This interview is inspired the most important working-hypothesis presented in the volume Aesthetic Revolutions and the Twentieth-Century Avant-Garde Movements, edited by Aleš Erjavec, that questions the legitimacy of the distinction between aesthetic and artistic avant-gardes, supported by the relationship of each concept with the modern revolutionary politics. The relevance of this contrast for determining modernity both in its ideological shape and its continuity, in the terms of postmodernity will be criticized in our discussion with professor Erjavec, reflecting on the manner (...) in which the artistic communities representative for Surrealism, Russian constructivism, Situationist International, Dadaism, Italian Futurism, 1960s American Art, as well as for Slovenian, Mexican or Romanian artistic movements of the 20th century opened the path for different democratic or totalitarian political attitudes, practices and ambitions. (shrink)

Mihai Ralea was a university professor and prominent representative of the Romanian interwar literary intelligentsia. M. Ralea taught psychology, sociology and aesthetics, and was at the same time the director of a reputed literary magazine (Viaţa românească-Romanian Life). Ralea was also a politician, initially an important member of the National Peasant Party, representing its centre left wing. In his case, one may notice the contradiction between his moral arguments in public and his deeds after he reached positions (...) of power (Minister of Labour under the royal dictatorship, Minister of Arts under the pro-communist Petru Groza government, etc.). Ralea was also called “the moralist without morals”, and the compromises he made – manifested through his adherence to anti-democratic regimes – can be documented by numerous archival documents. Due to strong political connections, Ralea survived in the high ranks of cultural bureaucracy even during cultural Stalinism. He maintained important positions both at the University of Bucharest and with humanities research institutes of the post-1948 Soviet-style Romanian Academy of Sciences. In the late 1950s and early 1960s, he also gained posi-tions of international cultural representation with the Romanian branch of the United Nations Educational, Scientific and Cultural Organisation (UNES-CO) and the Romanian Institute for the Cultural Relations with Foreign Countries (IRRCS, the Romanian VOKS). His survival (as a professor of psychology after 1948) had a significant price – Ralea’s collaboration with the Stalinist regime. Using open sources and also newly declassified archival documents, the article is an attempt to approach M. Ralea’s case of survival in the high cultural bureaucracy in the East European context. (shrink)

This paper discusses Eastern European Marxists’ consideration of science and technology concerning aesthetic dimensions. Different from most of Western Marxists who take negative or dystopian attitudes towards modern science and technology from the aesthetic utopian perspective, those Marxists who come from countries such as Hungary, Yugoslav, Poland, Czechoslovakia, East Germany, Bulgaria or Romania, which once belonged to the socialist camp, under the influence of Soviet and Western culture, pay attention to the complicated tension between science-technology and aesthetics. In this (...) paper, I probe into these notions by reading György Lukács, Budapest School, Romanian theorists and the Yugoslav Praxis Group, which are divided into four key points: basic nature of science in contrast with arts; modern tension of culture between science and arts; the possibility of scientific aesthetics; and development of arts in the world of technology. There is a dialectical understanding of science and technology here which contributes to contemporary recognition of science and technology from the point of view of neo-humanism, not only in aesthetics but also human existence. This is relevant to theoretical reflection on the present and future Chinese socialist aesthetics. (shrink)

Defining terms -- The real world -- The news -- Reading as vacation -- Uses of culture -- The postmodern smirk -- The corporate gallery -- Icons and idols -- Man as Romanian -- Dowsing and science -- Origin myths -- Diplomatic memoir -- A syndrome of simile and metaphor -- Three dreams, one trip -- My obituaries -- Salt water -- My coronation -- Representations -- The pornographic dream -- Against art fairs -- Rescuing the subject from the (...) picture -- Branding the arts -- The end of the affair -- A defense of virtuosity -- Mere esthetics. (shrink)

This study proposes a philosophical analysis of the public discourse that accompanies the cultural policy in Romania: justifications and finalities of State intervention in the cultural field, as well as representations of the roles that the public authorities attribute to culture/art. The objective is to bring into light the philosophical, political and aesthetical values that found and legitimise the cultural policies and shape the relationship between State and artists/art. It is basically about understanding the nature of representations on culture and (...) art that underlie the State intervention in the cultural field and, consequently, to determinate the ethos of the cultural policy in post-communist Romania and to expose the constraints that are still limiting its exercise. (shrink)

