Toward an Aesthetics of Obscurity: From Baumgarten to Blanchot

2020 ◽  
Vol 72 (1) ◽  
pp. 83-102
Author(s):  
Jonas Rosenbrück

Abstract This article analyzes the notions of clarity and obscurity in the work of Alexander Gottlieb Baumgarten and Maurice Blanchot, arguing that the latter’s thought of the “other night” proposes a radical reversal, indeed, a corruption, of Baumgarten’s founding of aesthetics as an ocularcentric discipline governed by clarity. Baumgarten, laying the groundwork for much of the “distribution of the sensible” that dominated the field of aesthetics after him, conceives of the poem as the paradigmatic instance of an aesthetic cognition of the sensible that is founded on the triad of clarity, attention, and liveliness. He thus opposes the poem to both the obscure fundus animae, the ground of the soul, and to utopian poetry, neither of which can be poetized. By contrast, Blanchot’s literature dissolves this triple foundation into a writing of obscurity, distracted fatigue, and a “death resurrected”; literature opens aesthetics to that which had been constitutively excluded at its founding moment. The clarifying powers of the poet-aesthetician are replaced by passive “fascination” and a “passion of the image” that delimits a radically different, countercosmic, and thus utopian space of literature.

2013 ◽  
Author(s):  
Franco Masciandaro

The principal aim of this study is to participate in the current renewed discourse on the meaning of friendship, initiated in 1994 by the French philosopher Jacques Derrida with his Politics of Friendship, by combining the philosophical method of inquiry with the hermeneutical approach to poetic representations of friendship in the Iliad, the Divine Comedy, and the Decameron. It examines friendship not only as the unique love between two persons based on familiarity and proximity, but as the love for the one who is far away, the stranger, for this is a natural extension of the implicit love of the distant other, of the other-as-stranger – what Emmanuel Levinas has called "the infinity of the Other" – which is concealed in our friend, and which, in the words of Maurice Blanchot, puts us "authentically in relation" with him or her.


Author(s):  
Yoon Sook Cha

This chapter, a reading of “L’Iliade ou le poème de la force,” considers Weil’s claim about the special character of force, that in being assumed and redeployed by those whom it subjects, flattens the relative power of humans. The chapter argues that the claim directs us to the possibility of a new relationality that forfeits sovereign modes of power without that forfeiture thereby signifying an equitable power between the self and the other, such as it is in supplication. Referencing Maurice Blanchot, it is argued that supplication establishes an “uncommon measure” between the suppliant and the one supplicated, not by virtue of any power the suppliant has, but by laying bare his human presence. In this context, one’s subjection to force offers a certain opening to the other even as it marks the precariousness of one’s own human being.


2019 ◽  
Vol 8 (1) ◽  
pp. 1-14
Author(s):  
Lan Yu ◽  
Yukari Nagai

Human behaviors are cultivated from childhood. People's aesthetic habits and creativity are cultivated through the creation of children's painting works. Unlike the other art activities, painting is an art activity that is very easy to implement and not constrained by the surrounding environment. Creating a painting work is an art activity that everyone can participate in. Anyone can use painting works to express their own thoughts and feelings. As for some introverted personality children, they are shy to share their ideas. Researchers can search children's growth environment, psychological state, aesthetic habits and their painting habits from these children's painting works. Aesthetic cognition and concept are the most important factors that compose a painting work. Children's aesthetic habits and painting habits will directly affect children's creativity and imagination after adulthood. There are 471 children aged 7-13 participated in this study. This research focus on seeking children's painting education method. In addition, using House Tree Person (HTP) test to find children’s preference and habits while creating the paintings works


