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href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8576" href="https://www.academia.edu/Documents/in/Gender_and_Work">Gender and Work</a>, <script data-card-contents-for-ri="8576" type="text/json">{"id":8576,"name":"Gender and Work","url":"https://www.academia.edu/Documents/in/Gender_and_Work?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12317" href="https://www.academia.edu/Documents/in/Judith_Butler">Judith Butler</a><script data-card-contents-for-ri="12317" type="text/json">{"id":12317,"name":"Judith Butler","url":"https://www.academia.edu/Documents/in/Judith_Butler?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: 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Hancock","profile_url":"https://essex.academia.edu/PhilipHancock?f_ri=808","photo":"https://0.academia-photos.com/244025/220393/18775566/s65_philip.hancock.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":8576,"name":"Gender and Work","url":"https://www.academia.edu/Documents/in/Gender_and_Work?f_ri=808","nofollow":false},{"id":12317,"name":"Judith Butler","url":"https://www.academia.edu/Documents/in/Judith_Butler?f_ri=808","nofollow":false},{"id":55556,"name":"Visual Analysis","url":"https://www.academia.edu/Documents/in/Visual_Analysis?f_ri=808"},{"id":73149,"name":"Business and Management","url":"https://www.academia.edu/Documents/in/Business_and_Management?f_ri=808"},{"id":117208,"name":"Organizational Performance","url":"https://www.academia.edu/Documents/in/Organizational_Performance?f_ri=808"},{"id":330898,"name":"Landscaping","url":"https://www.academia.edu/Documents/in/Landscaping?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_59822089" data-work_id="59822089" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/59822089/Race">Race</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">One month after Glen told me that he had terminal cancer, I was sitting with him at his dining table in Pasadena, California, discussing an autobiography that he intended as his final book. Glen asked me, "What should I include in my... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_59822089" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">One month after Glen told me that he had terminal cancer, I was sitting with him at his dining table in Pasadena, California, discussing an autobiography that he intended as his final book. Glen asked me, "What should I include in my autobiography?" I insisted that he finally write about race. I knew that the topic was important for him as one of the central concepts influencing the connection he made between the way of Jesus and justice within his overall project in theological ethics. Throughout his long and fruitful career that included active participation in the Civil Rights Movement, advocating for human rights, opposition to the death penalty, opposition to torture, advocacy for Palestinians, for the environment, and for just peacemaking, one could hear an underdeveloped response to racism. But it was subtle, and awkward. He wanted to talk about it to improve his understanding. I was sure that he should finally do so in his autobiography. Glen had stories. During the Civil Rights Movement he was an activist, partnering with other activists who struggled for an end to Jim Crow segregation. His family was involved in that work as well, in a collective advocacy for a better society and in opposition to practices of authoritarianism and domination that target society's most vulnerable. Glen's activism stemmed from his formative childhood years in a Christian family that valued integrity and fairness and paid attention to social issues.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/59822089" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a4a7b27ee5fdd629171a3ff8eecfaef0" rel="nofollow" data-download="{"attachment_id":73546057,"asset_id":59822089,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73546057/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4944316" href="https://mccormick.academia.edu/ReggieWilliams">Reggie Williams</a><script data-card-contents-for-user="4944316" type="text/json">{"id":4944316,"first_name":"Reggie","last_name":"Williams","domain_name":"mccormick","page_name":"ReggieWilliams","display_name":"Reggie Williams","profile_url":"https://mccormick.academia.edu/ReggieWilliams?f_ri=808","photo":"https://0.academia-photos.com/4944316/4473761/5183610/s65_reggie.williams.jpg"}</script></span></span></li><li class="js-paper-rank-work_59822089 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="59822089"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 59822089, container: ".js-paper-rank-work_59822089", }); 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$(".js-view-count[data-work-id=59822089]").text(description); $(".js-view-count-work_59822089").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_59822089").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="59822089"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="767" href="https://www.academia.edu/Documents/in/Anthropology">Anthropology</a>, <script data-card-contents-for-ri="767" type="text/json">{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3277" href="https://www.academia.edu/Documents/in/Race_and_Racism">Race and Racism</a>, <script data-card-contents-for-ri="3277" type="text/json">{"id":3277,"name":"Race and Racism","url":"https://www.academia.edu/Documents/in/Race_and_Racism?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="30466" href="https://www.academia.edu/Documents/in/Reinhold_Niebuhr">Reinhold Niebuhr</a><script data-card-contents-for-ri="30466" type="text/json">{"id":30466,"name":"Reinhold Niebuhr","url":"https://www.academia.edu/Documents/in/Reinhold_Niebuhr?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=59822089]'), work: {"id":59822089,"title":"Race","created_at":"2021-10-24T09:41:35.977-07:00","url":"https://www.academia.edu/59822089/Race?f_ri=808","dom_id":"work_59822089","summary":"One month after Glen told me that he had terminal cancer, I was sitting with him at his dining table in Pasadena, California, discussing an autobiography that he intended as his final book. Glen asked me, \"What should I include in my autobiography?\" I insisted that he finally write about race. I knew that the topic was important for him as one of the central concepts influencing the connection he made between the way of Jesus and justice within his overall project in theological ethics. Throughout his long and fruitful career that included active participation in the Civil Rights Movement, advocating for human rights, opposition to the death penalty, opposition to torture, advocacy for Palestinians, for the environment, and for just peacemaking, one could hear an underdeveloped response to racism. But it was subtle, and awkward. He wanted to talk about it to improve his understanding. I was sure that he should finally do so in his autobiography. Glen had stories. During the Civil Rights Movement he was an activist, partnering with other activists who struggled for an end to Jim Crow segregation. His family was involved in that work as well, in a collective advocacy for a better society and in opposition to practices of authoritarianism and domination that target society's most vulnerable. Glen's activism stemmed from his formative childhood years in a Christian family that valued integrity and fairness and paid attention to social issues.","downloadable_attachments":[{"id":73546057,"asset_id":59822089,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4944316,"first_name":"Reggie","last_name":"Williams","domain_name":"mccormick","page_name":"ReggieWilliams","display_name":"Reggie Williams","profile_url":"https://mccormick.academia.edu/ReggieWilliams?f_ri=808","photo":"https://0.academia-photos.com/4944316/4473761/5183610/s65_reggie.williams.jpg"}],"research_interests":[{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":3277,"name":"Race and Racism","url":"https://www.academia.edu/Documents/in/Race_and_Racism?f_ri=808","nofollow":false},{"id":30466,"name":"Reinhold Niebuhr","url":"https://www.academia.edu/Documents/in/Reinhold_Niebuhr?f_ri=808","nofollow":false},{"id":32300,"name":"Dietrich Bonhoeffer","url":"https://www.academia.edu/Documents/in/Dietrich_Bonhoeffer?f_ri=808"},{"id":2085366,"name":"Glen Stassen","url":"https://www.academia.edu/Documents/in/Glen_Stassen?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39749629" data-work_id="39749629" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39749629/Discovering_the_Modern_Regime_of_Translation_in_China_Liu_Cixins_Remembrance_of_Earths_Past_and_Wuhes_Remains_of_Life">Discovering the Modern Regime of Translation in China: Liu Cixin's Remembrance of Earth's Past and Wuhe's Remains of Life</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay focuses on the salient place given to staging both the modern regime of translation and the institution of literature alongside a dramatization of anthropological difference in Liu Cixin's acclaimed science fiction trilogy,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39749629" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay focuses on the salient place given to staging both the modern regime of translation and the institution of literature alongside a dramatization of anthropological difference in Liu Cixin's acclaimed science fiction trilogy, Remembrance of Earth's Past (also known as The Three Body Problem). These are concerns that are, I would argue, not only historically central to twentieth-century Chinese literature, but also place twentieth-century Chinese literature squarely at the crux of some of the most fundamental questions about aesthetic modernity. These questions revolve around the way in which the type or the figure plays a crucial role in the construction of the nation-state. As quintessentially modern social institutions, both the regime of translation and the institution of literature converge around aesthetic ideology, in which the figure and the type play a paramount role. This is not just any figure, but rather the figure of the human, configured through the logical economy of genus, species, and individual. As a kind of abstraction that is intimately woven into the fabric of everyday life (or what Marx calls a "real abstraction"), this "logical economy" is most evident in that experience of identity peculiar to modernity: being an individual who belongs to a national community within that community's membership in a larger, single species among other species. Together, these two institutions form an inherently comparative biopolitical infrastructure that I call the apparatus of area and anthropological difference.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39749629" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f9755c93306c07d21aa96e6798d10be1" rel="nofollow" data-download="{"attachment_id":59929947,"asset_id":39749629,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59929947/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="725458" href="https://univ-lyon3.academia.edu/JonSolomon">Jon Solomon</a><script data-card-contents-for-user="725458" type="text/json">{"id":725458,"first_name":"Jon","last_name":"Solomon","domain_name":"univ-lyon3","page_name":"JonSolomon","display_name":"Jon Solomon","profile_url":"https://univ-lyon3.academia.edu/JonSolomon?f_ri=808","photo":"https://0.academia-photos.com/725458/248009/2905886/s65_jon.solomon.jpg"}</script></span></span></li><li class="js-paper-rank-work_39749629 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39749629"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39749629, container: ".js-paper-rank-work_39749629", }); 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$(".js-view-count[data-work-id=39749629]").text(description); $(".js-view-count-work_39749629").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39749629").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39749629"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="378" href="https://www.academia.edu/Documents/in/Area_Studies">Area Studies</a>, <script data-card-contents-for-ri="378" type="text/json">{"id":378,"name":"Area Studies","url":"https://www.academia.edu/Documents/in/Area_Studies?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1186" href="https://www.academia.edu/Documents/in/Translation_Studies">Translation Studies</a>, <script data-card-contents-for-ri="1186" type="text/json">{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8694" href="https://www.academia.edu/Documents/in/Science_Fiction">Science Fiction</a><script data-card-contents-for-ri="8694" type="text/json">{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39749629]'), work: {"id":39749629,"title":"Discovering the Modern Regime of Translation in China: Liu Cixin's Remembrance of Earth's Past and Wuhe's Remains of Life","created_at":"2019-07-04T06:46:53.684-07:00","url":"https://www.academia.edu/39749629/Discovering_the_Modern_Regime_of_Translation_in_China_Liu_Cixins_Remembrance_of_Earths_Past_and_Wuhes_Remains_of_Life?f_ri=808","dom_id":"work_39749629","summary":"This essay focuses on the salient place given to staging both the modern regime of translation and the institution of literature alongside a dramatization of anthropological difference in Liu Cixin's acclaimed science fiction trilogy, Remembrance of Earth's Past (also known as The Three Body Problem). These are concerns that are, I would argue, not only historically central to twentieth-century Chinese literature, but also place twentieth-century Chinese literature squarely at the crux of some of the most fundamental questions about aesthetic modernity. These questions revolve around the way in which the type or the figure plays a crucial role in the construction of the nation-state. As quintessentially modern social institutions, both the regime of translation and the institution of literature converge around aesthetic ideology, in which the figure and the type play a paramount role. This is not just any figure, but rather the figure of the human, configured through the logical economy of genus, species, and individual. As a kind of abstraction that is intimately woven into the fabric of everyday life (or what Marx calls a \"real abstraction\"), this \"logical economy\" is most evident in that experience of identity peculiar to modernity: being an individual who belongs to a national community within that community's membership in a larger, single species among other species. Together, these two institutions form an inherently comparative biopolitical infrastructure that I call the apparatus of area and anthropological difference.","downloadable_attachments":[{"id":59929947,"asset_id":39749629,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":725458,"first_name":"Jon","last_name":"Solomon","domain_name":"univ-lyon3","page_name":"JonSolomon","display_name":"Jon Solomon","profile_url":"https://univ-lyon3.academia.edu/JonSolomon?f_ri=808","photo":"https://0.academia-photos.com/725458/248009/2905886/s65_jon.solomon.jpg"}],"research_interests":[{"id":378,"name":"Area Studies","url":"https://www.academia.edu/Documents/in/Area_Studies?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies?f_ri=808","nofollow":false},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction?f_ri=808","nofollow":false},{"id":8760,"name":"Jacques Rancière","url":"https://www.academia.edu/Documents/in/Jacques_Ranci%C3%A8re?f_ri=808"},{"id":9705,"name":"Capitalism","url":"https://www.academia.edu/Documents/in/Capitalism?f_ri=808"},{"id":12108,"name":"China","url":"https://www.academia.edu/Documents/in/China?f_ri=808"},{"id":12420,"name":"Neoliberalism","url":"https://www.academia.edu/Documents/in/Neoliberalism?f_ri=808"},{"id":20602,"name":"China studies","url":"https://www.academia.edu/Documents/in/China_studies?f_ri=808"},{"id":28027,"name":"Taiwanese Literature","url":"https://www.academia.edu/Documents/in/Taiwanese_Literature?f_ri=808"},{"id":39545,"name":"Socialist Realism","url":"https://www.academia.edu/Documents/in/Socialist_Realism?f_ri=808"},{"id":64833,"name":"Realism","url":"https://www.academia.edu/Documents/in/Realism?f_ri=808"},{"id":153275,"name":"Aesthetic Ideology","url":"https://www.academia.edu/Documents/in/Aesthetic_Ideology?f_ri=808"},{"id":363198,"name":"Critique of Anthropological Difference and Subjective Formation","url":"https://www.academia.edu/Documents/in/Critique_of_Anthropological_Difference_and_Subjective_Formation?f_ri=808"},{"id":363214,"name":"Naoki Sakai","url":"https://www.academia.edu/Documents/in/Naoki_Sakai?f_ri=808"},{"id":1299736,"name":"Mao Dun","url":"https://www.academia.edu/Documents/in/Mao_Dun?f_ri=808"},{"id":1816294,"name":"Chinese Socialist Realism","url":"https://www.academia.edu/Documents/in/Chinese_Socialist_Realism?f_ri=808"},{"id":1980102,"name":"Chinese Science Fiction","url":"https://www.academia.edu/Documents/in/Chinese_Science_Fiction?f_ri=808"},{"id":2209835,"name":"Liu Cixin","url":"https://www.academia.edu/Documents/in/Liu_Cixin?f_ri=808"},{"id":3305046,"name":"Wuhe","url":"https://www.academia.edu/Documents/in/Wuhe?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_53398419" data-work_id="53398419" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/53398419/_Bestiario_de_la_transgresi%C3%B3n_De_Histoire_de_loeil_a_Documents_Apuntes_sobre_el_pensamiento_del_primer_Georges_Bataille_">"Bestiario de la transgresión.De Histoire de l'oeil a Documents. Apuntes sobre el pensamiento del primer Georges Bataille."</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Libro dedicado al pensamiento de Bataille, incluyendo en primer lugar un importante texto inédito hasta ahora en español (una conferencia sobre el juego y el placer no incluida en las Obras Completas publicadas en Francia). A través de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_53398419" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Libro dedicado al pensamiento de Bataille, incluyendo en primer lugar un importante texto inédito hasta ahora en español (una conferencia sobre el juego y el placer no incluida en las Obras Completas publicadas en Francia).<br /><br />A través de sus 18 capítulos, el libro recorre el pensamiento de Georges Bataille en todas sus etapas. Pero propone también un diálogo estrecho con muchas de las temáticas tratadas por Bataille (la transgresión, la soberanía, el juego, la muerte, la experiencia interior, la filosofía, la política, el arte), procurando enfrentarlas con los más variados puntos de vista desde dentro y desde fuera de las perspectivas que en su extensa y compleja obra siguió el propio Bataille.<br /><br />Este libro tuvo su origen en un congreso en torno al pensamiento de la transgresión de Georges Bataille, celebrado en la Universidad Complutense de Madrid y coordinado por el grupo LA EUROPA DE LA ESCRITURA. Incluye en primer lugar los trabajos que se presentaron en él. Pero se ha abierto también a trabajos relevantes de autores muy cercanos a Bataille como, entre otros, Jean-Luc Nancy, Jean-François Lyotard o Georges Didi-Hubeman, que amplían enormemente su alcance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/53398419" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="44a50cd44b3d3deb7a237881f0370a31" rel="nofollow" data-download="{"attachment_id":70261914,"asset_id":53398419,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/70261914/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13646086" href="https://uned.academia.edu/ConstanzaNieto">Constanza Nieto Yusta</a><script data-card-contents-for-user="13646086" type="text/json">{"id":13646086,"first_name":"Constanza","last_name":"Nieto Yusta","domain_name":"uned","page_name":"ConstanzaNieto","display_name":"Constanza Nieto Yusta","profile_url":"https://uned.academia.edu/ConstanzaNieto?f_ri=808","photo":"https://0.academia-photos.com/13646086/4264615/145404383/s65_constanza.nieto_yusta.jpg"}</script></span></span></li><li class="js-paper-rank-work_53398419 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="53398419"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 53398419, container: ".js-paper-rank-work_53398419", }); 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$(".js-view-count[data-work-id=53398419]").text(description); $(".js-view-count-work_53398419").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_53398419").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="53398419"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="813" href="https://www.academia.edu/Documents/in/Political_Philosophy">Political Philosophy</a>, <script data-card-contents-for-ri="813" type="text/json">{"id":813,"name":"Political Philosophy","url":"https://www.academia.edu/Documents/in/Political_Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a><script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=53398419]'), work: {"id":53398419,"title":"\"Bestiario de la transgresión.De Histoire de l'oeil a Documents. Apuntes sobre el pensamiento del primer Georges Bataille.\"","created_at":"2021-09-26T10:43:50.724-07:00","url":"https://www.academia.edu/53398419/_Bestiario_de_la_transgresi%C3%B3n_De_Histoire_de_loeil_a_Documents_Apuntes_sobre_el_pensamiento_del_primer_Georges_Bataille_?f_ri=808","dom_id":"work_53398419","summary":"Libro dedicado al pensamiento de Bataille, incluyendo en primer lugar un importante texto inédito hasta ahora en español (una conferencia sobre el juego y el placer no incluida en las Obras Completas publicadas en Francia).\n\nA través de sus 18 capítulos, el libro recorre el pensamiento de Georges Bataille en todas sus etapas. Pero propone también un diálogo estrecho con muchas de las temáticas tratadas por Bataille (la transgresión, la soberanía, el juego, la muerte, la experiencia interior, la filosofía, la política, el arte), procurando enfrentarlas con los más variados puntos de vista desde dentro y desde fuera de las perspectivas que en su extensa y compleja obra siguió el propio Bataille.\n\nEste libro tuvo su origen en un congreso en torno al pensamiento de la transgresión de Georges Bataille, celebrado en la Universidad Complutense de Madrid y coordinado por el grupo LA EUROPA DE LA ESCRITURA. Incluye en primer lugar los trabajos que se presentaron en él. Pero se ha abierto también a trabajos relevantes de autores muy cercanos a Bataille como, entre otros, Jean-Luc Nancy, Jean-François Lyotard o Georges Didi-Hubeman, que amplían enormemente su alcance.