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.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

scholarly journals Stanislav Krakov: Phenomenology of the inner consciousness of combat

2014 ◽  
Vol 25 (3) ◽  
pp. 323-342
Author(s):  
Caslav Koprivica
Keyword(s):  
The Other ◽  
Philosophical Tradition ◽  
Philosophical Significance ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

In this text, the work of Serbian writer Stanislav Krakov, between the two world wars, the famous, and later, due to ideological divisions, repressed and forgotten figure, is ovserverd through the lens of philosophy of existence and phenomenology. The ?philosophical? significance of Krakov?s autobiographical war prose, which in the aesthetic, especially formal-innovative aspect, represented the pinnacle of the genre of that time Serbian literature, is that it can be viewed as a first-class document of phenomenological introspection of a man in situation of mortal combat; and the ragne his prose of his prose is, in some respects, without exaggeration, comparable to war prose of Ernst J?nger. But besides his authentic documentality, Krakov?s writing is characterized by brilliant insights. So, on the one hand, Krakov can be viewed as a thinker of war and corporeality avant lettre, and, on the other hand, the interpretative contextualization of his prose within the aforementioned philosophical tradition helps us to better understand his literature.

scholarly journals Creative derivatives the poetics of derivation and its formative assumptions

2021 ◽  
pp. 233-252
Author(s):  
Jagor Bučan
Keyword(s):  
The Other ◽  
Common Denominator ◽  
Creative Work ◽  
Work Of Art ◽  
Cognitive Insight ◽  
Other Hand ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The One ◽  
Existing Form

The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.

scholarly journals Schiller after Kant: The “Unexpected Science” of theBriefe über die ästhetische Erziehung des Menschen

Kant-Studien ◽  
2020 ◽  
Vol 111 (2) ◽  
pp. 285-302
Author(s):  
Tim Mehigan
Keyword(s):  
The Other ◽  
Aesthetic Theory ◽  
Human Being ◽  
Future State ◽  
Alternative Path ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

AbstractIn the Briefe über die Ästhetische Erziehung des Menschen, the focus of this article, Schiller’s ostensible aim – to complete Kant’s aesthetic theory – is progressively abandoned. The article examines the reasons for this abandonment. On the one hand, Schiller’s original purpose was overtaken by events in France. Schiller found that he could no longer sustain confidence in reason’s capacity to build a durable political republic. On the other hand, the alternative path he favours involves him in the expounding of an anthropology he did not set out to undertake. The Ästhetische Briefe, for this reason, finds itself adumbrating an “unexpected science” with little remaining reference to Kant – an account of the human being whose desirable future state, that of morality, can only be made secure by passage through the aesthetic state. A by-product of this argument, and perhaps its chief consequence, is that it finally settles the quarrel of the ancients and the moderns (in favour of the moderns).

scholarly journals Genre and Stylistic Features of the Modern Audiobook

2021 ◽  
pp. 156-170
Author(s):  
Vera Yu. Bal ◽  
◽  
Elizaveta E. Gutkevich ◽  
Keyword(s):  
Cultural Practices ◽  
Literary Work ◽  
Literary Text ◽  
The Other ◽  
Reading Practice ◽  
Aesthetic Value ◽  
Other Hand ◽  
Audio Books ◽  
The Aesthetic ◽  
The One

Modern technological conditions make it possible to create, quickly replicate and use audio books conveniently. Audio books are one of the fastest growing segments of the global publishing market. Informative issues of creating audio books, not technological ones, are in the research focus of the article. The content of an audiobook is a voiced text that refers to the “auditory literature”. Assessments of the quality of the auditory literature are polar. On the one hand, it is considered secondary to the original literary text; on the other hand, it is a self-contained artistic phenomenon with its own aesthetic nature. In this article, an audiobook is considered precisely in the aspect of its artistic value, which is highlighted when speaking about the genre nature of the voiced text. The genre features of the voiced text in this study are identified taking into account the communicative features of its formal-stylistic features. The communicative nature of the audiobook genre is associated with two types of reading, which reflect the opposite positions of the two participants in communication. On the one hand, this is an expres-sive reading aloud, which can also be defined as staged reading. Genetically, this type of reading is associated with public performances of artists and initially assumed live reading. Further, this type of reading is transformed into the genre of radio plays, called “theater at the microphone”. In modern communicative practices of creating and repli-cating audio content, including one related to the actor’s readings of works of art, there is no binding to time and place. On the other hand, this is auditory reading, a modifica-tion of which is audio reading in modern technological conditions. If auditory reading is the first reading practice of a child mastering books from the voice of a parent, then audio reading is the choice of an adult who can read. The acoustic representation of a literary work is associated not only with the performance of elementary technical characteristics of sound, but also with the introduction of a certain aesthetic value into it. The creative translation of a literary text from verbal to acoustic should preserve its value in the aesthetic plane, without reducing it to a purely pragmatic one. Actualization of the aesthetic value of an audiobook outside of its paper format is associated with the principles of its directing and editorial preparation – the principles associated with the implementation of the stylistic characteristics of the genre form of an audiobook. Translation of a verbal literary text into an audio one is carried out as a result of comparing reading a book to dramatic action. In this case, the forming element of the genre becomes the sounding text itself. In the case of audio books, the reader’s voice as a performer’s instru-ment and the musical noise accompaniment of the text read is a style-forming genre element. The article traces the publishing strategies for the embodiment of the formal-stylistic features of the audiobook genre in the context of modern audio cultural practices.

