scholarly journals A poética da incerteza de Carlos Drummond de Andrade em “A máquina do mundo” / The Poetic of Uncertainty of Carlos Drummond de Andrade in the Poem “A máquina do mundo”

2020 ◽  
Vol 29 (2) ◽  
pp. 183
Author(s):  
Cristiano De Sales ◽  
Jordana Silva Matos
Keyword(s):  
Aesthetic Experience ◽  
Close Reading ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
The Aesthetic

Resumo: O texto propõe uma leitura do poema “A máquina do mundo”, de Carlos Drummond de Andrade, que demonstra como o homem moderno só pode fazer diferença no mundo se assumir o devir (que entendemos a partir de Nietzsche) e ocupar os instantes de incertezas que o confrontam na estrada pedregosa que é, a rigor, a vida. E, como obra de arte que é, a experiência estética que o poema provoca conduz o leitor não apenas à compreensão do que seja um niilismo moderno, mas, antes, esgarça as hesitações e os limites da própria filosofia que se julga capaz de explicar as contradições do mundo.Palavras-chave: Carlos Drummond de Andrade; A máquina do mundo; incerteza; niilismo; moderno.Abstract: This text proposes a close reading of the poem “A máquina do mundo”, by Carlos Drummond de Andrade, showing that the modern man can only makes a difference in the world, if he takes over the devir (according Nietzsche) and occupies the moments of uncertainties, which he face on the stony road that is, strictly speaking, life. And, as a work of art on its own, the aesthetic experience that the poem produces leads the reader to the comprehension of modern nihilism, as well as pulls on the hesitations and the limitations of philosophy itself, considering capability of explaining the contradiction of the world.Keywords: Carlos Drummond de Andrade; A máquina do mundo; uncertainties, nihilism; modern.

“Tangled in a Golden Mesh”: Virginia Woolf and the “Deceptiveness” of Beauty

2017 ◽  
Author(s):  
Matthew Mutter
Keyword(s):  
Virginia Woolf ◽  
Aesthetic Experience ◽  
Moral Order ◽  
Work Of Art ◽  
Political Criticism ◽  
The Sublime ◽  
The World ◽  
Secular Modernity ◽  
The Aesthetic

There has been a small movement among recent critics and philosophers to rehabilitate the reputation of beauty, which suffered under the modernist fascination with ugliness, Romantic and postmodern prejudice in favor of the sublime, and political criticism of beauty as elitist, inefficacious, and complicit with injustice. This chapter seeks to reframe these debates by examining the link between beauty and religious ontologies. Weber, following Nietzsche, insisted that secular modernity had broken sympathetic relations between beauty and goodness, but in Woolf’s novels the beautiful cannot shed its theological aura: its promise of reconciliation, peace, and divine benevolence. Woolf’s famous conception of “the world as a work of art”—which has, nevertheless, no “creator”—remains entangled in the aesthetic theodicies she repudiates. Her novels struggle to conceptualize secular, mundane models of beauty while simultaneously clinging to intimations of a metaphysical and moral order implicit in aesthetic experience. Beauty is, in her writing, the last and most intractable stronghold of mystical feeling.

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.

scholarly journals The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation

2017 ◽  
Vol 27 (3) ◽  
pp. 361
Author(s):  
Sara De Castro Cândido ◽  
Nàvia Regina Ribeiro da Costa ◽  
Ruzileide Epifânio Nogueira
Keyword(s):  
Discourse Analysis ◽  
Interdisciplinary Approach ◽  
Albert Camus ◽  
Dialectical Materialism ◽  
Anglo Saxon ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
Poetic Text ◽  
The Subject

This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism. O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

Hearing the Contradictions: Aesthetic Experience, Music and Digitization

2018 ◽  
Vol 12 (3) ◽  
pp. 289-302
Author(s):  
Nancy Weiss Hanrahan
Keyword(s):  
Aesthetic Experience ◽  
Cultural Practice ◽  
Aesthetic Judgment ◽  
Thick Description ◽  
Cultural Form ◽  
Social Forms ◽  
Primary Object ◽  
The World ◽  
Digital Environments ◽  
The Aesthetic

If, as Susan Buck-Morss (2003) suggests, aesthetic experience is an occasion for “making critical judgments about not only cultural forms but social forms of our being-in-the-world,” or if it is linked, in David Hesmondhalgh’s (2013) account, to the possibilities of collective flourishing, potential changes in the nature of that experience merit critical attention. This article reflects on the ways in which these social or ethical dimensions of the aesthetic experience of music are affected by digitization. It moves from a discussion of aesthetic experience as a form of encounter that refers to a common world, to consideration of recent work in music sociology that engages themes that emerge from that discussion: aesthetic judgment, and the question of difference and commonality. With illustrations from focus group interviews, I suggest that the quantization associated with digital environments is altering the cultural form of aesthetic judgment, just as personalization is changing the meaning of “difference” in this context. The essay is intended as a disclosive critique that takes as its primary object not the world observable through thick description or hermeneutic interpretation of actual cultural practice, but a world evoked through critical reflection on its actual and potential constellations of meaning.

