This essay has two aims. The first is to offer an explanation concerning the problem of form in Umberto Eco’s philosophical research, showing that he deals with it while admitting that form can be a temporary element connected to a system of relationships which may be subject to variability. Namely, his reflection is open to the issue of structure. The second aim is to identify some principles that, according to this theoretical approach, may be considered a basis for a (...) positive philosophy of the arts whose adoption might also lead to the understanding of their most recent evolutions. Focusing above all on the work Eco carried out in the years preceding the elaboration of his semiotic theory, I will pursue the following two objectives. After introducing some aspects of Eco’s philosophical methodology, I will focus on the theme of form, considering it in meta-operative terms in light of Luigi Pareyson’s ‘theory of formativity’ and in relation to the issue of structure. In the final part of the essay, I will then show how this theoretical approach provides significant resources for a positive philosophy that can successfully address the evolution of the arts. (shrink)

On the Shoulders of Giants collects previously unpublished essays from the last fifteen years of Umberto Eco's life. With humor and erudition, one of the great contemporary thinkers takes on the roots of Western culture, the origin of language, the nature of beauty and ugliness, the imperfections of art, and the lure of mysteries.

In this essay I will discuss the issue of vagueness when defining the concept of open work within the philosophy of Umberto Eco (1932-2016), particularly considering its relevance for the development of his original semiotic view. The analysis of vagueness allows us to stress the importance of Eco’s concept of open work not only in Opera Aperta (1962) but in different phases of his thought. This paper is divided into five sections. Section 1 briefly outlines the Peircean notion (...) of vagueness, trying to understand it as a pivotal concept to define the structure and dynamical form of the open work. Section 2 dwells on the concept of quality in both John Dewey and Charles Sanders Peirce: here the possibility of articulating an interpretation is considered embodied in the vague immediacy of the qualitative experience. Section 3 analyses to what extent an artwork can be considered open and in motion, according to the Pareysonian concepts of form and interpretation. Section 4 stresses the hypothesis that vagueness produces not only the condition of possibility of an open work and of its multiple interpretations, but also an increase of information due to its aesthetic quality. Section 5 calls into question the distinction between use and interpretation and specifies that interpreting an open work does not mean using it for your own purposes but interpreting a developmental movement towards its own fulfilment; a text is nothing other than the rule that constitutes the universe of its interpretations. (shrink)

In The Name of the Rose, Umberto Eco essentially presents an educative vision of some basic semiotic principles that infuse the textual form of a popular fictional genre—the detective story. In effect, it characterizes the postmodernization of the traditional “whodunnit” moving the genre from the realm of “the real” or the plausible into the realm of “the metaphysical” or the unthinkable. The Name of the Rose is a practical application in semiotics. Or, how the aesthetics of textual production as (...) generated through the lexical signs and codes manifest the discursive text of a novel work. The semiotic twists and turns of the detective story facilitate this educational function and the purposeful transformation of the reader into an individual capable of appreciating and grasping the conflicting ideological viewpoints expressed through its dialogical structure. The detective genre enables the Umberto Eco to produce an educational narrative via the intricacies of plot in the detective story while teaching main aspects of semiotic theory. (shrink)

