Comparative Philosophy Commons^™

Reading, Rending, And Queering The Web Of Story With The Lenses Of “Con-Creation” And Process Theology, Cameron Bourquein, Nick Polk

Mythopoeic Society Seminar Proceedings

“Sub-creation” within Tolkien’s narrative and extra-narrative works is routinely exhibited not as monolithic but rather as (literally and figuratively) polyphonic. In this joint paper Bourquein proposes that the Legendarium can be read through the lens of “con-creation” (total, continuous, collective, creative activity) both internally (as events in the Secondary World) and externally (as both a text and a pseudohistory in the Primary World). This approach levels the playing field between all actors in—and readers of—“The Drama,” providing a queer approach to interpretive-creative activity when compared to “orthodox” doctrines of creation. Polk further argues that con-creation resonates with process theologies of …

Ineffability, Emptiness And The Aesthetics Of Logic, Andreas Kapsner

Comparative Philosophy

In this essay, I explore the nature of the logical analysis of Buddhist thought that Graham Priest has offered in his book The Fifth Corner of Four (5of4). The paper traces the development of a logical value in- troduced in 5of4, which Priest has called e. The paper points out that certain criticisms I have made earlier still stand, but focuses on a recon- ceptualization of 5of4 in which these arguments carry less weight. This new perspective on the book, inspired by a response to my arguments by Priest himself, sees the logical analysis of Buddhism …

Seeing Through The Aesthetic Worldview, Andrew Lambert

Publications and Research

Examines the various ways in which the Chinese intellectual tradition has been characterized as an 'aesthetic tradition'. In particular, this paper explores Roger Ames’ and David Hall’s claim that the classical Confucian tradition is an aesthetic tradition, comprising an aesthetic order.

A New Materialism: A Reading Of The New Art From China, Mary Wiseman

Comparative Philosophy

This essay has three parts. The first moves from what artists confronted when China was first opened to the west in 1978 to what two classical Chinese critics and artists said art was and how it was to be made. The second looks at artists’ works made between two exhibitions in the United States, one in 1998, the other in 2017, to find an uncanny reprise of the classical principles. The third looks at the ideas of the global, contemporary, and art through the works of Peter Osborne and Arthur Danto that apply to the new art from China.

Course Syllabus (Sp19) Coli 214b--Literature & Society: "A.I. And Other Radical Humanisms In Cyberpunk And Science Fiction", Christopher Southward

Comparative Literature Faculty and Student Scholarship

Course Description:

As that which we call “technology” continues to evolve as both concept and practice, we discover ever more inventive ways to answer its call, and science fiction seems to serve as a universal standpoint from which global societies manage to confront, question, and reimagine the nature of our shared humanity as a radically technical relation. While the growing social pervasiveness of artificial intelligence and the attendant encoded transformations of “the human” appear, together, to form a relatively absolute horizon of political thinking, social agency, and aesthetic experience, it seems certain that our current crisis also offers us …

Course Syllabus (Fa15) Coli 211 Literature & Psychology: "Material Aesthetics", Christopher Southward

Comparative Literature Faculty and Student Scholarship

An examination of questions concerning aesthetic experience from the standpoint of the structural and functional logics of the capitalist mode of production

What The Fuck Is This?: Aesthetic Nature Of Being Or Ontology In The Poetry Of Gerard Manley Hopkins, Alexis Stephenson

Graduate Theses and Dissertations

“What the Fuck is This?” examines the intersection of phenomenology and poetry arguing for an aesthetic nature of Being and focuses on how we know or experience the world instead of Cartesian absolutes. This subjective knowledge does not compete against objective knowledge but simply recognizes the use that poetic language has for communicating the subjective knowledge from experience of being as it unfolds for us. The major movements of the thesis focus on aesthetic objects, aesthetic intersubjectivity, and the aesthetic self. These are labeled “aesthetic” because a phenomenological methodology reveals a dialectic between that which is unfolding and that which …

Art As Person: Correlative Personhood In Aesthetic Representation, Michael Dufresne

UNF Undergraduate Capstone Projects and Honors Theses

In this paper, I argue that the metaphor of art as person should be implemented as a way to understand artistic interaction, such that the relationship between artworks and spectators should be understood as one between persons. I begin this argument by first juxtaposing Hans-Georg Gadamer’s notion of aesthetic representation with the values that constitute correlative person in Confucianism. This juxtaposition draws similarities between artworks and persons that make the metaphor of art as person a plausible means for understanding artistic interaction. I then appeal to Michel Foucault for two significant reasons: his subjectfication of the self solidifies the comparisons …

High Art, Folk Art, And Other Social Distinctions, Gary Shapiro

Philosophy Faculty Publications

Most discussions of the arts by critics and philosophers could be characterized in terms of a rather studied neglect of folk and popular art. This neglect is hardly absolute, however, for it is important in order to articulate a specific conception of aesthetic taste, beauty, or style to contrast the standard being used or praised with some other, less desirable, even degraded way of producing or appreciating something similar. It is perhaps more than a historical coincidence that the formation of the modern concept of taste and aesthetic judgment, in the eighteenth century, coincides roughly with the discovery and valorization …

From The Sublime To The Political: Some Historical Notes, Gary Shapiro

Philosophy Faculty Publications

Let me document my suggestion that modernist poetics tends to give a privileged position to what has traditionally been known as the sublime by adducing two examples from rather disparate traditions. Martin Heidegger's ontological poetics can reasonably be viewed as a renewal of the aesthetics of the sublime -- although Heidegger never uses the term sublime, so far as I know -- and is explicitly hostile to the limitations of aesthetics, conceived as an autonomous study of a certain kind of experience. Harold Bloom does recur to the Romantic terminology of sublimity in his attempt to construct a poetics which …