Introduction

2019 ◽  
pp. 1-29
Author(s):  
Johannes Riquet
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Material World ◽  
Global Space ◽  
Age Of Discovery ◽  
The Common ◽  
The Aesthetic ◽  
Modern Experience ◽  
The One ◽  
Fictional Representations

Drawing on (post-)phenomenological and geopoetic perspectives, the introduction explains the book’s interest in considering islands at the intersection of material and poetic production on the one hand, and aesthetic experience of the phenomenal world on the other. It suggests that the modern experience of islands in the age of discovery went hand in hand with a disintegration of received models of understanding global space, and that fictional and non-fictional representations of islands negotiate these perceptual challenges. It thereby explains how The Aesthetic of Island Space complicates the common account of islands as discrete shapes, geometrical abstractions, and easily understandable images. Instead, it foregrounds the importance of water, mobility, and a range of dynamic geo(morpho)logical and poetic processes in the figuration of islands. The introduction ends by discussing the significance of considering islands in relation to an ‘aesthetics of the earth’ (DeLoughrey and Handley) and a poetics of the material world.

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’.

scholarly journals Contradiction and ambivalence : Virginia Woolf and the aesthetic experience in "The Duchess and the Jeweller"

2002 ◽  
Vol 3 ◽  
pp. 115
Author(s):  
Laura María Lojo Rodríguez
Keyword(s):  
Short Story ◽  
Virginia Woolf ◽  
Aesthetic Experience ◽  
The Other ◽  
Race And Class ◽  
Three Guineas ◽  
The Aesthetic ◽  
The One ◽  
Art For Art's Sake

In the midst of the terror waged on Europe by Nazi demonstrations of power and racial extermination Virginia Woolf published a most contrevorsial short story -"The Duchess and the Jeweller" (1938)- which was originally entitled "The Duchess and the Jew" but was changed at the request of Woolf's American publisher for its racist connotations. The story has been neglected by the critics on account of two major reasons: on the one hand, it does not partake of those innovative narrative devices that most of Woolf's fiction presents; on the other such an apparently Anti-Semitist piece of work is inconveniently at odds with the oeuvre of a writer who so ardently and energetically rejected Fascism in her pamphlet Three Guineas which was curiously simultaneous in date of composition and publication to "The Duchess and the Jeweller". Despite the fact that Woolf may have been airing her personal prejudices of race and class in the characters of Oliver Bacon and the Duchess of Lambourne, the present paper does not aim to do away with such incoherence, ambivalence and contradiction, but rather focuses on the jewel imagery which structures the narrative and which addresses questions such as the 'art for art's sake' doctrine versus the material commodity of beauty

scholarly journals Decisions about the Beauty of Lithuania in Jean Mauclère’s 'Sous le ciel pâle de Lithuanie'

Literatūra ◽  
2020 ◽  
Vol 62 (4) ◽  
pp. 46-53
Author(s):  
Genovaitė Dručkutė
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Small Towns ◽  
Local History ◽  
The Other ◽  
Men And Women ◽  
French Culture ◽  
The Aesthetic ◽  
The One ◽  
Physical Type

Drawing on the theoretical premises of imagology and geocriticism, the article analyzes the aesthetic experience of the traveler who traverses Lithuanian cities (Vilnius, Kaunas, Klaipėda), walks across small towns, stops over in villages, and makes his way to the seaside. The local aesthetic identity of the newly discovered country, i.e. its beauty and/or loathsomeness, is revealed by the author Jean Mauclère through a few perspectives: on the one hand, it is the beauty of nature, folk and professional art (architectural exteriors and interiors, fine arts, music), the physical type of Lithuanian men and women. This identity, as Mauclère suggests, reveals itself in the contexts of local history, traditions and culture. Although the author seeks to remain objective in his description of his new aesthetic experience in Lithuania, he remains a representative of his own French culture and its traditions nonetheless. On the other hand, he underlines the otherness of the novelty of his experience.

The Hierophanic Facets of the Seraphic Hymns

Trictrac ◽  
2018 ◽  
Vol 10 ◽  
Author(s):  
Petru Adrian Danciu
Keyword(s):  
Mutual Recognition ◽  
The Other ◽  
Human Being ◽  
Material World ◽  
Face To Face ◽  
The People ◽  
Musical History ◽  
The Face ◽  
The One

Starting from the cry of the seraphim in Isaiahʹ s prophecy, this article aims to follow the rhythm of the sacred harmony, transcending the symbols of the angelic world and of the divine names, to get to the face to face meeting between man and God, just as the seraphim, reflecting their existence, stand face to face. The finality of the sacred harmony is that, during the search for God inside the human being, He reveals Himself, which is the reason for the affirmation of “I Am that I Am.” Through its hypnotic cyclicality, the profane temporality has its own musicality. Its purpose is to incubate the unsuspected potencies of the beings “caught” in the material world. Due to the fact that it belongs to the aeonic time, the divine music will exceed in harmony the mechanical musicality of profane time, dilating and temporarily cancelling it. Isaiah is witness to such revelation offering access to the heavenly concert. He is witness to divine harmonies produced by two divine singers, whose musical history is presented in our article. The seraphim accompanied the chosen people after their exodus from Egypt. The cultic use of the trumpet is related to the characteristics and behaviour of the seraphim. The seraphic music does not belong to the Creator, but its lyrics speak about the presence of the Creator in two realities, a spiritual and a material one. Only the transcendence of the divine names that are sung/cried affirms a unique reality: God. The chant-cry is a divine invocation with a double aim. On the one hand, the angels and the people affirm God’s presence and call His name and, on the other, the Creator affirms His presence through the angels or in man, the one who is His image and His likeness. The divine music does not only create, it is also a means of communion, implementing the relation of man to God and, thus, God’s connection with man. It is a relation in which both filiation and paternity disappear inside the harmony of the mutual recognition produced by music, a reality much older than Adam’s language.

