Erroneous Gazes: Lucretian Poetics in Catullus 64

2016 ◽  
Vol 106 ◽  
pp. 1-20
Author(s):  
Ábel Tamás
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
De Rerum Natura ◽  
Other Hand ◽  
The Aesthetic ◽  
The One ◽  
The Universe

ABSTRACTThis article argues for a ‘reciprocal intertextuality’ between Catullus 64 and Lucretius anticipating the poetic interplays of Augustan poets with theDe Rerum Natura. Catullus’ wedding guests (proto-readers), Ariadne (proto-Narcissus), and Aegeus (proto-Dido) are interpreted here aserrantesin the Lucretian sense: through their erroneous gazes presented in Poem 64, they all exemplify hownotto gaze at the structure of the universe. In the Lucretio-Catullan intertextual space — generated, as it seems, by the Catullan text — a reciprocal way of reading emerges: while, on the one hand, ‘Catullus’ uses ‘Lucretius’ to show that the aesthetic experience he offers is dependent upon an erroneous, unLucretian gaze/reading which deprives us of the external spectator position, ‘Lucretius’, on the other hand, uses ‘Catullan’ characters as deterrent examples in order to teach us hownotto submerge in ‘Catullus’ poetics of illusion’.

Vegan attendance: reading Gibbons’s animals

2020 ◽  
Vol 29 (3) ◽  
pp. 379-394
Author(s):  
Emelia Quinn
Keyword(s):  
The Other ◽  
Other Hand ◽  
Aesthetic Pleasure ◽  
Simone Weil ◽  
The Aesthetic ◽  
The One ◽  
Embodied Presence

When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.

scholarly journals La estética modal como herramienta de análisis cinematográfico

2020 ◽  
Author(s):  
Jesús Ramé López
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Other Hand ◽  
The Aesthetic ◽  
Fundamental Categories ◽  
Film Aesthetics

Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film poetics can eventually be better understood in their dependence to repertorial aesthetics. Such is the case with classic American which following the logics of the mode of the necessary, has been able to produce and consolidate a series of aesthetic patterns based on invisibility and that have come to us as a collection of filmic forms. On the other hand, the dispositional aesthetics deploy the mode of the possible. This is the case of the film vanguards, where new ways of doing things are built against what was previously considered necessary. Other film aesthetics can put the focus on the mode of effectiveness: this could be the proper focus to understand the character of werewolf, whose iconography comes to a full crystallization in the cinema, while being the object of dispute between a number of differente efectivities that are happening and that change both the man and the werewolf that emerges from the metamorphoses.Of course nothing here happens in isolation, since modal aesthetics categories are dynamic devices which describe different modal tensions and processes.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

Venus and Lucretius

1956 ◽  
Vol 3 (2) ◽  
pp. 140-152 ◽  
Author(s):  
H. St. H. Vertue
Keyword(s):  
The Other ◽  
Modern World ◽  
De Rerum Natura ◽  
Creative Power ◽  
Other Hand ◽  
The One

Nearly ten years have gone by since Dr. Cyril Bailey gave to lovers of Lucretius his edition of the poet in three volumes, winning for himself a crown, insignem cum laude coronam, after a lifelong quest and bestowing upon us an enlarged understanding of that wonderful work of antiquity, the De Rerum Natura, which holds in its ‘massive and magnificent whole’ many a valuable message for the modern world, could it but read them. At the outset of his commentary Dr. Bailey draws attention to a discrepancy that has often been discussed, namely that which lies between the literary masterpiece with which the poem opens, the invocation to Venus, and the Epicurean belief entertained by the poet that the gods neither govern the forces of Nature nor interfere in the affairs of men. On the one hand, Venus is addressed as a creative power with prayers for inspiration and assistance and for peace; on the other hand, we are told that the nature of the gods needs nothing of us, is untouched by anger, and is unmoved by merit; and if the reading of the manuscripts be retained, the second set of lines immediately succeeds and contradicts the first.

Symbolic Cognition in Poetic Experience: Re-representing the Paraphrase Paradox

2020 ◽  
Vol 60 (3) ◽  
pp. 283-298
Author(s):  
Sarah Feldman
Keyword(s):  
Aesthetic Experience ◽  
Faith Healing ◽  
The Other ◽  
Other Hand ◽  
Symbolic Cognition ◽  
Widespread Belief ◽  
The One

Abstract This article considers an apparent tension between, on the one hand, a widespread belief among literature teachers that the appreciation of a poem involves an experience of form-content inseparability and, on the other hand, these same teachers’ use of paraphrase to encourage appreciation. Using Terrence Deacon’s model of art experience, I argue that the tensions of this ‘paraphrase paradox’ mirror tensions inherent in poetic experience. Section II draws upon work by Rafe McGregor, Peter Lamarque, and Peter Kivy to frame an approach to the form-content distinction, and to offer a brief overview of the paraphrase paradox. Sections III-IV summarize Deacon’s model of aesthetic experience, and argue that this model implies that poetic experience both triggers an impulse towards paraphrase, and frustrates this impulse. Section V looks at implications for the poetry teacher’s attempts to navigate the paraphrase paradox. Section VI tests these implications through an analysis of Philip Larkin’s poem ‘Faith Healing’.

scholarly journals UN REPER FUNDAMENTAL AL ESHATOLOGIEI: DISTINCȚIA DINTRE NECREAT ȘI CREAT, DAR NU ȘI INCOMPATIBILITATEA COMUNIUNII LOR

