On Conceptual Revision and Aesthetic Judgement

2021 ◽  
Vol 26 (4) ◽  
pp. 531-547
Author(s):  
Sabina Vaccarino Bremner
Keyword(s):  
Philosophy Of Art ◽  
Aesthetic Judgement ◽  
Semantic Dimension ◽  
Aesthetic Ideas ◽  
The Way

AbstractThis paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in the revision of concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of aesthetic ideas, or how such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them.

scholarly journals Aesthetical Quality & Artistic Values of Beauty of Tagore and Seal

2018 ◽  
pp. 50-61
Author(s):  
Md. Mahadi Hassan
Keyword(s):  
Aesthetic Experience ◽  
Philosophy Of Art ◽  
Aesthetic Judgement ◽  
Art Object ◽  
Significant Distinction ◽  
Works Of Art ◽  
Artistic Values ◽  
Aesthetic Judgments

Some separate aesthetics and philosophy of art, claiming that the former is the study of beauty while the latter is the study of works of art. However, most commonly Aesthetics encompasses both questions around beauty as well as questions about art. It examines topics such as aesthetic objects, aesthetic experience, and aesthetic judgments. For some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily an art object), while artistic judgement refers to the recognition, appreciation or criticism of art or an art work.

scholarly journals (Anti)Fascism and Superhero Comics: An Anthropological Examination of Innovativeness in Comic Books as Exemplified by "V for Vendetta"

2020 ◽  
Vol 15 (4) ◽  
Author(s):  
Miloš Zarić
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Individual Level ◽  
Semiotic Model ◽  
The Individual ◽  
Semantic Dimension ◽  
Alan Moore ◽  
The Way ◽  
V For Vendetta

The paper analyzes the V for Vendetta comic books, written by Alan Moore and illustrated by David Lloyd. These volumes are graphic novels whose characteristics place them in the literary genre of the critical dystopia, but they have also been associated with the genre of the superhero comic, which, according to a number of authors including Alan Moore, is inextricably linked to the ideology and practice of the political right, which in its extreme form assumes the form of fascism. The way that fascism is treated in that work, as well as in two other comics discussed in the paper (Alan Moore and Dave Gibbon’s Watchmen and Frank Miller’s The Dark Knight Returns), is linked to the way in which the process of creativity/innovativeness functioned in the context of the revision/deconstruction of the superhero comic book genre in the 1980s, both on the collective (intra-genre) and the individual level, on the level of the thought structure of the British writer Alan Moore. Using the structural-semiotic model of analysis, the paper seeks to fathom the logic of this deconstruction procedure "broken down" into the three comic books discussed in the paper, with particular emphasis on the analysis of V for Vendetta, with the aim of establishing its "hidden", connotative semantic dimension. The study adopts a modern view of the comic book according to which the essence of this medium, which distinguishes it from other narrative and graphic forms of expression as well as from film, can be recognized in the specific, sequential way of combining its visual and narrative components, thus generating meanings whose interpretation depends on the intention of the author but also on the view of the reader.

11. Conclusion

2021 ◽  
pp. 130-140
Author(s):  
John Riches
Keyword(s):  
Religious Communities ◽  
Aesthetic Judgement ◽  
The Bible ◽  
Uniform Manner ◽  
The Way

The Bible has been the source of great truth, goodness, and beauty at the same time as it has inspired lies, wickedness, and ugliness. What it has not produced is a uniform manner of its reading and interpretation. The very process of canonization is nevertheless part of an attempt to limit diversity and deviance of belief within religious communities. Ultimately, however, there is no controlling the way it is read. It is important therefore to be critically aware of the different kinds of uses to which the Bible may be put and to learn to discriminate among them. Readers need to exercise their own moral and aesthetic judgement over the different readings which have been offered of these texts, not least in their own traditions. At the same time, their own judgement will be influenced by the texts as they engage more closely with them and their reception.

scholarly journals THE BORDERS OF ART

2017 ◽  
pp. 5-9
Author(s):  
I. A. Bondarevska
Keyword(s):  
Human Life ◽  
Main Idea ◽  
Aesthetic Judgment ◽  
Point Of View ◽  
Philosophy Of Art ◽  
Aesthetic Judgement ◽  
National Anthem ◽  
Cultural Field ◽  
Social And Cultural Factors ◽  
Tv Show

