Arts and Humanities Commons^™

La Configuration Du Monde Social Dans Le Discours Littéraire D’Alioum Fantouré, Buata B. Malela

Présence Francophone: Revue internationale de langue et de littérature

This article examines how the relation is constructed in the social space and its effects in literary discourse of Alioum Fantouré. To develop this point, we first studied the question of historicity in connection with the postcolonial paradigm says. Then we talk about aesthetics mobilized by Fantouré in his novel The Circle of the tropics (1972). The aim is to show the general nature of the approach of Fantouré. He appears as a paradigmatic case of the post-independence period in literature.

Sketches, Impressions And Confessions: Literature As Experiment In The Nineteenth Century, Andrew Ragsdale Lallier

Doctoral Dissertations

In this dissertation, I argue for the existence and critical relevance of a program of experimental literature in the long nineteenth century, developed in the aesthetics of German Romanticism and adapted in a set of texts by Thomas De Quincey, Charles Dickens and George Eliot. My introduction positions this argument in context of larger debates concerning form, theory and literary capacity, provides points of connection between these authors, and outlines the most prominent features of experimental literature. In the first chapter, I present an unorthodox reading of Kant’s Critique of Judgment, accompanied by a brief account of the literary-critical …

Refreshment For The Soul: A Phenomenological Study Of The Student Experience Of Beauty In School, Paul Reiff

Dissertations

Prompted by the ratio-scientific emphasis in the curriculum, I conducted this study to explore the lifeworlds of students to understand their lived experience of beauty in school. This investigation entailed a phenomenological study, the method of which included in-depth interviews and focus group discussions with four high school students. This study aimed to examine the essence of beauty in the lived experience of students in school, to explore the perceptions of students regarding school as a place to appreciate beauty, and to understand the needs of students as a place that develops their aesthetic sensibilities. The findings include the description …

Art's Disclosive Dimensions: Reflections On The Work Of Peter London, Aaron Darrisaw

Artizein: Arts and Teaching Journal

When I initially came to this project, I vaguely remembered hearing of Peter London once before – in passing perhaps. Yet I knew nothing really of his art or his work as an educator. Each day I came into work, however, I was met with a series of very interesting correspondences, articles, conference presentations, lecture notes, and more that offered a thoroughgoing vision of art as a personally, socially, and spiritually transformative and enriching enterprise. The collection contained document after document of valuable contributions to the instrumental role that art can and does play in opening up individuals to their …

Bodies: Punk, Love And Marxism, Kathryn Grant

Electronic Thesis and Dissertation Repository

This thesis returns love to the purview of Marxism and punk, which had attempted to ban the interpersonal in respective critiques of abstractions. Love-as-sense—as it is figured by Marx— will be distinguished from the love-of-love-songs, and from commodity fetishism and alienation, which relate to this recuperated love qua perception or experience. As its musical output exhibited residue of free love’s failure, and cited sixties pop which characterized love as mutual ownership, American and British punk from 1976-80 will be analyzed for its interrogation of commodified love. An introductory chapter will define love as an aesthetic activity and organize theoretical and …

Art As Display, Frank M. Boardman

Dissertations, Theses, and Capstone Projects

Art is essentially a type of display. As an activity, art is what we do when we display objects with certain intentions. As a set of objects, art is all of those things that are displayed for those purposes. The artworld is the social atmosphere that surrounds this particular activity of display. And a history of art is an evolving narrative of change in the practice of this sort of display.

Specifically, to focus for convenience on art as a set of objects, this is what we can call the “displayed-object thesis”:

x is a work of art iff: (a) …

Book Review: The William Desmond Reader, Renee Köhler Ryan

Renée Köhler-Ryan

This is a book review of The William Desmond Reader, edited by Christopher Ben Simpson. The review focuses on the ethical implications of Desmond's work, but places these in the broader context of his philosophy of the between, or metaxu.

Kind Of Borrowed, Kind Of Blue, P.D. Magnus

Philosophy Faculty Scholarship

In late 2014, the jazz combo Mostly Other People Do the Killing released "Blue", an album which is a note-for-note remake of Miles Davis' 1959 landmark album "Kind of Blue". MOPDtK (to abbreviate the band's cumbersome name) transcribed all of the solos and performed them with meticulous care so as to produce a recorded album that replicates, as much as they could, the sound of the original. This is a thought experiment made actual, the kind of doppelgänger which philosophers routinely just imagine. I explore some of the ontological and aesthetic puzzles which the album poses. I argue that what …

The Routledge Companion To Philosophy And Music, Theodore Gracyk, Andrew Kania

Andrew Kania

The Routledge Companion to Philosophy and Music is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections:

• general issues
• emotion
• history
• figures
• kinds of music
• music, philosophy and related disciplines

Silent Music, Andrew Kania

Andrew Kania

Most discussions of the nature of music begin with the vague notion that it is the art of sound. The next step is usually to argue that though sounds may be necessary for music, they are not sufficient, since there are sonic arts other than music, most notably linguistic performance arts, such as poetry and drama. However, at some point the issue of silence inevitably comes up. Most theorists want to allow the possibility of musical silence, that is, silence that is part of a musical work or performance, though this seems to require rejecting the necessity of sounds for …