Se vorbește îndeobște mai mult despre un spirit al timpului (Zeitgeist) și amprenta acestuia asupra modului în care noi înțelegem și reflectăm lumea – asemenea cerului, al cărui joc de lumini și umbre oferă un contur de culoare lucrurilor. Nu trebuie însă să uităm solul din care ideile încolțesc și spiritul locului (Raumgeist) care le‐a animat creșterea. În acest orizont au loc întâlnirile, împlinirile, speranțele și dezamăgirile care ne edifică ca oameni și ne orientează busola căutărilor filosofice și spirituale. Există (...) roade pentru care dăm socoteală în secerișul vieții de zi cu zi și există resturi de care recolta zilei nu pare să ia seama – aparent neînsemnate pentru logica zilei, aceste resturi de roade sunt tocmai cele care la urmă, la apus, dau sens întregii strădanii. Avem sarcina existențială de a nu lăsa iarna vieții să se aștearnă pe resturile rămase în urma secerișului. Acesta este și imboldul volumului de față, care se dorește a fi un spicilegium, care în limba latină înseamnă „un mănunchi de resturi de spice rămase în urma recoltei”. Așadar, o antologie de paisprezece texte filosofice de diferite dimensiuni și subiecte, dar care reprezintă expresia unei comunități de cercetători, profesori, doctoranzi și pasionați de filosofie aduși împreună de filosofia studiată sau trăită cândva la Cluj‐Napoca. Chiar dacă este compus din texte eterogene, cititorul atent al acestui volum va putea sesiza cum spiritul acestui loc subîntinde toate tematizările: propensiunea față de idealism, profunzimea psihanalizei, subtilitatea fenomenologiei, pasiunea realist speculativă și fervoarea căutării autentice a binelui, adevărului și frumosului în lume, în gândire și artă sunt predispozițiile care însuflețesc și textele de față. - Dan Siserman. (shrink)

Camil Petrescu (1894-1957) was a Romanian novelist, dramatist, poet and philosopher. His PhD thesis in philosophy was entitled The Aesthetic Method of Theater, and wasinfluenced by Joseph Gregor, Julius Bab, Gordon Craig, Constantin Stanislavski, Adolphe Appia, and William Butler Yeats.. His thesis was published in 1937. In Romanian literature, he was the initiator of the modern novel, with the volume The Last Night of Love, the First Night of War (1930). As a philosopher he was influned by and (...) continued to studyPlato, Descartes, Kant, Hegel, James, Bergson and Husserl. Petrescu is the first Romanian philosopher to write a micro-monograph about Husserl (1938). His main philosophical work, entitled The Doctrine of Substance (deposited in 1942 to the Library of Vatican), was published in 1988 (The Doctrine of Substance, volumes I-II). In this paper, I present a placement of the Romanian philosopher in his time and in the relationshe has with his contemporaries, some of them of world-class (Mircea Eliade, Eugen Ionesco, Emil Cioran, inclusiv Constantin Noica). (shrink)

This article introduces the thought of the Romanian philosopher Lucian Blaga on religion as a cultural creation that has value apart from questions of the truthfulness of religious doctrines. According to Blaga, religion has considerable aesthetic and philosophical significance. The article places this insight within the context of Blaga’s metaphysical vision and his analysis of epistemology and illustrates it with a new translation of one of his most famous poems.