The Problem of the Typology of Rationality in Muslim Culture

2019 ◽  
Vol 62 (6) ◽  
pp. 88-99
Author(s):  
Andrey A. Lukashev
Keyword(s):  
Modern Philosophy ◽  
Theoretical Basis ◽  
Theoretical Models ◽  
The Other ◽  
Common Denominator ◽  
Islamic Culture ◽  
The Common ◽  
Per Se ◽  
The One ◽  
Muslim Culture

The typology of rationality is one of major issues of modern philosophy. In an attempt to provide a typology to Oriental materials, a researcher faces additional problems. The diversity of the Orient as such poses a major challenge. When we say “Oriental,” we mean several cultures for which we cannot find a common denominator. The concept of “Orient” involves Arabic, Indian, Chinese, Turkish and other cultures, and the only thing they share is that they are “non-Western.” Moreover, even if we focus just on Islamic culture and look into rationality in this context, we have to deal with a conglomerate of various trends, which does not let us define, with full confidence, a common theoretical basis and treat them as a unity. Nevertheless, we have to go on trying to find common directions in thought development, so as to draw conclusions about types of rationality possible in Islamic culture. A basis for such a typology of rationality in the context of the Islamic world was recently suggested in A.V. Smirnov’s logic of sense theory. However, actual empiric material cannot always fit theoretical models, and the cases that do not fit the common scheme are interesting per se. On the one hand, examination of such cases gives an opportunity to specify certain provisions of the theory and, on the other hand, to define the limits of its applicability.

The Rubicon of Language

2018 ◽  
Author(s):  
Sebastian Lecourt
Keyword(s):  
The Other ◽  
Racial Identities ◽  
Other Hand ◽  
Max Müller ◽  
The Common ◽  
Human Capacity ◽  
The One ◽  
Religious Differences

This chapter considers a series of formative debates in British anthropology from the 1840s through the 1860s and uses them to map out the two dominant constructions of religion whose politics the subsequent authors in this study would reinvent. It describes, on the one hand, a liberal and evangelical construction of religion as the common human capacity for spiritual cultivation, and on the other hand a conservative, reactionary model that interpreted religious differences as the expressions of fixed racial identities that neither civilization nor Christianization could erase. In the work of the Oxford philologist F. Max Müller we see how the former model tended to associate religion above all with language. But we can also see the subtle forms of determinism that it contained—an ambiguity that Arnold, Pater, Eliot, and Lang would explore by picturing racialized religion as a resource for liberal self-cultivation.

scholarly journals Evangelical and Catholic Timespace in Work: An Argument against a Homeless Eschatology

Religions ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 199
Author(s):  
Maria Ledstam
Keyword(s):  
Empirical Study ◽  
Common Good ◽  
Ethnographic Study ◽  
The Other ◽  
Faith Based ◽  
Business As Mission ◽  
Achievable Goal ◽  
The Common ◽  
The One ◽  
The Relationship

This article engages with how religion and economy relate to each other in faith-based businesses. It also elaborates on a recurrent idea in theological literature that reflections on different visions of time can advance theological analyses of the relationship between Christianity and capitalism. More specifically, this article brings results from an ethnographic study of two faith-based businesses into conversation with the ethicist Luke Bretherton’s presentation of different understandings of the relationship between Christianity and capitalism. Using Theodore Schatzki’s theory of timespace, the article examines how time and space are constituted in two small faith-based businesses that are part of the two networks Business as Mission (evangelical) and Economy of Communion (catholic) and how the different timespaces affect the religious-economic configurations in the two cases and with what moral implications. The overall findings suggest that the timespace in the Catholic business was characterized by struggling caused by a tension between certain ideals on how religion and economy should relate to each other on the one hand and how the practice evolved on the other hand. Furthermore, the timespace in the evangelical business was characterized by confidence, caused by the business having a rather distinct and achievable goal when it came to how they wanted to be different and how religion should relate to economy. There are, however, nuances and important resemblances between the cases that cannot be explained by the businesses’ confessional and theological affiliations. Rather, there seems to be something about the phenomenon of tension-filled and confident faith-based businesses that causes a drive in the practices towards the common good. After mapping the results of the empirical study, I discuss some contributions that I argue this study brings to Bretherton’s presentation of the relationship between Christianity and capitalism.

Busting Myths in Compound Handling Practices for Assay Developers

2021 ◽  
pp. 247263032110233
Author(s):  
Rosalia Gonzales ◽  
Travis Mathewson ◽  
Jefferson Chin ◽  
Holly McKeith ◽  
Lane Milde ◽  
...  
Keyword(s):  
The Other ◽  
Common Goal ◽  
Collaborative Relationship ◽  
Sample Handling ◽  
Root Cause ◽  
The Common ◽  
Recommended Practices ◽  
Handling Practices ◽  
The One

Since the advent of modern-day screening collections in the early 2000s, various aspects of our knowledge of good handling practices have continued to evolve. Some early practices, however, continue to prevail due to the absence of defining data that would bust the myths of tradition. The lack of defining data leads to a gap between plate-based screeners, on the one hand, and compound sample handling groups, on the other, with the latter being the default party to blame when an assay goes awry. In this paper, we highlight recommended practices that ensure sample integrity and present myth busting data that can help determine the root cause of an assay gone bad. We show how a strong and collaborative relationship between screening and sample handling groups is the better state that leads to the accomplishment of the common goal of finding breakthrough medicines.

Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.

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.

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