The relationship between the fields of aesthetics and human nature runs through the entire history of aesthetics. The classical line sees the aesthetic dimensio.

The purpose of this paper is to address Rorty’s critique of Dewey’s notion of experience and to reaffirm a view in which the call to experience is indispensable for a genuinely contingent philosophy. In the first part, I analyze Rorty’s critique of Dewey and show its inconsistency. In the second part, I draw a comparison between their aesthetic views and argue that a true aesthetic experience must consist in the cultivation and creative transfiguration of situational resistances. In the third part, (...) using Jane Addams as an example, I illustrate how at Hull House the resistances provided by the situation were transfigured into original and meaningful aesthetic experiences that touched people’s lives and allowed for a meaningful and intelligent reconstruction. (shrink)

My aim in this article is to briefly reconstruct the reception of Dewey's _Art as Experience_ and more generally of his aesthetics in Italy. In order to do so, my contribution will be divided into three parts, corresponding to the three editions that Dewey's book has had in Italy. In the first part, I will trace the early influences and the debate with Benedetto Croce, showing the "idealistic encirclement" suffered by Dewey's aesthetics, which led to the first Italian translation of (...) Dewey's book in 1951. In the second part, I will trace the influence of Dewey's aesthetics from 1951 to 2006, showing first the Marxist and Catholic critiques, then the first tentative attempts at a reinterpretation outside the idealist domain, and finally the second edition of _Art as Experience_ in Italy 1995. The third part considers the renaissance of Dewey's aesthetics in Italy after Giovanni Matteucci's new translation in 2006 and Luigi Russo's work in 2007. The article concludes with a brief consideration of Dewey's significance for the contemporary Italian aesthetic debate and an attempt to identify a specific Italian interpretation of Dewey's aesthetics that can be traced in the effort to bring Dewey into dialogue with other authors of the modern aesthetic tradition. (shrink)

In this article I will explore three contributions that Shusterman’s somaesthetics can make to meta-aesthetics: Shusterman’s interpretation of the analytic-continental aesthetic debate; the redefinition of the aesthetic through the notion of experience, resulting in the aesthetics of popular art and somaesthetics, and finally, the opening of aesthetics to extra-philosophical practices, such as body exercises and performances.

This article aims to investigate the possibility of a dialogue between Dewey and Heidegger, in particular on the role art plays in establishing horizons of meaning. After a brief introduction where the possibility and appropriateness of such a dialogue is justified, the first chapter investigates Heidegger and Dewey’s interpretation of the difference between the aesthetic experience of the ancient world and the modern world: while in the modern world art is locked up in museums and excluded from the affairs of (...) life, in the ancient world it was at the center of the experience of meaning. In the following section, the ability to create horizons of meaning is identified as the possibility for art to become central again in the modern world. To argue this, the two key terms of horizon and meaning are investigated, showing the many points of convergence between Dewey and Heidegger’s theories. In conclusion, the argument is drawn to a close, showing both the important similarities and some fundamental differences between the two aesthetic theories of Heidegger and Dewey. (shrink)

This paper attempts to investigate Kierkegaard’s thought through the category of mimesis. First, two meanings of the word are distinguished and analyzed: the archaic meaning that links it to the concept of re-enactment, and the traditional meaning that links it to the aesthetic field of art. These two meanings are then considered in relation to Kierkegaard’s opus, showing the oscillation of mimesis as corresponding to that between the aesthetic, which lives in fantasy and in the unfulfilled possibility, and the religious, (...) which finds its identity in the imitation of Christ and in the transparent relationship to God. (shrink)

In this paper I address the relationship between Hegel and Heidegger from the perspective of the dialectic between end and beginning. After the introduction, in the second part of the paper I analyze Hegel’s position in the history of being as the beginning of the end of metaphysics. Afterwards I address Heidegger’s interpretation of the beginning of Hegel’s Logic, showing how the essential beginning is the end of the completed system. In the fourth part of the text, I discuss how (...) Heidegger wants to position himself in relation to Hegel, mainly examining their different interpretation of negativity and initiality. I will argue that the key word for understanding their different positions is “event”. Whereas Hegel’s system leaves no room for any beginning as event, but every beginning is reabsorbed by the finished and concluded system, for Heidegger thought must time and time again make itself initial and evential. (shrink)

A deep relationship binds semiotics and pragmatism together, rooted in their common father, Charles Sanders Peirce. However, as deep as this relationship is, it is also complex and not straightforward. This is evidenced by the scant attention that post-Peircean pragmatism (and so much of contemporary pragmatism) has paid to more specifically semiotic problems and by the separation of semiotics into a science in its own right. This estrangement between semiotics and pragmatism means that today...