, la teoría literaria y la filosofía del arte. La metaficción es un recurso narrativo profundamente consolidado en la literatura universal y forma parte de una disciplina como la teoría literaria. Este trabajo propone el uso de las herramientas del materialismo filosófico para analizar la novela vilamatiana sobre los aspectos que trata la metaficción. Esta investigación tiene como objetivo analizar la novela París no se acaba nunca como una obra que puede explicar los principales problemas de la reflexión sobre la literatura, la metaficción y la teoría literaria. Desarrolla además una perspectiva crítica a todo lo que afecta al proceso de escritura. Enrique Vila-Matas propone al lector tratar temas clásicos que afectan a la producción literaria tales como la intertextualidad, la ficción y la sustantividad en los textos narrativos.
I reconcile the spatiotemporal location of repeatable artworks and impure sets with the non-location of natural numbers despite all three being varieties of abstract objects. This is possible ...because, while the identity conditions for all three can be given by abstraction principles, in the former two cases spatiotemporal location is a congruence for the equivalence relation featuring in the relevant principle, whereas in the latter it is not. I then generalize this to other 'physical' properties like shape, mass, and causal powers.
This set reissues 6 books on aesthetics originally published between 1933 and 1991. The volumes provide a clear introduction to classic philosophical accounts of art and beauty, as well as exploring ...the significance of aesthetics in more recent developments in philosophy.
1. An Introduction to Aesthetics E. F. Carrritt 2. Aesthetics: An Introduction W. Charlton 3. A Critical History of Modern Aesthetics William Francis Hare 4. Science and Aesthetic Judgment: A Study in Taine's Critical Method Sholom J. Kahn 5. Key Concepts: A Guide to Aesthetics, Criticism and the Arts in Education Trevor Pateman 6. A Transformational Theory of Aesthetics Michael Stephan
Multivolume collection by leading authors in the field
The map, as it appears in Gilles Deleuze’s writings, is a concept guiding the exploration of new territories, no matter how abstract. With the advent of new media and digital technologies, ...contemporary artists have imagined a panoply of new spaces that put Deleuze’s concept to the test. Deleuze’s concept of the map bridges the gap between the analog and the digital, information and representation, virtual and actual, canvas and screen and is therefore best suited for the contemporary artistic landscape. Deleuze and the Map-Image explores cartography from philosophical and aesthetic perspectives and argues that the concept of the map is a critical touchstone for contemporary multidisciplinary art. This book is an overview of Deleuze’s cartographic thought read through the theories of Sloterdijk, Heidegger, and Virilio and the art criticism of Laura U. Marks, Carolyn L. Kane, and Alexander Galloway, shaping it into a critical tool through which to view the works of cutting edge artists such as Janice Kerbel and Hajra Waheed, who work with digital and analog art. After all, Deleuze did write that a map can be conceived as a work of art, and so herein art is critiqued through cartographic strategies.
This essay has two aims. The first is to offer an explanation concerning the problem of form in Umberto Eco’s philosophical research, showing that he deals with it while admitting that form can be a ...temporary element connected to a system of relationships which may be subject to variability. Namely, his reflection is open to the issue of structure. The second aim is to identify some principles that, according to this theoretical approach, may be considered a basis for a positive philosophy of the arts whose adoption might also lead to the understanding of their most recent evolutions. Focusing above all on the work Eco carried out in the years preceding the elaboration of his semiotic theory, I will pursue the following two objectives. After introducing some aspects of Eco’s philosophical methodology, I will focus on the theme of form, considering it in meta-operative terms in light of Luigi Pareyson’s ‘theory of formativity’ and in relation to the issue of structure. In the final part of the essay, I will then show how this theoretical approach provides significant resources for a positive philosophy that can successfully address the evolution of the arts.
