The Aesthetic Dimension of Burke's Political Thought

1964 ◽  
Vol 4 (1) ◽  
pp. 41-64 ◽  
Author(s):  
Neal Wood
Keyword(s):  
Political Thought ◽  
Oliver Goldsmith ◽  
Trinity College Dublin ◽  
Political Ideas ◽  
The Sublime ◽  
The Arts ◽  
Vital Interest ◽  
Systematic Effort ◽  
David Garrick ◽  
The Aesthetic

Apparently no systematic effort has been made to ascertain whether a relation exists between the aesthetic theory of Burke's The Sublime and Beautiful (1757) and his political ideas. This omission would be readily understandable if the book were an insignificant and immature effort, or if the author at some later time had drastically altered his views, or if he had lost his interest in the arts. But all the evidence seems to be to the contrary. The work has been appraised as “among the most important documents of its century” to which men of great stature were indebted, including Johnson, Blake, Wordsworth, Hardy, Diderot, Lessing, and Kant. Although Burke did write a first draft while he was an undergraduate in Trinity College, Dublin, he continued to work upon it six or seven more years. Except for the extensive revisions for the second edition of 1759, revisions which did not modify the basic thesis, Burke evidently made no textual changes in the numerous subsequent editions. Nothing that Burke said or wrote indicates that he had second thoughts about the substance of the argument. And to the end of his days he maintained his vital interest in the arts. He was an intimate of Oliver Goldsmith, David Garrick, and Sir Joshua Reynolds, the friend and patron of the two painters, George Barret and James Barry, and a member of the Royal Academy. Nor can the failure to consider the question of the connection between the aesthetics and the politics be due to the unfamiliarity of students of Burke's political thought with The Sublime and Beautiful.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

Byzantine Traditions of the Sublime Porte: the Title qayṣar-i Rūm in the Ottoman Political Thought

Istoriya ◽  
2021 ◽  
Vol 12 (5 (103)) ◽  
pp. 0
Author(s):  
Dmitry Korobeynikov
Keyword(s):  
Sixteenth Century ◽  
Political Culture ◽  
Political Thought ◽  
The State ◽  
Great Power ◽  
The Sublime

The article is focused on the problem of the title qayṣar-i Rūm, “Caesar of Rome”, which was a traditional title of the Byzantine emperors in Arabic and Persian sources. It is believed that the title was accepted by Mehmed II Fatih after the conquest of Constantinople in 1453. It seems that the Ottoman chancery began to use the title only during the reign of Suleyman the Magnificent. The first evidence thereof was the famous inscription of Suleyman in the fortress of Bender (Bendery, in Moldavia/Moldova) in 1538—1539. The Ottomans recognized themselves as a new Rome only after they went into conflict with a great power in Persia, the state of the Aq-Qoyunlu and the Safawi Empire at the end of the fifteenth and the beginning of the sixteenth century. They did so, however, in the categories of their Persianate political culture, and the title qayṣar-i Rūm was believed to have been an equivalent of the title padishah.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals Los nuevos decorados del arte

2016 ◽  
Vol 10 (17) ◽  
pp. 102
Author(s):  
Carlos Fajardo Fajardo
Keyword(s):  
Jean Baudrillard ◽  
Cultural Logic ◽  
The Sublime ◽  
Advanced Capitalism ◽  
The Aesthetic ◽  
Crisis Of Modernity ◽  
Fredric Jameson

