Bibliografie tematiche / Philosophy in art and politics

Letteratura scientifica selezionata sul tema "Philosophy in art and politics"

Autore: Grafiati

Pubblicato: 26 luglio 2024

Ultima modifica: 27 luglio 2024

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Articoli di riviste sul tema "Philosophy in art and politics"

Phillips, John W. P. "Art, Politics and Philosophy". Theory, Culture & Society 27, n. 4 (luglio 2010): 146–60. http://dx.doi.org/10.1177/0263276409349284.

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Olkowski, Dorothea. "Heidegger, Art and Politics". International Studies in Philosophy 25, n. 1 (1993): 89–90. http://dx.doi.org/10.5840/intstudphil199325192.

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Swanson, Carrie. "Socratic Dialectic between Philosophy and Politics in Euthydemus 305e5-306d1". PLATO JOURNAL 19 (15 luglio 2019): 43–90. http://dx.doi.org/10.14195/2183-4105_19_3.

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In the final scene of the Euthydemus, Socrates argues that because the art of speechwriting merely partakes of the two good arts philosophy and politics, it places third in the contest for wisdom. I argue that this curious speech is a reverse eikos argument, directed at the speechwriters own eikos argument for the preeminence of their art. A careful analysis of the partaking relation reveals that it is rather Socratic dialectic which occupies this intermediate position between philosophy and politics. This result entails that Socrates’ peculiar art is only a part of philosophy, and its practitioner only partially wise.

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Kim, Dong-Gyu. "The Philosophy for Public Art and Identity Politics". Journal of Koreanology 68 (31 agosto 2018): 213–43. http://dx.doi.org/10.15299/jk.2018.08.68.213.

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Peperzak, Adriaan. "Appearance, Myth, and Art in Politics". Research in Phenomenology 21, n. 1 (1991): 48–61. http://dx.doi.org/10.1163/156916491x00044.

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Kondakov, Igor Vadimovich. "Music versus Politics". Pan-Art 3, n. 1 (10 gennaio 2023): 78–82. http://dx.doi.org/10.30853/pa20230001.

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This essay presents the situation concerning the music philosophy in the XX century: the factor of politics gradually was established in the paradigm of artistic culture. It is shown that the politics became a permanent violence in relation to art as in relation to life. This permanent violence is a will for power or a clear will for dominating life and art which can move apart and then inextricably intertwine. Thus, the politics appears in her unconventional artistic and aesthetic discourse: being aesthetic in life and artistic in art. In this paper the phenomenon of the origin of the indivisibility and immeasurable formula is characterized. Since then, life and politics cannot do without art which is their mirror as well as art tries to distance itself from society and politics but cannot break free of the shackles of the socio-political context and the relevant pragmatic discourse. This discourse leaves an indelible imprint on everything connected with art and aesthetics.

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Ruitenberg, Claudia W. "Art, Politics, and the Pedagogical Relation". Studies in Philosophy and Education 30, n. 2 (2 dicembre 2010): 211–23. http://dx.doi.org/10.1007/s11217-010-9216-5.

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Salem-Wiseman, Jonathan. "Nature, Deception, and the Politics of Art". International Studies in Philosophy 30, n. 1 (1998): 107–20. http://dx.doi.org/10.5840/intstudphil1998301112.

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Guogi, Ding. "Art’s Commitment to Liberation in Marcuse’s Philosophy". AM Journal of Art and Media Studies, n. 7 (15 aprile 2015): 30–38. http://dx.doi.org/10.25038/am.v0i7.86.

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Art has a liberating function because it stands on the opposite side of a suppressed society; it is deeply connected with the public’s daily life and has an inherent characteristic of “catharsis”, like describing a good society and identifying with freedom. In the eyes of the theorists of the Frankfurt School, its form is what makes “art” art, while the autonomy of art is what realizes the transcendence and detachment of art over and from society and politics in reality by constructing a new and tangible kingdom of art. Artistic form, artistic autonomy, and the liberation of mankind are the integral parts that form art and they constitute all the elements that are needed in the art world. For as long as art exists, it will keep its commitment to truth, happiness, and liberation. This paper examines the inevitable inherent relationship between art and liberation mainly through discussing and studying Marcuse’s theories of art and aesthetics.