The subject matter of the text is an examination of the role the problem of repetition plays in cognitive, social and anthropological aspects of the artistic avant-garde as those are viewed from the standpoint of Umberto Eco's semiology. In Eco's "The Open Work" and "The Absent Structure" the above-mentioned problem takes the form of the concept of redundancy. The latter must be analysed in its relation with the concept of information, as they constitute each other; additionally, they shape Eco's (...) approach to the world of signs, being therefore a kind of conceptual infrastructure of his discourse. The author demonstrates that there are in Eco two interpretations of the relation between information and redundancy. According to the one that Eco himself calls "dialectical", the two concepts, although purported to be inextricably linked, remain opposed to each other: information is held to be a function of challenging established communicational codes, thus opening up a possibility of multiple interpretations of signifying structures, whereas redundancy does not question those codes and guarantees communication of single univocal meaning. As for the other, more complex interpretation, the author maintains that a sketch of it can be found on the margins of Eco's discourse. It is largely implicit there and the author makes an attempt to throw it into relief under the name of ostentatious redundancy. The latter oscillates, in a highly ambiguous manner, between confirming and challenging communicational codes. By the same token it can be regarded not as opposing information but as creating it, or even as being, paradoxically, informative in itself. The tension between the two interpretations shapes Eco's internally divided approach to the question of the avant-garde and its cognitive, social and anthropological aspects. Discussing these aspects, the author indicates that Eco has recourse, obliquely, to ostentatious redundancy every time the dialectical interpretation, which i san explicit driving force of his discourse, poses serious difficulties and starts to undermine itself. Ostentatious redundancy is therefore shown to play an important role in all the avant-garde's aspects as well as to govern Eco's reinterpretation of the concept of "avant-garde" itself and his critical re-examination of modernist aesthetics. Finally, it has a strong connection with Eco's theory of the open work. Advocating a further development of the concept of ostentatious redundancy, the author argues that it may and should, with all its necessary internal complexity, be used for analysing contemporary artistic practices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thou Art Translated! The Pull of Flesh and MeaningKarmen MacKendrickIn A Midsummer Night’s Dream, William Shakespeare offers us a particularly comic instance of translation. In the first scene of the third act, the mischievous fairy Puck has set into motion all manner of havoc, including the substitution of a donkey’s head for the ordinary head of poor Nick Bottom, a weaver who had been innocently engaged in rehearsing a (...) play that he and other “rustics” intended to perform for visiting royalty. Bottom is, understandably, a little cranky and confused about this buffoonish substitution—he had offered to play the far nobler part of a lion (Shakespeare 2004, Act 1, scene 2, 68–70)—and he does not react happily to the responses that it generates among other members of his company. The first to see him is the tinker Tom Snout, who declares, “O Bottom, thou art changed! what do I see on thee?” (Act 3, scene 1, 114). And Snout is followed by Peter Quince, a carpenter and the author of the ill-fated play that had been in rehearsals, who will give us our relevant line, as he exclaims in surprise, “Bless thee, Bottom! bless thee! thou art translated” (Act 3, scene 1, 118).Indeed he is. Bottom, when he declares the events a dream, proposes that Quince shall write a ballad of this transformation (Act 4, scene 1, 224–26).1 This ballad might be seen as a further translation, of the sort Umberto Eco calls “intersemiotic”—a translation across forms, rather like that of interpretive dance, which is sort of famous for translating badly. What is not quite clear, though, is how layered this translation may already be just in Nick Bottom’s appearance. The use of “ass” for buttocks—that is, for the bottom—is first attested only in 1860,2 more than two and a half centuries after A Midsummer [End Page 36] Night’s Dream was written (sometime in the 1590s). But there is some speculation that the pun may already have been current, even if cutting-edge, when Shakespeare translated Bottom to ass, and certainly such a pun would not have been out of character for the author—after all, we also find a snout among the would-be actors, and Shakespearean brilliance is hardly incompatible with crude punning. The translation of the flesh is in this instance also a translation of the word, not just in parallel but somehow of one another, and the visible head of the indignant ass betrays the indignity of the rustic weaver sporting the name of Bottom.We don’t so often think of bodies being translated, but before turning to more abstract considerations here, let me offer one further instance, one a little closer to the main current of my own research. The translation of relics (that is, of pieces or close possessions of saints) is their movement from one location—specifically, from one church congregation—to another. This sounds markedly unexciting, I grant, but that’s only if you don’t know that throughout the Middle Ages the relics were sometimes said to have translated themselves, moved of their own volition. This was held to demonstrate the desire of the relevant saints for the newly privileged location—which means their desire to patronize and to bless the new church or congregation. This happened especially often when those of us with less devotion would more likely say that the relics had been stolen by members of their new communities.In the translation of relics, an original—a whole, unified original in the form of an intact body—is the very source of meaning. The relic matters because it belonged to the body of a saint, and each fragment is held to contain, somehow, the wholeness of saintly power and sancitity (for more detail on this very complex subject, see MacKendrick 2008, 102–31). But as a rule, that original is impossible to find; the meaningful pieces are only ever fragments. (In fact, studies of older relics often show that they are not even fragments of humans.) Now the relic means what it is translated to mean: the saint’s blessing upon... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 181 reason that it provides the best arguments available to date against nuclear deterrence, but ultimately the arguments fail because the author takes as an apodictic premise what is actually a prudential judgment that no nuclear weapons could ever be used in a moral and ethical way. Professor Kenny is not only an Absolutist, but also a Determinist. The present reviewers are neither. University of Illinois-Urbana Champaign-Urbana, (...) Illinois Public Affairs Officer ROBERT BARRY, O.P. MATTHEW M. MURPHY United States At·ms Control and Disarmament Agency Art and Beauty in the Middle Ages. By UMBERTO Eco. Translated by Hugh Bredin. New Haven and London: Yale University Press, 1986. Pp. 131. $12.95. This is not a new work. As Umberto Eco himself states in the Preface of this book, the text was written in 1958 and published in 1959 as a single chapter of a four volume handbook on the history of aesthetics, written by various authors (Momenti e problemi di storia dell' estetica, Milano, Marzorati, 1959, vol. 1: 'Dall'antichita classica al barocco, pp. 115-230). No doubt it was due to the recent popularity in Europe and America of Mr. Eco's novel, The Name of the Rose (which subsequently inspired the film of the same title) that Yale University Press saw fit to translate and reissue this seminal work of the author. He wrote it when he was 26 years old and serving in the Italian army. Hugh Bredin, a senior lecturer in scholastic philosophy at Queen's University, Belfast, has simplified in the translation what the author claims was the "tortured syntax" of his impressionable youth. Nevertheless, one suspects that the style and context of this slim volume will appeal primarily to philosophers and not art historians, despite its ubiquitous presence in art bookstores and museum giftshops. The scope of Mr. Eco's work enables the reader to gain an overview of aesthetic problems which developed in Europe in the period between the sixth to the :fifteenth centuries, when the classical tradition inherited by the medieval world no longer provided adequate solutions. A thousand years of artistic and philosophical history are barely penetrated in so few pages, but Mr. Eco forthrightly proceeds to catalogue ideas and thinkers in chapters devoted to such topics as Transcendental Beauty, Symbol and Allegory, and the Aesthetics of Proportion and Light. As 18~ BOOK REVIEWS was evident in The Name of the Rose, the author has an encyclopedic knowledge of both classical and medieval sources (he gently chides Maritain for his ignorance of one of Bonaventure's definitions of beauty, p. 24). As professor of semiotics his understanding of words and images is impressive (he takes a whole page to explain the visual applications of Vitruvius's use of the word euritmia, pp. 65-66). But after repeated eitings of relevant quotations from various medieval works-some in outright conflict with one another-the reader has no satisfying sense of what was the "medieval " view of art and beauty. Rather a mosaic of interesting and diverse facts emerges in the thematic structure of the book which cuts across chronological, geographical, and cultural boundaries. Thus, for instance, one learns in the chapter on the Aesthetics of Light that St. Augustine preferred equilateral to scalene triangles, Hugh of St. Victor considered green to be the most beautiful of colors, the Limbourg brothers in painting miniatures had no use for sfiirnatura just as Chretien de Troyes had no use for it in literature, and the Christian image of God as Light traced its pedigree to the Semitic Baal and the Egyptian Ra with heavy doses of Plato and Arab pantheism thrown in as contributing influences. This dizzying effect of so much intelligent trivia, forcibly pieced together in an effort to arrive at a persuasive conclusion, backfires and ultimately works ag:iinst Art and Beaiity in the Middle Ages in much the same way that the plot in The Name of the Rose suffered from a surfeit of scholastic argumentation. Mr. Eco, in an attempt to bedazzle his readers with facts, merely blinds them to the point. Other authors have written about art in the Middle Ages, and they were successful... (shrink)

With the concept of the open work, Umberto Eco addressed the poetics to which art turned with modernism. In the article the author analyzes the notion of the open work, the references relevant to this concept and the relations of this concept to similar concepts introduced by other scholars such as Roland Barthes. Scholars discussing the openness of art were deriving primarily from Paul Valéry, and they distanced themselves from the myth of the artist as a genius and from (...) the concept of art as a vehicle for communication to transmit the truth and instead emphasized the performative character of art. Art on this track aimed at poetic use of its own media. The author argues that Eco’s definition of the open work comprises different dimensions of openness, i.e. the semantic and formal openness of the works of art, as well as the notion addresses the perceptual openness of the world. The author examines how the concept of the openness of art placed stress on the relevance of interpretation instead of the author’s intention and how it was part of a broader debate on interpretation and weak thought. By establishing autonomous poetic situations and exploring the means of art, art began performing philosophical discussions about itself, wherein, as the author argues, the notion of the open work is linked to the notions of the end or the death of art and denotes the dissolution of art into philosophy. Other sorts of dissolution of art which mean the death of art regard the dissolution of art into culture in a broader sense and its subordination to propagandist or political goals, which means art loses its autonomy. Finally, the author questions participatory art as a potential contemporary successor of the open work and argues that this mode of art, though it actively involves the participant, remains semantically closed. (shrink)