\n\n ","downloadable_attachments":[{"id":70261914,"asset_id":53398419,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13646086,"first_name":"Constanza","last_name":"Nieto Yusta","domain_name":"uned","page_name":"ConstanzaNieto","display_name":"Constanza Nieto Yusta","profile_url":"https://uned.academia.edu/ConstanzaNieto?f_ri=808","photo":"https://0.academia-photos.com/13646086/4264615/145404383/s65_constanza.nieto_yusta.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":813,"name":"Political 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Arte","url":"https://www.academia.edu/Documents/in/Historia_Y_Teoria_Del_Arte?f_ri=808"},{"id":1281917,"name":"Collège De Sociologie","url":"https://www.academia.edu/Documents/in/College_De_Sociologie?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24612168" data-work_id="24612168" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24612168/Vom_Ende_her_gedacht_Hegels_%C3%84sthetik_zwischen_Religion_und_Kunst">Vom Ende her gedacht: Hegels Ästhetik zwischen Religion und Kunst</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm 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href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="902" href="https://www.academia.edu/Documents/in/Philosophy_Of_Religion">Philosophy Of Religion</a>, <script data-card-contents-for-ri="902" type="text/json">{"id":902,"name":"Philosophy Of Religion","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Religion?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1302" href="https://www.academia.edu/Documents/in/Theology">Theology</a>, <script data-card-contents-for-ri="1302" type="text/json">{"id":1302,"name":"Theology","url":"https://www.academia.edu/Documents/in/Theology?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7942" href="https://www.academia.edu/Documents/in/Hegel">Hegel</a><script data-card-contents-for-ri="7942" type="text/json">{"id":7942,"name":"Hegel","url":"https://www.academia.edu/Documents/in/Hegel?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24612168]'), work: {"id":24612168,"title":"Vom Ende her gedacht: Hegels Ästhetik zwischen Religion und Kunst","created_at":"2016-04-20T23:57:22.931-07:00","url":"https://www.academia.edu/24612168/Vom_Ende_her_gedacht_Hegels_%C3%84sthetik_zwischen_Religion_und_Kunst?f_ri=808","dom_id":"work_24612168","summary":null,"downloadable_attachments":[{"id":54618373,"asset_id":24612168,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":47405874,"first_name":"Tobias","last_name":"Braune-Krickau","domain_name":"greifswald","page_name":"TobiasBrauneKrickau","display_name":"Tobias 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art","url":"https://www.academia.edu/Documents/in/End_of_the_art?f_ri=808"},{"id":257031,"name":"Art and Religion","url":"https://www.academia.edu/Documents/in/Art_and_Religion?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32920624" data-work_id="32920624" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32920624/_Structure_The_Routledge_Research_Companion_to_the_Medieval_Icelandic_Sagas_ed_%C3%81rmann_Jakobsson_and_Sverrir_Jakobsson_London_NY_2017_127_33">“Structure,” The Routledge Research Companion to the Medieval Icelandic Sagas, ed. Ármann Jakobsson and Sverrir Jakobsson (London/NY 2017), 127–33.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32920624" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="60431e74392c87bf53d88a85e1db8efd" rel="nofollow" data-download="{"attachment_id":58716961,"asset_id":32920624,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58716961/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1183037" href="https://hi.academia.edu/%C3%81rmannJakobsson">Ármann Jakobsson</a><script data-card-contents-for-user="1183037" type="text/json">{"id":1183037,"first_name":"Ármann","last_name":"Jakobsson","domain_name":"hi","page_name":"ÁrmannJakobsson","display_name":"Ármann Jakobsson","profile_url":"https://hi.academia.edu/%C3%81rmannJakobsson?f_ri=808","photo":"https://0.academia-photos.com/1183037/425349/55024726/s65__rmann.jakobsson.jpg"}</script></span></span></li><li class="js-paper-rank-work_32920624 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32920624"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32920624, container: ".js-paper-rank-work_32920624", }); 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Una metafora per l’opera d’arte</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A partire dai primi anni del XX secolo, anzitutto in area germanofona e poi in Italia e in altri contesti, all’interno delle concezioni che hanno insistito sull’autonomia come carattere distintivo dell’arte, si è fatto ricorso a più... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_48279172" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A partire dai primi anni del XX secolo, anzitutto<br />in area germanofona e poi in Italia e<br />in altri contesti, all’interno delle concezioni<br />che hanno insistito sull’autonomia come<br />carattere distintivo dell’arte, si è fatto ricorso<br />a più riprese alla metafora dell’insularità.<br />Le particolarità di un’isola – l’essere<br />separata dalle altre terre e “incorniciata”<br />dal mare, l’avere contorni ben defi niti, il distinguersi<br />per particolari elementi autoctoni<br />– sono state adattate all’opera d’arte per<br />rivendicarne l’autosuffi cienza semantica<br />e la conseguente esigenza di essere compresa<br />e interpretata secondo principi a essa<br />immanenti. Di qui l’impiego di vocaboli quali<br />il tedesco Inselhaftigkeit e il suo corrispettivo<br />italiano “insularità”. Alla storia di questi<br />termini in ambito estetico e storico-artistico,<br />che coinvolge personalità come Simmel,<br />Lukács, Dessoir, Ortega y Gasset, Schlosser,<br />Croce, Betti, Pareyson e altri studiosi, sono<br />dedicate le pagine di questo volumetto.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/48279172" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8f0618216b162fa4ab5ae76a8df8859b" rel="nofollow" data-download="{"attachment_id":66970368,"asset_id":48279172,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66970368/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="850529" href="https://unica.academia.edu/LucaVargiu">Luca Vargiu</a><script data-card-contents-for-user="850529" type="text/json">{"id":850529,"first_name":"Luca","last_name":"Vargiu","domain_name":"unica","page_name":"LucaVargiu","display_name":"Luca Vargiu","profile_url":"https://unica.academia.edu/LucaVargiu?f_ri=808","photo":"https://0.academia-photos.com/850529/50505971/38532255/s65_luca.vargiu.jpg"}</script></span></span></li><li class="js-paper-rank-work_48279172 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="48279172"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 48279172, container: ".js-paper-rank-work_48279172", }); 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$(".js-view-count[data-work-id=48279172]").text(description); $(".js-view-count-work_48279172").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_48279172").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="48279172"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="27258" href="https://www.academia.edu/Documents/in/Georg_Simmel">Georg Simmel</a><script data-card-contents-for-ri="27258" type="text/json">{"id":27258,"name":"Georg Simmel","url":"https://www.academia.edu/Documents/in/Georg_Simmel?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=48279172]'), work: {"id":48279172,"title":"Insularità. Una metafora per l’opera d’arte","created_at":"2021-05-04T10:02:05.736-07:00","url":"https://www.academia.edu/48279172/Insularit%C3%A0_Una_metafora_per_l_opera_d_arte?f_ri=808","dom_id":"work_48279172","summary":"A partire dai primi anni del XX secolo, anzitutto\nin area germanofona e poi in Italia e\nin altri contesti, all’interno delle concezioni\nche hanno insistito sull’autonomia come\ncarattere distintivo dell’arte, si è fatto ricorso\na più riprese alla metafora dell’insularità.\nLe particolarità di un’isola – l’essere\nseparata dalle altre terre e “incorniciata”\ndal mare, l’avere contorni ben defi niti, il distinguersi\nper particolari elementi autoctoni\n– sono state adattate all’opera d’arte per\nrivendicarne l’autosuffi cienza semantica\ne la conseguente esigenza di essere compresa\ne interpretata secondo principi a essa\nimmanenti. Di qui l’impiego di vocaboli quali\nil tedesco Inselhaftigkeit e il suo corrispettivo\nitaliano “insularità”. Alla storia di questi\ntermini in ambito estetico e storico-artistico,\nche coinvolge personalità come Simmel,\nLukács, Dessoir, Ortega y Gasset, Schlosser,\nCroce, Betti, Pareyson e altri studiosi, sono\ndedicate le pagine di questo volumetto.","downloadable_attachments":[{"id":66970368,"asset_id":48279172,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":850529,"first_name":"Luca","last_name":"Vargiu","domain_name":"unica","page_name":"LucaVargiu","display_name":"Luca Vargiu","profile_url":"https://unica.academia.edu/LucaVargiu?f_ri=808","photo":"https://0.academia-photos.com/850529/50505971/38532255/s65_luca.vargiu.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=808","nofollow":false},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=808","nofollow":false},{"id":27258,"name":"Georg Simmel","url":"https://www.academia.edu/Documents/in/Georg_Simmel?f_ri=808","nofollow":false},{"id":69386,"name":"Benedetto Croce","url":"https://www.academia.edu/Documents/in/Benedetto_Croce?f_ri=808"},{"id":221094,"name":"José Ortega y Gasset","url":"https://www.academia.edu/Documents/in/Jose_Ortega_y_Gasset?f_ri=808"},{"id":274748,"name":"Emilio Betti","url":"https://www.academia.edu/Documents/in/Emilio_Betti?f_ri=808"},{"id":320072,"name":"Luigi Pareyson","url":"https://www.academia.edu/Documents/in/Luigi_Pareyson?f_ri=808"},{"id":861174,"name":"György Lukács","url":"https://www.academia.edu/Documents/in/Gy%C3%B6rgy_Luk%C3%A1cs?f_ri=808"},{"id":1161200,"name":"Julius von Schlosser","url":"https://www.academia.edu/Documents/in/Julius_von_Schlosser?f_ri=808"},{"id":2899685,"name":"Insularità","url":"https://www.academia.edu/Documents/in/Insularit%C3%A0?f_ri=808"},{"id":3390602,"name":"Dagobert Frey","url":"https://www.academia.edu/Documents/in/Dagobert_Frey?f_ri=808"},{"id":3931501,"name":"Max Dessoir","url":"https://www.academia.edu/Documents/in/Max_Dessoir?f_ri=808"},{"id":3968985,"name":"Albert Knoepfli","url":"https://www.academia.edu/Documents/in/Albert_Knoepfli?f_ri=808"},{"id":3968986,"name":"Inselhaftigkeit des Kunstwerks","url":"https://www.academia.edu/Documents/in/Inselhaftigkeit_des_Kunstwerks?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45153297" data-work_id="45153297" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45153297/_2020_What_is_Wrong_with_Machine_Art_Autonomy_Spirituality_Consciousness_and_Human_Survival">(2020) What is Wrong with Machine Art? Autonomy, Spirituality, Consciousness, and Human Survival</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">There is a well-documented Pre-Reflective Hostility against Machine Art (PRHMA), exemplified by the sentiments of fear and anxiety. How can it be explained? The present paper attempts to find the answer to this question by surveying a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45153297" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">There is a well-documented Pre-Reflective Hostility against Machine Art (PRHMA), exemplified by the sentiments of fear and anxiety. How can it be explained? The present paper attempts to find the answer to this question by surveying a considerable amount of research on machine art. It is found that explanations of PRHMA based on the (alleged) fact that machine art lacks an element that is (allegedly) found in human art (for example, autonomy) do not work. Such explanations cannot account for the sentiments of fear and anxiety present in PRHMA, because the art receiver could simply turn to human art for finding the element she is looking for. By contrast, an explanation based on the idea that machine art is "symbolically" a threat to human survival can be successful, since the art receiver's turning from machine art to human art does not eliminate the (alleged) "symbolic" threat machine art poses for human survival. If there is a pre-reflective belief or feeling that machine art is such a threat, then it is perfectly understandable why humans exhibit a pre-reflective hostility against machine art.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45153297" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="605d8a0bb2cc3b8da1a1e9da6ad2de38" rel="nofollow" data-download="{"attachment_id":65728981,"asset_id":45153297,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65728981/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="83359419" href="https://en-uoa-gr.academia.edu/IoannisTrisokkas">Ioannis Trisokkas</a><script data-card-contents-for-user="83359419" type="text/json">{"id":83359419,"first_name":"Ioannis","last_name":"Trisokkas","domain_name":"en-uoa-gr","page_name":"IoannisTrisokkas","display_name":"Ioannis Trisokkas","profile_url":"https://en-uoa-gr.academia.edu/IoannisTrisokkas?f_ri=808","photo":"https://0.academia-photos.com/83359419/22094730/52889680/s65_ioannis.trisokkas.jpeg"}</script></span></span></li><li class="js-paper-rank-work_45153297 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45153297"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45153297, container: ".js-paper-rank-work_45153297", }); });</script></li><li class="js-percentile-work_45153297 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45153297; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_45153297"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_45153297 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="45153297"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45153297; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45153297]").text(description); $(".js-view-count-work_45153297").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45153297").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45153297"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="855" href="https://www.academia.edu/Documents/in/Philosophy_of_Technology">Philosophy of Technology</a>, <script data-card-contents-for-ri="855" type="text/json">{"id":855,"name":"Philosophy of Technology","url":"https://www.academia.edu/Documents/in/Philosophy_of_Technology?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7125" href="https://www.academia.edu/Documents/in/Culture">Culture</a>, <script data-card-contents-for-ri="7125" type="text/json">{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15949" href="https://www.academia.edu/Documents/in/People_and_Technology">People and Technology</a><script data-card-contents-for-ri="15949" type="text/json">{"id":15949,"name":"People and Technology","url":"https://www.academia.edu/Documents/in/People_and_Technology?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45153297]'), work: {"id":45153297,"title":"(2020) What is Wrong with Machine Art? Autonomy, Spirituality, Consciousness, and Human Survival","created_at":"2021-02-19T05:41:06.883-08:00","url":"https://www.academia.edu/45153297/_2020_What_is_Wrong_with_Machine_Art_Autonomy_Spirituality_Consciousness_and_Human_Survival?f_ri=808","dom_id":"work_45153297","summary":"There is a well-documented Pre-Reflective Hostility against Machine Art (PRHMA), exemplified by the sentiments of fear and anxiety. How can it be explained? The present paper attempts to find the answer to this question by surveying a considerable amount of research on machine art. It is found that explanations of PRHMA based on the (alleged) fact that machine art lacks an element that is (allegedly) found in human art (for example, autonomy) do not work. Such explanations cannot account for the sentiments of fear and anxiety present in PRHMA, because the art receiver could simply turn to human art for finding the element she is looking for. By contrast, an explanation based on the idea that machine art is \"symbolically\" a threat to human survival can be successful, since the art receiver's turning from machine art to human art does not eliminate the (alleged) \"symbolic\" threat machine art poses for human survival. If there is a pre-reflective belief or feeling that machine art is such a threat, then it is perfectly understandable why humans exhibit a pre-reflective hostility against machine art.","downloadable_attachments":[{"id":65728981,"asset_id":45153297,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":83359419,"first_name":"Ioannis","last_name":"Trisokkas","domain_name":"en-uoa-gr","page_name":"IoannisTrisokkas","display_name":"Ioannis Trisokkas","profile_url":"https://en-uoa-gr.academia.edu/IoannisTrisokkas?f_ri=808","photo":"https://0.academia-photos.com/83359419/22094730/52889680/s65_ioannis.trisokkas.jpeg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":855,"name":"Philosophy of Technology","url":"https://www.academia.edu/Documents/in/Philosophy_of_Technology?f_ri=808","nofollow":false},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=808","nofollow":false},{"id":15949,"name":"People and Technology","url":"https://www.academia.edu/Documents/in/People_and_Technology?f_ri=808","nofollow":false},{"id":89919,"name":"Robots","url":"https://www.academia.edu/Documents/in/Robots?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33229663" data-work_id="33229663" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33229663/DANTO_ON_ART_IN_PLACE_MONUMENTS_MEMORIALS_PUBLIC_ART_EARTHWORKS">DANTO ON ART IN PLACE: MONUMENTS, MEMORIALS, PUBLIC ART, EARTHWORKS</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Arthur Danto's extensive body of criticism is naturally informed by his theory of art. In addition to considering his aesthetics from the standpoint of its intensive formulation in texts like the seminal " The Art-World, " or elaborations... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33229663" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Arthur Danto's extensive body of criticism is naturally informed by his theory of art. In addition to considering his aesthetics from the standpoint of its intensive formulation in texts like the seminal " The Art-World, " or elaborations such as The Transfiguration of the Commonplace and After the End of Art, we can look at Danto's criticism holistically or cartographically. From this perspective it seems clear that the field of Danto's most intensive engagement with the arts was with those we call visual, as contrasted, say, with music, dance, and literature. Danto, of course, made no claim to have a system of the arts, in the grand style of Hegel and many nineteenth century philosophers of art. He was, after all, an avowed epistemologist rather than a " great knower " as his colleague John Herman Randall described thinkers like Aristotle, Hegel, and Dewey. Unlike them, Danto was under no self-imposed philosophical or pedagogical obligation to provide a comprehensive system of the arts. Although he sometimes compared himself to Hegel in terms of their common recognition of art's internal striving toward self-consciousness, and co-taught a class on the whole of Hegel's Lectures on Aesthetics, he had no reason to emulate that encyclopedic panorama (if we were to superimpose Danto's aesthetics on Hegel's we would find Warhol's Brillo Box in the place occupied by Shakespearean soliloquies). However, I believe that attending to some of the arts that Danto treated less frequently than others may show that he has an oblique and revealing relation to the system of the arts. In taking this line of inquiry I follow a suggestion made by thinkers like Jacques Derrida and Alain Badiou that by analyzing what philosophers exclude or marginalize that we may gain insights into the deep structure of their thought. So Danto's priority was the visual, even if he did occasionally write about literature. Beyond this, he also devoted much more attention to certain visual arts, notably painting, than to sculpture, architecture, and site-specific works (let us adopt these classifications for now, even if they turn out to be problematic). Looking over Danto's vast body of critical essays, many published in The Nation, as well as those discussed in his volumes of theory, it seems clear that painting gets the lion's share of attention, followed in descending order by sculpture, architecture, and site-specific art. In examining Danto's analysis of work that is site or place-intensive, I will attempt to articulate an overview of his concepts of monuments, memorials, other public art, earthworks, and related forms. The intention is to determine whether he has a consistent theory of art in place and how his treatment of it can be related both to his general theory of art and to the artistic canon and mainstream tradition of aesthetics inherited by his generation of Anglo-American philosophers. I Monuments, Memorials, Context Danto developed a sensitive analysis of Washington's Vietnam Veterans Memorial (VVM), designed by Maya Lin, a once controversial work that's gained increasing acceptance and respect in the thirty-plus years it's been up (or down, to be more precise). The VVM is situated within an extensive and growing complex of monuments and memorials in which the United States attempts to express and embody the meaning of its history. It is a place consecrated to permanent public art that means to embody a nation's conception of its meaningful history. Within the limits of the nation-state, no art could have a greater claim on public space. Danto's account gives full weight to the collective sorrows and regrets connected with that war and to the rather unusual way in which each dead soldier is honored with his or her name inscribed on the</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33229663" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="40c5831194528930a754e4e952f78bc6" rel="nofollow" data-download="{"attachment_id":53305234,"asset_id":33229663,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53305234/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="302592" href="https://richmond.academia.edu/GaryShapiro">Gary Shapiro</a><script data-card-contents-for-user="302592" type="text/json">{"id":302592,"first_name":"Gary","last_name":"Shapiro","domain_name":"richmond","page_name":"GaryShapiro","display_name":"Gary Shapiro","profile_url":"https://richmond.academia.edu/GaryShapiro?f_ri=808","photo":"https://0.academia-photos.com/302592/61054/65192/s65_gary.shapiro.jpg"}</script></span></span></li><li class="js-paper-rank-work_33229663 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33229663"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33229663, container: ".js-paper-rank-work_33229663", }); 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$(".js-view-count[data-work-id=33229663]").text(description); $(".js-view-count-work_33229663").