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Rewers, Ewa. "Świat post-naturalny? Teoretyczne, empiryczne i artystyczne rewizje". Przegląd Kulturoznawczy, n. 4 (58) (2023): 421–40. http://dx.doi.org/10.4467/20843860pk.23.029.19178.

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This article explores approaches to wilderness in contemporary urban spaces and the demarcations drawn through the concepts of nature vs culture, politics vs art, science vs narratives, city vs wild life in urban studies, philosophy and environmental art. The argument about the new forms of wild life, such as charismatic animals and weeds in cites, impacts the way in which we think about the encounters between posthuman philosophy, urban ecology and art. The paper seeks to pose the questions of post-natural world anew, in ways that allow for a resolution of the tension between contrary concept of wilderness and urban practices. It argues that all forms of life (human and wild) are connected, reassembled and exposed both materially and discursive in urban socio-ecological systems. This interconnectedness penetrates all dimensions and scales of urban life and is transferable from urban ecology to environmental art, from philosophy to politics, from popular culture to urban environment.

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Tesi sul tema "Philosophy in art and politics"

Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art". Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.

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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'

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Kim, Byoungjae. "Sympathy and reflection in Hume's philosophy : mind, morals, art and politics". Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12958/.

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Hume, as an "anatomist" of human nature, believes that "the science of man is the only solid foundation for the other sciences". The naturalistic and experimental analysis of human nature, as it informs his epistemology, is the basis for other areas. Thus, in order fully to understand his philosophy, we need to shed light on the connection between Hume's experimental analysis of human nature in epistemology, and his naturalistic account in ethics, aesthetics, and political philosophy. However, too often, writers on the latter are not always fully informed on his general philosophy and vice versa. A principal aim of this research is to bring together investigation of his naturalistic epistemology, and his ethics, aesthetics and political philosophy. This project brings close attention to bear on all of these areas, focusing on three key concepts: sympathy, general rule, and reflection. First, I examine the nature of sympathy. I argue against recent interpreters who use his concept of sympathy to construct a solution to the Problem of Other Minds. On my interpretation, Hume employs the concept of sympathy for his ethics, aesthetics and political philosophy, not for his epistemology. Second, I show that the concept of general rule plays an essential role in his philosophy. On my interpretation, Hume first establishes the general rules of human nature. He then establishes the general rules of his ethics, aesthetics and political philosophy. Third, I uncover the role of reflection in his philosophy. According to him, it is wrong to apply abstract reasoning to matters of fact; Instead, we should adopt the experimental reasoning that he terms "reflection" to observe and generalise matters of fact, thus establishing general rules in ethics, aesthetics and political philosophy. In this way, we can see the intimate connections between these diverse aspects of his philosophical writings.

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Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production". Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.

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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)

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May, Adrian. "Lignes, an intellectual revue : twenty-five years of politics, philosophy, art and literature". Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/251334.

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The thesis takes the French revue Lignes (1987-present) as its object of study to provide a new account of French intellectual culture over the last twenty-five years. Whilst there are now many studies covering the role of such revues throughout the twentieth-century, the majority of such monographs extend no further than the mid-1980s: the major novelty of this thesis is extending these accounts up until the present moment. It is largely assumed that a reaction against the Marxist and structuralist theories of the 1960s and 1970s led to embrace of liberalism and an intellectual drift to the right in France from the 1980s onwards: whilst largely supporting this account, the thesis attempts to nuance this narrative of the fate of the intellectual left in the following years by showing the persistence of what can be called a politicised 'French theory' in Lignes, and a returning left-wing militancy in recent years. In doing so, it will both reveal under-studied aspects of well-known thinkers, such as Jean-Luc Nancy, Jacques Rancière and Alain Badiou, as their thought develops through their participation in a collaborative, periodical publication, and introduce lesser known thinkers who have not received an extended readership in Anglophone spheres. Lignes also argues for the continued persistence and relevance of the thought of a previous generation of thinkers, notably Georges Bataille, Maurice Blanchot and Dionys Mascolo, and the thesis concludes by examining the potential role 'French Theory' could still have in France. Furthermore, as revues provide a unique nexus of intellectual, cultural, social and political concerns, the thesis also provides a unique history of France from the fall of the Berlin Wall to the 2007 financial crisis and the Arab Spring. Much of the thesis is concerned with contextualising intellectual debates within a period characterised by the moralisation of discourses, a return of religion, the global installation of neo-liberalism and the eruption of immigration as a controversial European issue. From a relatively theoretical and politically stable position to the left of the Parti socialiste, Lignes therefore provides a privileged vantage point for the mutations in French social and cultural life throughout the period.