Platonism Vs. Nominalism In Contemporary Musical Ontology, Andrew Kania

Andrew Kania

Ontological theories of musical works fall into two broad classes, according to whether or not they take musical works to be abstract objects of some sort. I shall use the terms 'Platonism' and 'nominalism' to refer to these two kinds of theory. In this chapter I first outline contemporary Platonism about musical works—the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in …

Piece For The End Of Time: In Defence Of Musical Ontology, Andrew Kania

Andrew Kania

Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley’s arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none of this implies that these debates themselves are without value.

Comments On On Art, Morality, And The Subject: Revisiting The Relation Between Ethics And Aesthetics, Kayla Grueneich

Puget Sound Undergraduate Philosophy Conference

Comments on "On Art, Morality, and the Subject: Revisiting the relation between ethics and aesthetics" by Kévin-Orly Irakóze.

On Art, Morality, And The Subject: Revisiting The Relation Between Ethics And Aesthetics, Kévin-Orly Irakóze

Puget Sound Undergraduate Philosophy Conference

Based on a Kantian conception of aesthetic judgments, this paper explores the conflict between ethics and aesthetics in valuations of art. In it, I argue for the insufficiency of the three existing camps in the philosophical literature on the question of whether ethics do and/or should influence aesthetic judgments of art. While Autonomism says never, Moralism always, and Moderate Moralism sometimes, I aim to show that they are all deficient because they lack due consideration for subjective interest, a key link between ethics and aesthetics. The argument proceeds with a critical look at two articles: Posner’s Against …

Wabi-Sabi Mathematics, Jean-Francois Maheux

Journal of Humanistic Mathematics

Mathematics and aesthetics have a long history in common. In this relation however, the aesthetic dimension of mathematics largely refers to concepts such as purity, absoluteness, symmetry, and so on. In stark contrast to such a nexus of ideas, the Japanese aesthetic of wabi-sabi values imperfections, temporality, incompleteness, earthly crudeness, and even contradiction. In this paper, I discuss the possibilities of “wabi-sabi mathematics” by showing (1) how wabi-sabi mathematics is conceivable; (2) how wabi-sabi mathematics is observable; and (3) why we should bother about wabi-sabi mathematics

The Plight Of Aesthetics In Iran, Majid Heidari

Contemporary Aesthetics (Journal Archive)

Richard Rorty believes that philosophy in the West is the result of a conflict between religion and science. In fact, philosophy seeks to clarify the border between religion and science, so neither of them would be able to overstep its explanatory or predictive potentialities. He remarks that we do not have such a thing as philosophy in the East. This paper intends to ask two questions: what is the nature of the comparable conflict in an Eastern country, Iran, and what are its effects on aesthetic studies? I will draw on the idea of the conflict between theology and mysticism. …

The Aesthetic And Its Resonances: A Reply To Kathleen M. Higgins, Carolyn Korsmeyer, And Mariana Ortega, Monique Roelofs

Contemporary Aesthetics (Journal Archive)

This essay offers replies to the critical commentaries on The Cultural Promise of the Aesthetic presented by Kathleen M. Higgins, Carolyn Korsmeyer, and Mariana Ortega. The essay shows how the probing questions and criticisms that the three commentators raise bring out details in the framework of relationality, address, and promises through which the book theorizes the aesthetic.

Sex Objects And Sexy Subjects: A Feminist Reclamation Of Sexiness, Sheila Lintott, Sherri Irvin

Faculty Contributions to Books

No abstract provided.

The Groundwork For Food Criticism: How Normative Aesthetic Judgments Are Possible With Regards To Tastes, Jacob Caldwell

Senior Independent Study Theses

Issues of tastes and smells are often relegated to an ancillary or minor rank of importance in the domain of aesthetics, if recognized at all as legitimate objects of aesthetic inquiry and experience. This essay aims, firstly, to carve out a space of legitimacy for the aesthetics of tastes, and secondly, to clarify what aesthetic inquiry with regards to tastes must look like. In order for the above to be decisively established, the following positions will be argued for: (1) tastes are real, (2) our ordinary or scientific conception of what tastes are, upon which our reasons for doubting the …

What Monsters May They Be : The Moral Status Of Macabre Fascination And The Paradox Of Horror, Marius Abraham Pascale

Legacy Theses & Dissertations (2009 - 2024)

The paradox of horror poses the question, how is it possible for us to find fear pleasurable? Emotions of fear are traditionally seen as unpleasant, and viewed as that which ought to be avoided when possible. Yet individuals seek out and derive pleasure from works of horror, a genre with the explicit goal of producing fear. How is this possible, and ought we to find such works a source of pleasure? The goals of the project are twofold. First, to present a unique solution to the horror paradox. Second, to address the moral status of macabre fascination. The first section …