Derrida Today ◽  
2010 ◽  
Vol 3 (1) ◽  
pp. 1-20
Author(s):  
Saitya Brata Das

If the dominant ethico-philosophical thinking of responsibility in the West is founded upon, or tied to a certain figure of death, it is because this ethical notion of responsibility is also a certain econo-onto-thanatology. Here the notion of the gift to the other is always already inscribed within a certain economic equivalence of value, or an economic determination of temporality as the geometric figure of the circle, or a certain economy of the experiences of abandonment and mourning, through which the event-character of the gift, its excess and its infinite surplus is economised, reduced, repressed, or even annulled. Reading Jacques Derrida's deconstruction of this econo-onto-thanatology, and relating him to Schelling, Heidegger, Levinas and Kierkegaard, this article attempts to reveal this very complex relationship of the ethical notion of responsibility and the gift with death, in order to think anew – in the spirit of Derrida – a responsibility in relation to mourning and abandonment, and in relation to a death that does not figure in any figuration of self-figuration and self-presence, but – to speak with Maurice Blanchot – as interminable, incessant worklessness, as endless ruination and abandonment of itself. This impossible aporia of the notion of responsibility is itself a dis-figuring of death, which is also an aporia of an instant which escapes, in its event character, the geometric figure of time as circle.


Philosophy ◽  
2014 ◽  
Author(s):  
Gabriel Malenfant

Emmanuel Levinas (b. 1906–d. 1995) was a philosopher famous for having developed an original interpretation of Edmund Husserl’s phenomenological method, using the latter to address the foundations of ethics and normativity. Published in more than twenty-five books spanning over eighty years, his oeuvre can be divided into three categories: (1) his philosophical works, which regroup monographs, essays, and interviews, (2) his Talmudic readings and essays on Judaism, and (3) posthumous notes, remarks, and texts, some of which are still being published. Although references will be made to the second and third categories, the first remains the central focus of this article. Apart from the influence of Husserl, Levinas was also inspired by Martin Heidegger as well as by Maurice Blanchot and Jacques Derrida. Of Heidegger, he wrote an uncompromising philosophical critique that addressed the secondary role played by ethics in his phenomenology—a critique he then expanded to the Western philosophical tradition as a whole. Ethics, Levinas argued, had to be reinterpreted and understood as “first philosophy” (i.e., as metaphysics), rather than as a derivative extension based on premises coming from ontological, epistemological, or political narratives. Not unlike Plato centuries before, although in a different manner and with very different implications, Levinas contended that the question of the Good has priority over that of Being, since interhuman relationality precedes any discourse or logos about beings—human or otherwise. His “ethics” is thus not that of the tradition: its aim is not to become prescriptive. Without denying the importance of the following properties or faculties for practical decision making, Levinas’s ethics relies neither on virtues, reason, nor utility. The word “ethics,” for Levinas, refers to the fact that “I” cannot refuse responsibility for the other, since that act of disregarding or refusing responsibility is possible only on the basis of my being always already capable of responding to an other who imposes responsibility on me. It is this ability for responding to the other, this command that I cannot efface (even when I ignore it) that allows for other discourses—such as ontology, epistemology, or political philosophy—to make sense at all. The consequences of this original interpretation of the nature and meaning of ethics are deep and manifold. Therefore, this article does not intend to present an all-encompassing portrait of Emmanuel Levinas’s thought. Rather, its aim is to provide the reader with a selection of texts that represent the wide array of philosophical questions addressed by Levinas and his commentators. Given the immense number of publications by Levinas, this entry proposes a commented list of selected major works and articles by the author (instead of referencing complete collections, for instance). The secondary literature is then organized by themes that correspond to areas of research—both well established and new—within Levinas studies.


Human behaviors are cultivated from childhood. People's aesthetic habits and creativity are cultivated through the creation of children's painting works. Unlike the other art activities, painting is an art activity that is very easy to implement and not constrained by the surrounding environment. Creating a painting work is an art activity that everyone can participate in. Anyone can use painting works to express their own thoughts and feelings. As for some introverted personality children, they are shy to share their ideas. Researchers can search children's growth environment, psychological state, aesthetic habits and their painting habits from these children's painting works. Aesthetic cognition and concept are the most important factors that compose a painting work. Children's aesthetic habits and painting habits will directly affect children's creativity and imagination after adulthood. There are 471 children aged 7-13 participated in this study. This research focuses on seeking children's painting education method. In addition, using House Tree Person (HTP) test to find children’s preference and habits while creating the paintings works.