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Tervo, Juuso Ville. "Corrosive Subjectifications: Theorizing Radical Politics of Art Education in the Intersection of Jacques Ranciere and Giorgio Agamben". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405954690.

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Daniels, John D. (John David) 1946. "The Political Philosophy of Sam Houston". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501136/.

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Although most Americans view Sam Houston as a military leader and practical politician with little understanding of intellectual issues, he actually possessed a complex moral and political philosophy which he elaborated and demonstrated during a fifty-year public career. He based his philosophy on a mixture of Christian idealism and pragmatic realism, with duty, honor, and strict morality serving to restrain his love of reality, reason, and physical pleasures. The dual nature of his moral beliefs extended into his politics, which mixed Jeffersonian republicanism, individual rights, and limited government, with Jacksonian democracy, the needs of society, and the will of the people. Throughout most of his career he kept those conflicting sets of ideals successfully in balance, with only the turmoil of the 1850s leading him into extreme positions.

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Acosta, Maria del Rosario. "The Dialogue that We Are: Understanding as a Space for Politics". Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/112870.

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This paper mainly proposes to point out some aspects that render hermeneutics pertinent within the context of political discussion, defending it from attacks mostly stemming from a philosophy of critical consciousness such as Habermas’s, Adorno’s, and some of their followers. It will be shown, from Gadamer’s perspective, how hermeneutics responds to those critiques within its conception of understanding as a fundamental task and a primordial political space. Contrary to a philosophy that appeals to the need of taking its distance” as a starting point of critique, only place of a true political philosophy and political action, Gadamer’s hermeneutics proposes an alternative that deserves to be considered: it is in dialogue, in the shared space of understanding, rather than in critique, that humans un-veil the possibilities of what is, where the openness of their freedom is given and, consequently, where the space of politics develops –thus in action rather that in reflection.
El presente artículo tiene como tarea principal señalar algunos aspectos que hacen pertinente a la hermenéutica dentro del marco de la discusión política, defendiéndola de los ataques que se le han propugnado sobre todo desde una ﬁ losofía de la conciencia crítica como la de Habermas, Adorno y algunos de sus seguidores. Se mostrará, a partir de Gadamer, cómo la hermenéutica responde a dichas críticas en el marco de su propuesta de la comprensión como tarea fundamental y como espacio político primordial. Frente a una ﬁ losofía que apela a la necesidad de una toma de distancia” como punto de partida de la crítica, único lugar de una verdadera ﬁ losofía y acción políticas, la hermenéutica de Gadamer presenta una alternativa que vale la pena ser rescatada: es en el diá-logo, en el espacio compartido de la comprensión, más que en la crítica, donde el hombre des-encubre las posibilidades de lo que es, donde se da la apertura de su libertad, y, por consiguiente, donde se desenvuelve, en la acción, antes que en la reﬂ exión, el espacio de lo político.

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Abbott, Janet Gail. "Synthesis of the Personal and the Political in the Works of May Stevens". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277656/.

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This thesis is an investigation of the way in which the painter May Stevens (b. 1924) synthesizes her personal experiences and political philosophy to form complex and enduring works of art. Primary data was accumulated through an extended interview with May Stevens and by examining her works on exhibit in New York and Boston. An analysis of selected works from her "Big Daddy" and "Ordinary/Extraordinary" series revealed how her personal feelings about her own family became entwined with larger political issues. As an important member of the feminist art movement that evolved during the 1970s, she celebrated this new kinship among women in paintings that also explored the contradictions in their lives. In more recent work she has explored complex social issues such as teenage prostitution, sexism, and child abuse in a variety of artistic styles and media. This study investigates how May Stevens continues to portray issues of international significance in works that consistently engage the viewer on a personal, almost visceral level.