The Art Meme The supernova that was art, must have imploded sometime back in the late twentieth century; its memes sent hurtling out into the furthest reaches of the universe. Everything appears as art now, although art itself has become a dark matter, a black hole, surrounded by pulsars. The mission of this project has been to track arts trace elements and evaluate its dynamic structure. To this end we have charted the further reaches of the stellar system and probed (...) the dark matter itself, in a bid to quantify its magnetic field. What comes to light is a dynamic quantum, one capable of switching itself on despite adverse conditions. Art it seems is a charmed philosophical particle, which reinvents itself to re-polarise exhausted energy fields. The art meme activates a poiesis/mimesis pivot and, in an insubordinate act of language, serves to table the unsayable. In a duplicious act of double-conceit, art reflects and refracts all predictabilities to affect an existential shift in our electrical fields. Its objective to institute a change into the global matrix, but this can only be affected in a form of language. Art is an epistemology alright - but a weird one.". (shrink)

This study will focus on a systematic exemplification of the notion of art and artwork based on Hegels aesthetics. It opposes two forms of skepticism which (1) question the possibility and value of a definition of art and (2) reject the category of the artwork for art is regarded as a process rather than a material thing. As such it is no longer something that can be conceived by seeing, hearing or touching the end product of that process. The criticism (...) of these postions results in an understanding of works of art as objects or processes with a specific structure of meaning. The study developes ideas which are related to Hegel's thought, insofar as Hegel regards the artwork as an expression of the ‘idea’, and the term ‘idea’ designates a complex semantic structure. (shrink)

The article presents an analysis of the activities of formal and informal art associations in the space of contemporary art in Russia and China. The two countries actively cooperate in the field of art, including at the institutional level, which actualizes the appeal to the work of existing creative unions. The object of attention in the framework of the study is the modern art associations of the two countries, and the subject is the relationship between the structure and activities (...) of official and informal art associations of China and Russia. The aim is to analyze the features of the activity of art associations in the conditions of the modern art space of their countries. The analysis of the state and directions of development of both official structures and informal art groups is carried out. The former in both Russia and China, as a rule, are the continuers of the traditions of the former structures, but the original function of the guide of the political course of the leadership of the countries in them remained at different levels, mostly decreasing. The latter are communities of artists who unite by creative interests or around a common exhibition space for them, in particular galleries. Moreover, both forms successfully exist in both states, reflecting the trends of artistic life and at the same time influencing it. (shrink)

Essays address the major themes of Pareyson’s hermeneutic philosophy in the context of his existentialist approach to personhood. What if the inexhaustible were the only mode of self-revelation of truth? The question of the inexhaustibility of truth, and its relation to being and interpretation, is the challenge posed by the philosophy of the prominent Italian thinker Luigi Pareyson (1918–1991). Art, the interpretation of truth, and the theory of being as the ontology of both inexhaustibility and freedom constitute the (...) main themes of Pareyson’s distinctive form of philosophical hermeneutics, which develops also on the basis of another fundamental concept, that of personhood understood in the radically existentialist sense of the human being. In Thinking the Inexhaustible, Silvia Benso and Brian Schroeder bring together essays devoted to Pareyson’s hermeneutic philosophy by important international scholars, including well-known Italian thinkers Umberto Eco and Gianni Vattimo, who were both students of Pareyson. Pareyson’s philosophy of inexhaustibility unfolds in conversation with major figures in Western intellectual history—from Croce to Valéry, Dostoevsky, and Berdyaev; from Kant to Fichte, Hegel, and German romanticism; and from Pascal to Schelling, Kierkegaard, Marcel, Jaspers, and Heidegger. “This book introduces, in a way that has not been done before, the central ideas from Pareyson’s long philosophical career. It opens up pathways for further critical analysis and fills in a neglected history within the broader scope of continental philosophy.” — James Risser, editor of Heidegger toward the Turn: Essays on the Work of the 1930s. (shrink)

While philosophy and psychoanalysis privilege language and conceptual distinctions and mistrust the image, the philosopher and psychoanalyst Julia Kristeva recognizes the power of art and the imagination to unblock important sources of meaning. She also appreciates the process through which creative acts counteract and transform feelings of violence and depression. Reviewing Kristeva's corpus, Elaine P. Miller considers the intellectual's "aesthetic idea" and "thought specular" in their capacity to reshape depressive thought on both the individual and cultural level. She revisits (...) Kristeva's reading of Walter Benjamin with reference to melancholic art and the imagination's allegorical structure; her analysis of Byzantine iconoclasm in relation to Freud's psychoanalytic theory of negation and Hegel's dialectical negativity; her understanding of Proust as an exemplary practitioner of sublimation; her rereading of Kant and Arendt in terms of art as an intentional lingering with foreignness; and her argument that forgiveness is both a philosophical and psychoanalytic method of transcending a "stuck" existence. Focusing on specific artworks that illustrate Kristeva's ideas, from ancient Greek tragedy to early photography, contemporary installation art, and film, Miller positions creative acts as a form of "spiritual inoculation" against the violence of our society and its discouragement of thought and reflection. (shrink)

In this essay, the author considers intertextuality in contemporary musical work, conceptualizing it not only as a critical category and as an artistic convention, but also as an aesthetic strategy. Listening for texts, as it were, opens the work for influences and gives it new purposes. The multiple texts, which are mutually interdependent, alter each other’s meaning and are “read” and “re-read” during aesthetic experience. Depending on the listener, these meanings are more or less pronounced; some are seen as (...) primary, while others are seen as secondary. Sometimes they are co-dependent and meaningful together, but sometimes they shy each other out. The multilayered quality of the work is acknowledged and seen as important even before individual meanings can be discovered. The author proposes a look at intertextuality in reference to musical works by Steve Reich,. The author uses Ryszard Nycz’s definition of intertextuality and confronts it with Umberto Eco’s idea of interpretation and the structural openness of art. Putting forward a concept of listening-in as a necessary element of receiving and understanding certain musical works, she suggests accepting an intertextual aesthetic strategy for a satisfactory aesthetic experience. Assuming the presence of multiple texts, which are different in character and meaning, and accepting their interdependence, changes the reception of the work and colors its qualities. The challenge is not only to seek out different texts hidden behind the purely musical face of the work but to find out the way they influence each other, knowing full well that the major or minor role those texts play depend on the listener as much as on the author. (shrink)

What is beauty? What is art? What is taste and fashion? Is beauty something to be observed coolly and rationally or is it something dangerously involving? So begins Umberto Eco's intriguing journey into the aesthetics of beauty, in which he explores the ever-changing concept of the beautiful from the ancient Greeks to today. While closely examining the development of the visual arts and drawing on works of literature from each era, Eco broadens his enquiries to consider a range of (...) concepts, including the idea of love, the unattainable woman, natural inspiration versus numeric formulas, and the continuing importance of ugliness, cruelty, and even the demonic. Professor Eco takes us from classical antiquity to the present day, dispelling many preconceptions along the way and concluding that the relevance of his research is urgent because we live in an age of great reverence for beauty, "an orgy of tolerance, the total syncretism and the absolute and unstoppable polytheism of Beauty." In this, his first illustrated book, Professor Eco offers a layered approach that includes a running narrative, abundant examples of painting and sculpture, and excerpts from writers and philosophers of each age, plus comparative tables. A true road map to the idea of beauty for any reader who wishes to journey into this wonderful realm with Eco's nimble mind as guide. (shrink)