scholarly journals El arte y la desapropiación del mundo

2021 ◽  
Vol 18 ◽  
Author(s):  
Sergio Espinosa Proa
Keyword(s):  
Aesthetic Experience ◽  
Three Dimensions ◽  
One Dimension ◽  
Material Objects ◽  
Human Being ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic

Las obras de arte son objetos materiales que al mismo tiempo y de modos misteriosos son objetos espirituales (a saber: inmateriales). Utilizando a Kant y a Schiller, en este artículo se opone a la calificación platónica y aristotélica una concepción distinta del arte, que sería una manufactura humana no sometida a la lógica de la apropiación, sino de su contraria. El hombre es un ser racional, pero Kant le otorgó tres dimensiones a esta idea: la razón es conocimiento, mas también compasión y contemplación. Un ser humano tiene intereses teóricos, intereses prácticos... y desintereses múltiples. El "temple estético" al que Schiller hace referencia apunta a esta facultad de no hacer nada, a este aflojamiento de las tensiones, ocupaciones y preocupaciones, al puro deleite (o pavor) de estar meramente en el mundo. La experiencia o la emoción estética aflora cuando no esperamos nada —ni bueno ni malo— de las cosas. Es paradójico que una dimensión de nuestra racionalidad sea la facultad de no esperar, de no buscar, de no modificar o sustituir, de no mover un dedo, de simple y llanamente no hacer nada: es la facultad de dejar llegar, de dejar aparecer (y desaparecer), de dejar ser a las cosas; es la facultad de desactivar —momentáneamente— nuestras otras facultades. Works of art are material objects that at the same time and in mysterious ways are spiritual objects (i. e. immaterial). Using Kant and Schiller, this article opposes the Platonic and Aristotelian qualification with a different conception of art, which would be a human manufacture not subject to the logic of appropriation, but of its opposite. Man is a rational being, but Kant gave this idea three dimensions: reason is knowledge, but also compassion and contemplation. A human being has theoretical interests, practical interests… and multiple interests. The “aesthetic temper" to which Schiller refers points to this faculty of doing nothing, to this loosening of tensions, occupations and worries, to the pure delight (or dread) of being merely in the world. Aesthetic experience or emotion comes to the surface when we expect nothing —neither good nor bad— from things. It is paradoxical that one dimension of our rationality is the faculty of not waiting, of not seeking, of not modifying or substituting, of not moving a finger, of simply doing nothing: it is the faculty of letting come, of letting appear (and disappear), of letting things be; it is the faculty of deactivating —momentarily— our other faculties.

scholarly journals La experiencia estética y los estratos de la obra de arte. La estética como la esencia del arte

2014 ◽  
pp. 265
Author(s):  
Pau Pedragosa
Keyword(s):  
Lived Experience ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
The Difference ◽  
Siglo Xix ◽  
The Aesthetic ◽  
Xix Century ◽  
Siglo Xx

El contenido de este artículo consiste en mostrar que la experiencia estética es la esencia de la experiencia de la obra de arte. Argumentaré en contra de la concepción del arte de Arthur C. Danto según la cual el arte moderno ya no requiere de la experiencia estética y este hecho determina el fin del arte. La experiencia estética permitiría dar cuenta del arte desde el Renacimiento hasta el siglo XIX pero el arte moderno del siglo XX solo puede ser explicado conceptualmente y, por tanto, la filosofía del arte es necesaria para explicitar ese contenido.Para defender el estatuto estético de la obra de arte mostraré que la experiencia estética se identifica con la experiencia fenomenológica. Esto quiere decir que la experiencia estética nos hace concientes de la diferencia entre el contenido de la obra (lo que aparece ) y el medio de la experiencia sensible en el que este contenido se da (el aparecer). El “aparecer” y “lo que aparece” se corresponden en la experiencia estética con los dos polos de la relación intencional y constituyen los dos estratos fundamentales de la obra de arte. A través de la aproximación fenomenológica intentaré mostrar que la obra de arte no excluye el contenido conceptual, pero este contenido ha de estar necesariamente incorporado. No es la filosofía la que tiene que comprender este contenido sino exclusivamente la experiencia estética.The subject of this paper is to claim that the aesthetic experience is the essence of the experience of the work of art. I argue against the view hold by Arthur C. Danto, according to which modern art does not require the aesthetic experience any more and that this fact means the end of art. The aesthetic experience allows explaining only the art made be-tween the Renaissance and the XIX century. The modern work of art of the XX century can only be explained conceptually and therefore a philosophy of art is required to make that content explicit and clear.To defend the aesthetic status of the work of art I will show that the aesthetic experience identifies itself with the phenomenological ex-perience. This means that the aesthetic experience makes us aware of the difference between the content of the work (what appears) and the sensible lived experience in which this content appears (the appearance). The “appearance” and “what appears” are the two poles of Intentionality and the two fundamental layers of the work of art. Through the phenomenological approach I will make clear that the work of art does not exclude the conceptual content at all. This content has to be necessarily embodied. It is not philosophy that has to disclose this con-tent but the aesthetic experience alone.