This volume, Applied Social Sciences: Philosophy and Theology, provides the reader with an important set of essays related to the two aforementioned fields of study. Aesthetics plays a key role in contemporary philosophy and several authors examine its various aspects, such as the question of identification of works of art; the concept of â oesocial aestheticsâ ; the social therapeutic function that art can have; and the relationships among hermeneutics, aesthetics and communication sciences. Other papers deal with ethical (...) issues, such as the role of human values in applied ethics and moral determinations in public life. The meaning and role of postmodernism in philosophy and society is examined at length in various contributions to the volume, and the same is true for phenomenology at large. Even the theoretical seduction and practical failure of Marxism is addressed, while anthropological issues are studied with reference to truth and other key philosophical concepts. John Searleâ (TM)s theory of intentionality is seen as a factor for creating social institutions, and the real meaning of â oeglobalizationâ is investigated in another article. Many essays deal directly with theological and religious topics. For instance the alleged â oeillusionâ of religion versus its persistency is analyzed, along with the current relations between Church and civil government in Romania, the presence of different forms of Christianity in the Romanian nation, the dialogue between social theology and anthropological research, and the antinomic nature of the Church. All papers included in the volume are original and open new perspectives on the many issues addressed by the authors. Even the philosophical styles are different: hermeneutics, analytic philosophy, historical approach, postmodernism, communication theory and linguistic approach. Some papers are theoretical and others have a more empirical or historical flavour. There is however an underlying unity because they all purport to provide new ideas to professionals involved in the socio-humanistic field. The information is divided into chapters in order to help readers to form by themselves an image of the issues that are studied. However, the volume is not addressed only to specialists, and is accessible to a wider public interested in an interdisciplinary approach. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons ed. by Alexandru Matei, Christian Moraru and Andrei TerianLaura Elena Savu WalkerMatei, Alexandru, Christian Moraru, and Andrei Terian, editors. Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons. Bloomsbury, 2021. 376pp.Far from “mourning” the demise of theory, this timely and thoughtfully curated essay collection testifies to its “renewed vitality,” its compelling presence “across (...) fields, domains of life, and geocultural boundaries,” and its power to build an ever-expanding world community of practioners who are forming what has come to be known as a “theory commons” (ix). As the collection’s editors point out, theory’s new lease on life hinges on ensuring both the democratic workings of this “world discourse formation” (1) and on the responsible theorizing of the very notion of community in “a world threatened by all kinds of anti-communal actions and reactions, from runaway globalization to exacerbated tribalism and tunnel-vision politics” (x). Working on the margins, specifically, out of a Romanian “lab” called The Critical Theory Institute (CTI), which opened its doors in early 2000, the contributors seek to revise the “standard history of theory,” one whose “Western origins, authority, and cultural compass ” strike them as “exceedingly reductive” (3). This project of geotheoretical repositioning and recalibration aims to recast theory as a “quintessentially cross-linguistic, cross-cultural, trans- and intercontinental undertaking” (4). As such, it carries on the project, launched in a previous volume, Romanian Literature as World Literature (2018), of fashioning an alternative to the nation-state paradigm that has long shaped literary and intellectual histories. In both of these works, Romanian critics and theorists have tuned into a wide range of voices, and tapped into a shared conceptual and methodological apparatus—itself the product of “an ethno-linguistic medley of traditions” (8). This approach informs what editors see as the “epoch-making” (17) discursive paradigm that has taken shape in globally networked post-Cold War societies (17), a viral model of cultural influence that fosters an ontology of “contact, contagion, of infection, dissemination, and horizontal accumulation” (15).To give us a sense of theory’s complex genealogy and evolution, the editors reference the Bulgarian critic Galin Tihanov, who has attributed [End Page 122] important developments in contemporary theory to the achievements of theorists (Nikolai Trubetskoi, Roman Jakobson, Vladimir Propp, and Georg Lukács) and schools of thought (Russian Formalism and the Prague Linguistic Circle). In “Traveling Theory” (1983) and “Traveling Theory Reconsidered” (2000), Edward Said called attention to the migratory nature of contributions made, for instance, by Georg Lukács, whose theories moved across different European locales in this period. Since then, contemporary theory has branched out to integrate the travels and travails of scholars affiliated with theory labs located in Bulgaria, Hungary, Slovakia, and last, but not least, Romania (10).Theory in the “Post” Era highlights five characteristics that distinguish theory in the “post” era from earlier forms: 1) It has a “reluctantly epoch-alist” thrust (19; original italics), which assumes that the “post” lexicon entails “rupture, discontinuity, and opposition” (19), radical departures, tentative claims, provisional conclusions, and ex-centric perspectives; 2) it adopts a “self-reflexive and experimental” (20; original italics) stance in which theorists invoke inherited approaches or invent new ones; 3) it introduces a “transdisciplinary” (21; original italics) scope that allows authors to interrogate the foundations, aims, and methods of theoretical discourse and practice across several knowledge domains, from which they “borrow whole vocabularies and toolkits” (21); 4) it is “nationally, transnationally, and ecologically affiliative” (20) in ways that allow theorists to “think with others at a distance” (21) about global issues; and 5) it is programmatic, placing critical and theoretical concerns in the service of “the ethical, the political, and the communal” (22). Organized around three main themes (“Aesthetics,” “Temporalities,” and “Critical Modes”), the essays juxtapose discussions of pivotal historical events and cultural phenomena with literary analyses of Romantic era “classics,” modernist experiments, and postmodern works of the post-Communist era, a corpus that includes, but is not limited to, landmark works of national culture that are now part of a fast-expanding planetary... (shrink)

