Paul Gordon proposes a new theory of art as synaesthetic and applies this idea to various media, including works--such as movies, illustrated books and song lyrics--that explicitly cross over into ...media involving the different senses. The idea of art as synaesthetic is not, however, limited to those "cross-over" works because even an individual poem or novel or painting calls upon different senses in creating its syn-aesthetic "meaning.”" Although previous studies have often devolved into those who see an obvious connection between art and synaesthesia and those who adamantly reject such a notion, Synaesthetics furthers our understanding of synaesthesia as an important, if not essential, component of artistic expression.
O trajeto investigativo desta proposta foi compreender o imaginário da cidade, a partir do aporte teórico-metodológico presentes na fenomenologia da imaginação de Gaston Bachelard e na montagem ...benjaminiana, onde a flanerie e a topofilia poética bachelardiana são articuladas. G. Bachelard (1884-1962) e Walter Benjamin (1892-1940), são lidos a partir das obras que se relacionam com a cidade de Paris e o modo como viveram e escreveram sobre a cidade. De maneira alegórica e fenomenológica, tomamos a imagem da flor azul como símbolo do espaço na filosofia da imaginação e do imaginário, assim como a sobrevivência do romantismo novalino presente tanto no pensamento de G. Bachelard como de W. Benjamin. A flor azul é a imagem direta da imaginação, manifesta na consciência e no desejo também como um lugar a ser alcançado e, ao mesmo tempo, emblema de uma dimensão oculta, de algo que espera para ser revelado. A ontologia do espaço no imaginário é o tema central deste trabalho, cujos objetivos consistem em compreender o espaço vivido nas paisagens literárias como vertente temática do imaginário da cidade e, sobretudo, compreender o imaginário demonstrando as relações existentes nestes dois percursos teórico-metodológicos, com as perspectivas e possibilidades de desenvolvimento entre o estudos de Geografia e Literatura, por meio da paisagem literária que se desdobra no imaginário da cidade.
Le parcours d’investigation de cette étude accompagne la compréhension de l’imaginaire de la ville à partir des apports théoriques et méthodologiques de la phénoménologie de l’imagination de G. Bachelard et de l’assemblage benjaminien, qui articulent la flanerie et la topophilie poétique bachelardienne. G. Bachelard (1884-1962) et W. Benjamin (1892-1940), sont lus à partir d’ouvrages relatifs à la ville de Paris et à la manière dont ils l’ont vécue et écrite. D’une manière allégorique et phénoménologique, nous prenons l’image de la fleur bleue comme symbole de l’espace dans la philosophie de l’imagination et de l’imaginaire et comme marque de la permanence du romantisme novalien présent chez G. Bachelard et W. Benjamin. La fleur bleue est l’image directe de l’imagination, présente dans la conscience et dans le désir comme un lieu à atteindre mais aussi comme l’emblème d’une dimension occulte, de quelque chose qui attend d’être révélée. Le thème central de ce travail est donc l’ontologie de l’espace dans l’imaginaire, et les objectifs visés consistent, d´une part, à comprendre l’espace vécu dans le paysages littéraires comme un aspect thématique de l’imaginaire de la ville et d’autre part, à montrer comment les relations qui existent, dans ces deux parcours théoriques et méthodologiques ouvrent des perspectives et des possibilités de développement des études de Géographie et Littérature grâce à l’imaginaire de la ville présent dans le paysage littéraire.
The investigative trajectory of this proposal was to understand the imaginary of the city according to the theoretical and methodological contributions of G. Bachelard’s phenomenology of imagination and W. Benjamin’s concept of montage, how the flanerie and the poetical topology are articulated. We read works from G. Bachelard (1884-1962) and W. Benjamin (1892-1940) that relate to the city of Paris and the way they lived in the city and wrote about it. In an allegorical and phenomenological way, we took the image of the blue flower, as a symbol of the space in the philosophy of the imagination and the imaginary, as well as the survival of the romanticism that belongs to both philosophers. The blue flower is the direct image of the imagination, manifested in the consciousness and also in the desire as a place to be reached, and at the same time, an emblem of an occult dimension, of something that waits to be discovered. The ontology of the space in the imaginary is the central theme of this work whose main objective is to understand the space lived in the literary landscapes as a thematic branch of the city’s imaginary and, above all, to understand the imaginary by showing the relationships that exist in these two theoretical and methodological paths, with their own perspectives and possibilities of development between the studies of Geography and Literature, through the literary landscape that unfolds in the city’s imaginary.
The question of the relation between philosophy and literature is, in the present contribution, approached from the notion of reflexivity as it appears in the thinking of Herder and Gadamer. ...Following up on Gadamer's critique of the Kantian and post‐Kantian idea of the autonomy of art, literature is considered a reflective discourse that at an existential level harvests insights that can be used in a fruitful exchange with philosophy. As an example of the reflexivity of literature, an analysis of Julio Cortázar's short story ‘The Continuity of Parks’ appears at the end of the article.
From the trauma of September 11th, through the wars in Afghanistan and Iraq, to the aftermath of the Arab Spring and the environmental warning signs of climate change, this book reflects on the ...crises and terrifying events of the early 21st century and argues that a knowledge of tragedy from the works of Sophocles to Shakespeare to Samuel Beckett can help us understand them. Jennifer Wallace offers a cultural analysis of the tragic events of the past two decades with reference to a litany of key dramatic texts, including Aeschylus' Oresteia, Euripides' Hecuba, Iphigenia in Aulis, Trojan Women and Bacchae, Homer's Iliad, Ibsen's Emperor and Galilean and Enemy of the People, and Shakespeare's Julius Caesar, Macbeth and King Lear, among others.
This article explores the literary, philosophical, and phenomenological dimensions of neighbor‐love. Phenomenologically speaking, neighborly love must be given, that is, it must be given voluntarily ...through attitudes, actions, or gestures. But whom do we actually acknowledge as our neighbor, and why? Adopting a comparative literary approach, this paper argues that literature is not philosophy's adversary but its creative interlocutor: Ilse Aichinger's poem “Foundling” transcends anthropocentric perspectives, presenting the Neighbor as a being beyond denomination by translating it from human to animal. Doris Lessing's novel The Diary of a Good Neighbour depicts the unpredictable and accidental nature of encounters with the Neighbor, leaving no room for personal choice. Ultimately, Amélie Nothomb's Les catilinaires illustrates how the Neighbor can be a persistent annoyance that both irritates and resists systematic thinking. These literary works outline a nuanced poetics of neighbor‐love and givenness that extends beyond any anthropological, theological, or religio‐ethical concept.
PDF
