This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)

What is a scientific theory? This book considers this fundamental question by presenting a range of options and the issues they raise. It draws comparisons between theories and artworks and proposes that we should stop thinking of theories as things altogether.

_Thinking about Science, Reflecting on Art: Bringing Aesthetics and Philosophy of Science togethe_r is the first book to systematically examine the relationship between the philosophy of science and aesthetics. With contributions from leading figures from both fields this edited collection engages with such questions as: Does representation function in the same way in science and in art? What important characteristic do scientific models share with literary fictions? What is the difference between interpretation in the sciences and in the arts? Can (...) there be a science of aesthetics? In what ways can aesthetics and philosophy of science be integrated? Aiming to develop the interconnections between the philosophy of science and the philosophy of art more broadly and more deeply than ever before this volume not only explores scientific representation by comparison with fiction but extends the scope of interaction to include metaphysical and other questions around methodology in mainstream philosophy of science, including the aims of science, the characterisation of scientific understanding, and the nature of observation, as well as drawing detailed comparisons between specific examples in both art and the sciences. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as employed (...) by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

Literary art that is identifiably feminist approaches reality from a feminist perspective and endorses female experience. A feminist perspective demystifies patriarchal assumptions about the nature of human beings, their relation to nature, and the relation of physical and moral qualities to each other. To endorse female experience, the artist must defy or stretch traditional literary conventions, which often means offending or alienating readers. Traditional literary conventions are rooted in philosophical assumptions several thousand years old and still widely current. A third (...) principle of feminist art-which not all feminists subscribe to-is accessibility. When feminist art is difficult, the reason usually lies not in purposeful obfuscation, but in the poverty of our language of feeling, and the difficulty of rendering feeling. (shrink)

What is the role of the imagination in scientific practice? Here I focus on the nature and role of invitations to imagine in certain scientific texts as represented by the example of Einstein’s Special Relativity paper from 1905. Drawing on related discussions in aesthetics, I argue, on the one hand, that this role cannot be simply subsumed under ‘supposition’ but that, on the other, concerns about the impact of genre and symbolism can be dealt with, and hence present no obstacle (...) to regarding imagination as appropriately belief-like. By applying the framework of ‘semi- propositional representations’ and ‘quasi-truth’ to this case I thereby offer a new unitary framework for understanding the epistemology of scientific imagination. (shrink)

The ontological status of theories themselves has recently re-emerged as a live topic in the philosophy of science. We consider whether a recent approach within the philosophy of art can shed some light on this issue. For many years philosophers of aesthetics have debated a paradox in the (meta)ontology of musical works (e.g. Levinson [1980]). Taken individually, there are good reasons to accept each of the following three propositions: (i) musical works are created; (ii) musical works are abstract objects; (iii) (...) abstract objects cannot be created. However it seems clear that, if one wants to avoid inconsistency, one cannot commit to all three. Following up recent developments courtesy of Cameron ([2008a]), we consider how one might respond to the corresponding set of propositions in the (meta)ontology of scientific theories. 1 Introduction2 Setting up the Problem3 What to Reject? 3.1 Scientific theories are not created? 3.2 Scientific theories are not abstract objects? 3.3 Abstract objects can be created?4 A Fourth Way: Truth-maker Theory5 Objections and Replies 5.1 What are the truth-makers? 5.2 Objections from World 3 5.3 Fictionalism 5.4 Concrete/abstract6 Conclusion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately into Western modernism and (...) postmodernism. Despite the title, this book goes beyond French poetics, for it deals with some philosophical views about knowledge and art, and it offers an extended argument for the value of comparative studies, including comparative philosophy. The author moves easily among the areas of literature, art, and philosophy, all of which she discusses with authority.Her story begins with the birth of 'japonisme,' the term coined by critic Philippe Burty in 1876 to refer to the passion-artistic and commercial-for things Japanese. She identifies three waves of japonisme in French literature: pre-World War I, between the wars, and post-World War II. She leads the reader through each of these waves, detailing the cultural and artistic milieu in each and closely analyzing key figures.For the origins of japonisme, Hokenson takes us to the studio of Parisian engraver, printmaker, and designer Felix Bracquemond in 1856, which was just after the end of Sakoku. Bracquemond, according to the "most persistent legend," [End Page 699] opened a box of Asian ceramics and discovered that they were wrapped in extraordinary materials-layers of Hokusai woodcut prints the likes of which he had never seen. He summoned members of his circle, which included Manet, Degas, and Whistler (pp. 13-15). It is thus through an intriguing historical contingency that this relatively inexpensive, mass-produced art form would become the inspiration for some of the most personal and expensive art works today. More relevant to Hokenson's interest, however, is the fact that these woodcuts would be a seminal force in the direction of French letters.Had Bracquemond not had the vision to see the artistry of these prints or had the shipper used a different packing material, would Western painting and literature have taken a different turn? Would the West have seen impressionism, symbolism, or art nouveau? Would Proust, Claudel, Mallarmé, and others have written different works? From Hokenson's account one gleans that the French avant-garde eye was ready to see Hokusai and others, for artists felt that the mimetic view of art had led them to an impasse. Visual and literary artists were ready to abandon the Renaissance ideals of verisimilitude, perspective, the integrity of space, and the linearity of time. They were ready to accept the fragmentation of picture space, perspectivism, and suggestiveness that were all characteristic of the Japanese aesthetic.She explains how Henri Bergson, with his theories of intuition and subjective time, provided a philosophical foundation for the artistic commitments of the early japonistes. She documents the access many of the japonistes had to Bergson. Bergson, like the japoniste poets and painters themselves, emerged from a French tradition of using subjectivity as a starting point. The reader sees this respect for the subjective interact with various Japanese influences over the course of the twentieth century. The receptiveness to the haiku exemplifies this phenomenon, as it begins from a fleeting, intuitive, personal experience. She points out that "by 2000, the haiku was almost a commonplace in French poetry" (p. 407).Although she says little about what Bergson may have absorbed from the japonistes, she does tell of the little-known influence exerted by the Japanese phenomenologist Kuki Shūzō in 1928 on Jean-Paul Sartre. Both Sartre and Simone de Beauvoir either forgot this relationship or forgot to mention it in their respective narratives about the development of existentialism. Indeed, this was not discovered, Hokenson reports, until the 1980s. She rightly points out that that this changes the usual story about French philosophy in the early twentieth century, for it means that Sartre became acquainted with German phenomenology before 1932 and from someone other than Raymond Aron (pp. 333-334, 343, 474 n. 10). In a fascinating discussion of Kuki's... (shrink)