Kick off the year right... and you will find yourself capable of recognizing the depth and breadth of John's genius. This event, commented on by Bujar Hoxha (South-East European University) chaired by Elma Berisha (Lyceum Institute), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra, (...) the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Eero Tarasti, professor of musicology at the University of Helsinki (chair) in 1984-2016. He was President of the IASS/AIS - International Association for Semiotic Studies, 2004-2014 and is now its Honorary President. In 2016 he has founded the Academy of Cultural Heritages. He studied music in Sibelius Academy, Helsinki, and then in Vienna, Paris, Rio de Janeiro and Bloomington. He got his PhD from the University of Helsinki (1978) after studies in Paris with Claude Lévi-Strauss and A. J. Greimas. He is one of the founders and the director of the international research group Musical Signification since 1984.Tarasti has become Honorary Doctor at Estonian Estonian Academy of Music and Theatre, New Bulgarian University (Sofia), Indiana University (Bloomington), University of Aix-Marseille, and Gheorghe Dima National Music Academy in Cluj-Napoca, Rumania. He has published about 400 articles, edited 50 anthologies, and written 30 monographs; among them one finds: Myth and Music (1979), A Theory of Musical Semiotics (1994), Heitor Villa-Lobos (1996), Existential Semiotics (2000), Signs of Music (2003), Fondéments de la sémiotique existentielle (2009), Fondamenti di semiotica esistenziale (2010), Semiotics of Classical Music (2012, in French 2016), Sein und Schein, Explorations in Existential Semiotics (2015), and Transcending Signs: Essays in Existential Semiotics (2023); two novels: Le secret du professeur Amfortas (2002) and Retour à la Villa Nevski (2014, in Italian L’heredità di Villa Nevski 2014, in Finnish Eurooppa/Ehkä 2016). He has supervised 150 PhDs in Finland and abroad. *** Dr. Bujar Hoxha is a full professor of Communication Sciences at the South-East European University in Tetovo and Skopje, North Macedonia. His teaching courses include communication theory, introduction to communication sciences, and Semiotics of Mass Communication. His main scientific interests are structural semiotics, semiotics of passions, semiotics of disabilities, and existential semiotics. He gained his PhD from the University of Skopje in 2008 on the semiotics of Umberto Eco. Out of his creative and intellectual work, one can number two published novels, a book, as well as several scientific articles published in prestigious scientific journals, such as: “Semiotics of Precision and Imprecision” (2016) and “Multilingualism and Sameness vs Otherness in a Semiotic Context”, (2018) both in de Gruyter Mouton's Semiotica, Berlin and Boston, as well as “On the Applicability of the Semiotics of Passions” (2018) and “The Signs’ Behavior in Autistic Children: Semiosis of an Unspoken Language” (2021), both in the Humanities Bulletin, issued by London Academic Publishing, London, United Kingdom. Recently, Dr. Hoxha has published a monograph entitled: Umberto Eco’s Semiotics: Theory, Methodology and Poetics, issued by Cambridge Scholars Publishing in January 2022, New Castle upon Tyne, UK. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

The inclusion of ethics and politics into artistic creation process is for many contemporary creators/artists an essential motivation while they consciously act in an aesthetic space polluted with the realities of a world in crisis. Art, which produces visible and sensible forms, can reveal aesthetic ideas and fundaments through aesthetic objects: drawing, video-installing or poem/poetry. And artists can make someone feel with their creations—whether these are beautiful, sublime, tragic, or ironic—ethical contentions violated by human action or the exertion/exercise of (...) political power. Works of art that are not only guided by the categories signed by beauty, because in artistic languages, violence and suffering also make/create form. And times of crisis are the ideal sphere/dimension for an art that gives a vivid way of seeing/watching the uncertainty, the perversion, the terrible. In bringing these philosophical—ethical, aesthetic and political—topics, I do it from an approach that departs form artistic creations and curatorial research. I try to penetrate the narrow thread between an ethical topic and the plastic form in which it incarnates/embodies itself, or between a political action and the aesthetic structure of language as a creative, expressive consequence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 503 Possibility, Necessity, and Existence: Abbagnarw and His Predecessors. By NINO LANGIULLI. Philadelphia: Temple University Press, 1992. Pp. xv + 205. $44.95 (cloth). Although Nicola Abbagnano would agree in some sense with the currently fashionable claim that metaphysics is dead, Nino Langiulli's treatment of Abbagnano's thought constitutes a challenge to that claim. The aim, of Possibility, Necessity, and Existence is "to expound and elucidate historically and analytically (...) the concepts of possibility, necessity, and existence as they are refracted through the thought of the twentieth-century Italian philosopher Nicola Abbagnano." Langiulli characterizes Abbagnano as a bold and original thinker whose defense of "possibility" as the fundamental sense of being is understood by Abbagnano himself as an anti-metaphysical position. In his critical reflections, however, especially in the last chapter, Langiulli shows that Abbagnano is indeed engaged in an inquiry that can only be called metaphysical. Parts I and II are preparatory to the third part in which the concept of possibility and its relation to existence are most directly addressed. Part I provides a historical overview of four phases of the movement of Abbagnano's thought "from a positive existentialism to a radical empiricism." Abbagnano's version of existentialism is "positive" in that it sees in human finitude the very possibility of man's relationship with being. Here Abbagnano is distinguished from other existentialists such as Heidegger, Jaspers, Marcel, and Sartre. His criticisms of these positions are among the most important and interesting parts of the book. Heidegger and Jaspers both begin by apprehending human existence as a structure of possibilities but then reduce human existence to a structure of impossibilities. Christian existentialists such as Marcel really treat possibilities as potentialities to be inevitably realized. For Sartre all possibilities are equivalent, but for Abbagnano "the complete arbitrariness of choice among human possibilities does not imply freedom at all, but the impossibility of choice" (18). Here also Langiulli's comparison of Abbagnano with Quine, Sellars, and Rorty is pertinent and illuminating: Abbagnano would share Rorty's criticism of Quine and Sellars for holding on to vestiges of the old empiricism, but Abbagnano would not accept Rorty's "emptying" of philosophy itself. The influence of Abbagnano on his student Umberto Eco and on Gianni Vattimo and the differences between Abbagnano and Derrida's views of possibility are spelled out by Langiulli. In a section entitled "Dumping Philosophy and the Madness of It That Is Also Folly," Langiulli locates Abbagnano clearly and precisely within the debate over the legitimacy of reason. Abbagnano finds the basis of philosophical madness in the persistent tendency to take one aspect of human life as an absolute determinant, thus marginalizing or ignoring all others. "This privileged status has even been attributed to reason, but only when it 504 BOOK REVIEWS is absolutized or divinized as a superhuman force regulating the whole of nature, humanity included, according to necessary and necessitating laws" (39). So, for example, the order of mathematics or the techniques of verification and control employed in physics are transferred to the human world. But Abbagnano's rejection of absolutized reason is not a rejection of reason as such. He sees the current favoring of the nonrational and irrational aspects of life as a kind of folly and madness, "the vertigo of absurdity." The deliberate and crass ignorance of history and the search for novelty are also forms of madness. Part II consists of four chapters that trace the sources for Abbagnano's concept of possibility. The first of these sources is Plato's treatment of existence and possibility in the Sophist, where Abbagnano finds what he takes to be the antecedent for his own thought and for existentialism in general: the idea that possibility is both the structure and the ground of existing things. The two persistent themes of Greek metaphysics that Abbagnano is concerned to overcome are found most explicitly in Aristotle: the priority of actuality over possibility and the primacy of necessity over possibility. Kant is credited with opening the path for contemporary thought with his concept of real possibility (as distinguished from merely logical possibility). Finally, Abbagnano is indebted to Kierkegaard's criticisms of Aristotle and Hegel in the Philosophical... (shrink)