Semi-Orthodox Prose Poetry

2016 ◽  
Author(s):  
Nick Admussen
Keyword(s):  
Hong Kong ◽  
Chinese Mainland ◽  
Social Philosophy ◽  
Prose Poetry ◽  
Close Reading ◽  
The World ◽  
The Chinese Mainland ◽  
The Aesthetic ◽  
The Impact

Chapter four is a close reading of Liu Zaifu, a poet, scholar and essayist who wrote prose poetry throughout the 1980s. In the early 1980s, Liu Zaifu continued prose poetry's tradition of finding a place for the subjective and the aesthetic in the world of socialist prose. The first part of the chapter engages with his aesthetic and social philosophy, and uses that engagement to translate and read his best-known work, “Reading the Sea.” The second half of the chapter traces the impact of Liu's 1989 exile on his work. Liu’s post-exile works, published in Hong Kong, reveal the connection between prose poetry and the Chinese mainland context: once he leaves, Liu stops writing prose poetry in favor of literary essays. His work and his career therefore provide a crucial commentary on the line between orthodox and unorthodox prose poetry, and between prose poetry and other prose.

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. Its development has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art, and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both helped to set the central philosophical issue of the field, which is due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large and the nature of art. These differences are so marked that environmental aesthetics must begin with basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, two of which are the engagement and the cognitive approaches. The first holds that appreciators must transcend traditional dichotomies, such as subject/object, and diminish the distance between themselves and objects of appreciation, aiming at multi-sensory immersion of the former within the latter. By contrast, the second contends that appreciation must be guided by the nature of objects of appreciation and that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each approach has certain strengths and weaknesses. However, although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, shows just how rewarding such appreciation can be.

scholarly journals Strategi Seni Pertunjukan dengan Segmentasi Pariwisata

2020 ◽  
Vol 2 (2) ◽  
pp. 119-126
Author(s):  
Damar Tri Afrianto ◽  
Muhajir Muhajir
Keyword(s):  
Performing Arts ◽  
Aesthetic Experience ◽  
Mutual Influence ◽  
Strategic Thinking ◽  
Tourism Promotion ◽  
Conceptual Strategy ◽  
The World ◽  
Initial Basis ◽  
The Aesthetic

Art and tourism rarely become concerned in a study or research. Though it is allegedly both have the power of mutual influence and profitable. Efforts have been made to make the art as a medium to develop the world of tourism but sometimes have no strategy and formulation appropriately so that the art is just a patch or entertainment when melalkukan travel. Through the study and analysis of Tallu Cappa's performances by Makassar artists Muhajir can be formulated conceptual strategy or some strategic thinking related to performing arts and tourism. Among others, 1) presentation of Multi-disciplinary Art and Innovative Packaging, 2) Collaboration of art with the concept of tourism and 3) Excavation of local Wisdom as an effort to get the aesthetic experience for tourists. Performing works of artists Muhajir perceived successfully menyjiakan concept performances with tourism segmentation. So hopefully this strategy becomes the initial basis for the development of art as an effective, innovative and cultured tourism promotion media.

scholarly journals Musikalsk-estetisk erfaring som tilsynekomsthendelse

2020 ◽  
pp. 41-60
Author(s):  
Hanne Rinholm
Keyword(s):  
Aesthetic Experience ◽  
Musical Experience ◽  
Work Of Art ◽  
Late Modernity ◽  
The Status ◽  
The Subject ◽  
The Aesthetic

The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appropriate. Gumbrecht suggests applying Heidegger’s notion of ‘releasement’ (Gelassenheit) to aesthetic experience as a response to the ‘loss of world’ in late modernity. The essay shows how the event of appearance points towards features typically associated with the notion of musical experience as existential experience.

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