2021 ◽  
Vol 2 (3) ◽  
pp. 73-79
Author(s):  
Mădălin-Ștefan PETRE ◽  
Keyword(s):  
The Other ◽  
Clear Distinction ◽  
Divine Grace ◽  
Other Hand ◽  
The One ◽  
The Universe ◽  
The Church ◽  
Second Coming

Orthodox eschatology is based, on the one hand, on the affirmation of the clear distinction between the uncreated nature of God and the created nature of His creatures, and, on the other hand, on the possibility of their union through divine Grace. Towards this eschatological union creation is called ontologically, through the divine reasons based on Reason-Christ, Who draws to Himself man and the universe, because He is at the same time Cause and Target, Alpha and Omega. The Church is working and preparing for the Feast of the Great Union, which will take place at the Second Coming of the Lord

scholarly journals 2012: Ideas Mayas Acerca De La Renovación Cí­clica Del Universo

Xihmai ◽  
2013 ◽  
Vol 5 (9) ◽  
Author(s):  
Manuel Alberto Morales Damián
Keyword(s):  
Key Words ◽  
The Other ◽  
Western Thought ◽  
Global Crisis ◽  
Other Hand ◽  
Palabras Clave ◽  
The World ◽  
The One ◽  
The Universe

2012:  IDEAS  MAYAS  ACERCA  DE  LA  RENOVACIÓN CíCLICA DEL UNIVERSO. 2012:                MAYA‟S    CIVILIZATION     IDEAS   ABOUT    THE CYCLIC RENEWAL OF THE UNIVERSE.       Resumen El pensamiento maya con respecto a la astronomí­a y el calendario poseen una gran originalidad y corresponden a una forma de entender la realidad completamente  diferente  a  la  del  pensamiento  occidental.  Los  mayas conciben que el tiempo está sujeto a recurrencias cí­clicas (dí­a-noche, año solar, perí­odos de 52 años), cada una de las cuales supone la destrucción y renovación del cosmos. Por otra parte, las supuestas profecí­as mayas acerca de un evento astronómico el próximo 21 de diciembre de 2012, en realidad no son acordes a la cosmovisión maya prehispánica, coinciden sin embargo con temores milenaristas propios del pensamiento occidental que se agudizan en una época de crisis global.   Palabras Clave: Mayas, religión, astronomí­a, profecí­as del 2012.   Abstract Mayan  thought  in  respect  to  astronomy  and  the  calendar  have  a  great originality and correspond to a way of understanding a complete different reality to the one of the western thought. Mayan people conceive that time is subject to cycle recurrences (day-night, solar year, and periods of 52 years), each one supposes destruction and renovation of cosmos. On the other hand, the supposed Mayan prophecies about an astronomical event next December 21st  2012, do not in fact agree with the view of the world of the pre Hispanic Mayans, however they coincide with millennial fear proper of the western thought that worsen in this times of global crisis.   Key words: Mayans, religion, astronomy, 2012 prophecies.      

scholarly journals Stanislav Krakov: Phenomenology of the inner consciousness of combat

2014 ◽  
Vol 25 (3) ◽  
pp. 323-342
Author(s):  
Caslav Koprivica
Keyword(s):  
The Other ◽  
Philosophical Tradition ◽  
Philosophical Significance ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

In this text, the work of Serbian writer Stanislav Krakov, between the two world wars, the famous, and later, due to ideological divisions, repressed and forgotten figure, is ovserverd through the lens of philosophy of existence and phenomenology. The ?philosophical? significance of Krakov?s autobiographical war prose, which in the aesthetic, especially formal-innovative aspect, represented the pinnacle of the genre of that time Serbian literature, is that it can be viewed as a first-class document of phenomenological introspection of a man in situation of mortal combat; and the ragne his prose of his prose is, in some respects, without exaggeration, comparable to war prose of Ernst J?nger. But besides his authentic documentality, Krakov?s writing is characterized by brilliant insights. So, on the one hand, Krakov can be viewed as a thinker of war and corporeality avant lettre, and, on the other hand, the interpretative contextualization of his prose within the aforementioned philosophical tradition helps us to better understand his literature.

Real Modalities

2017 ◽  
Author(s):  
John Heil
Keyword(s):  
The Other ◽  
Other Hand ◽  
The One ◽  
Causal Laws ◽  
The Universe

Sometimes we take ourselves to be saying some-thing about what really is possible (even if not actual), what is not possible, what is inevitable, what would or would not happen were certain conditions to obtain; we take ourselves to be saying something about how matters stand modally. When this is our aim, what features of the universe are responsible for the truth or falsity of what we say? I shall offer reasons for thinking that an ontology of interrelated powers or dispositionalities provides the resources requisite for an accounting of real modalities, truth makers for important modal truths. Consideration of these reasons will, in addition, disclose surprising connections between dispositionality, on the one hand, and, on the other hand, causation and causal laws as these are commonly understood in philosophy.

The Place of Mathematics in the Interpretation of the Universe

Philosophy ◽  
1933 ◽  
Vol 8 (29) ◽  
pp. 14-29 ◽  
Author(s):  
F. A. Lindemann
Keyword(s):  
Point Of View ◽  
The Other ◽  
Recent Advances ◽  
Other Hand ◽  
Euclidian Geometry ◽  
The One ◽  
The Universe

Recent advances in physics render a reconsideration of the Place of Mathematics in the Interpretation of the Universe particularly timely. On the one hand, we have the introduction of non-euclidian geometry, which has given rise to much controversy informed or otherwise; on the other hand, we find mysterious forms of mathematics, invented to cope with the quantum difficulties, which so far have escaped metaphysical investigation or criticism. It would seem most desirable that these modes of interpreting reality should be examined from the broader philosophical point of view.

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