System is a key word for semiotics and linguistics and is a key word also in Umberto Eco’s thought and philosophy. However, Eco always tries to find new words in order to express in a proper way his own idea of system. These new words are also new ways of thinking and rethinking the very core of his own philosophy and semiotics, which remains somehow stable during the years. Through these five words – summa, structure, code, encyclopaedia (...) and rhizome – this paper aims at outlining an image of the evolution of Umberto Eco’s thought and philosophy. (shrink)

Why are we deeply moved by the misfortune of Anna Karenina if we are fully aware that she is simply a fictional character who does not exist in our world?But what does it mean that fictional characters do not exist? The present article is concerned with the ontology of fictional characters. The author concludes thatsuccessful fictional characters become paramount examples of the ‘real’ human condition because they live in an incomplete world what we have cognitive access to but cannot influence (...) in any way and where no deeds can be undone. Unlike all the other semiotic objects, which are culturally subject to revisions, and perhaps only similar to mathematical entities, the fictual characters will never change and will remain the actors of what they did once and forever. (shrink)

In a companion volume to his "History of Beauty," the renowned philosopher and cultural critic analyzes our attraction to the gruesome, horrific, and repellant in visual culture and the arts, drawing on abundant examples of painting and sculpture, ranging from antiquity to the works of Bosch, Goya, and others.

Beauty is both a history of art, and a history of aesthetics. Eco draws on the histories of both art and aesthetics to define the ideas of beauty that have informed sensibilities from the classical world to modern times. Taking in painting, sculpture, architecture, film, photography, the decorative arts, novels and poems, it offers a rich panorama of this huge subject. It traces the philosophy of aesthetics through history and examines some of the many treatises that have sought to (...) define it. Eco writes about Botticelli and Michelangelo, but also about the way fashion of the 1960s owes much to ancient Egyptian dress, or the fact that ancient Roman and eighteenth-century hairstyles have much in common. Bespreking van de Nederlandse vertaling in: Boekman. 17(2005)65(winter. 106-107). (shrink)

Introduction: The Shape and Influence of Hegel's Aesthetics / Annemarie Gethmann-Siefert -- The Contemporary Importance of Hegel's Aesthetics -- The Sources for Hegel's Aesthetics -- Hegel's Philosophy of Art as Reflected in Its Original Reception -- 'Transcripts Are of Course Opaque Sources' -- The Hotho Transcript of the 1823 Berlin Lectures -- Two Challenges to the Worthiness of Art for Philosophical Examination -- The Specific Topic: The Philosophy of Art -- Overview of the Topic and Its Treatment (...) -- The General Part -- The Beautiful as Such -- Artistic Beauty as the Ideal -- The Existence or Actualization of the Ideal -- The General Art Forms -- The Particular Part -- Architecture -- Sculpture -- Painting -- Music -- Poetry. (shrink)

This paper on Umberto Eco’s contribution to the narration process, tries to identify the mainstream of modern studies of the text. I have tried to separate it as an entity, which together with other textual techniques and strategies shall create applicable theoretical messages towards an artistic creation. Eco’s work itself, gives an opportunity to exemplify his theoretical claims. Using my examples, I have tried to show how a work of art can be rendered narrative, a subject to contemporary (...) techniques and cooperativeness with the reader. One of the main issues I have explained is the time factor, seen from the linguistic and semiotic prospective. I consider that Eco’s treatment of the relation between reality and fiction is of a semiotic nature. One of the main elements it contains, is the time factor. The delay part treats works of art separately, and gives one of the ways to render artistic works readable, worth having an aesthetic value, in their way to transmitting a message to the audience. (shrink)

For anyone working in aesthetics interested in understanding the richness of the Chinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces the Chinese aesthetic tradition, exploring the import of the term aesthetics into Chinese thought via Japan around the end of the (...) 19th century. It looks back to early practices of art and craftsmanship, showing how the history of Chinese thought provides a multitude of artifacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in "canonic" art forms, such as martial arts, rock gardening, and ritual performance. Written by Chinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of a Chinese philosophy of art. (shrink)

Art as a Singular Rule "Art has nothing to do with me. Or my family. Or anybody I know" Abstract - This paper will examine an unresolved tension inherent in the question of art and argue for the idea of a singular rule as a natural resolution. In so doing, the structure of a singular rule will be fully outlined and its paradoxical constitution will be resolved. The tension I mention above unfolds both as a matter of history and as (...) a product of analysis. The concept of imitation will be our introduction to a brief overview of a historical trajectory starting with Plato. Plato is notorious for having imposed one of the most humiliating verdicts ever on the Arts: Art is imitative he argued, it is the practice of reproducing illusions and is, therefore, both an inferior source of knowledge and an ethically corrupt activity. Then, the story continues, came Aristotle, the savior of the Arts: he suggested that since essence, form, is imbedded in reality, the artist who imitates essence performs the noble task of abstracting form from substance. Art could now proudly stand alongside other highly respectable branches of human activities, such as the sciences. With the dominance of Aristotle in Western culture, abstraction came to play a key role. Leaping forward to our time, it can be argued that in Modernism the move towards abstraction was pushed to breaking point - to the point where the object was dismissed and denied relevancy to the work of art. This will bring us to a discussion of Art as representation and subsequently, to the introduction of a line of philosophical reasoning that threatens the Arts. It will seem as if we are caught between two extremes: If we assume that art is representational, we open the door for the old Platonic criticism that art is merely imitative (of its object); If we return to abstractionism, we may be led along a path that does not stop short of renouncing the object altogether, i.e. nothing is asserted as standing to the work of art as an "object" or an outer aim; this leaves us on a suspiciously skeptical note concerning the purpose and aim of art - and it indeed echoes prevailing feelings of unrest and confusion concerning the arts, precisely the sort that the quote above indicates. This seems to entrap us in a vicious circle. However, drawing upon the philosophies of Kant, Wittgenstein, Goodman and the contemporary Czech philosopher and esthetician, Tomas Kulka, I suggest a way for resolving the dilemma. This is my analysis of singular rule. (shrink)

