The chapter presents Bergson’s conception of philosophy as a way of life, as a thinking that seeks to make contact with the creativity of life as a whole. This endeavor to alter our vision of the world, and ultimately, our action and sense of being in the world, seeks to operate a “conversion of attention.” For Bergson, such a conversion is tied in with what he calls the “true empiricism” that allows us to experience and think change as that which (...) makes up living reality as a whole. Bergson conceptualizes this move beyond the human in terms of sympathy, a term employed both descriptively, to develop the notion of a sympathetic whole of life in which philosophy as a way of life resituates the self, and prescriptively, as urging us to overcome our estrangement from “the ocean of life” to which we owe our existence. This effort of sympathy takes the form of a spiritual exercise. Not limited to mere contemplation of the world, it transforms the manner in which we perceive the reality of duration and thus opens the path for a different way of living. (shrink)

I am extremely grateful to all commentators for such patient, generous, and stimulating contributions. What follows are some thoughts to enrich the conversation, but these are by no means intended to be definitive answers to the worries they have raised.

In order for true beliefs acquired from reading fiction to count as knowledge proper, they must survive ‘the challenge from luck’. That is, it must be established that such beliefs are neither luckily true, nor luckily believed by readers. The author considers three kinds of true belief a reader may, she assumes, get from reading fiction: a) those based on testimony about empirical facts; b) those based on ‘true in passing’ sentences; and c) those beliefs about counterfactuals one may get (...) from reading a ‘didactic’ fiction. The first group escape the challenge from luck relatively easily, she argues. However, things turn out to be more complicated with the second group. The author examines Mitchell Green’s suggestion, effectively, that knowledge of fictional genre may see off the challenge from luck here, but rejects this in the form presented by Green, adapting it substantially to offer beliefs of this kind a more promising escape route. The author finishes by following Green’s lead once again, and discussing the category of ‘didactic’ fiction, as he calls it. She argues that any true beliefs about counterfactuals gained from such fictions are likely to be lucky. The author concludes however that things are much more promising for any true beliefs gained about oneself as a result of engaging with what Green calls an ‘interrogative’ fiction. (shrink)

The existing research on Peshitta has mostly overlooked the translation techniques used in Peshitta Psalms. Prior studies have primarily focused on comparing Peshitta Psalms with the Masoretic Text (MT), the Septuagint and Targum, leaving a gap in the analysis of Peshitta Psalms within the context of Classical Syriac Poetry. This study will delve into how adeptly the Syriac translator employed poetic elements to construct strophic structures and poetic style within the Peshitta Psalm. This article presents an analysis of strophic structure, (...) word repetition, sound figures and versification in the Syriac translation of Psalm 29, comparing them with their Hebrew counterparts. In this study, the utilisation of the Biblia Hebraica Stuttgartensia (BHS) is employed for the MT, while the ‘Leiden edition’ is employed for the Peshitta. The findings from this analysis reveal that the Syriac rendition of Psalm 29 within the Peshitta incorporates numerous poetic elements. This suggests the translator’s familiarity with the strophic arrangement, word repetition, alliteration and various other poetic characteristics utilised by Hebrew scribes. The Peshitta translation of Psalm 29 closely resembles the MT Hebrew text, resulting in a balance of fidelity and aesthetic elegance. The Syriac rendition incorporates poetic elements like strophic arrangement, word repetition and alliteration but employs these features in a distinct manner. The Syriac text has a lower frequency of alliteration and word repetition but still possesses appealing poetic characteristics. The Syriac approach to verse composition closely resembles the Hebrew method, with some exceptions. Contribution: This study explores the Syriac translator’s use of poetic elements in Peshitta Psalms, revealing their familiarity with Hebrew techniques and the unique incorporation of elements. It provides insights into the evolution of Classical Syriac Poetry and contributes to our understanding of Biblical and Syriac poetry. (shrink)

Throughout his career as an academic theologian, Karl Rahner never explicitly set himself the task of working out a theory of language. Nonetheless, the seminal insights for such a theory were formulated in his extensive corpus as functions of other, more properly theological concerns. These consist chiefly of the development of religious doctrine and the cult of the Sacred Heart (See DD, BH, ST, TM, ULM). Other important insights appear in his treatment of the hermeneutics of eschatological statements and the (...) relation between Christianity and poetry (See HES, PC, PP). All these theological concerns have received scholarly attention (See Barnes 1994, Bonsor 1987, Callahan 1985, Corduan 1978, Doud 1983, Hines 1989, Phan 1988, Thompson 1992, Walsh 1977). As for Rahner’s theory of language, scholarship has shown how a coherent system can be constructed from the disparate sources that contain it (See Masson 1979, 224–33; and 1980, 266–72). In developing this previous work, the present article will ex plain how Rahner’s theory is derived from his distinctive meta physics of the symbol. Scholarship is only beginning this discussion, although the centrality of symbolism in Rahner’s thought has been well treated. [See Callahan 1982, Fields 2000 (esp. 6–16, 92–97), Motzko 1976, H. Rahner 1964, Wong 1984.] In addition, this paper will also suggest that an origin of Rahner’s symbolic view of language lies in Heidegger’s aesthetics. Bringing this origin to the fore will lead to a concluding discussion about the debt that Rahner owes his mentor at Freiburg University. (shrink)

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

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.

Cities are inextricably bound to their human denizens, although this human dimension is complicated by the emphasis on scale, speed, and progress that often dominates the semiotics and discourses of urban competition. In a profoundly ambivalent movement, various aspects of human “livability” are highlighted in the “quality of life” components of cities rankings and planning, while at the same time the “megacity” trend in planning and semiosis constantly threatens to overwhelm precisely that human livability. We can thus detect two broad (...) and fundamentally-opposed semiotic trends, namely, the confidently cosmopolitan trend that emphasizes urban growth and the positive effects these are assumed to have on quality of life; and the dehumanizing trend that emphasizes the human cost of urban growth and its technological components. The profound ambivalence that this indicates, needs to be figured into urban discourses towards a more holistic and balanced account. (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.

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

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)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the (...) visible: the essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

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)

The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the movement of music (...) and the movement of dance are the same on some level. I suggest that they are: there are qualities of movement that guide both dancers and musicians when producing dance and music as perceptible phenomena. But the match in qualities is elusive, since the qualities are instantiated in different ways in music and dance, respectively. (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

Ewa Ziarek fully articulates a feminist aesthetics, focusing on the struggle for freedom in women's literary and political modernism and the devastating impact of racist violence and sexism. She examines the contradiction between women's transformative literary and political practices and the oppressive realities of racist violence and sexism, and she situates these tensions within the entrenched opposition between revolt and melancholia in studies of modernity and within the friction between material injuries and experimental aesthetic forms. Ziarek's political and aesthetic (...) investigations concern the exclusion and destruction of women in politics and literary production and the transformation of this oppression into the inaugural possibilities of writing and action. Her study is one of the first to combine an in-depth engagement with philosophical aesthetics, especially the work of Theodor W. Adorno, with women's literary modernism, particularly the writing of Virginia Woolf and Nella Larsen, along with feminist theories on the politics of race and gender. By bringing seemingly apolitical, gender-neutral debates about modernism's experimental forms together with an analysis of violence and destroyed materialities, Ziarek challenges both the anti-aesthetic subordination of modern literature to its political uses and the appreciation of art's emancipatory potential at the expense of feminist and anti-racist political struggles. (shrink)