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33229663").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33229663"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15342" href="https://www.academia.edu/Documents/in/Aesthetics_and_Politics">Aesthetics and Politics</a><script data-card-contents-for-ri="15342" type="text/json">{"id":15342,"name":"Aesthetics and Politics","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Politics?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33229663]'), work: {"id":33229663,"title":"DANTO ON ART IN PLACE: MONUMENTS, MEMORIALS, PUBLIC ART, EARTHWORKS","created_at":"2017-05-28T07:50:20.190-07:00","url":"https://www.academia.edu/33229663/DANTO_ON_ART_IN_PLACE_MONUMENTS_MEMORIALS_PUBLIC_ART_EARTHWORKS?f_ri=808","dom_id":"work_33229663","summary":"Arthur Danto's extensive body of criticism is naturally informed by his theory of art. In addition to considering his aesthetics from the standpoint of its intensive formulation in texts like the seminal \" The Art-World, \" or elaborations such as The Transfiguration of the Commonplace and After the End of Art, we can look at Danto's criticism holistically or cartographically. From this perspective it seems clear that the field of Danto's most intensive engagement with the arts was with those we call visual, as contrasted, say, with music, dance, and literature. Danto, of course, made no claim to have a system of the arts, in the grand style of Hegel and many nineteenth century philosophers of art. He was, after all, an avowed epistemologist rather than a \" great knower \" as his colleague John Herman Randall described thinkers like Aristotle, Hegel, and Dewey. Unlike them, Danto was under no self-imposed philosophical or pedagogical obligation to provide a comprehensive system of the arts. Although he sometimes compared himself to Hegel in terms of their common recognition of art's internal striving toward self-consciousness, and co-taught a class on the whole of Hegel's Lectures on Aesthetics, he had no reason to emulate that encyclopedic panorama (if we were to superimpose Danto's aesthetics on Hegel's we would find Warhol's Brillo Box in the place occupied by Shakespearean soliloquies). However, I believe that attending to some of the arts that Danto treated less frequently than others may show that he has an oblique and revealing relation to the system of the arts. In taking this line of inquiry I follow a suggestion made by thinkers like Jacques Derrida and Alain Badiou that by analyzing what philosophers exclude or marginalize that we may gain insights into the deep structure of their thought. So Danto's priority was the visual, even if he did occasionally write about literature. Beyond this, he also devoted much more attention to certain visual arts, notably painting, than to sculpture, architecture, and site-specific works (let us adopt these classifications for now, even if they turn out to be problematic). Looking over Danto's vast body of critical essays, many published in The Nation, as well as those discussed in his volumes of theory, it seems clear that painting gets the lion's share of attention, followed in descending order by sculpture, architecture, and site-specific art. In examining Danto's analysis of work that is site or place-intensive, I will attempt to articulate an overview of his concepts of monuments, memorials, other public art, earthworks, and related forms. The intention is to determine whether he has a consistent theory of art in place and how his treatment of it can be related both to his general theory of art and to the artistic canon and mainstream tradition of aesthetics inherited by his generation of Anglo-American philosophers. I Monuments, Memorials, Context Danto developed a sensitive analysis of Washington's Vietnam Veterans Memorial (VVM), designed by Maya Lin, a once controversial work that's gained increasing acceptance and respect in the thirty-plus years it's been up (or down, to be more precise). The VVM is situated within an extensive and growing complex of monuments and memorials in which the United States attempts to express and embody the meaning of its history. It is a place consecrated to permanent public art that means to embody a nation's conception of its meaningful history. Within the limits of the nation-state, no art could have a greater claim on public space. Danto's account gives full weight to the collective sorrows and regrets connected with that war and to the rather unusual way in which each dead soldier is honored with his or her name inscribed on the","downloadable_attachments":[{"id":53305234,"asset_id":33229663,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":302592,"first_name":"Gary","last_name":"Shapiro","domain_name":"richmond","page_name":"GaryShapiro","display_name":"Gary Shapiro","profile_url":"https://richmond.academia.edu/GaryShapiro?f_ri=808","photo":"https://0.academia-photos.com/302592/61054/65192/s65_gary.shapiro.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=808","nofollow":false},{"id":15342,"name":"Aesthetics and Politics","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Politics?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45570940" data-work_id="45570940" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45570940/Clive_Palmer_2021_Arts_based_Education_in_Outdoor_Learning_Introduction_section_I_pp_1_16_In_Palmer_C_Ed_Arts_Based_Education_in_Outdoor_Learning_Sport_and_Wellbeing_Press_Preston_UK_Topics_pedagogy_arts_based_education_outdoor_learning_">Clive Palmer (2021) Arts-based Education in Outdoor Learning: Introduction (section I: pp.1-16). In, Palmer, C. (Ed.) Arts-Based Education in Outdoor Learning. Sport and Wellbeing Press, Preston, UK. [Topics: pedagogy, arts-based education, outdoor learning]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45570940" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45570940" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c5c58d80562e62c5be97f6c5a1a1644c" rel="nofollow" data-download="{"attachment_id":69069860,"asset_id":45570940,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/69069860/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4131983" href="https://uclan.academia.edu/ClivePalmer">Clive Palmer (National Teaching Fellow)</a><script data-card-contents-for-user="4131983" type="text/json">{"id":4131983,"first_name":"Clive","last_name":"Palmer (National Teaching Fellow)","domain_name":"uclan","page_name":"ClivePalmer","display_name":"Clive Palmer (National Teaching Fellow)","profile_url":"https://uclan.academia.edu/ClivePalmer?f_ri=808","photo":"https://0.academia-photos.com/4131983/1609764/34406840/s65_clive.palmer_national_teaching_fellow_.jpg"}</script></span></span></li><li class="js-paper-rank-work_45570940 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45570940"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45570940, container: ".js-paper-rank-work_45570940", }); 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$(".js-view-count[data-work-id=45570940]").text(description); $(".js-view-count-work_45570940").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45570940").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45570940"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1751" href="https://www.academia.edu/Documents/in/Creativity">Creativity</a>, <script data-card-contents-for-ri="1751" type="text/json">{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" href="https://www.academia.edu/Documents/in/Literature">Literature</a><script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45570940]'), work: {"id":45570940,"title":"Clive Palmer (2021) Arts-based Education in Outdoor Learning: Introduction (section I: pp.1-16). In, Palmer, C. (Ed.) Arts-Based Education in Outdoor Learning. Sport and Wellbeing Press, Preston, UK. [Topics: pedagogy, arts-based education, outdoor learning]","created_at":"2021-03-17T16:07:48.788-07:00","url":"https://www.academia.edu/45570940/Clive_Palmer_2021_Arts_based_Education_in_Outdoor_Learning_Introduction_section_I_pp_1_16_In_Palmer_C_Ed_Arts_Based_Education_in_Outdoor_Learning_Sport_and_Wellbeing_Press_Preston_UK_Topics_pedagogy_arts_based_education_outdoor_learning_?f_ri=808","dom_id":"work_45570940","summary":"Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees. ","downloadable_attachments":[{"id":69069860,"asset_id":45570940,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4131983,"first_name":"Clive","last_name":"Palmer (National Teaching Fellow)","domain_name":"uclan","page_name":"ClivePalmer","display_name":"Clive Palmer (National Teaching Fellow)","profile_url":"https://uclan.academia.edu/ClivePalmer?f_ri=808","photo":"https://0.academia-photos.com/4131983/1609764/34406840/s65_clive.palmer_national_teaching_fellow_.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=808","nofollow":false},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=808","nofollow":false},{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education?f_ri=808"},{"id":3457,"name":"Learning and 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u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5777700/Invitation_to_">Invitation to…</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Invitation to… is an examination of the ellipsis as an unintended improvisational tool in literature.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5777700" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d8ff3f498b7f2366ee9ecf5fcbc367be" rel="nofollow" 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","downloadable_attachments":[{"id":32800174,"asset_id":5777700,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2441951,"first_name":"Mike","last_name":"Hansen","domain_name":"yorku","page_name":"MikeHansen","display_name":"Mike Hansen","profile_url":"https://yorku.academia.edu/MikeHansen?f_ri=808","photo":"https://0.academia-photos.com/2441951/766844/953415/s65_mike.hansen.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29244258" data-work_id="29244258" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29244258/Illusions_et_exigences_du_jugement_esth%C3%A9tique">Illusions et exigences du jugement esthétique</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L’appréciation esthétique oscille le plus souvent, tel un pendule, entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29244258" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’appréciation esthétique oscille le plus souvent, tel un pendule,  entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la formule du relativisme : « à chacun ses goûts »). Il s’agit ici de penser les critères du jugement de goût par-delà le réalisme dogmatique et le relativisme nihiliste, à la faveur d’un relativisme hiérarchique. Le sentiment du beau s’inscrit dans un contexte social, historique et psychologique, certes, mais il y a quelque chose d’universel dans la relativité du beau. Tous les goûts ne se valent pas, et les critères de la hiérarchisation des jugements de goûts sont immanents à l’activité de juger comme telle. L’article cherche à préciser ces critères.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29244258" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="969993c9a37fb4ebd496f30aa5022c46" rel="nofollow" data-download="{"attachment_id":49693968,"asset_id":29244258,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49693968/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="52648405" href="https://paris-sorbonne.academia.edu/VincentCitot">Vincent Citot</a><script data-card-contents-for-user="52648405" type="text/json">{"id":52648405,"first_name":"Vincent","last_name":"Citot","domain_name":"paris-sorbonne","page_name":"VincentCitot","display_name":"Vincent Citot","profile_url":"https://paris-sorbonne.academia.edu/VincentCitot?f_ri=808","photo":"https://0.academia-photos.com/52648405/14554845/69208155/s65_vincent.citot.jpg"}</script></span></span></li><li class="js-paper-rank-work_29244258 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29244258"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29244258, container: ".js-paper-rank-work_29244258", }); 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Il s’agit ici de penser les critères du jugement de goût par-delà le réalisme dogmatique et le relativisme nihiliste, à la faveur d’un relativisme hiérarchique. Le sentiment du beau s’inscrit dans un contexte social, historique et psychologique, certes, mais il y a quelque chose d’universel dans la relativité du beau. Tous les goûts ne se valent pas, et les critères de la hiérarchisation des jugements de goûts sont immanents à l’activité de juger comme telle. L’article cherche à préciser ces critères.","downloadable_attachments":[{"id":49693968,"asset_id":29244258,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":52648405,"first_name":"Vincent","last_name":"Citot","domain_name":"paris-sorbonne","page_name":"VincentCitot","display_name":"Vincent Citot","profile_url":"https://paris-sorbonne.academia.edu/VincentCitot?f_ri=808","photo":"https://0.academia-photos.com/52648405/14554845/69208155/s65_vincent.citot.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":5290,"name":"Philosophy of 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href="https://www.academia.edu/1845444/Handbook_of_Whiteheadian_process_thought_Ontos_2008_">Handbook of Whiteheadian process thought (Ontos, 2008)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1845444" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="deb68036df21c9479c78202a67088875" rel="nofollow" data-download="{"attachment_id":30868706,"asset_id":1845444,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button 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href="https://www.academia.edu/Documents/in/A_Thousand_Plateaus">A Thousand Plateaus</a><script data-card-contents-for-ri="1134010" type="text/json">{"id":1134010,"name":"A Thousand Plateaus","url":"https://www.academia.edu/Documents/in/A_Thousand_Plateaus?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30784270]'), work: {"id":30784270,"title":"Art Encounters Deleuze and Guattari -Simon O'Sullivan","created_at":"2017-01-06T04:34:59.539-08:00","url":"https://www.academia.edu/30784270/Art_Encounters_Deleuze_and_Guattari_Simon_OSullivan?f_ri=808","dom_id":"work_30784270","summary":"Not really a book review, but thoughts on a book for a blog post.","downloadable_attachments":[{"id":51218764,"asset_id":30784270,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1119380,"first_name":"Dr 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Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=808"},{"id":1850408,"name":"Delueze","url":"https://www.academia.edu/Documents/in/Delueze?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33731942" data-work_id="33731942" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33731942/The_operatic_mad_scene_its_origins_and_early_development_up_to_C_1700">The operatic mad scene : its origins and early development up to C.1700</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Matsumoto, Naomi. 'The Operatic Mad Scene: Its Origins and Early Development up to c. 1700' (PhD Dissertation, University of London, 2005). This thesis investigates the origins of the operatic mad scene, its development up to c.1700,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33731942" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Matsumoto, Naomi. 'The Operatic Mad Scene: Its Origins and Early Development up to c. 1700' (PhD Dissertation, University of London, 2005). <br /><br />This thesis investigates the origins of the operatic mad scene, its development up to c.1700, and questions of its definition and meaning. Chapters 1 and 2 trace the traditions behind musico-theatrical portrayals of insanity from ancient times through to the Renaissance, and in Chapter 3 seventeenth-century Italian examples of “mad” operas are codified and examined. Chapters 4 – 6 discuss the dissemination of the “mad” opera through France, England, Spain, Germany and Austria, and the relevant indigenous musical and theatrical conventions of each country are discussed. <br />        Having reconstructed the surviving repertory, in Chapters 7 and 8, the textual, prosodic, behavioural and musical topoi used in association with such works are examined. The difficulties of attempting to establish purely musical signifiers for operatic insanity are demonstrated, and other means of approaching a definition are suggested. In Chapter 8, the forms and uses of aria, recitative, recitative soliloquy and arioso are analysed, and their contributions to the musical characterisation of the insane explored. In Chapter 9 the insights already gained are brought together in a case study of Iro from Monteverdi’s Il ritorno di Ulisse in patria. <br />        The final chapter attempts to construct a typology of madness in seventeenth century opera based partly on literary criteria. It theorises the notion of fictive truth as a contract between the audience, the composer and librettist, and the protagonist on the stage. Next, the functions of mad characters within the plots are analysed in relation to the distinctive dramaturgical effects achieved by “fictive personalities”, “roles” and “character-types”. Finally, there is an attempt to locate our understanding of madness in opera within wider critical horizons, and to explain the cultural work that mad scenes do for us, as we listen to examples from the historically situated traditions of opera.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33731942" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3540b3face22419e6f50900d69aab0e5" rel="nofollow" data-download="{"attachment_id":57076724,"asset_id":33731942,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57076724/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="66029631" href="https://goldsmiths.academia.edu/NaomiMatsumoto">Naomi Matsumoto</a><script data-card-contents-for-user="66029631" type="text/json">{"id":66029631,"first_name":"Naomi","last_name":"Matsumoto","domain_name":"goldsmiths","page_name":"NaomiMatsumoto","display_name":"Naomi Matsumoto","profile_url":"https://goldsmiths.academia.edu/NaomiMatsumoto?f_ri=808","photo":"https://0.academia-photos.com/66029631/17206327/124909749/s65_naomi.matsumoto.jpg"}</script></span></span></li><li class="js-paper-rank-work_33731942 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33731942"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33731942, container: ".js-paper-rank-work_33731942", }); 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'The Operatic Mad Scene: Its Origins and Early Development up to c. 1700' (PhD Dissertation, University of London, 2005). \n\nThis thesis investigates the origins of the operatic mad scene, its development up to c.1700, and questions of its definition and meaning. Chapters 1 and 2 trace the traditions behind musico-theatrical portrayals of insanity from ancient times through to the Renaissance, and in Chapter 3 seventeenth-century Italian examples of “mad” operas are codified and examined. Chapters 4 – 6 discuss the dissemination of the “mad” opera through France, England, Spain, Germany and Austria, and the relevant indigenous musical and theatrical conventions of each country are discussed. \n Having reconstructed the surviving repertory, in Chapters 7 and 8, the textual, prosodic, behavioural and musical topoi used in association with such works are examined. The difficulties of attempting to establish purely musical signifiers for operatic insanity are demonstrated, and other means of approaching a definition are suggested. In Chapter 8, the forms and uses of aria, recitative, recitative soliloquy and arioso are analysed, and their contributions to the musical characterisation of the insane explored. In Chapter 9 the insights already gained are brought together in a case study of Iro from Monteverdi’s Il ritorno di Ulisse in patria. \n The final chapter attempts to construct a typology of madness in seventeenth century opera based partly on literary criteria. It theorises the notion of fictive truth as a contract between the audience, the composer and librettist, and the protagonist on the stage. Next, the functions of mad characters within the plots are analysed in relation to the distinctive dramaturgical effects achieved by “fictive personalities”, “roles” and “character-types”. Finally, there is an attempt to locate our understanding of madness in opera within wider critical horizons, and to explain the cultural work that mad scenes do for us, as we listen to examples from the historically situated traditions of opera.\n","downloadable_attachments":[{"id":57076724,"asset_id":33731942,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":66029631,"first_name":"Naomi","last_name":"Matsumoto","domain_name":"goldsmiths","page_name":"NaomiMatsumoto","display_name":"Naomi Matsumoto","profile_url":"https://goldsmiths.academia.edu/NaomiMatsumoto?f_ri=808","photo":"https://0.academia-photos.com/66029631/17206327/124909749/s65_naomi.matsumoto.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":2273,"name":"History of Medicine","url":"https://www.academia.edu/Documents/in/History_of_Medicine?f_ri=808","nofollow":false},{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=808","nofollow":false},{"id":10286,"name":"Henry Purcell","url":"https://www.academia.edu/Documents/in/Henry_Purcell?f_ri=808","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=808"},{"id":39088,"name":"Claudio Monteverdi","url":"https://www.academia.edu/Documents/in/Claudio_Monteverdi?f_ri=808"},{"id":245087,"name":"Opera Studies","url":"https://www.academia.edu/Documents/in/Opera_Studies?f_ri=808"},{"id":455647,"name":"Early music and historically informed performance practice","url":"https://www.academia.edu/Documents/in/Early_music_and_historically_informed_performance_practice?f_ri=808"},{"id":1037785,"name":"Early Modern Intellectual History and the History of Ideas","url":"https://www.academia.edu/Documents/in/Early_Modern_Intellectual_History_and_the_History_of_Ideas?