Cover of The Paideia Archive: Twentieth World Congress of Philosophy
Already a subscriber? - Login here
Not yet a subscriber? - Subscribe here

Browse by:

Displaying: 21-29 of 29 documents

21. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Francisca Pérez Carreño El Poder de las Metáforas
abstract | view |  rights & permissions | cited by
The terms 'metaphor' and 'metaphorical' are overused in art theory and criticism, specially when applied to pictures. In last years different authors have written theories that attempt to define and characterise visual metaphors. I shall analyse Carroll's approach to visual metaphors. I shall try to show, first, that requirements of homospatiality and non composibility of the elements in a figure are neither necessary nor sufficient conditions for metaphorical effect, to perceive a thing under a new light. Second, that considering a visual metaphor as an invitation to mapping different categories onto each other does not take into account its specificity. As pictures, their relevance is just to provide the categories for the mapping, which is an imaginary task. On the contrary, there are examples of images, which directly provoke a metaphorical insight. Caricatures are the simplest and most ubiquitous case.
22. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Hugo Roeffaers Aesthetic Experience and Verbal Art
abstract | view |  rights & permissions | cited by
In this paper I intend to present a philosophical account of what is commonly called verbal or literary art. Starting from the Hegelian conception of language and of the aesthetic experience, I shall argue that literary, and more specifically poetic, discourse can be defined as the verbal completion of an aesthetic experience, and that this distinctive feature marks off literary discourse from other types of discourse, such as scientific and philosophical discourse. In his phenomenological description of the growth of a subject's identity, Hegel situates the birth of language in the transition from consciousness (Verstand) to self-consciousness (Vernunft). In his Philosophy of Fine Art, this transition also marks the locus philosophicus of the artistic experience.
23. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Isabelle Sabau The Power of Symbolism in Byzantine Art
abstract | view |  rights & permissions | cited by
Our deeply visual culture today shows the fascination humanity has with the power of images. This paper intends to discuss the use and importance of images within the context of Byzantine art. The works produced in the service of the Eastern Orthodox Church still employed today, show a remarkable synthesis of doctrine, theology and aesthetics. The rigid program of Church decoration was meant as a didactic element to accompany the liturgy. The majesty of the images bespeaks of the Glory of God and the spiritual realities of the Christian faith. The images were intended to educated and provide contemplation of the invisible realm of the spirit. Byzantine aesthetics, therefore, is thoroughly in the service of theology.
24. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Sandra L. Shapshay Subtle Scripture for an Invisible Church: The Moral Importance of the Beautiful in Kant
abstract | view |  rights & permissions | cited by
I argue for an interpretation of Kant's aesthetics whereby the experience of the beautiful plays the same functional role in the invisible church of natural religion as Scripture does for the visible churches of ecclesiastical religions. Thus, I contend, the links that Kant himself implies between the aesthetic and the moral (in the third Critique and the Religion) are much stronger than generally portrayed by commentators. Indeed, for Kant, experience of the beautiful may be necessary in order to found what Kant views as the final end of morality — the ethical community — since human moral psychology requires embodiments of moral ideas. Finally, I seek to modify Martha Nussbaums' argument in Poetic Justice (1995) for the increased use of the literary imagination as a means for improving public moral reasoning in this country, with the Kantian insight that aesthetic autonomy is the key to any aesthetic-moral link.
25. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Gérard Sondag Complementarite Technique et Complementarite Esthetique
abstract | view |  rights & permissions | cited by
Outre l’éducation éthique, il existe aussi, selon le mot de Schiller, une ‘éducation esthétique de l’humanité’, à laquelle le philosophe peut contribuer. Selon la conception moderne (préparée en réalité dès la scolastique, par Saint Bonaventure notamment), la beauté est appréhendée par l’homme dans et par l’expérience esthétique. La présente étude a pour objet d’étudier une expérience esthétique particulière. La beauté d’un corps naturel ou celle d’un objet technique se révèle à nous dès lors qu’à l’organisation fonctionnelle de ses parties se subsiste un agencement formel de ses mêmes parties, constituées dès lors en parties esthétiques. C’est donc la face, ou plutôt la cause objective de l’expérience esthétique qui est étudiée ici. Mais la notion d’expérience soulève aussi deux autres problèmes qui ne peuvent être examinés faute de place, celui de la disponibilité subjective et celui de la communicativité (plutôt que la communicabilité) de l’expérience esthétique.
26. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Aldo Tassi The Metaphysics of Performance: The “Theatre of the World”
abstract | view |  rights & permissions | cited by
Something extraordinary has happened to metaphysics. At the very moment when philosophy is focusing its efforts at bringing metaphysics to an ‘end,’ metaphysics finds itself flourishing in the theatre, which speaks of itself as ‘metaphysics-in-action’ and publishes treatises carrying such titles as The Act of Being: Toward a Theory of Acting. The irony of the situation appears to have been lost on postmodern philosophers. What this paper sets out to do is explore the potential consequences of the metaphysical weight that has been acquired by the theatre for the practice of philosophy. It argues that the theatrical performance is in fact an ‘enactment’ of the performance of being and that, as such, it is possible to extend our understanding of this performance from the theatrical stage to the ‘theatre of the world.’ Finally, in doing so, we can establish the context for a metaphysics that does not privilege presence.
27. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Andrew Ward Putting Value into Art
abstract | view |  rights & permissions | cited by
The attempt to base a standard for assessing the value of works of art upon sentiment (the feeling of pleasure or displeasure) was famously made by David Hume in his essay "Of the Standard of Taste." Hume's attempt is generally regarded as fundamentally important in the project of explaining the nature of value judgements in the arts by means of an empirical, rather than a priori, relation. Recently, Hume's argument has been strongly criticized by Malcolm Budd in his book Values of Art. Budd contends that Hume utterly fails to show how any given value judgement in the arts can be more warranted or appropriate than any other if aesthetic judgements are determined by sentiment. This is a remarkable charge, since Hume explicitly sets out to introduce an aesthetic standard for "confirming one sentiment and condemning another." I examine Budd's arguments and conclude that Hume's position-and the empiricist tradition that it inaugurated-can withstand them.
28. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Krystyna Wilkoszewska Problems of Art, Problems of Education
abstract | view |  rights & permissions | cited by
Some main postmodern ideas, such as the decay of totality or the dispersion of the subject, are too risky to introduce into the education of youth. However, there are some postmodern ideas — though not central ones — that could prove helpful in contemporary education. The hero of this paper is the prefix "inter-" which (especially in the French philosophers' writings) took a new and remarkable meaning by becoming one of the main metaphors of the human condition in the world of culture. The meaning of the prefix "inter-" can be successfully taught by art, for works of art have always exemplified means of oscillating in the sphere of the "inter-" between the concrete and abstraction, detail and generality, freedom and rules, spontaneity and discipline, between Rorty's conception of the "ironist" and the "strong poet."
29. The Paideia Archive: Twentieth World Congress of Philosophy: Volume > 1
Sarah E. Worth Music, Emotion and Language: Using Music to Communicate
abstract | view |  rights & permissions | cited by
There has yet to be a culture discovered which lacks music. Music is a part of our existence, but we do not fully understand it. In this paper, working in the tradition of Aristotle, Wittgenstein and Langer, I elucidate some of the connections between music and the emotions. Using contemporary philosophy of mind theories of emotion, I explain how we can have a better understanding of our emotive responses to music. I follow the pattern through representational painting and abstract painting to music, and show how each functions as an intentional object for the object of our emotions in response to each art form.