Baudelaire's Two Cosmopolitanisms

2021 ◽  
Vol 21 (1) ◽  
pp. 85-98
Author(s):  
Stephen Adam Schwartz
Keyword(s):  
The Other ◽  
Work Of Art ◽  
Aesthetic Object ◽  
The Spectator ◽  
The One ◽  
Ways Of Life

In his text on the ‘Exposition Universelle 1855’, Baudelaire upholds what he calls ‘cosmopolitisme’ as the antidote to the constraining influence of universalizing principles of taste that are meant to define beauty for all times and places. Baudelaire’s view is that such aesthetic systems close off the possibility of beauty, which, he maintains must contain an element of novelty. Accordingly, the proper attitude for the viewer (or reader or spectator) to take before a work of art is one that remains always open to novelty and to the ‘universal vitality’ out of which it springs. This attitude is the cosmopolitan one. Yet Baudelaire characterizes this attitude in ways that seem fundamentally incompatible if not diametrically opposed. On the one hand, cosmopolitanism as described in this text seems to involve the slow, lived apprenticeship in the values, ways of life, and criteria of judgement of those in other places, the better to be able to appreciate the beauty of the objects produced in them. On the other, he speaks of the appropriate attitude toward an aesthetic object — indeed toward any object that presents itself to our senses — as one resulting solely from the spectator’s exertions on his or her own mind and will, exertions by which the spectator refrains from imposing criteria of judgement upon the putative aesthetic object in order, instead, to derive one’s criteria from it. While the text on the ‘Exposition’ provides the reader with no way of resolving this contradiction, Baudelaire’s remarks on fashion in ‘Le Peintre de la vie moderne’ (1863) provide a dialectical resolution.

A Liberating Experience. On Becoming a Work of Art

2020 ◽  
Vol 7 (2) ◽  
pp. 411-430
Author(s):  
Maja Tabea Jerrentrup
Keyword(s):  
Three Dimensional ◽  
The Body ◽  
The Other ◽  
Work Of Art ◽  
Other Hand ◽  
Film Clips ◽  
Long Time ◽  
The One ◽  
Body Painting ◽  
Dimensional Surface

Abstract The art of bodypainting that is fairly unknown to a wider public turns the body into a canvas - it is a frequently used phrase in the field of bodypainting that illustrates the challenge it faces: it uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities and characteristics. This paper looks at individuals who are turned into art by bodypainting. Although body painting can be very challenging for them - they have to expose their bodies and to stand still for a long time while getting transformed - models report that they enjoy both the process and the result, even if they are not confident about their own bodies. Among the reasons there are physical aspects like the sensual enjoyment, but also the feeling of being part of something artistic. This is enhanced and preserved through double staging - becoming a threedimentional work of art and then being staged for photography or film clips. This process gives the model the chance to experience their own body in a detached way. On the one hand, bodypainting closely relates to the body and on the other hand, it can help to over-come the body.

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.

Allegory at the Limits of Classicism: EUGENIO MONTALE'S LA BUFERA E ALTRO

2009 ◽  
Vol 43 (2) ◽  
pp. 405-417
Author(s):  
Elias Polizoes
Keyword(s):  
James Joyce ◽  
Walter Benjamin ◽  
The Other ◽  
Work Of Art ◽  
The World ◽  
The One

This article offers a reading of the “Conclusioni provvisorie,” the last section of Eugenio Montale's La bufera e altro. It takes its lead from notion of Classicism outlined by T.S. Eliot in his 1923 review of Ulysses and argues that the recourse Montale makes to Dante in particular, and to Christian symbolism in general, is structurally akin to the parallel James Joyce draws between Homer's Odyssey and the world of the early 1920s. In Eliot's view, it is by invoking the coherence of ancient myth that a writer can lend shape and significance to the chaos of the modernity. In Montale's case, however, rather than work to organize the chaotic present according to the idealized image of form and order Classicism promises, the structural use the poet makes of Christianity serves a demythologizing function. On the one hand, it exposes how Classicism is unable to marshal the chaos of the present beyond transforming it into a work of art; on the other, it shows that ideas of order are in fact allegories of the kind elaborated by Walter Benjamin, that is to say, provisional, makeshift, and ultimately empty.

scholarly journals KUPU-KUPU DI ATAS BUNGA – ANGIN MENARI MELALUI PADANG: MENYIMAK FILSAFAT SENI MARTIN HEIDEGGER

2019 ◽  
Vol 10 (1) ◽  
pp. 45-82
Author(s):  
Yasintus T. Runesi
Keyword(s):  
Martin Heidegger ◽  
Common Sense ◽  
Small Dimension ◽  
The Other ◽  
Human Being ◽  
Work Of Art ◽  
Art And Politics ◽  
Contemporary Politics ◽  
The One ◽  
A Site

In his path of thinking, particularly from the 1930s onwards, Martin Heidegger firmly believed that Sein reveals itself, when human being, whom he termed as Dasein, awakened from his blindness of common sense and struggle for grasps his own authenticity. In this paper I examine Heidegger’s destruction of the work of art as a site of strife between art and politics in his text, Der Ursprung des Kunstwerkes. Heidegger’s position is complex: on the one hand, he acknowledges that Sein is a phenomenon beyond our horizon of understanding, Sein is all about not something particular; on the other hand, he insists that Sein’s presence through art inscribed in a certain particular identity, especially German volks. In response, I argue that the identification of Sein with a particular identity such as German volks, offers the truth that the politics itself is forged and instituted in and as work of art. Some conclusions will be drawn concerning the importance of the small dimension of Heidegger’s thought on art in contemporary politics.