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38360892" data-work_id="38360892" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38360892/_Adorno_as_Alibi_">"Adorno as Alibi"</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38360892" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7ea132e6272c99659ad9d3dfad824920" rel="nofollow" data-download="{"attachment_id":58414234,"asset_id":38360892,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58414234/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="102519524" href="https://independentscholar.academia.edu/RyanCrawford">Ryan Crawford</a><script data-card-contents-for-user="102519524" type="text/json">{"id":102519524,"first_name":"Ryan","last_name":"Crawford","domain_name":"independentscholar","page_name":"RyanCrawford","display_name":"Ryan Crawford","profile_url":"https://independentscholar.academia.edu/RyanCrawford?f_ri=808","photo":"https://0.academia-photos.com/102519524/22658525/21838520/s65_ryan.crawford.jpg"}</script></span></span></li><li class="js-paper-rank-work_38360892 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38360892"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38360892, container: ".js-paper-rank-work_38360892", }); 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$(".js-view-count[data-work-id=38360892]").text(description); $(".js-view-count-work_38360892").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38360892").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38360892"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3511" href="https://www.academia.edu/Documents/in/Theodor_Adorno">Theodor Adorno</a>, <script data-card-contents-for-ri="3511" type="text/json">{"id":3511,"name":"Theodor Adorno","url":"https://www.academia.edu/Documents/in/Theodor_Adorno?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5709" href="https://www.academia.edu/Documents/in/Politics">Politics</a><script data-card-contents-for-ri="5709" type="text/json">{"id":5709,"name":"Politics","url":"https://www.academia.edu/Documents/in/Politics?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38360892]'), work: {"id":38360892,"title":"\"Adorno as Alibi\"","created_at":"2019-02-15T09:44:46.375-08:00","url":"https://www.academia.edu/38360892/_Adorno_as_Alibi_?f_ri=808","dom_id":"work_38360892","summary":null,"downloadable_attachments":[{"id":58414234,"asset_id":38360892,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":102519524,"first_name":"Ryan","last_name":"Crawford","domain_name":"independentscholar","page_name":"RyanCrawford","display_name":"Ryan Crawford","profile_url":"https://independentscholar.academia.edu/RyanCrawford?f_ri=808","photo":"https://0.academia-photos.com/102519524/22658525/21838520/s65_ryan.crawford.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":3511,"name":"Theodor Adorno","url":"https://www.academia.edu/Documents/in/Theodor_Adorno?f_ri=808","nofollow":false},{"id":5709,"name":"Politics","url":"https://www.academia.edu/Documents/in/Politics?f_ri=808","nofollow":false},{"id":17232,"name":"Thomas Bernhard","url":"https://www.academia.edu/Documents/in/Thomas_Bernhard?f_ri=808"},{"id":22576,"name":"Frankfurt School","url":"https://www.academia.edu/Documents/in/Frankfurt_School?f_ri=808"},{"id":31811,"name":"Theodor W. Adorno","url":"https://www.academia.edu/Documents/in/Theodor_W._Adorno?f_ri=808"},{"id":41280,"name":"Paul Valéry","url":"https://www.academia.edu/Documents/in/Paul_Val%C3%A9ry?f_ri=808"},{"id":60193,"name":"Experience","url":"https://www.academia.edu/Documents/in/Experience?f_ri=808"},{"id":98286,"name":"Emil Cioran","url":"https://www.academia.edu/Documents/in/Emil_Cioran?f_ri=808"},{"id":121422,"name":"Limit Experience","url":"https://www.academia.edu/Documents/in/Limit_Experience?f_ri=808"},{"id":429048,"name":"Dialectic of Enlightenment","url":"https://www.academia.edu/Documents/in/Dialectic_of_Enlightenment?f_ri=808"},{"id":3145394,"name":"Shudder","url":"https://www.academia.edu/Documents/in/Shudder?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3798900" data-work_id="3798900" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3798900/La_sopravvivenza_delle_immagini_nel_cinema_Archivio_montaggio_intermedialit%C3%A0">La sopravvivenza delle immagini nel cinema. Archivio, montaggio, intermedialità</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Poter accedere a qualsiasi immagine, in qualsiasi momento, in qualsiasi luogo. I nuovi media prospettano straordinarie vie di fruizione. Ma come orientarsi in questo scenario? La nostra cultura visuale è capace di tenere il passo della... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3798900" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Poter accedere a qualsiasi immagine, in qualsiasi momento, in qualsiasi luogo. I nuovi media prospettano straordinarie vie di fruizione. Ma come orientarsi in questo scenario? La nostra cultura visuale è capace di tenere il passo della tecnologia? Questo libro racconta come il cinema, ben prima dell'avvento della tecnologia digitale, abbia saputo accogliere immagini provenienti da archivi pubblici e privati: dai rapporti con la pittura al foundfootage, dalla pratica del remake all'intermedialità. Molte volte assegnato al compito di produrre un calco del "reale", il film costituisce piuttosto uno spazio del pensiero nel quale si rielaborano le immagini del passato e si rigenerano i materiali "usurati" della cultura. Se i nuovi media invitano lo spettatore a manipolare le immagini e non semplicemente a osservarle, è dunque a partire dalle lezioni di montaggio offerte da maestri come Godard e Herzog, Sokurov e Van Sant, Pasolini e Moretti, che diventa possibile assumere un ruolo attivo e consapevole nell'orizzonte estetico e mediatico contemporaneo.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3798900" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2c831ff6bdcd5b9654f2fdd18c2e83fa" rel="nofollow" data-download="{"attachment_id":62641428,"asset_id":3798900,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62641428/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3978974" href="https://iuav.academia.edu/FrancescoZucconi">Francesco Zucconi</a><script data-card-contents-for-user="3978974" type="text/json">{"id":3978974,"first_name":"Francesco","last_name":"Zucconi","domain_name":"iuav","page_name":"FrancescoZucconi","display_name":"Francesco Zucconi","profile_url":"https://iuav.academia.edu/FrancescoZucconi?f_ri=808","photo":"https://0.academia-photos.com/3978974/1608861/161588100/s65_francesco.zucconi.jpg"}</script></span></span></li><li class="js-paper-rank-work_3798900 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3798900"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3798900, container: ".js-paper-rank-work_3798900", }); 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$(".js-view-count[data-work-id=3798900]").text(description); $(".js-view-count-work_3798900").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3798900").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3798900"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a><script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3798900]'), work: {"id":3798900,"title":"La sopravvivenza delle immagini nel cinema. Archivio, montaggio, intermedialità","created_at":"2013-06-26T17:51:34.305-07:00","url":"https://www.academia.edu/3798900/La_sopravvivenza_delle_immagini_nel_cinema_Archivio_montaggio_intermedialit%C3%A0?f_ri=808","dom_id":"work_3798900","summary":"Poter accedere a qualsiasi immagine, in qualsiasi momento, in qualsiasi luogo. I nuovi media prospettano straordinarie vie di fruizione. Ma come orientarsi in questo scenario? La nostra cultura visuale è capace di tenere il passo della tecnologia? Questo libro racconta come il cinema, ben prima dell'avvento della tecnologia digitale, abbia saputo accogliere immagini provenienti da archivi pubblici e privati: dai rapporti con la pittura al foundfootage, dalla pratica del remake all'intermedialità. Molte volte assegnato al compito di produrre un calco del \"reale\", il film costituisce piuttosto uno spazio del pensiero nel quale si rielaborano le immagini del passato e si rigenerano i materiali \"usurati\" della cultura. Se i nuovi media invitano lo spettatore a manipolare le immagini e non semplicemente a osservarle, è dunque a partire dalle lezioni di montaggio offerte da maestri come Godard e Herzog, Sokurov e Van Sant, Pasolini e Moretti, che diventa possibile assumere un ruolo attivo e consapevole nell'orizzonte estetico e mediatico contemporaneo.","downloadable_attachments":[{"id":62641428,"asset_id":3798900,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3978974,"first_name":"Francesco","last_name":"Zucconi","domain_name":"iuav","page_name":"FrancescoZucconi","display_name":"Francesco Zucconi","profile_url":"https://iuav.academia.edu/FrancescoZucconi?f_ri=808","photo":"https://0.academia-photos.com/3978974/1608861/161588100/s65_francesco.zucconi.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=808","nofollow":false},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=808","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=808"},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=808"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=808"},{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality?f_ri=808"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=808"},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=808"},{"id":11503,"name":"Communication Of Memory In Archives, Libraries And Museums","url":"https://www.academia.edu/Documents/in/Communication_Of_Memory_In_Archives_Libraries_And_Museums?f_ri=808"},{"id":14022,"name":"Film Semiotics","url":"https://www.academia.edu/Documents/in/Film_Semiotics?f_ri=808"},{"id":14561,"name":"Intermediality In Cinema","url":"https://www.academia.edu/Documents/in/Intermediality_In_Cinema?f_ri=808"},{"id":15341,"name":"Aesthetics and Ethics","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Ethics?f_ri=808"},{"id":15342,"name":"Aesthetics and Politics","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Politics?f_ri=808"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=808"},{"id":77811,"name":"Found Footage","url":"https://www.academia.edu/Documents/in/Found_Footage?f_ri=808"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=808"},{"id":129074,"name":"Remake","url":"https://www.academia.edu/Documents/in/Remake?f_ri=808"},{"id":972366,"name":"Transmediality","url":"https://www.academia.edu/Documents/in/Transmediality?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45004413 coauthored" data-work_id="45004413" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45004413/Arte_e_intelligenza_artificiale_be_my_GAN_a_cura_di_A_Barale_Jaca_Book_Milano_2020">Arte e intelligenza artificiale: be my GAN, a cura di A. Barale, Jaca Book, Milano 2020</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45004413" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="74b279044ffb7768c78394af9441990e" rel="nofollow" data-download="{"attachment_id":65548717,"asset_id":45004413,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65548717/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6496708" href="https://unimi.academia.edu/alicebarale">alice barale</a><script data-card-contents-for-user="6496708" type="text/json">{"id":6496708,"first_name":"alice","last_name":"barale","domain_name":"unimi","page_name":"alicebarale","display_name":"alice barale","profile_url":"https://unimi.academia.edu/alicebarale?f_ri=808","photo":"https://0.academia-photos.com/6496708/2616290/133517345/s65_alice.barale.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-45004413">+2</span><div class="hidden js-additional-users-45004413"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://edinburgh.academia.edu/CaterinaMoruzzi">Caterina Moruzzi</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cofc.academia.edu/MarianMazzone">Marian Mazzone</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-45004413'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-45004413').html(); 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Meillassoux, "Metafísica y ficción extracientífica" (Santiago: Roneo, 2020), que co-escribimos M. Ramírez y yo. Contiene una explicación general del 'realismo especulativo' y el rol... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_47776692" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El presente texto es el prólogo para mi traducción de Q. Meillassoux, "Metafísica y ficción extracientífica" (Santiago: Roneo, 2020), que co-escribimos M. Ramírez y yo. Contiene una explicación general del 'realismo especulativo' y el rol que el filósofo Q. Meillassoux juega en él, a partir de su propuesta de 'materialismo especulativo' y la crítica a la noción de 'correlacionismo' allí implicada. Luego, el prólogo entrega indicaciones sobre la relación entre metafísica y ficción propuesta por el autor.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/47776692" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="58fe895db0e0762b369de2fed3d41e39" rel="nofollow" data-download="{"attachment_id":66718723,"asset_id":47776692,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66718723/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="908371" href="https://uctemuco.academia.edu/JeanPaulGrassetB">Jean-Paul Grasset B.</a><script data-card-contents-for-user="908371" type="text/json">{"id":908371,"first_name":"Jean-Paul","last_name":"Grasset B.","domain_name":"uctemuco","page_name":"JeanPaulGrassetB","display_name":"Jean-Paul Grasset B.","profile_url":"https://uctemuco.academia.edu/JeanPaulGrassetB?f_ri=808","photo":"https://0.academia-photos.com/908371/10435294/93998900/s65_jean-paul.grasset_b..jpg"}</script></span></span></li><li class="js-paper-rank-work_47776692 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="47776692"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 47776692, container: ".js-paper-rank-work_47776692", }); 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$(".js-view-count[data-work-id=47776692]").text(description); $(".js-view-count-work_47776692").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_47776692").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="47776692"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="804" href="https://www.academia.edu/Documents/in/Metaphysics">Metaphysics</a>, <script data-card-contents-for-ri="804" type="text/json">{"id":804,"name":"Metaphysics","url":"https://www.academia.edu/Documents/in/Metaphysics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="805" href="https://www.academia.edu/Documents/in/Ontology">Ontology</a>, <script data-card-contents-for-ri="805" type="text/json">{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="815" href="https://www.academia.edu/Documents/in/Epistemology">Epistemology</a><script data-card-contents-for-ri="815" type="text/json">{"id":815,"name":"Epistemology","url":"https://www.academia.edu/Documents/in/Epistemology?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=47776692]'), work: {"id":47776692,"title":"Prólogo a \"Metafísica y ficción extracientífica\" de Quentin Meillassoux (2020)","created_at":"2021-04-29T06:50:00.730-07:00","url":"https://www.academia.edu/47776692/Pr%C3%B3logo_a_Metaf%C3%ADsica_y_ficci%C3%B3n_extracient%C3%ADfica_de_Quentin_Meillassoux_2020_?f_ri=808","dom_id":"work_47776692","summary":"El presente texto es el prólogo para mi traducción de Q. Meillassoux, \"Metafísica y ficción extracientífica\" (Santiago: Roneo, 2020), que co-escribimos M. Ramírez y yo. Contiene una explicación general del 'realismo especulativo' y el rol que el filósofo Q. Meillassoux juega en él, a partir de su propuesta de 'materialismo especulativo' y la crítica a la noción de 'correlacionismo' allí implicada. Luego, el prólogo entrega indicaciones sobre la relación entre metafísica y ficción propuesta por el autor.\n","downloadable_attachments":[{"id":66718723,"asset_id":47776692,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":908371,"first_name":"Jean-Paul","last_name":"Grasset B.","domain_name":"uctemuco","page_name":"JeanPaulGrassetB","display_name":"Jean-Paul Grasset B.","profile_url":"https://uctemuco.academia.edu/JeanPaulGrassetB?f_ri=808","photo":"https://0.academia-photos.com/908371/10435294/93998900/s65_jean-paul.grasset_b..jpg"}],"research_interests":[{"id":804,"name":"Metaphysics","url":"https://www.academia.edu/Documents/in/Metaphysics?f_ri=808","nofollow":false},{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":815,"name":"Epistemology","url":"https://www.academia.edu/Documents/in/Epistemology?f_ri=808","nofollow":false},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=808"},{"id":13792,"name":"Speculative Realism","url":"https://www.academia.edu/Documents/in/Speculative_Realism?f_ri=808"},{"id":20094,"name":"Object Oriented Ontology","url":"https://www.academia.edu/Documents/in/Object_Oriented_Ontology?f_ri=808"},{"id":38870,"name":"Contemporary Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_Philosophy?f_ri=808"},{"id":69946,"name":"Contemporary Continental Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_Continental_Philosophy?f_ri=808"},{"id":117413,"name":"Metafísica","url":"https://www.academia.edu/Documents/in/Metaf%C3%ADsica?f_ri=808"},{"id":133811,"name":"Ontologia","url":"https://www.academia.edu/Documents/in/Ontologia?f_ri=808"},{"id":196660,"name":"Realismo","url":"https://www.academia.edu/Documents/in/Realismo?f_ri=808"},{"id":219933,"name":"New Realism","url":"https://www.academia.edu/Documents/in/New_Realism?f_ri=808"},{"id":1381112,"name":"Realismo Especulativo","url":"https://www.academia.edu/Documents/in/Realismo_Especulativo?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39009940" data-work_id="39009940" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39009940/C_Malabou_Ontologia_dell_accidente_Saggio_sulla_plasticit%C3%A0_distruttrice_Milano_Meltemi_Editore_collana_Gli_anelli_di_Saturno_Estetica_media_e_linguaggi_dell_arte_2019">C. Malabou, Ontologia dell’accidente. Saggio sulla plasticità distruttrice, Milano, Meltemi Editore, collana Gli anelli di Saturno. Estetica, media e linguaggi dell’arte, 2019.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In conseguenza di gravi traumi, talvolta per un nonnulla, la storia di ognuno di noi può subire un radicale cambiamento: la vita che avevamo progettato per anni è costretta a una deviazione improvvisa e irreversibile. Dal trauma sorge una... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39009940" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In conseguenza di gravi traumi, talvolta per un nonnulla, la storia di ognuno di noi può subire un radicale cambiamento: la vita che avevamo progettato per anni è costretta a una deviazione improvvisa e irreversibile. Dal trauma sorge una personalità nuova, senza precedenti. Una personalità nata da un incidente, nata per accidente. Il fortuito diviene così sostanziale e l’inaspettato s’inscrive nel nucleo più profondo del nostro essere. Affrontando con delicatezza il tema dell’impatto che i traumi psicofisici possono avere sulla nostra vita, Catherine Malabou intraprende un’avventura filosofica e letteraria in cui Spinoza, Deleuze e Freud incrociano Ovidio, Kafka, Proust e Duras, disegnando un’inedita ontologia fondata sul potere plastico della distruzione, sulla tendenza esplosiva che minaccia segretamente ognuno di noi.<br /><br />Catherine Malabou insegna Filosofia all’Université Paris-Ouest Nanterre ed è docente presso il Centre for Research in Modern European Philosophy della Kingston University di Londra. È autrice di numerosi saggi, fra i quali, tradotti in italiano, ricordiamo: Cosa fare del nostro cervello (2007) e, con Judith Butler, Che tu sia il mio corpo. Una lettura contemporanea della signoria e della servitù in Hegel (2017).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39009940" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="28928525314b62fe06757b60dc287438" rel="nofollow" data-download="{"attachment_id":59118425,"asset_id":39009940,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59118425/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1604376" href="https://unipa.academia.edu/ValeriaMaggiore">Valeria Maggiore</a><script data-card-contents-for-user="1604376" type="text/json">{"id":1604376,"first_name":"Valeria","last_name":"Maggiore","domain_name":"unipa","page_name":"ValeriaMaggiore","display_name":"Valeria Maggiore","profile_url":"https://unipa.academia.edu/ValeriaMaggiore?f_ri=808","photo":"https://0.academia-photos.com/1604376/560862/54491196/s65_valeria.maggiore.jpg"}</script></span></span></li><li class="js-paper-rank-work_39009940 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39009940"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39009940, container: ".js-paper-rank-work_39009940", }); });</script></li><li class="js-percentile-work_39009940 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39009940; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39009940"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39009940 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39009940"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39009940; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39009940]").text(description); $(".js-view-count-work_39009940").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39009940").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39009940"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="805" href="https://www.academia.edu/Documents/in/Ontology">Ontology</a>, <script data-card-contents-for-ri="805" type="text/json">{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2380" href="https://www.academia.edu/Documents/in/Plasticity">Plasticity</a>, <script data-card-contents-for-ri="2380" type="text/json">{"id":2380,"name":"Plasticity","url":"https://www.academia.edu/Documents/in/Plasticity?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13788" href="https://www.academia.edu/Documents/in/Catherine_Malabou">Catherine Malabou</a><script data-card-contents-for-ri="13788" type="text/json">{"id":13788,"name":"Catherine Malabou","url":"https://www.academia.edu/Documents/in/Catherine_Malabou?