In this paper I will discuss the extent to which Umberto Eco’s Semiotics maintains the unstable and oscillatory equilibrium between conflicting matrices that is proper to humorous thinking and ambiguous figures such as the famous duck-rabbit illusion and Penrose’s impossible trident. To do so I shall summon the concept of bisociation (Koestler 1964): though never an item of Eco’s own philosophical toolbox, bisociation plays an important role in the creation of some of Eco’s most innovative theoretical contributions, insofar as (...) they result from a possible/impossible graft between Structuralism and Pragmatism. For each, the question will be whether the implant produces self-consistent theoretical amalgams, or whether some degree of contradiction inevitably remains to generate the abovementioned duck-rabbit effect. I shall then analyse the role that such residual incongruities play in a theory that thrives on the self-voiding logic of humorous short-circuits. (shrink)

In her new book, Mrs. Langer has boldly chosen to orient aesthetics toward a reconsideration of artistic creation and the "making of the artistic symbol." Philosophy of art is impossible, she contends, until we return to the source of art, the artist at work in his studio; and deal patiently and realistically with his problems and achievements. Only then will we be able to understand, through clarifications of the concepts involved in art creation--"expression," "creation," "import," "vitality," "organic form," "symbol"--the (...) nature of a work of art and its relation to the beholder. (shrink)

There are few writers on philosophical aesthetics who are such a pleasure to read as Peter Kivy, so a new book by him is always reason for celebration. In this latest volume all the Kivy virtues are on display: clear, careful argument and good sense, conveyed in an urbane and conversational style. The main theme of the book is that aestheticians have spent too much time discussing general theories of art that emphasize what the various art forms have in common, (...) and not enough time examining the many differences among the arts. Throughout the book he discusses particular issues rather than general theories, thereby taking his own advice that “modest undertakings, rather than grand designs are the order of the day”. (shrink)

Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms a basis for a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is (...) the artistic value of a painting the same as how much you like it? If a painting isn't of anything, then how do we understand it? Can art be immoral? By grounding abstract and theoretical discussion in real examples the book provides an excellent way into the subject for readers new to the philosophical dimension of art appreciation. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with (...) class='Hi'>contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

The question about the nature of art is at the centre of the philosophy of art. The thesis seeks to replace the two dominant approaches to this question in contemporary English-speaking philosophy--essentialism and descriptivism--with an historicist approach. The historicist approach I develop and defend holds that answers to the question "What is Art?" must take the form of localized cultural-historical narratives. ;This alternative approach is applied to write the history of the development of what I call "the (...) modern conception of art" in the early eighteenth century. A changing notion of art that emerges in Britain in this period is decisive for all later philosophy of art. Its genesis must be understood in a context of social, political and cultural changes. These changes deeply affected many people's conception of themselves and of their place in society. Social status becomes uncertain, and new criteria for the presentation of the self and evaluation of others emerge. Knowledge about art and the display of taste become indicators of social distinctions and thus criteria for social evaluation, replacing older notions of birth and rank. The modern conception of art emerges as part of new ideas of the presentation of the self, as part of a new ideal of edification. ;In contemporary philosophy of art, the evaluative contents of the conception of art--its historical and contemporary connection to notions of the moral and social order--are seldom discussed. Yet, as I show, these connections exist and have existed for a long time. At the centre of contemporary philosophy of art, therefore, there is a conception of art which is ideological in the sense that it treats the normative as factual and the historically contingent as the natural. Only a historical analysis of the kind I carry out is able to bring to light this aspect of the conception of art presupposed in contemporary philosophy of art. (shrink)

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on (...) the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage (...) of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. (shrink)

A work of art is an intentional transformation of qi 氣 into a dynamic structure. The philosophy of qi is presented here as a means to develop the aesthetic theories of Richard Wollheim and Eliot Deutsch. Both Wollheim and Deutsch present their arguments, in part, as rejections of George Dickie’s “New Institutional Theory of Art.” I develop a robust qi aesthetic drawn from traditional sources and their contemporary commentaries as a way of joining the debate between Dickie and (...) Wollheim/Deutsch, taking the side of the latter, but attempting to provide a thicker vocabulary and a stronger rationale for challenging Dickie. (shrink)

Contemporary art is a global success story. It is regularly lauded for its formal experimentation, its diversity, and its interrogation of pressing issues. However, it is also a category of art that creates deep confusion, seemingly floating free of any attempts to clarify its historical determination, conceptual definition, or criteria for critical judgement. The aim of this thesis is to move against this confusion by attempting to answer a central question: what makes art contemporary? In response, I develop (...) three main lines of argument. -/- I begin by arguing that contemporary art has two key features. First, it is made in contexts of absolute heterogeneity, in which artists are free to use any material, art form, genre, or style they please. Second, it attempts to engage with the crises of contemporaneity. This thesis focuses on understanding the second feature which has not been subject to extended philosophical reflection. -/- Next, I argue that one of the main ways contemporary art attempts to grapple with contemporaneity is by getting its audience to improve their cognitive standing on crises. I argue that contemporary art aims not just to provide its audiences with knowledge, but also to make them active co-producers of understanding. In doing so, contemporary artists attempt to help their audiences become participants in shaping the present. -/- Finally, I explore the ways in which the preceding arguments can help us to understand what it means to appreciate an artwork as contemporary art. I endorse a functionalist approach to artistic value. But I also argue that realising the artistic value of contemporary art is often a risky endeavour. I claim that, when dealing with experimental and challenging art, we have to be closely attentive to the way artists exempt themselves from various norms and the impact this has on the activity of audiences and mediators. (shrink)

This book analyzes recent artistic and activist projects in order to conceptualize the new roles and goals of a critical theory and practice of art and photography. Vered Maimon argues that current artistic and activist practices are no longer concerned with the "politics of representation" and the critique of the spectacle, but with a "politics of rights" and the performative formation of shared yet highly contested public domains. The book thus offers a critical framework in which to rethink the artistic, (...) the activist, and the political under globalization. The primary focus is on the ways contemporary artists and activists examine political citizenship as a paradox where subjects are struggling to acquire rights whose formulation rests on attributes they allegedly don't have; while the universal political validity of these rights presupposes precisely the abstraction of every form of difference, rights for all. The book will be of interest to scholars working in art history, contemporary art, photography theory, visual culture, cultural studies, critical theory, political theory, human rights, and activism. (shrink)