Be aware... and you will be mindful of a notable ambiguity in semiotics as well as of those who have masterfully strived to transcend it. This event, commented on by Elize Bisanz (Texas Tech University) and chaired by William Passarini (Institute for Philosophical Studies), 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. *** Ionut Untea is currently a fellow-in-residence at the Akademie Schloss Solitude, in Stuttgart, where he is researching on the semioethic and aesthetic coordinates of the “social compact” and intercorporeal relationships. In 2021, he has taught a course entitled “Intercultural Philosophy: Semiotic Approaches and Aesthetic Themes” as a Visiting Professor at Università degli Studi di Bari Aldo Moro. Since 2016, he has been teaching History of Western Philosophy and Semiotics at Southeast University, Nanjing. He previously taught at the University of La Rochelle, and was a postdoctoral fellow of the Foundation for Interreligious and Intercultural Research and Dialogue (FIIRD) at the University of Geneva. He obtained his doctorate in 2013 at Ecole Pratique des Hautes Etudes (EPHE), in Paris. He holds Romanian citizenship, having obtained his first degrees in philosophy and theology at the University of Bucharest. His focus is on the modern and contemporary intersections between semiotic, moral, political and religious thought. He has published recently “Peircean and Confucian Interpretations of Self-Development: Semiotic, Normative and Aesthetic Aspects,” Philosophy East and West 72.1: January 2022: 188–209. His recent work has appeared in academic journals such as The American Journal of Semiotics (2021), Semiotica (2021), Ethical Perspectives (2021, 2019), Philosophical Forum (2019), Journal of Aesthetic Education (2020), Politics and Religion (2019), The Monist (2018). *** Dr. Bisanz's education includes an MA (Philosophy) from the University of Lüneburg in Germany; Graduate Studies in Jacques Derrida's philosophy Seminars at l'École des Hautes Études en Sciences Sociales, Paris; a Ph.D. (History of Communication Sciences) from the Technische University of Berlin; and a post-doc Habilitation Degree (Image Studies), from the University of Lüneburg. Bisanz has published several interdisciplinary books reflecting her educational background; these include a major European edition of Peirce's writings The Logic of Interdisciplinarity: Charles S. Peirce, The Monist Series (Akademie-Verlag, Berlin, 2009), which was realized with the aid of research and publication grants from State and private endowments; Prolegomena to a Science of Reasoning: Phaneroscopy, Semeiotic, Logic, which is a collection of manuscripts by Peirce on reasoning (Peter Lang Publishers, Berlin, 2016); Overcoming the Iconic Turn: Cultural Concepts of Images [in German: Die Überwindung des Ikonischen: Kulturwissenschaftliche Perspektiven der Bildwissenschaft] (transcript Verlag, Hamburg, 2010). Bisanz is a member of the advising board of the Deutsche Gesellschaft für Semiotik and chair of the society's subdivision for Cultural Studies. Since her Fulbright scholarship in 2006 at Texas Tech University, Bisanz has been an active member of the Institute for Studies in Pragmaticism. She has organized several international congresses dedicated to Peirce and interdisciplinary research. *** 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)

IntroductionIn the coronavirus disease 2019 pandemic, Romanian universities switched to emergency relocation and online education, with students experiencing a sense of isolation, which affected their well-being, pace and normal learning style, relationships with other colleagues, and Professors. Beyond the technological obstacles that have arisen in learning, the aim of this study is to highlight the psychological variables that are associated and that explain the self-perceived well-being of students, in university, in the pandemic. The psychological variables studied were the following: (...) the level of openness and personal autonomy, as personality traits of students but also the mechanisms for regulating their academic motivation.MethodWe used a questionnaire-based survey, wherein all four research instruments had been validated and adapted to the investigated population. The subjects were BA and MA students at the University of Oradea, Romania, the majority being females with the age range of 27 years old. Pearson Correlation and Multiple Linear Regression were used to test the two hypotheses.ResultsResearch data obtained in the correlation analysis, point out association relationships with moderate and high effects size, between positive attitude toward self, others and student life and: openness to learning, openness to aesthetics, behavioral autonomy, cognitive autonomy, intrinsic motivation, and identification motivation. Furthermore, in regression analysis, it was revealed that regarding the variance of results concerning students’ self-perceived well-being in university, it contributes both of students’ personality traits and their intrinsic motivation and identification motivation.ConclusionThe fundamental conclusion of the research is that, although the personality traits of students explain in a higher percentage the variability of results in students’ self-perceived well-being, motivation regulation mechanisms play an important role, especially in the conditions of online activities. The results have direct implications for the work carried out in universities. The educational policies developed by specialists and government will have to emphasize the ways of forming resilient student communities in periods of sudden transition and adaptation to change which take place in education and society. (shrink)

The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though (...) determined by an ideological direction (Conservative or Liberal), the political speech still preserves his tendency towards aesthetic autonomy. 2. oratorical merits (hinting at aesthetic autonomy) can turn into practices of political autonomy, diffidence and, then, dissidence. Methodologically, two types of aesthetic practices organize the chosen materials; both the diffident script and the theatre of dissidence help us to perceive how the philosophical and moral meaning of these practices could change into an ideology of dissidence. The formalization of diffident practices, their conversion to outspoken dissidence, also corresponds to the symmetrical symptom of unlimited authority; when old-time politicians warned on ‘Caesarism,’ ‘Vizierate,’ ‘Despotism,’ ‘Omnipotence’ or ‘Tyranny,’ the Romanian society had already been training for a long experience of ‘dictatorship.’. (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, (...) which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)