Dissertations / Theses on the topic 'Chinese philosophy and aesthetics'

A central question in aesthetics is whether aesthetic judgment is subjective or objective. Existing approaches to answering this question have been unsatisfying because they begin with the assumption of an individual observer that must then be communalized through the introduction of a transcendent object or the transcendental reason of the subject.

Rather than introduce a vertical transcendence to account for the ideal observer, I propose an alternative account based on the anthropology of the Japanese philosopher W

ATSUJI

I propose an account of aesthetic experience as a double negation in which we negate our surroundings in order to create a sense of psychical distance and negate our ordinary selves in order to dissolve into the background of primordial unity. I examine aesthetic normativity and find that the subject of aesthetics is active and plural rather than passive and individual. Aesthetic judgment and taste are, respectively, individual and communal moments in the process of double negation. Artistic evolution is a process by which the context of artist, artwork, and audience develop into a meaningful historical milieu. Genius is the ability to make public one’s private values through the creation of objects that can travel beyond their original contexts and create new contexts around them. Such an ability is the result of a double negation played out between the genius and critical receptivity.

Extended examples taken from Noh theater, Japanese linked verse, tea ceremony, and The Tale of Genji are also used to illustrate my arguments.

In the dissertation I analyze and interpret Ernst Gombrich's book Art and Illusion, focusing on his view that illusion is involved in pictorial representation. Since Gombrich never gave a concise, systematic account of illusion, my goal will be to fill this void by using the text of Art and Illusion as well as Gombrich's subsequent writings in order to present a coherent account of how illusion might play a role in a picture's representing an object.

My goal is not to present an unassailable account of pictorial representation. Instead, I offer a version of Gombrich's theory that pushes readers towards a better comprehension of what a Gombrichian theory of illusion involves. In the process I introduce and defend a number of terms and concepts in the service of filling in those places where Gombrich is silent. Among other things, in response to Gombrich's notion of visual substitution I elaborate upon the claims that representational pictures function as relational models and afford recognition of the objects they represent; I reply to Richard Wollheim's "twofoldness" objection to Gombrich; and I contend that Gombrich's use of the notion of illusion is not open to the objections commonly made against it (e.g., that normal picture perception does not involve illusion because "illusion" is synonymous with "delusion").

Weaving together influences from philosophy, visual and sonic aesthetics, and radical political thought, this project argues that individual and collective imagination should be understood as important sites of politics—in cultural, discursive, institutional, and collectivist registers. Rather than proposing dogmatic adherence to any particular ideology, we find that imagining new possibilities, as well as the possibilities for more possibilities, is centrally important to the endeavor of seeking radical change in the contemporary capitalist/state system. By turning to the examples of two politico-aesthetic movements, the Handicraft movement of William Morris and the Hammersmith Socialist League of the 19th century and the 20^th/21^st century cultures of punk rock, we witness the successes and failures of attempts to intervene in political imaginaries. I focus on the anachronistic, non-capitalist mode of production of so-called ‘do-it-yourself’ (or D.I.Y.), I argue that such productive processes could represent such an inter-temporal rupture point of radical anachronism that I have theorized, and can therefore demonstrate the potentiality of wellsprings for the creation of new forms of politics, paradoxically contributing to the progress of inclusivity and egalitarian politics through the introduction of anachronistic performances, visuals, and music.

Specifically, they reveal the surprising ways in which inter-temporal rupture through anachronistic aesthetic forms and modes of productions can not only disrupt hegemonic notions of progressive linear time, but also question the radical imperative towards production of the new. These movements hence illuminate important implications for the tactics, tensions, and most of all thought—and preconditions for thought—that underpin contemporary progressive politics (e.g. Anti-globalization, Occupy, Black Lives Matter, revolutionaries in Rojava and especially, and most contentiously and controversially the contemporary Antifa movements) by demonstrating the radical potentialities of aesthetics, space, and anachronism for the introduction of historical rupture contained within politico-aesthetic shock. These movements are deeply concerned with democratic participation and social justice, and so we can use Morris and punk as a window in to deep analysis of tactics as utilized by the aforementioned anti-capitalist and anti-fascist movements.

In his 1978 lectures at the College de France, Security Territory Population, Michel Foucault shifts his analysis of power by arguing for pastoral power as both the prelude to governmentality and as the decisive moment in the constitution of the Western subject. If the history of the Christian pastorate involves "the entire history of procedures of human individualization in the West (184)," then, Foucault argues, there has never been a revolt against pastoral power because such a revolt would be a revolt against the constitution of the self, that is to say against self-consciousness. If the revolt against pastoral power is a revolt against self-consciousness, then I argue that the psychagogic-spiritual, as opposed to rhetorical-theological, practices of religious conversion may be where counter-conducts (already understood to be subsumed within Christian pastoral power) may also overwhelm the Christian pastorate. In his conversion to Christianity Augustine employs techniques that are `overwhelming' to pastoral power, but are never actually an attempt to overcome pastoral power. In the specific experiences recalled by Augustine in his Confessions, through the various non-discrete phases of his conversion he takes up what Foucault calls counter-conducts. Through asceticism (especially in the author's struggle with conscupience); through the establishment of a new religious community (as a Manichean catechumen) through mysticism (in the doctrine of `inner illumination)'; through the exegesis of scripture (significantly in the voluntary reading of Romans 13:12-14 prior to becoming a catechumen of the Christian Church); and through eschatological belief (specifically in the a-millennial conception of the return of Christ), Augustine, author of the Confessions, emerges as a convert to Christianity. Towards Foucault's call for genealogies of pastoral power and towards the call of philosophy understood as ethico-poetic praxes of Eros captured in the phrase epimeleia heatou, this thesis will investigate Augustine of Hippo's conversion to Christianity as an enactment of Foucault's `counter-conducts.' I will argue, through exegesis of Augustine's Confessions, that this parrhesiatic document is simultaneously a narrative of psychagogic practices which reflects Augustine's profound ascesis towards Christian subjectivation as well as a document of the counter-conducts that overwhelm Christian pastoral power while never revolting against it. As a result of his pluralistic and deeply personal approach towards conversion, Augustine's recorded experiences exemplify how `new' technologies (or at least new modalities of old technologies) are established within the Christian pastorate. It is in and through the event of his conversion that Augustine also emerges as a leader of the orthodox Church and simultaneously as an instigator for later revolts against it--arguably, for example, as an inspiration for the leaders of the Protestant Reformation. If there can be no revolution against pastoral power because it is always instituting, circumscribing, and subsuming new forms of resistance on its own, then perhaps we can best understand where counter-conducts are most dangerous to the practices of power by understanding where some practices actually fail to resist power-effects, while simultaneously transforming power-relations.

While the American composer John Cage is often classified as an influential figure in the realm of modernist music, the controversial nature of Cage's work has proven to be more far-reaching than many had initially contended. Through a process of re-examining the work of Cage through a postmodern lens, this thesis rejects the notion that Cage was confined to the realm of modernism, and demonstrates that the composer not only exhibited postmodern tendencies through his ideas and concepts, but also aesthetically in his compositions. By illuminating these postmodern compositional practices and postmodern-influenced belief systems expressed by Cage as an artist, a reinterpretation of the composer and his work is carried out, while also addressing criticisms leveled toward Cage as a postmodernist. Through this contemporary reanalysis, the thesis demonstrates that Cage was a composer that transcended genres and classifications to ultimately resonate as a viable figure of postmodern music.