RESUMENEl presente artículo pasa revista y analiza algunas de las tesis que Jean François Lyotard, Fredric Jameson y Jean Baudrillard construyeron para dar cuenta de las consecuencias de la llamada crisis de la modernidad y sus repercusiones en el arte. Se presta especial atención a categorías estéticas que surgieron a partir del resquebrajamiento de los pilares del edificio estético de Occidente bajo la globalización y la posmodernidad. De Lyotard se abordan su reflexión sobre la crisis de los grandes relatos y su noción de lo sublime, de Jameson sus apreciaciones sobre el pastiche, la moda retro bajo las lógicas culturales del capitalismo avanzado, y, de Baudrillard, los conceptos de transestética y estetización, y la pérdida de ilusión estética en la sociedad tecno-mediática y de mercados.PALABRAS CLAVESPosmodernidad, sublime, pastiche, moda retro, estetización.MUSO ALLI CHIKUNA SUGLLAPIKai kilkape willakume imasam kai kimsa runakuna Jean Francois Lyotard, Fredic Jameson y Jean Baudrillard rurankuna tukui mana allilla kaskakunata Kawangapa imasam kunaurra, ruranchi, paikuna allilla ñawe churranaku Kawangapa imasam kunaurra ruranchi, paikuna allilla ñawe shuranaku Kawangapa mana paquerechu tuku, kaipe willaku llukanchi llullarenga Allila mana kai atun llakiikuna pasarrengapa mana chingarrengachu Tukui allila ruranakuska tukui runakunamanda.IMA SUTI RIMAI SIMINespa musukauangapa, atun iuiai, kauaskatak rurangapa, kunaurra musu Kauai, retro, estatización.THE NEW SCENERIES OF ART. ABSTRACTThis article reviews and discusses some of the theses that Jean Francois Lyotard, Fredric Jameson and Jean Baudrillard advanced to account for the consequences of the so-called crisis of modernity and its impact on art. Special attention is given to the aesthetic categories that emerged from the breakdown of the pillars of the Western aesthetic building under globalization and postmodernity. From Lyotard, the article picks up his reflections on the crisis of the grand narratives and his notion of the sublime; from Jameson, his theoretical insights on the pastiche and the retro in fashion under the cultural logic of advanced capitalism; and from Baudrillard, the concepts of transaesthetics and aesthetization, and the loss of the aesthetic illusion in the techno-media and market society.KEYWORDSPostmodernism, sublime, pastiche, retro fashion, aesthetization. LES NOUVEAUX DÉCORS DE L’ART. RÉSUMÉCet article examine certaines des thèses que Jean François Lyotard, Fredric Jameson et Jean Baudrillard ont élaborées pour tenir compte des conséquences de la dite crise de la modernité et de son impact sur l’art. Une attention particulière est donnée aux catégories esthétiques qui ont émergé de l’effondrement des piliers de l’édifice esthétique occidental dans le cadre de la mondialisation et du postmodernisme. De Lyotard on aborde sa ré- flexion sur la crise des grands récits et sa notion du sublime ; de Jameson ses vues sur le pastiche et la mode rétro dans la logique culturelle du capitalisme avancé, et, de Baudrillard, les concepts de transesthétique et esthétisation, et la perte de l’illusion esthétique dans la société techno-médiatique et des marchés.MOTS CLÉSPostmodernisme, sublime, pastiche, mode rétro, esthétisation.OS NOVOS ENFEITES DA ARTE. RESUMOO presente artigo passa revista e analisa algumas das teses que Jean Françoeis Lyotard, Fredic Jameson e Jean Baudrillard construíram para dar conta das conseqüências da chamada crise da modernidade e suas repercussões na arte. Presta-se especial atenção a categorias estéticas que surgiram a partir do rachamento dos pilares do edifício estético do Ocidente sob a globalização e a pos-modernidade. De Jameson suas apreciações sobre o pasticho, a moda retro sob lógicas culturais do capitalismo avançado, e, de Baudrillard, os conceitos de trans-estética e estetização, e a perda de ilusão estética na sociedade tecno-mediática e de mercados.PALAVRAS CHAVESPos-modernidade, sublime, pasticho, moda retro, estetização.

Theology and Visual Culture in Early Modern Calvinism

2021 ◽  
pp. 286-303
Author(s):  
William A. Dyrness
Keyword(s):  
Visual Culture ◽  
Holy Spirit ◽  
Oral Performance ◽  
Cultural Reconstruction ◽  
Left Behind ◽  
The Arts ◽  
The Reformation ◽  
The Holy Spirit ◽  
Vision Of God ◽  
The Aesthetic

Recent scholarship on the arts and the Reformation has come to focus more broadly on the cultural reconstruction the Reformation made necessary and the resulting material and visual culture. Calvin’s challenge in Geneva was not about what the Reformation had left behind but what would replace that medieval world. Key for Calvin was the experience of worship: the oral performance of the sermon, the singing of Psalms and partaking the sacraments, as a dramatic call enabled by the Holy Spirit summoning worshippers to a vision of God and God’s presence in the world. The regular communal worship and the preached drama of sin and salvation constituted the aesthetic-dramatic mirror (Turner) of the emerging Protestant imagination. This encouraged a mutual caring for the needy but also carried deep aesthetic implications. In the Netherlands this imagination is evident in the placement of textualized images in churches, and in landscape paintings and portraits, and, in France, it stimulated Huguenot architects to recover classical orders in the service of restoring to the earth its Edenic beauty.

Feminist Aesthetics

2021 ◽  
Author(s):  
A. W. Eaton
Keyword(s):  
Aesthetic Judgment ◽  
Male Gaze ◽  
Canon Formation ◽  
Artistic Production ◽  
The Arts ◽  
Female Nude ◽  
Inclusive Approach ◽  
The Aesthetic ◽  
Feminist Aesthetics

This chapter summarizes central issues and themes in feminist philosophical aesthetics in the analytic tradition, although some continental figures are discussed. After introducing the interdisciplinary, intersectional and trans* inclusive approach that feminist aesthetics is starting to take, this essay discusses situatedness, artistic canon formation, humanism vs. gynocentrism, rewriting the philosophical canon, overcoming artworld biases, and the role of the aesthetic in systemic oppression. Specific topics to be discussed include the male gaze, the female nude, the concept of artistic genius, women’s artistic production, the purported universality of correct aesthetic judgment, the sex/gender distinction as it pertains to aesthetics and the arts, and body aesthetics.

Transcending the Sublime: Arctic Creolisation in the Works of Isaac Julien and John Akomfrah

Films on Ice ◽  
2015 ◽  
Author(s):  
Helga Hlaðgerður Lúthersdóttir
Keyword(s):  
Identity Politics ◽  
White Male ◽  
Art Installation ◽  
The North ◽  
The Sublime ◽  
Art Works ◽  
Colonial Legacies ◽  
Contemporary Film ◽  
The Aesthetic

This chapter examines the aesthetic strategies and political impetus of contemporary film artists who challenge the notion of an Arctic explorer as a heroic white male, striding forth on his own to conquer the white sublime. Focusing on Isaac Julien’s video and art installation True North (2004) and John Akomfrah’s The Nine Muses (2010). Luthersdottir foregrounds the myriad ways in which these films and art works partake in a creolisation of the white Arctic. The chapter thereby foregrounds an overlooked and complementary historical and cinematic record, which is explicit about the significance of identity politics and colonial legacies in the north, rather than reifying established representational norms.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

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