Poetics Today ◽  
2021 ◽  
Vol 42 (4) ◽  
pp. 471-499
Author(s):  
Ryan Devitt

Abstract The article argues for the renewed relevance of Foucault's early essays on literature, written throughout the 1960s, given a return to anthropological reflection in so much literary theory today (especially through affect theory and “new” phenomenologies—both of which rely on older categories supplied by psychoanalysis). On one hand, Foucault reminds us of all the “warped and twisted forms of reflection” that arise from anthropological thought, with its assumptions regarding the “unthought” and the hidden structures of sense and perception. This same Foucault, on the other hand, is deeply engaged with literature; his writings on a range of authors—from Homer and Cervantes, to Friedrich Hölderlin and the Marquis de Sade, to Georges Bataille and Maurice Blanchot—constitute nothing less than an oeuvre. And yet, despite proposals to move beyond Foucauldian critique and its orthodoxy in literary studies today, hardly anything has been thought or said about this body of work in which Foucault, as David Carroll points out, “has the most to say about literature and language.” This lacuna is all the more surprising, since Foucault's early essays offer a rich and fruitful understanding of the being of literature as more than a limpid reflection of the body. In his reading of Bataille and Blanchot in particular, Foucault offers a unique vision of literature that is neither suspicious nor negative but that, in connection with his well-known critique of finitude, culminates in a hopeful call for openness.


1996 ◽  
Vol 50 (4) ◽  
pp. 448-463 ◽  
Author(s):  
Arthur A. Brown

Maurice Blanchot writes that death is "man's greatest hope," for it "raises existence to being" and "is within each one of us as our most human quality." Literature, on the other hand, "manifests existence without being, existence which remains below existence, like an inexorable affirmation, without beginning or end-death as the impossibility of dying." Poe's stories of premature burial and of the dead coming back to life dramatize the horror of the impossibility of dying that is made present in the existence of literature. In "Berenice" our attention as readers to the details of the tale, our willingness to be told what "should not be told," reproduces the narrator's obsession with the teeth of Berenice-with that wich speaks of death and does not die-and implicates us in his violation of the still-living Berenice in her tomb. The destruction of Berenice-of the living being that can die-and the telling of "Berenice" coincide. Heightening our awareness of the literary act in which we are engaged, Poe forces us to enter the tale itself. Only in our own mortality do we find a way out.


1988 ◽  
Vol 62 (03) ◽  
pp. 411-419 ◽  
Author(s):  
Colin W. Stearn

Stromatoporoids are the principal framebuilding organisms in the patch reef that is part of the reservoir of the Normandville field. The reef is 10 m thick and 1.5 km2in area and demonstrates that stromatoporoids retained their ability to build reefal edifices into Famennian time despite the biotic crisis at the close of Frasnian time. The fauna is dominated by labechiids but includes three non-labechiid species. The most abundant species isStylostroma sinense(Dong) butLabechia palliseriStearn is also common. Both these species are highly variable and are described in terms of multiple phases that occur in a single skeleton. The other species described areClathrostromacf.C. jukkenseYavorsky,Gerronostromasp. (a columnar species), andStromatoporasp. The fauna belongs in Famennian/Strunian assemblage 2 as defined by Stearn et al. (1988).


1967 ◽  
Vol 28 ◽  
pp. 207-244
Author(s):  
R. P. Kraft

(Ed. note:Encouraged by the success of the more informal approach in Christy's presentation, we tried an even more extreme experiment in this session, I-D. In essence, Kraft held the floor continuously all morning, and for the hour and a half afternoon session, serving as a combined Summary-Introductory speaker and a marathon-moderator of a running discussion on the line spectrum of cepheids. There was almost continuous interruption of his presentation; and most points raised from the floor were followed through in detail, no matter how digressive to the main presentation. This approach turned out to be much too extreme. It is wearing on the speaker, and the other members of the symposium feel more like an audience and less like participants in a dissective discussion. Because Kraft presented a compendious collection of empirical information, and, based on it, an exceedingly novel series of suggestions on the cepheid problem, these defects were probably aggravated by the first and alleviated by the second. I am much indebted to Kraft for working with me on a preliminary editing, to try to delete the side-excursions and to retain coherence about the main points. As usual, however, all responsibility for defects in final editing is wholly my own.)


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