The paper examines delimitation art and non-art as a crucial issue in contemporary philosophy of art. This thesis is developed with a special reference to Thierry de Duve’s nominalistic theory and is argued that this theory traces some opportunity for seeking answer the question indicated in the title. The author agrees with the main idea that name of an art is a performative, which makes changes in our mind and transform a mere thing into a work of art. This is an actual way to create the borders of art, which means to accept a unique point of view witha unique attitude to the world. The article states that the provocative statement "all can be art, but not all is art" gives us necessary tension to overcome the traditional essentialist mode of thinking. However, the author puts in question the ideas, which have implicit essentialist connotations. Duve’s theory argues that aesthetic judgement is a main condition for establishing the borders of art. The theory explores a crucial change of judgement about art. The judgment "this is art"is functioning like the judgment “this is beautiful” in the previous time and they two have equivalent attributes in the art and human life. I refute these ideas as not convincing and prove the alternative theses: the name of art performative power is determined primarily with social and cultural factors (not aesthetic judgment). The author offer the TV show episode The National Anthem (Black Mirror) as a model for testing the theory.It is evident that modern notion of art is tied to existence of the autonomous social "artworld" (Arthur Danto), or cultural field (Pierre Bourdieu) or social system (Niclas Luhmann). Any judgment about art cannot escape its destiny to divide people and social opinion. As a result, we have at least two subjects (instead of one) withdifferent statuses and authority to say and to be heard. The author concludes that judgment “this is art”is political as such but judgment “this is beautiful” is not.

scholarly journals Evolution of Aesthetic Ideas in the Art of Sound Recording

2015 ◽  
pp. 116-122
Author(s):  
Vasiliy N. Sibiryakov
Keyword(s):  
Digital Age ◽  
Practical Implementation ◽  
Aesthetic Perception ◽  
Sound Recording ◽  
Music Culture ◽  
Modern Period ◽  
Aesthetic Ideas ◽  
Technical Solutions ◽  
The Way

The article deals with the way of sound records creation as a special interaction between a man and a technology in music culture, beginning from the technical and aesthetic ideas of the Modern Period up to their complete practical implementation by sound engineers of the Digital Age. The author describes the dynamics of aesthetic perception of technical solutions in the sound recording, which have subsequently determined the contemporary musical art.

Theory of the Image

2019 ◽  
Author(s):  
Thomas Nail
Keyword(s):  
Philosophy Of Art ◽  
Western Art ◽  
Moving Images ◽  
Copernican Revolution ◽  
Systematic Philosophy ◽  
History Of ◽  
Image Production ◽  
The Aesthetic ◽  
Theory Of The Image ◽  
The Way

We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement—the first of its kind. Throughout history, the image has been understood in many ways, but rarely has it been understood to be, primarily and above all, in motion. Thus, Theory of the Image offers not only the first aesthetics of motion but also the first history of the mobility of the image in the Western art tradition, from prehistory to the present.

4. Aesthetics and the self

2019 ◽  
pp. 43-55
Author(s):  
Bence Nanay
Keyword(s):  
Social Engagement ◽  
The Self ◽  
The Other ◽  
Aesthetic Judgement ◽  
Other Hand ◽  
Aesthetic Engagement ◽  
Aesthetic Preferences ◽  
The Way

‘Aesthetics and the self’ explains how we take our aesthetic preferences to be a big part of who we are, but how these preferences change surprisingly quickly and often without us noticing. It compares aesthetic engagement or experience to aesthetic judgements. Making judgements is rarely rewarding, entertaining, or pleasurable. Experiences, on the other hand, can be. But why are aestheticians obsessed with aesthetic judgements? The key concept of ‘Western’ aesthetics has always been that of aesthetic judgement, whereas the vast majority of non-Western aesthetic traditions are not too concerned with aesthetic judgements at all, but with the way our emotions unfold, the way our perception is altered, and the way aesthetic engagement interacts with social engagement.

