In ancient China, art has never been a substitute for the category of ‘truth’ in the sense of Western aestheticism, but a mimic for goodness and beauty. The image in traditional Chinese aesthetics never transcended the idea to the level of Western abstraction, and that is because the artistic expression bore a social synthesis, rather than metaphysical, between human beings, reality, and the world. However, the Ming Dynasty introduces a Dionysian discourse that challenges the Apollonian tradition.

In ancient China, art has never been a substitute for the category of ‘truth’ in the sense of Western aestheticism, but a mimic for goodness and beauty. The image in traditional Chinese aesthetics never transcended the idea to the level of Western abstraction, and that is because the artistic expression bore a social synthesis, rather than metaphysical, between human beings, reality, and the world. However, the Ming Dynasty introduces a Dionysian discourse that challenges the Apollonian tradition.

In 1911, the prominent Italian Nobel Peace Prize laureate Ernesto T. Moneta and, with him, a number of Italian “pacifists” actively supported the invasion of Libya (carried out) by the Italian army. On the columns of “La Vita Internazionale”, journal edited by Moneta since 1898, Italian “pacifists” not only agreed that it was good and convenient for Italy to conquer a part of North Africa, but showed an enthusiasm they had never manifested before in support of pacifist initiatives. The question (...) is why an ardent pacifist and wise intellectual, as Moneta was, renounced so easily his pacifist ideals to support a bloody war and a harsh repression of the Arab rebels, as the one which followed the defeat of the Turkish army. To answer this question, the essay analyzes the articles published by Moneta and other contributors on “La Vita Internazionale” and discusses them with regard to both the international political events occurred during the first decade of the 20th century and the dominant ideologies of the time (namely irrationalism and anti-individualism). The essay concludes that Moneta's agreement with the colonialist war has been prepared and made possible by a number of pre-war ideological and political influences which had transformed his democratic and peace-oriented ideas of nation, people and state into nationalist and aggressive ones. (shrink)

As the twenty-first century begins, Benjamin’s aura as the quality of an authentic-art-object might be outdated, but the notion of kitsch remains essential in a post-Warholian world. The following discussion is an attempt to assess Western contemporaneity. By using a few examples, so to dissect problems into their smallest components, I suggest that the current popularity of kitsch inclinations and behaviours in Western societies are not a means to resist cultural and aesthetic elitism, but an implication of widespread bad taste.

This is one of those books which are no less valuable than delightful to read: the exegesis is lucid, the methodology sound and the material wide-ranging and straightforward. The author brings into play a keen speculative intuition and a precise sense of cultural history tempered by full awareness of the standpoint of other scholars. Although his own position is not an idealistic one he avoids a gratuitously external or unrigorous approach; what he does have in common with Idealism is the (...) insistence on concreteness and a feeling for the variety and dynamism of the Real. (shrink)