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39009940]'), work: {"id":39009940,"title":"C. Malabou, Ontologia dell’accidente. Saggio sulla plasticità distruttrice, Milano, Meltemi Editore, collana Gli anelli di Saturno. Estetica, media e linguaggi dell’arte, 2019.","created_at":"2019-05-03T06:28:39.560-07:00","url":"https://www.academia.edu/39009940/C_Malabou_Ontologia_dell_accidente_Saggio_sulla_plasticit%C3%A0_distruttrice_Milano_Meltemi_Editore_collana_Gli_anelli_di_Saturno_Estetica_media_e_linguaggi_dell_arte_2019?f_ri=808","dom_id":"work_39009940","summary":"In conseguenza di gravi traumi, talvolta per un nonnulla, la storia di ognuno di noi può subire un radicale cambiamento: la vita che avevamo progettato per anni è costretta a una deviazione improvvisa e irreversibile. Dal trauma sorge una personalità nuova, senza precedenti. Una personalità nata da un incidente, nata per accidente. Il fortuito diviene così sostanziale e l’inaspettato s’inscrive nel nucleo più profondo del nostro essere. Affrontando con delicatezza il tema dell’impatto che i traumi psicofisici possono avere sulla nostra vita, Catherine Malabou intraprende un’avventura filosofica e letteraria in cui Spinoza, Deleuze e Freud incrociano Ovidio, Kafka, Proust e Duras, disegnando un’inedita ontologia fondata sul potere plastico della distruzione, sulla tendenza esplosiva che minaccia segretamente ognuno di noi.\n\nCatherine Malabou insegna Filosofia all’Université Paris-Ouest Nanterre ed è docente presso il Centre for Research in Modern European Philosophy della Kingston University di Londra. È autrice di numerosi saggi, fra i quali, tradotti in italiano, ricordiamo: Cosa fare del nostro cervello (2007) e, con Judith Butler, Che tu sia il mio corpo. Una lettura contemporanea della signoria e della servitù in Hegel (2017).","downloadable_attachments":[{"id":59118425,"asset_id":39009940,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1604376,"first_name":"Valeria","last_name":"Maggiore","domain_name":"unipa","page_name":"ValeriaMaggiore","display_name":"Valeria Maggiore","profile_url":"https://unipa.academia.edu/ValeriaMaggiore?f_ri=808","photo":"https://0.academia-photos.com/1604376/560862/54491196/s65_valeria.maggiore.jpg"}],"research_interests":[{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":2380,"name":"Plasticity","url":"https://www.academia.edu/Documents/in/Plasticity?f_ri=808","nofollow":false},{"id":13788,"name":"Catherine Malabou","url":"https://www.academia.edu/Documents/in/Catherine_Malabou?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4058336" data-work_id="4058336" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4058336/Nothingness_and_the_Clearing_Heidegger_Daoism_and_the_Quest_for_Primal_Clarity">Nothingness and the Clearing: Heidegger, Daoism and the Quest for Primal Clarity</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Addendum: Footnote 24 on page 590 should be to pages 88-89 of the following: Martin Heidegger. Bremen and Freiburg Lectures: Insight into That Which Is and Basic Principles of Thinking. Translated by Andrew Mitchell. Bloomington:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4058336" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Addendum: Footnote 24 on page 590 should be to pages 88-89 of the following: <br /> <br />Martin Heidegger. Bremen and Freiburg Lectures: Insight into That Which Is and Basic Principles of Thinking. Translated by Andrew Mitchell. Bloomington: Indiana University Press, 2012.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4058336" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="500a371ff90115c71302888e3febd1d7" rel="nofollow" data-download="{"attachment_id":36380892,"asset_id":4058336,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36380892/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4886948" href="https://cuhk.academia.edu/DavidChai">David Chai</a><script data-card-contents-for-user="4886948" type="text/json">{"id":4886948,"first_name":"David","last_name":"Chai","domain_name":"cuhk","page_name":"DavidChai","display_name":"David Chai","profile_url":"https://cuhk.academia.edu/DavidChai?f_ri=808","photo":"https://0.academia-photos.com/4886948/2100978/18629871/s65_david.chai.jpeg"}</script></span></span></li><li class="js-paper-rank-work_4058336 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4058336"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4058336, container: ".js-paper-rank-work_4058336", }); 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Bremen and Freiburg Lectures: Insight into That Which Is and Basic Principles of Thinking. Translated by Andrew Mitchell. 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Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8735347" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tiger C. Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of "motor intentionality," Roholt shows that the "feel" of a groove, and the understanding of it, are two sides of a coin: to "get" a groove just is to comprehend it bodily and to feel that embodied comprehension.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8735347" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fc358c79462aa582b741645b483c6c82" rel="nofollow" data-download="{"attachment_id":35093053,"asset_id":8735347,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35093053/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="18273498" href="https://montclair.academia.edu/TigerRoholt">Tiger Roholt</a><script data-card-contents-for-user="18273498" type="text/json">{"id":18273498,"first_name":"Tiger","last_name":"Roholt","domain_name":"montclair","page_name":"TigerRoholt","display_name":"Tiger Roholt","profile_url":"https://montclair.academia.edu/TigerRoholt?f_ri=808","photo":"https://0.academia-photos.com/18273498/5113807/82258237/s65_tiger.roholt.jpg"}</script></span></span></li><li class="js-paper-rank-work_8735347 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8735347"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8735347, container: ".js-paper-rank-work_8735347", }); 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Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of \"motor intentionality,\" Roholt shows that the \"feel\" of a groove, and the understanding of it, are two sides of a coin: to \"get\" a groove just is to comprehend it bodily and to feel that embodied comprehension.","downloadable_attachments":[{"id":35093053,"asset_id":8735347,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":18273498,"first_name":"Tiger","last_name":"Roholt","domain_name":"montclair","page_name":"TigerRoholt","display_name":"Tiger Roholt","profile_url":"https://montclair.academia.edu/TigerRoholt?f_ri=808","photo":"https://0.academia-photos.com/18273498/5113807/82258237/s65_tiger.roholt.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":809,"name":"Analytic 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4867491" href="https://berkeley.academia.edu/NicholasBaer">Nicholas Baer</a><script data-card-contents-for-user="4867491" type="text/json">{"id":4867491,"first_name":"Nicholas","last_name":"Baer","domain_name":"berkeley","page_name":"NicholasBaer","display_name":"Nicholas Baer","profile_url":"https://berkeley.academia.edu/NicholasBaer?f_ri=808","photo":"https://0.academia-photos.com/4867491/2088127/59149392/s65_nicholas.baer.jpeg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-36700699">+1</span><div class="hidden js-additional-users-36700699"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://vanderbilt.academia.edu/JenniferFay">Jennifer 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La negoziazione delle estetiche organizzative©9\n1.1. Negoziazione, aggregazione e discriminazione©9\n1.2. Estetica organizzativa al plurale©14\n1.3. Estetica come consapevolezza metodologica©17\n1.4. Se l’estetica non viene data per scontata©18\n2. Giudizio estetico, organizzazione e comunità\ndi pratiche©27\n2.1. Estetica ed etica organizzativa©28\n2.2. Estetica tra organizzazione e comunità di pratiche©34\n2.3. Estetica e potere nell’organizzazione©41\n3. Performance e burocrazia©47\n3.1. Principi estetici del teatro e vita organizzativa©49\n3.2. Performance artistica e organizzazione©55\n3.3. Che cosa rimane della performance organizzativa?©63\n4. Arte, estetica e creatività organizzativa©71\n4.1. Creatività dell’organizzare tra arte e design©71\n4.2. Estetica organizzativa come emancipazione©81\n5. Sociologia dei sensi e approccio estetico©88\n5.1. Sensi e pratica sociale nell’organizzazione©90\n5.2. L’odore dell’organizzazione©103\nConclusioni©112\nBibliografia©114","downloadable_attachments":[{"id":55171584,"asset_id":15422816,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34526486,"first_name":"Antonio","last_name":"Strati","domain_name":"unitn","page_name":"AntonioStrati","display_name":"Antonio Strati","profile_url":"https://unitn.academia.edu/AntonioStrati?f_ri=808","photo":"https://0.academia-photos.com/34526486/10092731/17282961/s65_antonio.strati.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":1074,"name":"Organizational Theory","url":"https://www.academia.edu/Documents/in/Organizational_Theory?f_ri=808","nofollow":false},{"id":2919,"name":"Organizational Culture","url":"https://www.academia.edu/Documents/in/Organizational_Culture?f_ri=808","nofollow":false},{"id":6415,"name":"Organization Studies","url":"https://www.academia.edu/Documents/in/Organization_Studies?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25244871" data-work_id="25244871" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25244871/Die_Gier_nach_Neuem_und_Unbekanntem">Die Gier nach Neuem und Unbekanntem</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Neugier ist eine entscheidende Triebkraft, die Neues entstehen lässt, Wissensgewinn fördert und biologisch tief verwurzelt ist. Dies zeigt sich auch daran, dass die Erfüllung der Neugier, also die Reduktion des Nicht-Wissens, das... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25244871" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Neugier ist eine entscheidende Triebkraft, die Neues entstehen lässt, Wissensgewinn fördert und biologisch tief verwurzelt ist. Dies zeigt sich auch daran, dass die Erfüllung der Neugier, also die Reduktion des Nicht-Wissens, das neuronale Belohnungssystem aktiviert und dass das Fehlen von neuen Reizen (sensorische Deprivation) einen unerträglichen Zustand darstellt. Sowohl im individuellen als auch im evolutionären Maßstab sind Entwicklungen schwer vorstellbar ohne den Drang, Neues zu erleben, neue Handlungen auszuprobieren und Unbekanntes zu entdecken. Biologische Studien zeigen, dass sowohl Neophilie als auch Neophobie situativ vor- und nachteilig sein können, und ein Individuum Gewinn und Risiko jeweils gegeneinander abwägen muss. Zuwenig Neugier schränkt die Möglichkeit des Lernens ein, wohingegen zuviel Neugier Gefahren bergen kann. Vielleicht ist dies ein Grund, weswegen wir unsere Neugier auch im künstlerischen Modus zu stillen suchen. Die künstlerische Rahmung bietet einen Raum, in dem wir Erfahrungen sammeln können, ohne dabei allzu große Risiken eingehen zu müssen. Auf diese Weise erlaubt der künstlerische Modus, tief genug in eine Erfahrung einzutauchen, und dennoch gleichzeitig die Möglichkeit zu empfinden, trotz des Erkenntnisgewinns ohne andere gravierende Konsequenzen in das nicht künstlerisch gerahmte Leben zurück zu kehren. So bietet die Kunst einen geschützten und gleichzeitig potentiell wirklichkeitsverändernden Raum für Erfahrungen. Diese künstlerischen Erfahrungen sind auch die Quelle für eine künstlerische Art zu forschen, die zu spezifischen Erkenntnissen führen kann. Auch wenn die Neugier in der Kunstwelt eher eine periphere Rolle spielen mag, kann sie auf diese Weise dazu beitragen, unser Wissen über uns und die Welt zu verändern und zu vermehren.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25244871" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9b10fbbbda139ae87f08d978ad3a90a5" rel="nofollow" data-download="{"attachment_id":56144244,"asset_id":25244871,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56144244/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="905747" href="https://artistic-research.academia.edu/JulianKlein">Julian Klein</a><script data-card-contents-for-user="905747" type="text/json">{"id":905747,"first_name":"Julian","last_name":"Klein","domain_name":"artistic-research","page_name":"JulianKlein","display_name":"Julian Klein","profile_url":"https://artistic-research.academia.edu/JulianKlein?f_ri=808","photo":"https://0.academia-photos.com/905747/5950751/6755008/s65_julian.klein.jpg"}</script></span></span></li><li class="js-paper-rank-work_25244871 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25244871"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25244871, container: ".js-paper-rank-work_25244871", }); });</script></li><li class="js-percentile-work_25244871 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25244871; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_25244871"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_25244871 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="25244871"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25244871; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25244871]").text(description); $(".js-view-count-work_25244871").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25244871").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25244871"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6013" href="https://www.academia.edu/Documents/in/Performativity">Performativity</a>, <script data-card-contents-for-ri="6013" type="text/json">{"id":6013,"name":"Performativity","url":"https://www.academia.edu/Documents/in/Performativity?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20168" href="https://www.academia.edu/Documents/in/Artistic_Research">Artistic Research</a>, <script data-card-contents-for-ri="20168" type="text/json">{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="55724" href="https://www.academia.edu/Documents/in/Curiosity">Curiosity</a><script data-card-contents-for-ri="55724" type="text/json">{"id":55724,"name":"Curiosity","url":"https://www.academia.edu/Documents/in/Curiosity?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25244871]'), work: {"id":25244871,"title":"Die Gier nach Neuem und Unbekanntem","created_at":"2016-05-11T13:43:18.595-07:00","url":"https://www.academia.edu/25244871/Die_Gier_nach_Neuem_und_Unbekanntem?f_ri=808","dom_id":"work_25244871","summary":"Neugier ist eine entscheidende Triebkraft, die Neues entstehen lässt, Wissensgewinn fördert und biologisch tief verwurzelt ist. Dies zeigt sich auch daran, dass die Erfüllung der Neugier, also die Reduktion des Nicht-Wissens, das neuronale Belohnungssystem aktiviert und dass das Fehlen von neuen Reizen (sensorische Deprivation) einen unerträglichen Zustand darstellt. Sowohl im individuellen als auch im evolutionären Maßstab sind Entwicklungen schwer vorstellbar ohne den Drang, Neues zu erleben, neue Handlungen auszuprobieren und Unbekanntes zu entdecken. Biologische Studien zeigen, dass sowohl Neophilie als auch Neophobie situativ vor- und nachteilig sein können, und ein Individuum Gewinn und Risiko jeweils gegeneinander abwägen muss. Zuwenig Neugier schränkt die Möglichkeit des Lernens ein, wohingegen zuviel Neugier Gefahren bergen kann. Vielleicht ist dies ein Grund, weswegen wir unsere Neugier auch im künstlerischen Modus zu stillen suchen. Die künstlerische Rahmung bietet einen Raum, in dem wir Erfahrungen sammeln können, ohne dabei allzu große Risiken eingehen zu müssen. Auf diese Weise erlaubt der künstlerische Modus, tief genug in eine Erfahrung einzutauchen, und dennoch gleichzeitig die Möglichkeit zu empfinden, trotz des Erkenntnisgewinns ohne andere gravierende Konsequenzen in das nicht künstlerisch gerahmte Leben zurück zu kehren. So bietet die Kunst einen geschützten und gleichzeitig potentiell wirklichkeitsverändernden Raum für Erfahrungen. Diese künstlerischen Erfahrungen sind auch die Quelle für eine künstlerische Art zu forschen, die zu spezifischen Erkenntnissen führen kann. Auch wenn die Neugier in der Kunstwelt eher eine periphere Rolle spielen mag, kann sie auf diese Weise dazu beitragen, unser Wissen über uns und die Welt zu verändern und zu vermehren.\n\n","downloadable_attachments":[{"id":56144244,"asset_id":25244871,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":905747,"first_name":"Julian","last_name":"Klein","domain_name":"artistic-research","page_name":"JulianKlein","display_name":"Julian Klein","profile_url":"https://artistic-research.academia.edu/JulianKlein?f_ri=808","photo":"https://0.academia-photos.com/905747/5950751/6755008/s65_julian.klein.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":6013,"name":"Performativity","url":"https://www.academia.edu/Documents/in/Performativity?f_ri=808","nofollow":false},{"id":20168,"name":"Artistic 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js-work-link" href="https://www.academia.edu/1992805/The_Return_of_the_Uncanny">The Return of the Uncanny</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Introduction to special issue of Paradoxa on the uncanny in mass culture at the end of the 20th Century.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1992805" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="702f33e4967f4c4a5b139fa0585b38b2" rel="nofollow" data-download="{"attachment_id":31163109,"asset_id":1992805,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31163109/download_file?st=MTczMjYzNDk2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2597313" href="https://setonhill.academia.edu/MichaelArnzen">Michael Arnzen</a><script data-card-contents-for-user="2597313" 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work-percentile"></span></span><script>$(function () { var workId = 1992805; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_1992805"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_1992805 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="1992805"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1992805; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1992805]").text(description); $(".js-view-count-work_1992805").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1992805").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1992805"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5374" href="https://www.academia.edu/Documents/in/Lacan">Lacan</a>, <script data-card-contents-for-ri="5374" type="text/json">{"id":5374,"name":"Lacan","url":"https://www.academia.edu/Documents/in/Lacan?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8487" href="https://www.academia.edu/Documents/in/Sigmund_Freud">Sigmund Freud</a>, <script data-card-contents-for-ri="8487" type="text/json">{"id":8487,"name":"Sigmund Freud","url":"https://www.academia.edu/Documents/in/Sigmund_Freud?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9471" href="https://www.academia.edu/Documents/in/Reading">Reading</a><script data-card-contents-for-ri="9471" type="text/json">{"id":9471,"name":"Reading","url":"https://www.academia.edu/Documents/in/Reading?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1992805]'), work: {"id":1992805,"title":"The Return of the 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Storie, personaggi, poetiche da Schönberg a Sciarrino [Musical Paths of the Twentieth Century. Stories, Characters, Poetics from Schoenberg to Sciarrino]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45630196" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a world from which people generally prefer to keep away because it seems distant, complicated and incomprehensible. But is it really so?<br />The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45630196" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="749513b9c01c2e496c4512188ec74184" rel="nofollow" data-download="{"attachment_id":66122466,"asset_id":45630196,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66122466/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2173382" href="https://uniba-it.academia.edu/GiacomoFronzi">Giacomo Fronzi</a><script data-card-contents-for-user="2173382" type="text/json">{"id":2173382,"first_name":"Giacomo","last_name":"Fronzi","domain_name":"uniba-it","page_name":"GiacomoFronzi","display_name":"Giacomo Fronzi","profile_url":"https://uniba-it.academia.edu/GiacomoFronzi?f_ri=808","photo":"https://0.academia-photos.com/2173382/1174487/15951271/s65_giacomo.fronzi.jpg"}</script></span></span></li><li class="js-paper-rank-work_45630196 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45630196"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45630196, container: ".js-paper-rank-work_45630196", }); 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But is it really so?\nThe exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time. \n","downloadable_attachments":[{"id":66122466,"asset_id":45630196,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2173382,"first_name":"Giacomo","last_name":"Fronzi","domain_name":"uniba-it","page_name":"GiacomoFronzi","display_name":"Giacomo Fronzi","profile_url":"https://uniba-it.academia.edu/GiacomoFronzi?f_ri=808","photo":"https://0.academia-photos.com/2173382/1174487/15951271/s65_giacomo.fronzi.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=808","nofollow":false},{"id":676,"name":"Musical Composition","url":"https://www.academia.edu/Documents/in/Musical_Composition?f_ri=808","nofollow":false},{"id":686,"name":"Music Theory","url":"https://www.academia.edu/Documents/in/Music_Theory?f_ri=808","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=808"},{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=808"},{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=808"},{"id":43254,"name":"Composition","url":"https://www.academia.edu/Documents/in/Composition?f_ri=808"},{"id":43729,"name":"John Cage","url":"https://www.academia.edu/Documents/in/John_Cage?f_ri=808"},{"id":48316,"name":"Arnold Schoenberg","url":"https://www.academia.edu/Documents/in/Arnold_Schoenberg?f_ri=808"},{"id":76619,"name":"Karlheinz Stockhausen","url":"https://www.academia.edu/Documents/in/Karlheinz_Stockhausen?f_ri=808"},{"id":149599,"name":"Contemporary Composers","url":"https://www.academia.edu/Documents/in/Contemporary_Composers?f_ri=808"},{"id":166879,"name":"Luigi Nono","url":"https://www.academia.edu/Documents/in/Luigi_Nono?f_ri=808"},{"id":168314,"name":"Luciano Berio","url":"https://www.academia.edu/Documents/in/Luciano_Berio?f_ri=808"},{"id":211373,"name":"Astor Piazzolla","url":"https://www.academia.edu/Documents/in/Astor_Piazzolla?f_ri=808"},{"id":340169,"name":"György Ligeti","url":"https://www.academia.edu/Documents/in/Gyorgy_Ligeti?f_ri=808"},{"id":340233,"name":"Pierre Boulez","url":"https://www.academia.edu/Documents/in/Pierre_Boulez?f_ri=808"},{"id":547918,"name":"Salvatore Sciarrino","url":"https://www.academia.edu/Documents/in/Salvatore_Sciarrino?f_ri=808"},{"id":600876,"name":"Steve Reich","url":"https://www.academia.edu/Documents/in/Steve_Reich?