German philosopher G. W. F. Hegel problematized the term “aesthetics” in his writings on art. This article attempts to capture the tension between Hegel's theory of art and philosophy of art and its ...impact on the subsequent theorization of art in the twentieth century as consumer or emancipatory. Music, poetry and plastic arts seem to resonate differently with philosophers such as Plato, Aristotle, Kant, Hegel and Adorno. Plato considered music soothing to the soul. In Aristotle, one could trace the oblique beginnings of the tension between a theory of art and a philosophy of art as he questioned the role of art in philosophy. While Kant's approach is more formal and deals with concepts such as beauty, sublime, genius, and the status of aesthetic objects, Hegel grapples with the rational and emotional aspects of works of art which determine whether art is free or under the thralldom of nature. Both Kant and Hegel distinguished artistic from natural beauty. Critical theorists such as Adorno were also influenced by Hegel. Adorno's analysis of concepts such as mimesis forms an important part of his critique of culture industry. Adorno was also emphatic that classical art could only exist as a product of an epoch. Yet in its dialectical form, art serves as a critique of ideology. Progressively, from the nineteenth to the twentieth century, what began as a crevice between a philosophy of art and a theory of art became a chasm. Thus, begins a contentious relationship between art as a pursuit in itself and art for consumption, that is, art as an integral aspect of consumer culture. The new phenomenon of AI art also poses interesting questions about the paradigmatic shift in dynamics between human element and technology. This article would also attempt to trace how art continues to defy reification, while in the process being consumed constantly, recreating and reinventing itself.
While Hegel’s influence on Arthur Danto has been examined in relation to specific parts of his thought, an overall analysis of said influence is still wanting. In this article, I analyze the presence ...of Hegelian influence in Danto’s complete thought from three perspectives: (1) Danto’s acceptance of Hegelian assumptions when it comes to the conception of history, narrative realism and historical progress, which allows him to combine timeless essentialism with historicism, (2) the cognitive aspect of art and the conception of art as an embodied symbol, as well as the historical quality of said embodiment, and (3) the assumption that art’s trajectory coincides with the Hegelian prophecy that art will give way to philosophy, on which Danto’s “end of art” thesis is based. This examination not only illuminates the interrelation between the different parts of Dantian philosophy, but also reveals its systematic character.
"Is it appropriate to honour and admire people who have created great works of art, made important intellectual contributions, performed great sporting feats or shaped the history of a nation if ...those people have also acted immorally? This book provides a philosophical investigation of this important and timely question. The authors draw on the latest research from ethics, value theory, philosophy of emotion, social philosophy and social psychology to develop and substantiate arguments that have been made in the public debates about this issue. They offer a detailed analysis of the nature and ethics of honour and admiration, and present reasons both in favor and against honouring and admiring the immoral. They also take on the important matter of whether we can separate the achievements of public figures from their immoral behavior. Ultimately, the authors reject a ""one-size-fits-all"" approach and argue that we must weigh up the reasons for and against honouring and admiring in each particular case. Honouring and Admiring the Immoral is written in an accessible style that shows how philosophy can engage with public debates about important ethical issues. It will be of interest to scholars and students working in moral philosophy, philosophy of emotion, and social philosophy."
Since antiquity, art has been a universal way of concrete-sensual expression of non-verbalized spiritual experience, primarily aesthetic, one of the main, essential, along with religion, components ...of сulture, as a uniquely creative and productive spiritual and practical human activity. In this article, the authors demonstrate its influence and power on the life and attitude of a person. In the process of analyzing the novel The Goldfinch by Donna Tartt, the authors show that art helps people to discover more of themselves, to realize themselves, to go into their inner world – the world of their ideas and dreams. It helps to break away from reality as it is and get into a completely different, opposite world. Tartt’s novel demonstrates that by being associated with art, people can taste immortality. The article aims to demonstrate the undeniable power of art based on the analysis of the novel, to show that art has unlimited value because it is not just a decoration or addition to life, but a part of existence, the sense of life. On the basis of a detailed examination of the novel, the authors make conclusions that the role of art is invaluable in human life.
Mere Exposure to Bad Art MESKIN, Aaron; PHELAN, Mark; MOORE, Margaret ...
The British journal of aesthetics,
04/2013, Letnik:
53, Številka:
2
Journal Article
Recenzirano
Here, Meskin et al address the interaction between mere exposure and the quality of the artworks to which people are exposed. It focuses on an experiment they conducted to test whether mere exposure ...increases or decreases liking for bad visual artworks. The results indicate that mere exposure to bad art makes people like it less. They argue that these results suggest that exposure itself is sensitive to value. If this is correct, sceptics about aesthetic value and the canon cannot straightforwardly rely on psychologist James Cutting's results to support their position. Even when exposure makes a difference, aesthetic value appears to remain in the picture.
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