Reason and Sentiment Throughout the long history of philosophy there has appeared from time to time a certain dilemma which is both attractive and fatal. ...

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The (...) notion of 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

The subject of the study are the fundamental philosophical and aesthetic problems in the aesthetics of the early French romantic Joseph Joubert. His ideas about the essence of art, its intrinsic value are revealed; analyzed problems of imitation and depiction as a figurative multiplication of life, the relationship between art and nature; talent, inspiration and creative imagination of the artist, reality and illusion; trends in the synthesis of arts, the predominance of the spiritual principle over the material. Emphasis is (...) placed on the role of associative memory and suggestion in the creative process. His concept of expressiveness of artistic form and artistic style, closely related to the problems of aesthetic taste, aesthetic evaluation, and the priority of the ideal in art, is analyzed. The special importance that Joubert, as a strict moralist, attached to the relationship between aesthetics and ethics, the educational role of art, and the specifics of its perception is shown. The multifaceted nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art historical analysis, comparative, interdisciplinary methods. The main conclusion of the study is that Joubert created an original aesthetic concept that was in demand both in mature French romanticism and in the symbolism of the 19th-20th centuries. Many of its lines remain relevant in the 21st century, in particular, the increased interest of artists in the non-rational, invisible ideas of the suggestive influence of art and trends in the synthesis of arts. The author's special contribution is that the study of Joubert's aesthetic theory and artistic practice is based on original material. The author of the article analyzed the aesthetic views of one of the significant early French romantics, which had not previously been the subject of special research in Russian science. (shrink)

This book offers a thorough account of Thomas Reid's philosophy, focussing on his expressionist aesthetics, then traces his influence in nineteenth-century ...

By decision of the World Council of Peace, progressive mankind marked, on October 5, 1963, the 250th anniversary of the birth of an outstanding representative of the French Enlightenment, Denis Diderot. Diderot occupies an honored place in the history of world thought on esthetics, as one of the greatest theoreticians of realist art. The esthetic theory founded by Diderot, calling for the representation of nature, was directed against the feudal, theological world view and against the aristocratic art of the (...) court. Diderot's esthetics, like his philosophy, served the cause of ideological preparation for the bourgeois revolution at the end of the 18th century in France. "Each age has its distinctive spirit," said Diderot. "The spirit of our age is the spirit of freedom.". (shrink)

The essay explores the special features of French Symbolist aesthetics, which consist of the conceptions of symbolization as correspondence between the spiritual and objective worlds, suggestion, artistic synthesis and synesthesia, beauty, the beautiful and the sublime. The author analyzes the main trends of Symbolist aesthetics in France – the Neoplatonic/Christian and the Solipsistic symbolism – and traces their influence on art. She shows that the attitude toward aesthetic philosophy inherent in French Symbolism turned out to be the backbone (...) for Euro-American culture in the twentieth and twenty-first centuries. (shrink)

The author states in his preface that he has not undertaken a history of aesthetic thought during the French Enlightenment, nor an intellectual history of French aesthetics, nor a synthesis of eighteenth-century French thought on aesthetics, nor a history of eighteenth-century French art. What he has attempted to do is to outline doctrines of French aesthetic thought during the eighteenth century. The term doctrine is perhaps not too strong here because some of these writers were (...) rather doctrinaire in their approach. Following an outline of their respective positions, the author then subjects their works to a logical analysis. More than two-thirds of the authors cited are relatively unknown: André, d'Argens, Batteux, Bonnet, Briseux, Chaussard, Crousaz, Mme. Dacier, Estère, de Jaucourt, de La Motte, di Marcenay de Ghuy, de Piles, Rollin, Taillason, Trublet. One should not be surprised to learn that few of these were professional philosophers. Others cited by Coleman are well-known eighteenth-century figures: d'Alembert, Condillac, Diderot, Dubos, Montesquieu and St. Evremond. The author explains that he undertook the book in order to fill a gap in the literature on the subject. It is an excellent beginning and the style in which it is written is often as witty and elegant as that of many of the authors he considers.—P. N. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

This useful essay, originally published in 1949 and frequently reprinted, is now issued for the first time as a paperback.