In Umberto Eco's semiotics, the encyclopedia is a multidimensional space of semiosis. It is a complex system of shared knowledge that governs the production and interpretation of signs inside communicative contexts. Every semiotic act involves the elements that form the encyclopedia. By means of several examples and comparisons with different semiotic theories, my paper aims to show how semiosis is governed by semantic categorizations, pragmatic rules, and narrative frames that the encyclopedia articulates and makes operative for interpreters and producers (...) of signs. (shrink)

Despite the extraordinary influence of Hegel’s aesthetics, the very term “aesthetics” features very seldom in his body of work. Considering both ongoing radical uncertainty as to the status of aesthetics as well as Hegel’s profound and persistent influence on aesthetics, it is worth reflecting on the reasons for, and potential alternatives to, Hegel’s use of the term “aesthetics.” This is the goal of this paper, which combines a reconstruction of Hegel’s variations on the topic with a broader perspective on what (...) they can still teach us today. I begin by discussing Hegel’s presentations of the topic of his lectures on aesthetics (Section II). In Section III, I argue that both Hegel’s ambivalence towards aesthetics and his eventual identification of the latter with a philosophy of art are rooted in his confrontation with Kant’s seminal, yet insufficient, attempt to surmount dualism through his theory of reflective judgment. The attempt to address Kant’s unresolved dualism ultimately leads to the equivalence, both conceptual and terminological, of aesthetics and philosophy of art, and to the autonomy of art as a form of the absolute spirit (Section IV). In the concluding section, I outline the fundamental tensions left open by this equivalence as open challenges in contemporary aesthetics (Section V). (shrink)

This text explores four books produced by one of the most prominent semioticians of the previous century, Umberto Eco, in order to create a semiotic meta-theory which enhances a multifarious way of â oereadabilityâ and scientifically justifies the dichotomy between the creation of a work of art and its being read, visualized and experienced by the audience. It begins by treating the â oenarrationâ component as one of the main theoretical challenges of Ecoâ s theory, specifically focusing on the (...) concept of time, seen from the linguistic and semiotic viewpoints. The book also explores Ecoâ s text theory, as well as â oesemiotics properâ, representing an analysis of the â oeencodingâ and â oedecodingâ theories. In addition, it exemplifies the â oeopennessâ and â oecollaborationâ between the writer and the reader, as well as relationships between the creator and audience in all forms of art. The book will appeal to scholars, students, and intellectuals who want to have a detailed knowledge of Ecoâ s overall contribution to semiotics, and seek a â oeformulaâ which would inter-connect informational and code theories with the narration method, so as to create what we call â oeinterpretative semioticsâ today. (shrink)

The "semiotic threshold" is U. Eco's metaphor of the borderline between the world of semiosis and the nonsemiotic world and hence also between semiotics and its neighboring disciplines. The paper examines Eco's threshold in comparison to the views of semiosis and semiotics of C. S. Peirce. While Eco follows the structuralist tradition, postulating the conventionality of signs as the main criterion of semiosis, Peirce has a much broader concept of semiosis, which is not restricted to phenomena of culture but includes (...) many processes in nature. Whereas Eco arrives at the conclusion that biological processes, such as the ones within the immune system, cannot be included in the program of semiotic research, Peirce's broader defmition of semiosis has meanwhile become thefoundation of semiotic studies in biology and medicine and hence in biosemiotics and medical semiotics. (shrink)

The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both by artists and in (...) class='Hi'>philosophy and theory of art. Beauty was no longer a central value, but just one aesthetic feature among many others. In recent years, however, the notion of beauty has been re-evaluated, some even speak of a “comeback of beauty”. Against this background it is one of the main tasks and challenges of contemporary aesthetics to develop a more profound understanding of the nature of beauty, its different forms and dimensions, and its place in art theory and practice – and in human life. In the contributions to this volume, leading scholars in the field explore the significance of the notion of beauty, its key aspects, and its relevance in various aesthetic disciplines. The questions addressed in the volume can be summarized in the following three headings: What is beauty? What is beautiful? How does the value of beauty relate to other aesthetical values? The volume contains a selection of invited contributions, including: María José Alcaraz León, Hanne Appelqvist, Allen Carlson, Noël Carroll, Stephen Davies, Richard Eldridge, John Gibson, Peter Lamarque, Catrin Misselhorn, Otto Neumaier, Elisabeth Schellekens, Maria Elisabeth Reicher-Marek, Sonia Sedivy, Davide dal Sasso, and Lisa Kathrin Schmalzried -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Man and Animal in Severan Rome: The Literary Imagination of Claudius Aelianus by Steven D. SmithFabio TutroneSteven D. Smith. Man and Animal in Severan Rome: The Literary Imagination of Claudius Aelianus. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2014. 308pp. $99.When Otto Keller published his meticulous work Die Antike Tierwelt (1909–13), classical scholars still conceived of ancient zoological knowledge as an astonishingly labyrinthine corpus of (...) tales. One felt the need to separate objective truths and fabulous accounts on the basis of a modern-oriented comparatist approach which was especially suspicious of Aelian’s De Natura Animalium and the so-called paradoxographic tradition. At that time, classicists were also keen to [End Page 532] see Severan literature as a scarcely original (and relatively uninteresting) digest of earlier writings—a faithful mirror of the beginning of the end.Steven Smith’s book on Aelian’s “literary imagination” and its culturally embedded use of animal figures is paradigmatic of the notable progress of scholarship in both such fields of research—the role of animals as revealing symbolic constructs and the intellectual life of Severan Rome. Throughout his well-structured survey, Smith offers new insights into Aelian’s worldview as a profoundly Hellenized Roman writer creatively combining biological notions and literary mirabilia, socio-political patterns, and sophistic aesthetics. On the one hand, the book clearly situates itself in the flourishing area of cultural and animal studies, making the most of both well-known and newly emerging theoretical frameworks (from Michel Foucault to Donna Haraway, from Derrida and Deleuze to Giorgio Agamben). Of course, the purpose of Smith as well as of other contemporary scholars interested in the ancient representation of animals is no longer to identify reliable “scientific” data as distinct from ancient folklore. Rather, it is the intersection of rhetorical, historical, and anthropological factors which seems to characterize most properly the Graeco-Roman discourse on animal life. On the other hand, however, Smith engages in an ambitious reconfiguration of Aelian’s (admittedly enigmatic) profile as an exponent of the Second Sophistic, at the same time indebted and alien to the milieu of the third century c.e. The multifaceted textual construction of Aelian’s animal narratives is shown to entail a critical (and at times ambiguous) reflection on such different issues as gender, religion, ethnicity, natural philosophy, and kingship.The book is composed of ten chapters, each one investigating a specific aspect of Aelian’s Weltanschauung on the basis of thematically connected passages. While the main focus is on De Natura Animalium (and thus on animal-related topics), two chapters (2 and 10, respectively) extend the scope of the inquiry to Aelian’s Rustic Letters and Varia Historia (VH). The monograph as a whole is framed by an introductory overview (starting with a fictional first-person speech by Aelian) and a conclusive note which sums up Smith’s most relevant theses. In addition, a more “philological” appendix discusses seventeen short fragments possibly pertaining to Aelian’s lost Katēgoria tou gunnidos (“The Indictment of the Little Woman”), a bitter invective against Elagabalus prudently written after the emperor’s death (cf. Philostr. Vit. Soph. 625).The question of Aelian’s elusive literary persona figures prominently in the general introduction and is the core subject of chapter 1. By qualifying the author of the De Natura Animalium (NA) as “independent” and “countercultural,” Smith does not mean to remove him from his social and political context. On the contrary, the evidence drawn from the NA itself (especially from the impressionistic self-portrait of the preface and the epilogue), together with the biographical sketches in Philostratus’ Lives of the Sophists and in the Byzantine Souda lexicon, is used to demonstrate that, though “inextricably bound up with and perhaps even unwittingly celebratory of urban Roman culture of the early third century c.e., Aelian nevertheless also fashions a literary persona that is critical of that same [End Page 533] cultural milieu” (16). In Smith’s view, such a fascinatingly ambivalent effect is made possible by the overwhelming stylistic variety (poikilia) of the NA, which appears as an “open” work (in Umberto Eco’s terms) intentionally lacking any large-scale... (shrink)