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36295235" data-work_id="36295235" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36295235/%CE%9C%CE%B9%CE%B1_%CF%80%CE%B5%CF%81%CE%B9%CE%B4%CE%B9%CE%AC%CE%B2%CE%B1%CF%83%CE%B7_%CF%83%CF%84%CE%B7%CE%BD_%CE%B1%CE%B9%CF%83%CE%B8%CE%B7%CF%84%CE%B9%CE%BA%CE%AE_%CE%B8%CE%B5%CF%89%CF%81%CE%AF%CE%B1_%CF%84%CE%BF%CF%85_%CE%A7%CE%AD%CE%B3%CE%BA%CE%B5%CE%BB_2018_">Μια περιδιάβαση στην αισθητική θεωρία του Χέγκελ [2018]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Αποτελεί μια σύντομη (<2000 λ.) και επιλεκτική παρουσίαση (περιδιάβαση) της αισθητικής θεωρίας του Χέγκελ.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36295235" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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data-has-card-for-user="13631421" href="https://en-uoa-gr.academia.edu/PavlosSilvestros">Pavlos Silvestros</a><script data-card-contents-for-user="13631421" type="text/json">{"id":13631421,"first_name":"Pavlos","last_name":"Silvestros","domain_name":"en-uoa-gr","page_name":"PavlosSilvestros","display_name":"Pavlos Silvestros","profile_url":"https://en-uoa-gr.academia.edu/PavlosSilvestros?f_ri=808","photo":"https://0.academia-photos.com/13631421/8273415/31026430/s65_pavlos.silvestros.jpg"}</script></span></span></li><li class="js-paper-rank-work_36295235 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36295235"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36295235, container: ".js-paper-rank-work_36295235", }); });</script></li><li class="js-percentile-work_36295235 InlineList-item InlineList-item--bordered hidden 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'View'); $(".js-view-count[data-work-id=36295235]").text(description); $(".js-view-count-work_36295235").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36295235").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36295235"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6202" href="https://www.academia.edu/Documents/in/German_Idealism">German Idealism</a>, <script data-card-contents-for-ri="6202" type="text/json">{"id":6202,"name":"German Idealism","url":"https://www.academia.edu/Documents/in/German_Idealism?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7942" href="https://www.academia.edu/Documents/in/Hegel">Hegel</a>, <script data-card-contents-for-ri="7942" type="text/json">{"id":7942,"name":"Hegel","url":"https://www.academia.edu/Documents/in/Hegel?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="620285" href="https://www.academia.edu/Documents/in/History_of_Philosophy">History of Philosophy</a><script data-card-contents-for-ri="620285" type="text/json">{"id":620285,"name":"History of Philosophy","url":"https://www.academia.edu/Documents/in/History_of_Philosophy?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36295235]'), work: {"id":36295235,"title":"Μια περιδιάβαση στην αισθητική θεωρία του Χέγκελ [2018]","created_at":"2018-03-31T00:39:49.089-07:00","url":"https://www.academia.edu/36295235/%CE%9C%CE%B9%CE%B1_%CF%80%CE%B5%CF%81%CE%B9%CE%B4%CE%B9%CE%AC%CE%B2%CE%B1%CF%83%CE%B7_%CF%83%CF%84%CE%B7%CE%BD_%CE%B1%CE%B9%CF%83%CE%B8%CE%B7%CF%84%CE%B9%CE%BA%CE%AE_%CE%B8%CE%B5%CF%89%CF%81%CE%AF%CE%B1_%CF%84%CE%BF%CF%85_%CE%A7%CE%AD%CE%B3%CE%BA%CE%B5%CE%BB_2018_?f_ri=808","dom_id":"work_36295235","summary":"Αποτελεί μια σύντομη (\u003c2000 λ.) και επιλεκτική παρουσίαση (περιδιάβαση) της αισθητικής θεωρίας του Χέγκελ.\n\n","downloadable_attachments":[{"id":56201885,"asset_id":36295235,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13631421,"first_name":"Pavlos","last_name":"Silvestros","domain_name":"en-uoa-gr","page_name":"PavlosSilvestros","display_name":"Pavlos Silvestros","profile_url":"https://en-uoa-gr.academia.edu/PavlosSilvestros?f_ri=808","photo":"https://0.academia-photos.com/13631421/8273415/31026430/s65_pavlos.silvestros.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":6202,"name":"German Idealism","url":"https://www.academia.edu/Documents/in/German_Idealism?f_ri=808","nofollow":false},{"id":7942,"name":"Hegel","url":"https://www.academia.edu/Documents/in/Hegel?f_ri=808","nofollow":false},{"id":620285,"name":"History of Philosophy","url":"https://www.academia.edu/Documents/in/History_of_Philosophy?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_66846899" data-work_id="66846899" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/66846899/The_Iconic_In_Difference">The Iconic (In)Difference</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/66846899" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c06cb663bda34478ed214ef06040bbb0" rel="nofollow" data-download="{"attachment_id":80462887,"asset_id":66846899,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/80462887/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="510046" href="https://unimi.academia.edu/PietroConte">Pietro Conte</a><script data-card-contents-for-user="510046" type="text/json">{"id":510046,"first_name":"Pietro","last_name":"Conte","domain_name":"unimi","page_name":"PietroConte","display_name":"Pietro Conte","profile_url":"https://unimi.academia.edu/PietroConte?f_ri=808","photo":"https://0.academia-photos.com/510046/177375/21828014/s65_pietro.conte.jpg"}</script></span></span></li><li class="js-paper-rank-work_66846899 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="66846899"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 66846899, container: ".js-paper-rank-work_66846899", }); });</script></li><li class="js-percentile-work_66846899 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 66846899; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_66846899"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_66846899 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="66846899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 66846899; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=66846899]").text(description); $(".js-view-count-work_66846899").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_66846899").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="66846899"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="867" href="https://www.academia.edu/Documents/in/Perception">Perception</a>, <script data-card-contents-for-ri="867" type="text/json">{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2264" href="https://www.academia.edu/Documents/in/Mimesis">Mimesis</a><script data-card-contents-for-ri="2264" type="text/json">{"id":2264,"name":"Mimesis","url":"https://www.academia.edu/Documents/in/Mimesis?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=66846899]'), work: {"id":66846899,"title":"The Iconic (In)Difference","created_at":"2022-01-02T03:47:15.640-08:00","url":"https://www.academia.edu/66846899/The_Iconic_In_Difference?f_ri=808","dom_id":"work_66846899","summary":null,"downloadable_attachments":[{"id":80462887,"asset_id":66846899,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":510046,"first_name":"Pietro","last_name":"Conte","domain_name":"unimi","page_name":"PietroConte","display_name":"Pietro Conte","profile_url":"https://unimi.academia.edu/PietroConte?f_ri=808","photo":"https://0.academia-photos.com/510046/177375/21828014/s65_pietro.conte.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=808","nofollow":false},{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception?f_ri=808","nofollow":false},{"id":2264,"name":"Mimesis","url":"https://www.academia.edu/Documents/in/Mimesis?f_ri=808","nofollow":false},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=808"},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=808"},{"id":42069,"name":"Hyperrealism","url":"https://www.academia.edu/Documents/in/Hyperrealism?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10125256" data-work_id="10125256" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10125256/Aesthetic_of_Industrial_Architecture_in_Era_of_Reindustrialization">Aesthetic of Industrial Architecture in Era of Reindustrialization</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper is dealing with new industrial architecture as emerging, re-birthed phenomenon in architectural practice. Although the industrial buildings are not a new building typology, industrial architecture was not always, so to say,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10125256" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper is dealing with new industrial architecture as emerging, re-birthed phenomenon in <br />architectural practice. Although the industrial buildings are not a new building typology, industrial <br />architecture was not always, so to say, “present” in construction of industrial facilities. Through <br />discussion in this paper we will try to define what we can call a new industrial architecture and <br />what the boundaries of this definition are. In this context, we made a distinction between the <br />vastness of the industrial buildings built as mass production facilities without any architectural <br />integrity and at the same time tried to find and present several examples of architectural works that <br />belong to the same building typology, but that can be considered as really representations of <br />industrial architecture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10125256" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f64b37a51719ce921b4c94490e60e223" rel="nofollow" data-download="{"attachment_id":36239940,"asset_id":10125256,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36239940/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="786079" href="https://as.academia.edu/LjiljanaJevremovic">Ljiljana Jevremovic</a><script data-card-contents-for-user="786079" type="text/json">{"id":786079,"first_name":"Ljiljana","last_name":"Jevremovic","domain_name":"as","page_name":"LjiljanaJevremovic","display_name":"Ljiljana Jevremovic","profile_url":"https://as.academia.edu/LjiljanaJevremovic?f_ri=808","photo":"https://0.academia-photos.com/786079/266873/66438658/s65_ljiljana.jevremovic.jpg"}</script></span></span></li><li class="js-paper-rank-work_10125256 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10125256"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10125256, container: ".js-paper-rank-work_10125256", }); });</script></li><li class="js-percentile-work_10125256 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10125256; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_10125256"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_10125256 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="10125256"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10125256; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10125256]").text(description); $(".js-view-count-work_10125256").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10125256").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10125256"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7655" href="https://www.academia.edu/Documents/in/Architectural_History">Architectural History</a>, <script data-card-contents-for-ri="7655" type="text/json">{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="39723" href="https://www.academia.edu/Documents/in/Industrial_Architecture">Industrial Architecture</a>, <script data-card-contents-for-ri="39723" type="text/json">{"id":39723,"name":"Industrial Architecture","url":"https://www.academia.edu/Documents/in/Industrial_Architecture?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="61738" href="https://www.academia.edu/Documents/in/Architectural_Design">Architectural Design</a><script data-card-contents-for-ri="61738" type="text/json">{"id":61738,"name":"Architectural Design","url":"https://www.academia.edu/Documents/in/Architectural_Design?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10125256]'), work: {"id":10125256,"title":"Aesthetic of Industrial Architecture in Era of Reindustrialization","created_at":"2015-01-12T05:40:39.313-08:00","url":"https://www.academia.edu/10125256/Aesthetic_of_Industrial_Architecture_in_Era_of_Reindustrialization?f_ri=808","dom_id":"work_10125256","summary":"This paper is dealing with new industrial architecture as emerging, re-birthed phenomenon in\r\narchitectural practice. Although the industrial buildings are not a new building typology, industrial\r\narchitecture was not always, so to say, “present” in construction of industrial facilities. Through\r\ndiscussion in this paper we will try to define what we can call a new industrial architecture and\r\nwhat the boundaries of this definition are. In this context, we made a distinction between the\r\nvastness of the industrial buildings built as mass production facilities without any architectural\r\nintegrity and at the same time tried to find and present several examples of architectural works that\r\nbelong to the same building typology, but that can be considered as really representations of\r\nindustrial architecture.","downloadable_attachments":[{"id":36239940,"asset_id":10125256,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":786079,"first_name":"Ljiljana","last_name":"Jevremovic","domain_name":"as","page_name":"LjiljanaJevremovic","display_name":"Ljiljana Jevremovic","profile_url":"https://as.academia.edu/LjiljanaJevremovic?f_ri=808","photo":"https://0.academia-photos.com/786079/266873/66438658/s65_ljiljana.jevremovic.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=808","nofollow":false},{"id":39723,"name":"Industrial Architecture","url":"https://www.academia.edu/Documents/in/Industrial_Architecture?f_ri=808","nofollow":false},{"id":61738,"name":"Architectural Design","url":"https://www.academia.edu/Documents/in/Architectural_Design?f_ri=808","nofollow":false},{"id":87641,"name":"Archtecture","url":"https://www.academia.edu/Documents/in/Archtecture?f_ri=808"},{"id":545365,"name":"Architectural Composition","url":"https://www.academia.edu/Documents/in/Architectural_Composition?f_ri=808"},{"id":702358,"name":"Reindustrialization","url":"https://www.academia.edu/Documents/in/Reindustrialization?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25707799" data-work_id="25707799" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25707799/KANTIAN_AND_NIETZSCHEAN_AESTHETICS_OF_HUMAN_NATURE_A_COMPARISON_BETWEEN_THE_BEAUTIFUL_SUBLIME_AND_APOLLONIAN_DIONYSIAN_DUALITIES">KANTIAN AND NIETZSCHEAN AESTHETICS OF HUMAN NATURE: A COMPARISON BETWEEN THE BEAUTIFUL/SUBLIME AND APOLLONIAN/DIONYSIAN DUALITIES</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25707799" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant's and Nietzsche's aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime " by far the most excellent thing in the Critique of Judgment " which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant's forced teleological move is to make his theory of aesthetic judgment stand as a 'reaffirmation' of the <a href="http://www.cosmosandhistory.org" rel="nofollow">www.cosmosandhistory.org</a> 166</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25707799" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d4ac9ae21272fc7c094bffe1267bf060" rel="nofollow" data-download="{"attachment_id":46053399,"asset_id":25707799,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46053399/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32280679" href="https://usp-fj.academia.edu/ErmanKaplama">Erman Kaplama</a><script data-card-contents-for-user="32280679" type="text/json">{"id":32280679,"first_name":"Erman","last_name":"Kaplama","domain_name":"usp-fj","page_name":"ErmanKaplama","display_name":"Erman Kaplama","profile_url":"https://usp-fj.academia.edu/ErmanKaplama?f_ri=808","photo":"https://0.academia-photos.com/32280679/9658489/17933193/s65_erman.kaplama.png"}</script></span></span></li><li class="js-paper-rank-work_25707799 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25707799"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25707799, container: ".js-paper-rank-work_25707799", }); 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$(".js-view-count[data-work-id=25707799]").text(description); $(".js-view-count-work_25707799").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25707799").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25707799"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="804" href="https://www.academia.edu/Documents/in/Metaphysics">Metaphysics</a>, <script data-card-contents-for-ri="804" type="text/json">{"id":804,"name":"Metaphysics","url":"https://www.academia.edu/Documents/in/Metaphysics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="814" href="https://www.academia.edu/Documents/in/Ethics">Ethics</a><script data-card-contents-for-ri="814" type="text/json">{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25707799]'), work: {"id":25707799,"title":"KANTIAN AND NIETZSCHEAN AESTHETICS OF HUMAN NATURE: A COMPARISON BETWEEN THE BEAUTIFUL/SUBLIME AND APOLLONIAN/DIONYSIAN DUALITIES","created_at":"2016-05-29T17:09:19.702-07:00","url":"https://www.academia.edu/25707799/KANTIAN_AND_NIETZSCHEAN_AESTHETICS_OF_HUMAN_NATURE_A_COMPARISON_BETWEEN_THE_BEAUTIFUL_SUBLIME_AND_APOLLONIAN_DIONYSIAN_DUALITIES?f_ri=808","dom_id":"work_25707799","summary":"Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant's and Nietzsche's aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime \" by far the most excellent thing in the Critique of Judgment \" which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant's forced teleological move is to make his theory of aesthetic judgment stand as a 'reaffirmation' of the www.cosmosandhistory.org 166","downloadable_attachments":[{"id":46053399,"asset_id":25707799,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":32280679,"first_name":"Erman","last_name":"Kaplama","domain_name":"usp-fj","page_name":"ErmanKaplama","display_name":"Erman Kaplama","profile_url":"https://usp-fj.academia.edu/ErmanKaplama?f_ri=808","photo":"https://0.academia-photos.com/32280679/9658489/17933193/s65_erman.kaplama.png"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false},{"id":804,"name":"Metaphysics","url":"https://www.academia.edu/Documents/in/Metaphysics?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=808","nofollow":false},{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities?f_ri=808"},{"id":6202,"name":"German Idealism","url":"https://www.academia.edu/Documents/in/German_Idealism?f_ri=808"},{"id":8303,"name":"Friedrich Nietzsche","url":"https://www.academia.edu/Documents/in/Friedrich_Nietzsche?f_ri=808"},{"id":16031,"name":"Immanuel Kant","url":"https://www.academia.edu/Documents/in/Immanuel_Kant?f_ri=808"},{"id":20221,"name":"The Sublime","url":"https://www.academia.edu/Documents/in/The_Sublime?f_ri=808"},{"id":28324,"name":"Heraclitus","url":"https://www.academia.edu/Documents/in/Heraclitus?f_ri=808"},{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty?f_ri=808"},{"id":620285,"name":"History of Philosophy","url":"https://www.academia.edu/Documents/in/History_of_Philosophy?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29422747" data-work_id="29422747" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29422747/THE_POSTMODERN_SUBLIME_PRESENTATION_AND_ITS_LIMITS">THE POSTMODERN SUBLIME: PRESENTATION AND ITS LIMITS</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This essay compares the aesthetics of the sublime in the work of Gilles Deleuze, Jean-François Lyotard, Julia Kristeva, and Frederic Jameson.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29422747" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="13ef4a99d9c0b55c8e3536182db64c27" rel="nofollow" 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type="text/json">{"id":71097,"first_name":"David","last_name":"Johnson","domain_name":"saic","page_name":"DavidJohnson","display_name":"David B Johnson","profile_url":"https://saic.academia.edu/DavidJohnson?f_ri=808","photo":"https://0.academia-photos.com/71097/12692039/15494640/s65_david.johnson.jpg"}</script></span></span></li><li class="js-paper-rank-work_29422747 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29422747"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29422747, container: ".js-paper-rank-work_29422747", }); });</script></li><li class="js-percentile-work_29422747 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x 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}); });</script></span><script>$(function() { $(".js-view-count-work_29422747").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29422747"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a>, <script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10444" href="https://www.academia.edu/Documents/in/Postmodernism">Postmodernism</a>, <script data-card-contents-for-ri="10444" type="text/json">{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14571" href="https://www.academia.edu/Documents/in/Julia_Kristeva">Julia Kristeva</a><script data-card-contents-for-ri="14571" type="text/json">{"id":14571,"name":"Julia Kristeva","url":"https://www.academia.edu/Documents/in/Julia_Kristeva?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29422747]'), work: {"id":29422747,"title":"THE POSTMODERN SUBLIME: PRESENTATION AND ITS 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Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=808","nofollow":false},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=808","nofollow":false},{"id":14571,"name":"Julia Kristeva","url":"https://www.academia.edu/Documents/in/Julia_Kristeva?f_ri=808","nofollow":false},{"id":20221,"name":"The Sublime","url":"https://www.academia.edu/Documents/in/The_Sublime?f_ri=808"},{"id":43594,"name":"Jean-François Lyotard","url":"https://www.academia.edu/Documents/in/Jean-Fran%C3%A7ois_Lyotard?f_ri=808"},{"id":318532,"name":"Frederic Jameson","url":"https://www.academia.edu/Documents/in/Frederic_Jameson?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22107400" data-work_id="22107400" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/22107400/Nsibidi_Ekpuk_Philosophy_and_Mysticism_Research_and_Publication_Project">Nsibidi/Ekpuk Philosophy and Mysticism : Research and Publication Project</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">An exploration of the philosophical and mystical potential of the art of Victor Ekpuk and the Nsibidi symbolism of the Ekpe esoteric order of South-South and South-East Nigeria and South-West Cameroon which inspires his work, in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22107400" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An exploration of the philosophical and mystical potential of the art of Victor Ekpuk and the Nsibidi symbolism of the Ekpe esoteric order of South-South and South-East Nigeria and South-West Cameroon which inspires his work, in the <br />context of Africana and global esotericism.