The Divided Tradition of English Criticism

PMLA ◽  
1958 ◽  
Vol 73 (1) ◽  
pp. 69-80
Author(s):  
William A. Madden
Keyword(s):  
Religious Experience ◽  
Literary Theory ◽  
Theory And Practice ◽  
Careful Examination ◽  
Lionel Trilling ◽  
Aesthetic Ideas ◽  
Literary Experience ◽  
The Way

Except for several lengthy essays by certain of Arnold's worried contemporaries and scattered comments in out-of-the-way essays by later critics, no careful examination has ever been made of Arnold's religious views. It was not until 1930, when T. S. Eliot turned his attention to Arnold in an essay significantly treating Arnold's religious and aesthetic ideas together, that the long-neglected theological bearings of modern criticism were brought out into the open. Subsequently, Lionel Trilling made a more exhaustive criticism of Arnold's religious experience, but without clearly establishing its relation to Arnold's literary experience. In an effort to treat in detail what Eliot briefly touched on in his essay, I have tried elsewhere to show that Arnold's religious ideas changed in important ways during his life and that these changes affected his literary theory and practice. Religious and poetic ideas, which to later and more logical minds seemed hardly consistent with one another hung together in suspension in Arnold's mind, and as a result his work, taken as a whole, contains both Christian and non-Christian, romantic and nonromantic notions that have since his death been set against one another in the divided tradition which underlies modern English criticism.

Ravel’s ‘Trois Poèmes de Stéphane Mallarmé’: A Philosophy of Composition

2020 ◽  
Author(s):  
Emily Kilpatrick
Keyword(s):  
Stephane Mallarme ◽  
French Language ◽  
Maurice Ravel ◽  
Compositional Process ◽  
Detailed History ◽  
Crucial Element ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
The Way

Abstract In a 1927 interview Maurice Ravel declared that Stéphane Mallarmé was ‘not merely the greatest French poet, but the only French poet, since he made the French language, not designed for poetry, poetical’. Around the same period, he twice asserted that in his Trois poèmes de Stéphane Mallarmé (1913) he had sought to ‘transpose’ Mallarmé’s poetry into music. A crucial element of Mallarmé’s allusive poetry is the way it meshes content and form: his chosen forms do not merely contain the sentiment, but make it manifest. How much more complicated is the task of a composer seeking to ‘transpose’ a work from one medium to another, when form and expression are so inextricably intertwined? The present study considers how Ravel’s Mallarmé Poèmes sought to ‘transpose’ imagery and structure, and how tellingly these elements interact with Mallarmé’s reflexive poetic technique. It offers a detailed history and context for his chosen poems, suggesting a rationale for his choices, and outlining the aesthetic ideas that link them as a triptych. Exploring aspects of the songs’ harmonic and proportional design, as well as the symbolic properties of tonality, pitch, and timbre, the study argues that Ravel’s Mallarmé Poèmes realize long-held preoccupations with the nature of form and the compositional process.

scholarly journals Can there be a negative aesthetic judgement on sublime?

2020 ◽  
Vol 63 (4) ◽  
pp. 175-187
Author(s):  
Igor Cvejic
Keyword(s):  
Positive Answer ◽  
Aesthetic Judgment ◽  
Main Question ◽  
Specific Kind ◽  
Aesthetic Judgement ◽  
The Sublime ◽  
Similarities And Differences ◽  
The Aesthetic ◽  
Content Object ◽  
The Way

When we talk about the aesthetic judgement in Kant, certainly the main example is the judgement of taste, that is, beautiful and ugly. However, in addition to the judgement of taste, Kant speaks of another kind of aesthetic reflexive judgments - sublime. The main question addressed in this paper is whether in the case of the sublime we can speak of a negative aesthetic judgment, a judgment of what would be contrary to the sublime in the way that the ugly is opposite to the beautiful. After considering the similarities and differences of the ugly and sublime and outlining the formal problems of thinking at all about the aesthetic judgment of what is contrary to sublime, we will try to give a positive answer. The content (object) argument will be considered first, then the argument based on the relation of faculties, which will prove to be insufficient. The closest solution will be to consider in the specific kind of ridiculous.

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