The chief purpose of Peter Kivy’s latest book, which is written in his familiar civilised, leisurely manner, is to recommend to philosophers of art the pursuit of differences—the looking for differences—amongst the fine arts. This recommendation is not advanced in virtue of scepticism about the possibility of a unitary theory of the various art forms or conviction of the impossibility of a definition of the concept of fine art or a denial that the achievement of such a definition would be (...) of any real importance. Rather, Kivy argues that the pursuit of sameness across the arts has led time and time again to a misrepresentation of the nature of one or more of the arts through their assimilation to a supposed paradigmatic art form or the imposition on them of a favoured conception of the essence of art. Accordingly, the first chapter of the book sketches the history of aesthetic theory from the eighteenth to the first part of the twentieth century and represents it as dominated by the attempt to fit the recalcitrant art of absolute music into what was taken to be the essential nature of art or to replace this conception by one appropriate to music, neither attempt being successful. And the second chapter brings us up to the present through a critical examination of the Wittgensteinian repudiation of the traditional task of defining art—very familiar territory—and Arthur Danto’s continuation of the traditional task but with a radical change in the idea of the kind of property that binds the arts together. Kivy’s claim is not just that the pursuit of sameness has had deleterious effects in the past but that at the present time the task of defining the idea of a work of art still dominates discussion and “discourage[s] philosophers from the equally interesting task of studying the arts in their particularity”. The remaining five chapters of his book are case studies intended to act as an antidote to the obsession with the pursuit of sameness. (shrink)

Philosophie de la structure, philosophie de l’événement La critique deleuzienne de la phénoménologieDans son essai sur la peinture de Francis Bacon, Gilles Deleuze affirme résolument que le corps vécu de la phénoménologie est trop faible pour être à la mesure de la puissance presque incroyable du “corps sans organes”. “L’hypothèse phénoménologique est insuffisante” parce qu’elle n’invoque “que le corps vécu”, écrit-il, alors que le corps sans organes, lui, se porte à la limite même du corps vécu. Cette thèse semble nous (...) inviter à choisir entre deux conceptions du corps, celle de la phénoménologie et celle de Deleuze : un corps vécu et un corps presque incroyable. Mais sur quelle base pouvons-nous choisir? L’une de deux thèses est-elle clairement vraie et l’autre fausse? Nous verrons que Merleau-Ponty use d’un modèle fondé sur la mécanique des ondes systémiques, et que le modèle classique ou newtonien de Deleuze construit l’image d’une réalité physique absolue et pose ensuite que les structures perceptives sont simplement des manifestations ou des projections de cette fondation ontologique fondamentale. Mais le concept phénoménologique de “forme” indique que, même si les lois de la réalité physique ne conceptualisent que le monde perçu, la référence à ce monde perçu reste néanmoins essentielle à la connaissance du monde physique.Filosofi a della struttura, fi losofi a dell’evento La critica di Deleuze alla fenomenologiaNella sua analisi della pittura di Francis Bacon, Gilles Deleuze afferma risolutamente che il corpo vissuto della fenomenologia è insignificante, rispetto al potere quasi invivibile del corpo senz’organi. L’ipotesi fenomenologica è insufficiente perché si limita al corpo vissuto, mentre il corpo senz’organi sorge al confine estremo del corpo vissuto. Questa rivendicazione ci invita apparentemente a scegliere tra le due concezioni del corpo: quello di Deleuze e quello della fenomenologia, un corpo vissuto ed uno pressocché invivibile. Ma su che base possiamo compiere questa scelta? Un corpo è evidentemente vero, e l’altro falso? Vedremo che Merleau-Ponty utilizza un modello derivato dalla fisica quantistica, e che il modello classico, o newtoniano, di Deleuze costruisce invece l’immagine di una realtà fisica assoluta e proporremo poi che le strutture percettive siano semplici manifestazioni o proiezioni di questo fondamento ontologico essenziale. Il concetto fenomenologico di forma indica, al contrario, che per quanto le leggi della realtà fisica concettulizzino il mondo percepito, il riferimento almondo percepito è essenziale e preliminare alla conoscenza del mondo fisico. (shrink)

Umberto Eco’s philosophical project, which culminates in the development of a systematic and philosophically relevant semiotics, has a perplexing and problematic debt to and link with pragmatism in its many forms. Indeed, his apparent relation to pragmatism as such is in fact quite tangential if we ignore the pivotal role of Peirce in defining and supporting Eco’s explicit semiotic turn. But Eco claimed that John Dewey’s Art as Experience, the foundation of a distinctively pragmatist aesthetics, was a major factor (...) in his early philosophical movement away from certain premises of the aesthetic tradition that held sway during his student days. Eco engages Dewey in surprising and enlightening ways in his early books, but the trail of Dewey is gradually ‘lost.’ It is this trail, wandering through different contexts, that I follow in this paper. I also indicate how Dewey’s work could have played a larger role in Eco’s mature aesthetic thought and that we should see the absence of Dewey to represent a lost opportunity for emphasizing and enriching the pragmatist side of a semiotic approach to aesthetics. (shrink)

I relate the aesthetic mediation of reason and the identity of religion and mythology found in theEarliest System-Programme of German Idealismto Hegel's account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory of absolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i.e., representational thought), I argue that Hegel's account of the limitations of religious representational thought, when taken (...) in conjunction with some of his ideas concerning Romantic art, suggests that he fails to demonstrate the necessity of the transition in question, thus undermining the triadic structure (i.e., art, religion, philosophy) of his theory of absolute spirit. (shrink)