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22107400" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="df779441732122333a51e3b64cdbb633" rel="nofollow" data-download="{"attachment_id":46373119,"asset_id":22107400,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42876151/Epistemologies_of_Aesthetics">Epistemologies of Aesthetics</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The idea of 'art as research' and 'research as art' have risen over the past two decades as important critical focuses for the philosophy of media, aesthetics, and art. Of particular interest is how the methodologies of art and science... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42876151" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The idea of 'art as research' and 'research as art' have risen over the past two decades as important critical focuses for the philosophy of media, aesthetics, and art. Of particular interest is how the methodologies of art and science might be merged to create better conceptual understanding of art-based research. The book deconstructs and displaces the terminology that typically accompanies the question of the relationship between art and scientific truth. Identifying artistic practices as modes of thought that do no make use of language in a way that can easily be translated into scientific discourse, the text advocates for a genuine aesthetic mode of thought beyond 'linguistic turn', a way of thinking that cannot be substituted by any other disciplinary system.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42876151" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c6617bdf752c18bd8b799b2b15358197" rel="nofollow" data-download="{"attachment_id":63118065,"asset_id":42876151,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63118065/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="129189784" href="https://zhdk.academia.edu/DieterMersch">Dieter Mersch</a><script data-card-contents-for-user="129189784" type="text/json">{"id":129189784,"first_name":"Dieter","last_name":"Mersch","domain_name":"zhdk","page_name":"DieterMersch","display_name":"Dieter Mersch","profile_url":"https://zhdk.academia.edu/DieterMersch?f_ri=808","photo":"https://0.academia-photos.com/129189784/33305834/30475398/s65_dieter.mersch.jpg"}</script></span></span></li><li class="js-paper-rank-work_42876151 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42876151"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42876151, container: ".js-paper-rank-work_42876151", }); 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$(".js-view-count[data-work-id=42876151]").text(description); $(".js-view-count-work_42876151").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42876151").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42876151"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5960" href="https://www.academia.edu/Documents/in/Continental_Philosophy">Continental Philosophy</a>, <script data-card-contents-for-ri="5960" type="text/json">{"id":5960,"name":"Continental Philosophy","url":"https://www.academia.edu/Documents/in/Continental_Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20168" href="https://www.academia.edu/Documents/in/Artistic_Research">Artistic Research</a>, <script data-card-contents-for-ri="20168" type="text/json">{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="69946" href="https://www.academia.edu/Documents/in/Contemporary_Continental_Philosophy">Contemporary Continental Philosophy</a><script data-card-contents-for-ri="69946" type="text/json">{"id":69946,"name":"Contemporary Continental Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_Continental_Philosophy?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42876151]'), work: {"id":42876151,"title":"Epistemologies of Aesthetics","created_at":"2020-04-28T01:41:05.289-07:00","url":"https://www.academia.edu/42876151/Epistemologies_of_Aesthetics?f_ri=808","dom_id":"work_42876151","summary":"The idea of 'art as research' and 'research as art' have risen over the past two decades as important critical focuses for the philosophy of media, aesthetics, and art. 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Identifying artistic practices as modes of thought that do no make use of language in a way that can easily be translated into scientific discourse, the text advocates for a genuine aesthetic mode of thought beyond 'linguistic turn', a way of thinking that cannot be substituted by any other disciplinary system.","downloadable_attachments":[{"id":63118065,"asset_id":42876151,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":129189784,"first_name":"Dieter","last_name":"Mersch","domain_name":"zhdk","page_name":"DieterMersch","display_name":"Dieter Mersch","profile_url":"https://zhdk.academia.edu/DieterMersch?f_ri=808","photo":"https://0.academia-photos.com/129189784/33305834/30475398/s65_dieter.mersch.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":5960,"name":"Continental Philosophy","url":"https://www.academia.edu/Documents/in/Continental_Philosophy?f_ri=808","nofollow":false},{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=808","nofollow":false},{"id":69946,"name":"Contemporary Continental Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_Continental_Philosophy?f_ri=808","nofollow":false},{"id":129959,"name":"Methodologies for Artistic Research","url":"https://www.academia.edu/Documents/in/Methodologies_for_Artistic_Research?f_ri=808"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_51075227 coauthored" data-work_id="51075227" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/51075227/Introduction_Art_History_after_Deleuze_a">Introduction Art History after Deleuze a</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/51075227" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="81fec84998d56e1ed3771a072967aa76" rel="nofollow" data-download="{"attachment_id":68930776,"asset_id":51075227,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68930776/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10238671" href="https://independent.academia.edu/stephenzepke">stephen zepke</a><script data-card-contents-for-user="10238671" type="text/json">{"id":10238671,"first_name":"stephen","last_name":"zepke","domain_name":"independent","page_name":"stephenzepke","display_name":"stephen zepke","profile_url":"https://independent.academia.edu/stephenzepke?f_ri=808","photo":"https://0.academia-photos.com/10238671/3138694/6569633/s65_stephen.zepke.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-51075227">+1</span><div class="hidden js-additional-users-51075227"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://eur.academia.edu/SjoerdvanTuinen">Sjoerd van Tuinen</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-51075227'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-51075227').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_51075227 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="51075227"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 51075227, container: ".js-paper-rank-work_51075227", }); });</script></li><li class="js-percentile-work_51075227 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 51075227; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_51075227"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_51075227 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="51075227"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 51075227; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=51075227]").text(description); $(".js-view-count-work_51075227").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_51075227").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="51075227"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a>, <script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19915" href="https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari">Gilles Deleuze and Felix Guattari</a><script data-card-contents-for-ri="19915" type="text/json">{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=51075227]'), work: {"id":51075227,"title":"Introduction Art History after Deleuze a","created_at":"2021-08-29T02:58:35.558-07:00","url":"https://www.academia.edu/51075227/Introduction_Art_History_after_Deleuze_a?f_ri=808","dom_id":"work_51075227","summary":null,"downloadable_attachments":[{"id":68930776,"asset_id":51075227,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10238671,"first_name":"stephen","last_name":"zepke","domain_name":"independent","page_name":"stephenzepke","display_name":"stephen zepke","profile_url":"https://independent.academia.edu/stephenzepke?f_ri=808","photo":"https://0.academia-photos.com/10238671/3138694/6569633/s65_stephen.zepke.jpg"},{"id":220231,"first_name":"Sjoerd","last_name":"van Tuinen","domain_name":"eur","page_name":"SjoerdvanTuinen","display_name":"Sjoerd van Tuinen","profile_url":"https://eur.academia.edu/SjoerdvanTuinen?f_ri=808","photo":"https://0.academia-photos.com/220231/263918/311868/s65_sjoerd.van_tuinen.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=808","nofollow":false},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=808","nofollow":false},{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39888629" data-work_id="39888629" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39888629/Ancient_aesthetics">Ancient aesthetics</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Four different areas of concern can be singled out within ‘ancient aesthetics’, if we take the latter term to describe ancient authors’ attempts to theoretically comprehend beauty and the arts: i. The attempt to understand beauty (to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39888629" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Four different areas of concern can be singled out within ‘ancient aesthetics’, if we take the latter term to describe ancient authors’ attempts to theoretically comprehend beauty and the arts:<br /><br />i. The attempt to understand beauty (to kalon) as an ‘objective’ quality in the world that characterises some objects, people, and nature herself;<br />ii. The attempt to understand what we would call the ‘subjective’ dimension involved in human responsiveness to beauty and the arts: the way that beautiful things please or move us, and the way that their effect upon us can be edifying, purifying us from negative beliefs or emotions (katharsis), or morally elevating us to be better citizens or human beings (in the context of paideia);<br />iii. Attempts to understand how artistic objects, from poems to sculptures, are produced: whether through madness or inspiration, or by following codifiable technical norms, and with what ends;<br />iv. falling between (i.) and (ii.), attempts to theorise the ethical and political significance of the arts, given their capacities to powerfully affect and transform individuals or groups.<br /><br />The chapter traces these four concerns as they come in and out of focus in the prephilosophical Greeks, Pythagoras and Plato, Aristotle, and then the Hellenistics, led by the Stoics.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39888629" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="09229634efc7ba6cf4559179fc9f2cec" rel="nofollow" data-download="{"attachment_id":77746020,"asset_id":39888629,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/77746020/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="401967" href="https://acu-au.academia.edu/MatthewSharpe">Matthew J Sharpe</a><script data-card-contents-for-user="401967" type="text/json">{"id":401967,"first_name":"Matthew","last_name":"Sharpe","domain_name":"acu-au","page_name":"MatthewSharpe","display_name":"Matthew J Sharpe","profile_url":"https://acu-au.academia.edu/MatthewSharpe?f_ri=808","photo":"https://0.academia-photos.com/401967/125871/5706922/s65_matthew.sharpe.jpg"}</script></span></span></li><li class="js-paper-rank-work_39888629 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39888629"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39888629, container: ".js-paper-rank-work_39888629", }); });</script></li><li class="js-percentile-work_39888629 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39888629; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39888629"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39888629 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39888629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39888629; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39888629]").text(description); $(".js-view-count-work_39888629").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39888629").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39888629"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17178" href="https://www.academia.edu/Documents/in/Ancient_Philosophy">Ancient Philosophy</a>, <script data-card-contents-for-ri="17178" type="text/json">{"id":17178,"name":"Ancient Philosophy","url":"https://www.academia.edu/Documents/in/Ancient_Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="33438" href="https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art">Ancient Greek and Roman Art</a><script data-card-contents-for-ri="33438" type="text/json">{"id":33438,"name":"Ancient Greek and Roman Art","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39888629]'), work: {"id":39888629,"title":"Ancient aesthetics","created_at":"2019-07-21T17:04:36.718-07:00","url":"https://www.academia.edu/39888629/Ancient_aesthetics?f_ri=808","dom_id":"work_39888629","summary":"Four different areas of concern can be singled out within ‘ancient aesthetics’, if we take the latter term to describe ancient authors’ attempts to theoretically comprehend beauty and the arts:\n\ni. The attempt to understand beauty (to kalon) as an ‘objective’ quality in the world that characterises some objects, people, and nature herself;\nii. The attempt to understand what we would call the ‘subjective’ dimension involved in human responsiveness to beauty and the arts: the way that beautiful things please or move us, and the way that their effect upon us can be edifying, purifying us from negative beliefs or emotions (katharsis), or morally elevating us to be better citizens or human beings (in the context of paideia);\niii. Attempts to understand how artistic objects, from poems to sculptures, are produced: whether through madness or inspiration, or by following codifiable technical norms, and with what ends;\niv. falling between (i.) and (ii.), attempts to theorise the ethical and political significance of the arts, given their capacities to powerfully affect and transform individuals or groups.\n\nThe chapter traces these four concerns as they come in and out of focus in the prephilosophical Greeks, Pythagoras and Plato, Aristotle, and then the Hellenistics, led by the Stoics. ","downloadable_attachments":[{"id":77746020,"asset_id":39888629,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":401967,"first_name":"Matthew","last_name":"Sharpe","domain_name":"acu-au","page_name":"MatthewSharpe","display_name":"Matthew J Sharpe","profile_url":"https://acu-au.academia.edu/MatthewSharpe?f_ri=808","photo":"https://0.academia-photos.com/401967/125871/5706922/s65_matthew.sharpe.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":17178,"name":"Ancient Philosophy","url":"https://www.academia.edu/Documents/in/Ancient_Philosophy?f_ri=808","nofollow":false},{"id":33438,"name":"Ancient Greek and Roman Art","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_76750769" data-work_id="76750769" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/76750769/La_educaci%C3%B3n_musical_en_los_libros_II_y_III_de_la_Rep%C3%BAblica_de_Plat%C3%B3n">La educación musical en los libros II y III de la República de Platón</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El tema de esta tesis es la educación musical en la filosofía de Platón. En la República de Platón, la etapa educativa más importante es la niñez; los vehículos de esta educación son la mousiké para el alma (o mente) y la gimnasia para el... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_76750769" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El tema de esta tesis es la educación musical en la filosofía de Platón. En la República de Platón, la etapa educativa más importante es la niñez; los vehículos de esta educación son la mousiké para el alma (o mente) y la gimnasia para el cuerpo. La palabra griega mousiké describe un conjunto de artes compuesto por la música, la poesía, el canto y el baile. Así mismo, una educación musical para Platón describe una educación cultural. Además, Platón entiende que la conservación política de la ciudad ideal depende de una adecuada práctica musical, y de proteger los modos musicales. Por ende, la educación musical es un tema meridiano en la pedagogía si concedemos que la República es más bien un libro cuyo tema es la educación. Que el elemento fundamental del tema educativo (la mousiké) provoque sorpresa, sea en el lector antiguo o moderno, problematiza el significado del concepto humano de la educación. Que provoque sorpresa puede dejar entrever que una pedagogía que no otorga a las artes (y notablemente, a los modos musicales) importancia suprema, está condenada al fracaso. Igual destino puede esperar a una filosofía o práctica política que ignore su importancia. Es en el contexto de estas inquietudes que surge la pregunta que esta tesis intenta contestar: ¿Por qué considera Platón que la mousiké es central en la polis? La tesis que se defiende es la siguiente: Platón postula que la mousiké es aquello que educa la sociedad porque tiene el efecto de moldear el alma (o la mente). Esto tiene consecuencias políticas, pues la legislación y la justicia, que son las dos artes de la política, dependen del carácter de los individuos que componen la polis.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/76750769" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e7d3781f11f5df1dcf0bab7c9b085eaf" rel="nofollow" data-download="{"attachment_id":84350481,"asset_id":76750769,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84350481/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="90839176" href="https://uprrp.academia.edu/ManuelFigueroa">Manuel Figueroa Bonilla</a><script data-card-contents-for-user="90839176" type="text/json">{"id":90839176,"first_name":"Manuel","last_name":"Figueroa Bonilla","domain_name":"uprrp","page_name":"ManuelFigueroa","display_name":"Manuel Figueroa Bonilla","profile_url":"https://uprrp.academia.edu/ManuelFigueroa?f_ri=808","photo":"https://0.academia-photos.com/90839176/25099149/76205377/s65_manuel.figueroa.jpeg"}</script></span></span></li><li class="js-paper-rank-work_76750769 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="76750769"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 76750769, container: ".js-paper-rank-work_76750769", }); });</script></li><li class="js-percentile-work_76750769 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76750769; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_76750769"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_76750769 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="76750769"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76750769; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76750769]").text(description); $(".js-view-count-work_76750769").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_76750769").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="76750769"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="813" href="https://www.academia.edu/Documents/in/Political_Philosophy">Political Philosophy</a>, <script data-card-contents-for-ri="813" type="text/json">{"id":813,"name":"Political Philosophy","url":"https://www.academia.edu/Documents/in/Political_Philosophy?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="814" href="https://www.academia.edu/Documents/in/Ethics">Ethics</a><script data-card-contents-for-ri="814" type="text/json">{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=76750769]'), work: {"id":76750769,"title":"La educación musical en los libros II y III de la República de Platón","created_at":"2022-04-17T16:08:06.728-07:00","url":"https://www.academia.edu/76750769/La_educaci%C3%B3n_musical_en_los_libros_II_y_III_de_la_Rep%C3%BAblica_de_Plat%C3%B3n?f_ri=808","dom_id":"work_76750769","summary":"El tema de esta tesis es la educación musical en la filosofía de Platón. En la República de Platón, la etapa educativa más importante es la niñez; los vehículos de esta educación son la mousiké para el alma (o mente) y la gimnasia para el cuerpo. La palabra griega mousiké describe un conjunto de artes compuesto por la música, la poesía, el canto y el baile. Así mismo, una educación musical para Platón describe una educación cultural. Además, Platón entiende que la conservación política de la ciudad ideal depende de una adecuada práctica musical, y de proteger los modos musicales. Por ende, la educación musical es un tema meridiano en la pedagogía si concedemos que la República es más bien un libro cuyo tema es la educación. Que el elemento fundamental del tema educativo (la mousiké) provoque sorpresa, sea en el lector antiguo o moderno, problematiza el significado del concepto humano de la educación. Que provoque sorpresa puede dejar entrever que una pedagogía que no otorga a las artes (y notablemente, a los modos musicales) importancia suprema, está condenada al fracaso. Igual destino puede esperar a una filosofía o práctica política que ignore su importancia. Es en el contexto de estas inquietudes que surge la pregunta que esta tesis intenta contestar: ¿Por qué considera Platón que la mousiké es central en la polis? La tesis que se defiende es la siguiente: Platón postula que la mousiké es aquello que educa la sociedad porque tiene el efecto de moldear el alma (o la mente). Esto tiene consecuencias políticas, pues la legislación y la justicia, que son las dos artes de la política, dependen del carácter de los individuos que componen la polis.","downloadable_attachments":[{"id":84350481,"asset_id":76750769,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":90839176,"first_name":"Manuel","last_name":"Figueroa Bonilla","domain_name":"uprrp","page_name":"ManuelFigueroa","display_name":"Manuel Figueroa Bonilla","profile_url":"https://uprrp.academia.edu/ManuelFigueroa?f_ri=808","photo":"https://0.academia-photos.com/90839176/25099149/76205377/s65_manuel.figueroa.jpeg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":813,"name":"Political Philosophy","url":"https://www.academia.edu/Documents/in/Political_Philosophy?f_ri=808","nofollow":false},{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=808","nofollow":false},{"id":2018,"name":"Plato","url":"https://www.academia.edu/Documents/in/Plato?f_ri=808"},{"id":2559,"name":"Philosophy of Education","url":"https://www.academia.edu/Documents/in/Philosophy_of_Education?f_ri=808"},{"id":7032,"name":"Education Ethics","url":"https://www.academia.edu/Documents/in/Education_Ethics?f_ri=808"},{"id":10009,"name":"Socrates","url":"https://www.academia.edu/Documents/in/Socrates?f_ri=808"},{"id":17609,"name":"Aesthetic Education","url":"https://www.academia.edu/Documents/in/Aesthetic_Education?f_ri=808"},{"id":38358,"name":"History of Aesthetics","url":"https://www.academia.edu/Documents/in/History_of_Aesthetics?f_ri=808"},{"id":38481,"name":"Aesthetics and Theory of Arts","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Theory_of_Arts?f_ri=808"},{"id":99301,"name":"Música","url":"https://www.academia.edu/Documents/in/M%C3%BAsica?f_ri=808"},{"id":113885,"name":"Platon","url":"https://www.academia.edu/Documents/in/Platon?f_ri=808"},{"id":152505,"name":"Plato's Republic","url":"https://www.academia.edu/Documents/in/Platos_Republic?f_ri=808"},{"id":176403,"name":"Mousike","url":"https://www.academia.edu/Documents/in/Mousike?f_ri=808"},{"id":196661,"name":"Platón","url":"https://www.academia.edu/Documents/in/Plat%C3%B3n?f_ri=808"},{"id":343467,"name":"Musical Education","url":"https://www.academia.edu/Documents/in/Musical_Education?f_ri=808"},{"id":620285,"name":"History of Philosophy","url":"https://www.academia.edu/Documents/in/History_of_Philosophy?f_ri=808"},{"id":3406154,"name":"Plato's Republic Books II, III, and X","url":"https://www.academia.edu/Documents/in/Platos_Republic_Books_II_III_and_X?f_ri=808"},{"id":3976194,"name":"Damon of Oa","url":"https://www.academia.edu/Documents/in/Damon_of_Oa?