Spoiled Distinctions investigates crises of evaluation in twentieth-century France. Taking Marcel Proust as its central figure, the book theorizes the disorienting force of everyday aesthetic experience. In a series of surprising readings, Hannah Freed-Thall frees Proust from his reputation as the most refined of high modernists. The author of In Search of Lost Time appears here as a journalist and newspaper enthusiast, a literary ventriloquist and connoisseur of popular scandals, and a writer attentive to the unsophisticated phenomenology of the here (...) and now.The final chapters of the book consider the legacy of Proust's experiments with inestimable worth. Authors Francis Ponge, Nathalie Sarraute, and Yasmina Reza also explore the underside of cultural distinction. With Proust, they elaborate modernist variations on the beautiful and sublime--from nuance to the "whatever" and from the awkward to the sickly-sweet. Spoiled Distinctions thus revitalizes the critical discourse on aesthetics. Mapping the intersection of phenomenology, aesthetic theory, and the sociology of culture, the book reveals how enchanting the ordinary can be. (shrink)

A wide-ranging study of Fauré and his contemporaries.

I propose taking the beautiful and the sublime in Edmund Burke not just as aesthetic but also as theoretical categories which can help us read his constitutional thought in dialectical terms. I suggest indeed that his usage of these categories in the Reflections on the Revolution in France points to a consistently held argument concerning the aporias of early-modern contractarian theories and their influence on the French Revolution. My hypothesis is that for Burke the Revolution is unable to think (...) of any concrete relation between beauty and sublimity, insofar as they can be associated, respectively, with particularity and universality. Furthermore, I underscore how Burke’s defence of partial representation against contractarian representation aims to overcome this impasse. My goal is to demonstrate that Burke raises decisive questions as to the intrinsically anti-democratic effects of the contractarian concept of democracy and is still useful to confront the contemporary crisis of democratic participation. (shrink)

This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to (...) create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dÈblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its idea of ‘awakening’ society through public art; and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of ‘dance as l'intervention’ that has grown out of the historical context of contemporary dance in France. (shrink)

Offering an overall insight into the French tradition of philosophy of technology, this volume is meant to make French-speaking contributions more accessible to the international philosophical community. The first section, “Negotiating a Cultural Heritage,” presents a number of leading 20th century philosophical figures and intellectual movements that help shape philosophy of technology in the Francophone area, and feed into contemporary debates. The second section, “Coining and Reconfiguring Technoscience,” traces the genealogy of this controversial concept and discusses its meanings (...) and relevance. A third section, “Revisiting Anthropological Categories,” focuses on the relationships of technology with the natural and the human worlds from various perspectives that include anthropotechnology, Anthropocene, technological and vital norms and temporalities. The final section, “Innovating in Ethics, Design and Aesthetics,” brings together contributions that draw on various French traditions to afford fresh insights on ethics of technology, philosophy of design, techno-aesthetics and digital studies. The contributions in this volume are vivid and rich in original approaches that can spur exchanges and debates with other philosophical traditions. (shrink)

Kant’s doctrine of aesthetic ideas, along with his brief treatment of ugliness, has been the focus of some recent literature. In this paper, I employ an original approach, which nonetheless draws from Kant’s oeuvre, to pin down the phenomenological complexity of a spectacular event that took place at the inception of the French Terror—the decapitation of Louis the XVI. To this end, the first section of the essay fleshes out an interpretative framework explicating how seeing the guillotine as an (...) aesthetic idea could serve as a means to actualise the revolutionary ideal. The second section introduces a reading of Schwärmerei and argues that this unruly genius is accountable for the creation of aesthetic idols, rendering a spurious aesthetic experience. Finally, in the last section, I argue that there is a significant distinction between Kant’s account of ugliness and loathing, and that the latter stands for neither a moral nor an aesthetic response to a morally repellent object, but rather is an extraordinary sensible response. (shrink)

The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its containing many (...) interesting ideas, Henry’s phenomenological approach is insufficient to describe the aesthetic experience of Kandinsky’s abstract art. For Henry, aesthetic experience is corporeal, primordial, non-intentional, and independent of knowledge and culture.By contrast, I believe that it is possible and more suitable to connect the direct, corporeal, and affective character of the aesthetic experience of abstract art with intentionality and embeddedness in culture and knowledge. (shrink)