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 T.T. Cloete as literary critic, theorist and literary historian (Part 2): T.T. Cloete as theorist of literary history

Literator ◽  
2016 ◽  
Vol 37 (1) ◽  
Author(s):  
Hendrik Van Coller
Keyword(s):  
Literary History ◽  
Literary Work ◽  
The Other ◽  
Literary Texts ◽  
Personal View ◽  
Work Of Art ◽  
Other Hand ◽  
Literary Work Of Art ◽  
The One ◽  
Literary System

It had already been stated that Siegfried Schmidt (in Hjort 1992) discerned four ‘roles’ within the Literary System, that of literary production, dissemination, reception and literary processing. According to this definition, T.T. Cloete, the well-known author and critic, had played all of these roles. In this second part of a two-part article the focus is on Cloete as a literary historian and in particular on his theoretical (methodological) perceptions pertaining to literary history. It is abundantly clear that in all of his different roles a historical awareness was always present. For Cloete the literary work of art was inbedded in a historical timeframe which imposed hermeneutical imperatives on the critic; on the other hand the literary work of art is present in the here and now and accessible to any skilled reader. One of the objectives of this study is to argue that there was thus an implied dichotomy in Cloete’s thinking on literary history. On the one hand there had been a relativistic view that positioned literary texts in the past, and on the other hand a normative view that implied that certain texts (due to inherent qualities like integration and complexity) could gain a certain permanence. In the last part of this article-true to the narrative approach, an implied confrontation with Cloete’s (methodological) views of literary history lead to a personal standpoint as a confrontation with the self (cf. Sools 2009:27). This explication of a personal view on the writing of a literary history (as an implied homage to Cloete) concluded the article.

scholarly journals O cristal em decomposição em Morte em Veneza de Luchino Visconti

2020 ◽  
Author(s):  
Veronica Miranda Damasceno
Keyword(s):  
Gilles Deleuze ◽  
The Other ◽  
Fundamental Operation ◽  
Work Of Art ◽  
Past Time ◽  
The Past ◽  
Death In Venice ◽  
The One ◽  
Luchino Visconti ◽  
Do So

The constitution of the crystal image corresponds to the most fundamental operation of time. In order to do so, it is necessary for time to separate, arise or happen, in two decimetric spurts, of which one of them makes pass the whole present and the other conserves all the past. Time consists precisely in this split, it is the one we see in a crystal. Crystal is the perpetual foundation of time. According to the perspective of the French thinker Gilles Deleuze, in Death in Venice, Luchino Visconti gives us to see the crystalline images according to their own decomposition. This is present throughout his work. In this film, we can see this decomposition, for example, through the plague that devastates Venice or even through the revelation that something arrived too late. When the character of the musician sees the young Tadzio, he has the vision of what lacked in his work: sensual beauty. The too late conditions the work of art and conditions its success, for the sensuous and sensual unity of nature with man is the essence of art par excellence, inasmuch as it is of its nature to occur too late!

scholarly journals Estonian museums in changing times

1970 ◽  
pp. 55
Author(s):  
Tönis Lukas
Keyword(s):  
The Other ◽  
Native People ◽  
Way Of Life ◽  
Art Collections ◽  
European Culture ◽  
The Everyday ◽  
Commercially Important ◽  
Changing Times ◽  
The One ◽  
Ways Of Life

The Estonians are a small nation. Therefore, our relationship to our own culture is to a certain extent different from that of the big nations. The peculiarities of ones own culture are mainly perceived through comparison with others. The wave of national awakenings reached Estonia in the middle ofthe 19th century. By that time some Baltic-German organizations of an enlightening character had emerged, mainly focusing their attention on native people - the ones whose ethnic ancestors had lived in Estonia long before the Germans, Danes, Swedes, Poles, andfinally, the Russians had reached here. The main policy of alien authorities was to occupy our strategically and commercially important territory. The best means for achieving this was war: In the course ofthese conquests, attention was mainly focused on towns and churches; the changing of the everyday lives of the local people was not particularly in anybody's sphere of interest. As a result, two relatively different kinds of living conditions and ways of life existed side by side - on the one hand, the traditional culture of Estonian peasants and town craftsmen, and on the other, the European culture characteristic mainly of Baltic-German nobility and bourgeoisie.If we tried to describe these two different communities in museum categories, we could say that the first one represented a living open-air museum with its ethnographic look and folklore; the other a specimen of manor architecture with its art collections, and town architecture with the relics of a bourgeois way of life. 

WESTERN NOMADIC DISCOURSE AND THE DISCOVERY OF THE OTHER

2021 ◽  
Vol 3 (4) ◽  
pp. 276-281
Author(s):  
Hamza Jabir SULTAN ◽  
Baidaa SALMAN
Keyword(s):  
Max Weber ◽  
The Other ◽  
Aesthetic Object ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
The Relationship

Max Weber was concerned with aestheticism within the framework of the sciences of sociology and philosophy. He explained its effect on communication among different societies, on the one hand, and looked at it as a state that aimed to demonstrate beauty in a certain matter, on the other hand. Therefore, it is known as the quality that makes a thing an aesthetic object, in other words, the relationship which links the beautiful thing with its perception. Thus, Max set it out by defining it with the voluntary relationship in which he expresses the perception of ideas that are created and chosen by the individual

Art, definition of

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Institutional Theory ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Making ◽  
Work Of Art ◽  
Informal Institution ◽  
Works Of Art ◽  
Art Works ◽  
The One ◽  
Definition Of

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them. Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art. To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.

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