scholarly journals Leo Tolstoy's moralizing in context of ethical and aesthetic synthesis

2021 ◽  
Vol 10 (43) ◽  
pp. 257-263
Author(s):  
Svetlana A. Simonova ◽  
Tatiana V. Shvetsova ◽  
Marina A. Shtanko ◽  
Denis G. Bronnikov ◽  
Alexei A. Mikhailov
Keyword(s):  
The Other ◽  
Leo Tolstoy ◽  
Childhood And Adolescence ◽  
Aesthetic Theory ◽  
Russian Culture ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The Aesthetic ◽  
The One

The article examines the moralizing of Leo Tolstoy on the example of his theoretical ideas. The authors, examining their genesis, come to the conclusion that the writer formed his ideas under the influence of French enlighteners and sentimentalists, on the one hand, and absorbed the ethical dominant of Russian culture, on the other hand. The article analyzes the idea of absolutizing good, which runs through Tolstoy's entire aesthetic theory as a leitmotif. As a result of the study of the aesthetic views of the writer, it is concluded that Tolstoy understood the role of art solely as a translation of feelings and a means of communication. The writer deprives art of its aura of mystery and does not recognize the latter as a source of aesthetic pleasure and spiritual enrichment. The article analyzes the worldview of the writer, reveals the influence on him of the experience acquired by Tolstoy in childhood and adolescence. Tolstoy's works of art and theoretical views are another example of the fact that the artist's worldview does not always coincide with his work.

There’s No Regime beyond Representation

2018 ◽  
Vol 62 (1) ◽  
pp. 215-234
Author(s):  
Michaela Fiserova ◽  
Keyword(s):  
The Other ◽  
The Political ◽  
Jacques Ranciere ◽  
Political Conception ◽  
Other Hand ◽  
Jacques Rancière ◽  
The Aesthetic ◽  
The One

The paper invites a rethink of the political conception of Jacques Rancière, a philosopher who devoted considerable reflexion to the problem of the sharing of the sensible. Rancière proposes considering the aesthetic regime without the concept of representation. According to the author, this leads him to a paradox: on the one hand, he states that the aesthetic regime takes images for art; on the other hand, he doesn’t pay attention to the fact that it shouldn’t be possible to conceive of any regime of sharing without the concept of representation. Therefore, the author proposes a deconstructive reading of Rancière’s critique of representation, demonstrating that if the contemporary image is conceived and produced in order to be shared, it can’t be freed from representation. Finally, the author puts forth the notion of meta-representation as a solution avoiding Rancière’s antinomies.

scholarly journals Weimar Art: Between Tradition and Avant-Garde

2020 ◽  
Author(s):  
Maria Belikova
Keyword(s):  
Interwar Period ◽  
The Other ◽  
Distinctive Features ◽  
New Objectivity ◽  
Avant Garde ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

This study aims to analyse two art movements in Germany: Dada and New Objectivity, identifying their distinctive features in the context of the anti-modernist mood in the interwar period. A ‘call to order’, or return to tradition and classics, can even be found in some texts of the Berlin Dadaists. The aesthetic positions of New Objectivity representatives were also ambiguous. On the one hand, they shattered avant-garde foundations through an appeal to the national pictorial tradition. On the other hand, modernist means of expression can be traced in their works.

scholarly journals DOCUMENTARY AND ARTISTIC CHRONOTOPE IN THE NOVEL BY I. S. NIKITIN «THE DIARY OF THE SEMINARIAN»

2020 ◽  
Vol 23 (4) ◽  
pp. 8-15
Author(s):  
Nataliya V. Volodina ◽  
◽  
Nikolai A. Degtyarev ◽  
Keyword(s):  
Temporal Organization ◽  
The Other ◽  
The Novel ◽  
Value System ◽  
Other Hand ◽  
Event Series ◽  
Spatio Temporal ◽  
Characteristic Features ◽  
The Aesthetic ◽  
The One

The story «Diary of a seminarian», by I. S. Nikitin, as the name implies, is written in the form of a diary: Nikitin imitates the real diary of a young seminarian. The article makes an assumption about the interaction of two discourses, artistic and documentary, in the text of the story. This interaction manifests itself in relation to the spatio-temporal organization of the world of the work. The narrator's time is subordinated to the documentary discourse, which basically does not coincide with the physical time, but is built in accordance with the psychological characteristics of the main character, the author of the diary. On the other hand, the completeness of the temporary whole of the story, the distribution of time in accordance with the aesthetic tasks solved in the work, signals the influence of artistic discourse. The deployment of an event series is also subordinated to the task of interaction between two types of chronotope. On the one hand, the «mosaic» of this series, the set of events included in the text as if not mandatory, create the illusion of authenticity of what is happening; on the other, all these various inclusions are somehow artistically justified and perform certain aesthetic functions. The unfolding of events «here and now», the abundance of dialogues, direct speech of the characters are characteristic features of the artistic chronotope of Nikitin's story. The optics of perception and the language of describing space in the story are constructed in accordance with the value system of the narrator, manifesting itself in the documentary style of the narrative. On the other hand, the detailed description of the spaces familiar to the narrator serves an artistic function: it creates an image of the Seminary. As a result of the analysis, the author comes to the conclusion that the features of the documentary diary chronotope are associated with the image of the narrator, and the artistic diary chronotope – with the image of the author.

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’.

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