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37901770" data-work_id="37901770" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37901770/The_Baroque_Sublime_The_Affective_Power_of_Landscape">The Baroque Sublime: The Affective Power of Landscape</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The domain of the sublime is vast, and in any period hard to define. In this essay, I attempt to explore the concept of the sublime in relation to seventeenth-century landscape painting, mainly from Italy. I have chosen some key works... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37901770" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The domain of the sublime is vast, and in any period hard to define. In this essay, I attempt to explore the concept of the sublime in relation to seventeenth-century landscape painting, mainly from Italy. I have chosen some key works through which to explore aspects of the baroque passion for the stupendous and terrifying, in such phenomena as volcanoes, storms, the jagged peaks of mountains, and the crash of waterfalls, as well as in the prodigies and monsters associated with a dark and still-mysterious natural world. These works evoked emotions of wonder, mystical rapture, and horror or fear, which would only later be categorized as sublime. My concern here has been to contextualize these emotions, to suggest the strains of thought and feeling which contemporary viewers brought to them, and which suggest how the sublime was exper ienced in a pre-Burkian era. 1 Classical Sources of the Seventeenth-Century Sublime The major source for the sublime in the seventeenth century was an anonymous treatise on rhetoric titled On the Sublime, probably written in the mid first century CE. It was long thought to be written by Longinus, and I shall here use this traditional name and association. For Longinus, the sublime was a rhetorical phenomenon, a quality of writing that expresses great thoughts in rich and emotionally powerful words and images. It uplifts the soul, and through its intensity and expression of vehement passion sweeps audiences off their feet in amazement, transporting them with wonder. 2 Longinus associates his " godlike authors " through metaphor, with the violence of the elements and with soaring beyond " the boundaries by which we are circumscribed. " 3 His instances of sublimity are predominantly drawn from the elemental forces of nature: from the violence of shipwrecks and battle, from immensity and energy, and he admires those writers who can create terror, who can make the hearer feel that they are " moving in the thick of the danger. " 4 The orator had the power to create a lifelike image, causing an overwhelming and visceral shock in his audience, and most of Longinus's examples of such images are associated with terror.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37901770" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4a47a03b94982136a1783d2f7e3f2212" rel="nofollow" data-download="{"attachment_id":57911592,"asset_id":37901770,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57911592/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4630103" href="https://bassing.academia.edu/HelenLangdon">Helen Langdon</a><script data-card-contents-for-user="4630103" type="text/json">{"id":4630103,"first_name":"Helen","last_name":"Langdon","domain_name":"bassing","page_name":"HelenLangdon","display_name":"Helen Langdon","profile_url":"https://bassing.academia.edu/HelenLangdon?f_ri=808","photo":"https://0.academia-photos.com/4630103/1937915/2293059/s65_helen.langdon.jpg"}</script></span></span></li><li class="js-paper-rank-work_37901770 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37901770"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37901770, container: ".js-paper-rank-work_37901770", }); 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$(".js-view-count[data-work-id=37901770]").text(description); $(".js-view-count-work_37901770").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37901770").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37901770"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="100380" href="https://www.academia.edu/Documents/in/Italian_Renaissance_and_Baroque_Art">Italian Renaissance and Baroque Art</a><script data-card-contents-for-ri="100380" type="text/json">{"id":100380,"name":"Italian Renaissance and Baroque Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_and_Baroque_Art?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37901770]'), work: {"id":37901770,"title":"The Baroque Sublime: The Affective Power of Landscape","created_at":"2018-12-03T04:59:10.671-08:00","url":"https://www.academia.edu/37901770/The_Baroque_Sublime_The_Affective_Power_of_Landscape?f_ri=808","dom_id":"work_37901770","summary":"The domain of the sublime is vast, and in any period hard to define. In this essay, I attempt to explore the concept of the sublime in relation to seventeenth-century landscape painting, mainly from Italy. I have chosen some key works through which to explore aspects of the baroque passion for the stupendous and terrifying, in such phenomena as volcanoes, storms, the jagged peaks of mountains, and the crash of waterfalls, as well as in the prodigies and monsters associated with a dark and still-mysterious natural world. These works evoked emotions of wonder, mystical rapture, and horror or fear, which would only later be categorized as sublime. My concern here has been to contextualize these emotions, to suggest the strains of thought and feeling which contemporary viewers brought to them, and which suggest how the sublime was exper ienced in a pre-Burkian era. 1 Classical Sources of the Seventeenth-Century Sublime The major source for the sublime in the seventeenth century was an anonymous treatise on rhetoric titled On the Sublime, probably written in the mid first century CE. It was long thought to be written by Longinus, and I shall here use this traditional name and association. For Longinus, the sublime was a rhetorical phenomenon, a quality of writing that expresses great thoughts in rich and emotionally powerful words and images. It uplifts the soul, and through its intensity and expression of vehement passion sweeps audiences off their feet in amazement, transporting them with wonder. 2 Longinus associates his \" godlike authors \" through metaphor, with the violence of the elements and with soaring beyond \" the boundaries by which we are circumscribed. \" 3 His instances of sublimity are predominantly drawn from the elemental forces of nature: from the violence of shipwrecks and battle, from immensity and energy, and he admires those writers who can create terror, who can make the hearer feel that they are \" moving in the thick of the danger. \" 4 The orator had the power to create a lifelike image, causing an overwhelming and visceral shock in his audience, and most of Longinus's examples of such images are associated with terror.","downloadable_attachments":[{"id":57911592,"asset_id":37901770,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4630103,"first_name":"Helen","last_name":"Langdon","domain_name":"bassing","page_name":"HelenLangdon","display_name":"Helen Langdon","profile_url":"https://bassing.academia.edu/HelenLangdon?f_ri=808","photo":"https://0.academia-photos.com/4630103/1937915/2293059/s65_helen.langdon.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=808","nofollow":false},{"id":100380,"name":"Italian Renaissance and Baroque Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_and_Baroque_Art?f_ri=808","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38742250" data-work_id="38742250" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38742250/La_struttura_dell_iki_e_l_ascolto_dell_Essere_Riflessioni_sul_linguaggio_tra_Sh%C5%ABz%C5%8D_Kuki_e_Martin_Heidegger_in_Scenari_9_1_2019_Mimesis_Milano_ISSN_2420_8914_ISBN_978_88_5754_pp_128_148">La struttura dell’iki e l’ascolto dell’Essere. Riflessioni sul linguaggio tra Shūzō Kuki e Martin Heidegger, in «Scenari», 9, 1/2019, Mimesis, Milano, ISSN 2420-8914, ISBN 978-88-5754, pp. 128-148.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Structure of Iki and the Listening to the Voice of Being. Reflections on Language between Shūzō Kuki and Martin Heidegger This essay aims to establish the possibility of a dialogue between different linguistic and aesthetic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38742250" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Structure of Iki and the Listening to the Voice of Being. Reflections<br />on Language between Shūzō Kuki and Martin Heidegger<br />This essay aims to establish the possibility of a dialogue between different<br />linguistic and aesthetic experiences: are Western culture and Japanese<br />culture able to grasp the same essence of language and of artistic<br />experience? Is there a profound identity, typical of every culture, that<br />renders a genuine dialogue between civilizations impossible? This article<br />will attempt to answer these basic questions by analysing Heidegger’s<br />essay entitled Between a Japanese and an Inquirer, contained in the collection<br />of writings On the Way to Language. This dialogue involves Heidegger<br />(the “Inquirer”) and Tomio Tezuka (the “Japanese”) and starts<br />with a reference to the Japanese notion of iki. The first part of this essay<br />is therefore dedicated to the analysis of this concept, which is described in Shūzō Kuki’s masterpiece The structure of iki. In the second part, the<br />article refers to Heidegger’s distinction between verbal language and<br />language as the “house of being”. Through investigating pivotal notions<br />such as hermeneutics, Lichtung, alétheia, and the “ringing of silence”<br />(Geläut der Stille), the final goal of the essay is to explore the possibility<br />of a common listening to the language of being beyond any cultural difference.<br />The conclusion will show how in the Japanese expression Koto<br />ba and in the German expression Die Sage the silent essence of the preverbal<br />language seems to shine almost in the same way for the “Japanese”<br />as for the “Inquirer”.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38742250" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5ca74809bfa698aa7cfca546060d9a78" rel="nofollow" data-download="{"attachment_id":58829269,"asset_id":38742250,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58829269/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32863012" href="https://unipd.academia.edu/AlbertoGiacomelli">Alberto Giacomelli</a><script data-card-contents-for-user="32863012" type="text/json">{"id":32863012,"first_name":"Alberto","last_name":"Giacomelli","domain_name":"unipd","page_name":"AlbertoGiacomelli","display_name":"Alberto Giacomelli","profile_url":"https://unipd.academia.edu/AlbertoGiacomelli?f_ri=808","photo":"https://0.academia-photos.com/32863012/9783519/48560258/s65_alberto.giacomelli.jpg"}</script></span></span></li><li class="js-paper-rank-work_38742250 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38742250"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38742250, container: ".js-paper-rank-work_38742250", }); 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$(".js-view-count[data-work-id=38742250]").text(description); $(".js-view-count-work_38742250").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38742250").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38742250"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="387" href="https://www.academia.edu/Documents/in/Japanese_Studies">Japanese Studies</a>, <script data-card-contents-for-ri="387" type="text/json">{"id":387,"name":"Japanese Studies","url":"https://www.academia.edu/Documents/in/Japanese_Studies?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="807" href="https://www.academia.edu/Documents/in/Philosophy_Of_Language">Philosophy Of Language</a>, <script data-card-contents-for-ri="807" type="text/json">{"id":807,"name":"Philosophy Of Language","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Language?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5114" href="https://www.academia.edu/Documents/in/Hermeneutics">Hermeneutics</a><script data-card-contents-for-ri="5114" type="text/json">{"id":5114,"name":"Hermeneutics","url":"https://www.academia.edu/Documents/in/Hermeneutics?f_ri=808","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38742250]'), work: {"id":38742250,"title":"La struttura dell’iki e l’ascolto dell’Essere. Riflessioni sul linguaggio tra Shūzō Kuki e Martin Heidegger, in «Scenari», 9, 1/2019, Mimesis, Milano, ISSN 2420-8914, ISBN 978-88-5754, pp. 128-148.","created_at":"2019-04-08T08:48:17.470-07:00","url":"https://www.academia.edu/38742250/La_struttura_dell_iki_e_l_ascolto_dell_Essere_Riflessioni_sul_linguaggio_tra_Sh%C5%ABz%C5%8D_Kuki_e_Martin_Heidegger_in_Scenari_9_1_2019_Mimesis_Milano_ISSN_2420_8914_ISBN_978_88_5754_pp_128_148?f_ri=808","dom_id":"work_38742250","summary":"The Structure of Iki and the Listening to the Voice of Being. Reflections\non Language between Shūzō Kuki and Martin Heidegger\nThis essay aims to establish the possibility of a dialogue between different\nlinguistic and aesthetic experiences: are Western culture and Japanese\nculture able to grasp the same essence of language and of artistic\nexperience? Is there a profound identity, typical of every culture, that\nrenders a genuine dialogue between civilizations impossible? This article\nwill attempt to answer these basic questions by analysing Heidegger’s\nessay entitled Between a Japanese and an Inquirer, contained in the collection\nof writings On the Way to Language. This dialogue involves Heidegger\n(the “Inquirer”) and Tomio Tezuka (the “Japanese”) and starts\nwith a reference to the Japanese notion of iki. The first part of this essay\nis therefore dedicated to the analysis of this concept, which is described in Shūzō Kuki’s masterpiece The structure of iki. In the second part, the\narticle refers to Heidegger’s distinction between verbal language and\nlanguage as the “house of being”. Through investigating pivotal notions\nsuch as hermeneutics, Lichtung, alétheia, and the “ringing of silence”\n(Geläut der Stille), the final goal of the essay is to explore the possibility\nof a common listening to the language of being beyond any cultural difference.\nThe conclusion will show how in the Japanese expression Koto\nba and in the German expression Die Sage the silent essence of the preverbal\nlanguage seems to shine almost in the same way for the “Japanese”\nas for the “Inquirer”.","downloadable_attachments":[{"id":58829269,"asset_id":38742250,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":32863012,"first_name":"Alberto","last_name":"Giacomelli","domain_name":"unipd","page_name":"AlbertoGiacomelli","display_name":"Alberto Giacomelli","profile_url":"https://unipd.academia.edu/AlbertoGiacomelli?f_ri=808","photo":"https://0.academia-photos.com/32863012/9783519/48560258/s65_alberto.giacomelli.jpg"}],"research_interests":[{"id":387,"name":"Japanese Studies","url":"https://www.academia.edu/Documents/in/Japanese_Studies?f_ri=808","nofollow":false},{"id":807,"name":"Philosophy Of Language","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Language?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":5114,"name":"Hermeneutics","url":"https://www.academia.edu/Documents/in/Hermeneutics?f_ri=808","nofollow":false},{"id":8437,"name":"Martin Heidegger","url":"https://www.academia.edu/Documents/in/Martin_Heidegger?f_ri=808"},{"id":33562,"name":"Intercultural dialogue","url":"https://www.academia.edu/Documents/in/Intercultural_dialogue?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_63980072" data-work_id="63980072" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/63980072/A_Coat_of_Many_Colors_Essentialism_versus_Constructivism_in_Recent_Definitions_of_Art">A Coat of Many Colors. Essentialism versus Constructivism in Recent Definitions of Art</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/63980072" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="917c3882001eac675c173b1b39297403" rel="nofollow" data-download="{"attachment_id":76225275,"asset_id":63980072,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/76225275/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6335672" href="https://independent.academia.edu/BogdanTeodorIacob">Bogdan Teodor Iacob</a><script data-card-contents-for-user="6335672" type="text/json">{"id":6335672,"first_name":"Bogdan Teodor","last_name":"Iacob","domain_name":"independent","page_name":"BogdanTeodorIacob","display_name":"Bogdan Teodor Iacob","profile_url":"https://independent.academia.edu/BogdanTeodorIacob?f_ri=808","photo":"https://0.academia-photos.com/6335672/2585288/58489471/s65_bogdan_teodor.iacob.jpg"}</script></span></span></li><li class="js-paper-rank-work_63980072 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="63980072"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 63980072, container: ".js-paper-rank-work_63980072", }); 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Essentialism versus Constructivism in Recent Definitions of Art","created_at":"2021-12-13T10:48:35.799-08:00","url":"https://www.academia.edu/63980072/A_Coat_of_Many_Colors_Essentialism_versus_Constructivism_in_Recent_Definitions_of_Art?f_ri=808","dom_id":"work_63980072","summary":null,"downloadable_attachments":[{"id":76225275,"asset_id":63980072,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6335672,"first_name":"Bogdan Teodor","last_name":"Iacob","domain_name":"independent","page_name":"BogdanTeodorIacob","display_name":"Bogdan Teodor Iacob","profile_url":"https://independent.academia.edu/BogdanTeodorIacob?f_ri=808","photo":"https://0.academia-photos.com/6335672/2585288/58489471/s65_bogdan_teodor.iacob.jpg"}],"research_interests":[{"id":255,"name":"Evolutionary Psychology","url":"https://www.academia.edu/Documents/in/Evolutionary_Psychology?f_ri=808","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=808","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=808","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=808","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=808"},{"id":256667,"name":"Arts and Humanities","url":"https://www.academia.edu/Documents/in/Arts_and_Humanities?f_ri=808"},{"id":536356,"name":"Anthropology and Art","url":"https://www.academia.edu/Documents/in/Anthropology_and_Art?f_ri=808"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13959376" data-work_id="13959376" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13959376/Widmontologia_Teoria_filozoficzna_i_praktyka_artystyczna_ponowoczesno%C5%9Bci">Widmontologia. Teoria filozoficzna i praktyka artystyczna ponowoczesności</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13959376" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji. <br /> <br />Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? <br /> <br />Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13959376" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d70c58dd558440ac3db03ebc77095558" rel="nofollow" data-download="{"attachment_id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56840903/download_file?st=MTczMjYzNDk2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1934801" href="https://amu.academia.edu/AndrzejMarzec">Andrzej Marzec</a><script data-card-contents-for-user="1934801" type="text/json">{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=808","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}</script></span></span></li><li class="js-paper-rank-work_13959376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13959376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13959376, container: ".js-paper-rank-work_13959376", }); 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Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? \r\n \r\nKategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.","downloadable_attachments":[{"id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=808","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=808","nofollow":false},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=808","nofollow":false},{"id":188,"name":"Cultural 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