Ambassadors of Aesthetic Experience: The Healing Legacy of Maxine Greene

2016 ◽  
Vol 14 (1) ◽  
pp. 24-29
Author(s):  
Andrew M. Gaines
Keyword(s):  
Aesthetic Experience ◽  
Maxine Greene

Continuing a Conversation with Maxine Greene in Comics

2015 ◽  
Vol 117 (10) ◽  
pp. 1-6
Author(s):  
Nick Sousanis ◽  
Daiyu Suzuki
Keyword(s):  
Social Change ◽  
Research Design ◽  
Aesthetic Experience ◽  
Daily Life ◽  
Comic Book ◽  
Living Room ◽  
Personal Lives ◽  
Aesthetic Inquiry ◽  
The Aesthetic ◽  
Maxine Greene

Purpose To illuminate the concepts of aesthetic experience and wide-awakeness in the philosophy of Maxine Greene by using the aesthetic approaches she discussed - in this case, using the comic book form as a means of visually embodying and extending her ideas. Setting In Maxine Greene's living room, the view through the window, and on the sidewalk across the street from her apartment—under the tree that she looked upon each day. Research Design Philosophical-aesthetic inquiry. Conclusions/Recommendations This philosophical-aesthetic inquiry has left us with more questions than answers as we engaged in an imaginative dialogue with Maxine Greene. Maxine lived her philosophy not just in her work, but in her daily life. Her lived example leaves us with some of the following questions: How do we—as educators, researchers, and philosophers—reconcile the separation between our intellectual lives and personal lives? What does it mean to cultivate our imaginative capacities for social change? How do we see the unseen? How do we see movements in what seems static, and changes in what seems permanent? How do we refuse to accept given “truth” as true and so-called “reality” as real? How do we attend our world anew each day? Maxine's method of asking, rather than answering, opened her to seeing greater possibilities in her world. And it is this attitude for seeing and for asking rather than any “ism” that we take into our own work and seek to convey with this piece.

Aux frontières de l'expérience esthétique: le grotesque baudelairien

2019 ◽  
Vol 58 (2) ◽  
pp. 237-248
Author(s):  
Julien Weber
Keyword(s):  
Aesthetic Experience ◽  
A Priori ◽  
Intended Meaning ◽  
The Grotesque

This article is about the grotesque in Baudelaire. While Baudelaire's famous essay on laughter plays an important role in contemporary theories of grotesque aesthetics, his own poetic production is often left aside. In this article, I discuss how the grotesque manifests itself in works by Baudelaire that seem a priori irrelevant because of their ostensible use of ‘comique significatif’, a sort of antithesis of the grotesque. Through a discussion of Pauvre Belgique! And ‘Le Chien et le Flacon’, I argue that the baudelairian grotesque most powerfully intervenes in the mode of a distortion of the intended meaning, which leads me to distinguish its reading from a properly ‘aesthetic’ experience.

Haydn, meter, and listening in transition

2010 ◽  
Vol 51 (1-2) ◽  
pp. 141-152 ◽  
Author(s):  
Roger Grant
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Recent Trend ◽  
Music And Literature ◽  
Late Works ◽  
The Way

In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.

Gadamer’s Concept of Aesthetic Experience as a Possibility for the Orthodox Biblical Theology

2014 ◽  
Vol 6 (3) ◽  
pp. 378-407
Author(s):  
Zdenko Š Širka
Keyword(s):  
Aesthetic Experience ◽  
Biblical Theology ◽  
Main Thesis ◽  
New Material ◽  
The Way

Abstract This article finds its inspiration in the new interpretations of Gadamer’s hermeneutics, which underline the turn in his later period, and which focus on the conception of aesthetic experience as an experience of transcendence. The main thesis is that the understanding of artworks, as Gadamer describes them in contrast to the Kantian subjectification of aesthetics, can be paralleled with the way Orthodox biblical theology struggles to approach Holy Scripture in the context of Church and Tradition. The aim of this article is to bring new material to the growing reception of Gadamer among Orthodox scholars, and to initiate further discussion on the topic by showing the parallels and areas where this reception could continue.

Film als Experiment der Animation

2012 ◽  
Vol 3 (1) ◽  
pp. 11-24
Author(s):  
Gertrud Koch
Keyword(s):  
Aesthetic Experience ◽  
Life Sciences

Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. </br></br>The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.

Ambient in Kunst, Musik und Theater

2009 ◽  
Vol 54 (1) ◽  
pp. 121-132
Author(s):  
Sabine Gebhardt Fink
Keyword(s):  
Aesthetic Experience ◽  
Complex Structure ◽  
Lived Space ◽  
Ästhetische Erfahrung ◽  
Point Of Departure

In performativen künstlerischen Projekten der Ambient Art werden Raum und Körper neu erzeugt. Diese These verdeutliche ich mit Beispielen aus den Bereichen Musik, Theater und Kunst, die das transdisziplinäre Phänomen Ambient als komplexe mediale Struktur erklären. Des weiteren gehe ich vom Modell des gelebten Raums aus, um auszuführen, wie der Ort eines künstlerischen Projekts die Art und Weise der Verkörperungen seiner Teilnehmer definiert. Umgekehrt wird deutlich, daß die immersive ästhetische Erfahrung von Ambient erst Präsenz und Raum konstituiert. During performative artistic projects in Ambient Art, both space and structures of embodiment are constituted. I illustrate this thesis with examples of performative works in music, theatre and art, in order to analyze the transdisciplinary phenomenon of Ambient Art as a complex structure. My point of departure is a model of lived space in which the bodily enactment in the performative artwork produces place and, vice versa, the place of the artwork determines the active body as an immersive aesthetic experience.

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