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Giordano, John. "Between Conviviality and Antagonism| Transactionalism in Contemporary Art Social Practice and Political Life". Thesis, Union Institute and University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3663907.

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The rise of social practice art in Europe and North America since the 1990s has provoked a variety of critical alignments and contestations around multi-authored "post-studio" artwork, aimed at collapsing the boundaries between visual and performing art, and between art and everyday life. One of the most visible and impassioned contestations has centered on the value assigned by different critics to so-called convivial and antagonistic directions for social practice art. This project enters the debate on collaborative and participatory art by highlighting the commonalities between the turn away from spectatorialism in philosophy and the politically-driven, activist social practices coming out of the visual arts. Contending that the more salient problems under debate revolve around what art historian Grant Kester has described as "a series of largely unproductive debates over the epistemological status of the work," I focus on the way different epistemological frames impact the reception of convivial and antagonistic directions in art. With attention to the theory and criticism of Clare Bishop, Grant Kester, Shannon Jackson and Tom Finkelpearl, I examine how a variety of epistemological frames both reflect the work's values around social change, and also impact the critical lenses through which such values are communicated to the public through art criticism. While Bishop raises important questions around the limits of a turn against traditional art spectatorship and singular authorship of visual art, I claim that her view of a convivial tendency in social practice art overlooks key epistemological insights embodied in feminist standpoint theory and American pragmatist epistemology. I contend that John Dewey's view of knowledge as transactional captures the epistemological framing of some of the more socially ameliorative directions social practice work has taken in recent decades because Dewey rejects a view of knowledge that divides subjective entities from each other and from their wider environments. Bishop's traditional spectatorship model fails to capture the aesthetico-political ethos of an area of art that acknowledges the fragile contingency of standpoints. I show that the criticism of Kester, Jackson and Finkelpearl recognize this contingency and then enlarge their perspectives by bringing attention to feminist standpoint theory and pragmatist aesthetics and epistemology. I conclude by claiming that a more robust way of understanding the value of social practices in art recognizes that transactional and contingent standpoints demand an ethos rooted in the continuity of convivial and antagonistic features of aesthetico-political experience.

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Bannister, Randee. "The appreciation of political works of art: The example of "Triumph of the Will"". Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26573.

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The question that we are considering is how to appreciate artworks that have not only an aesthetic presence but a political side as well. We feel that this question is necessary to consider because in order to have a full appreciation of an artwork it is important to consider all facets of the work, but also refrain from including considerations that are not necessary to include. In order to explain why this question is important and also to show a potential response, we use the example of Leni Riefenstahl's film Triumph of the Will. This film is a perfect example of how the aesthetic and political can combine in art. Other suggestions of how to have a complete appreciation of this film, as we try to show, are insufficient as an answer to our question and so we propose our own theory of the appreciation of not just political artworks but all artworks, that being partial autonomy.

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Più fonti

Libri sul tema "Philosophy in art and politics"

Hörcher, Ferenc. Art and Politics in Roger Scruton's Conservative Philosophy. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-13591-0.

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Zimmerman, Michael E. Heidegger's confrontation with modernity: Technology, politics, and art. Bloomington: Indiana University Press, 1990.

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Preziosi, Donald. In the aftermath of art: Ethics, aesthetics, politics. London: Routledge, 2006.

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Johanne, Lamoureux, a cura di. In the aftermath of art: Ethics, aesthetics, politics. New York: Routledge, 2005.

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Salim, Kemal, e Gaskell Ivan, a cura di. Politics and aesthetics in the arts. Cambridge: Cambridge University Press, 2000.

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Salim, Kemal, e Gaskell Ivan, a cura di. Politics and aesthetics in the arts. Cambridge [England]: Cambridge University Press, 2000.

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Bakshteĭn, Iosif. Thinking worlds: The Moscow conference on philosophy, politics, and art. Berlin: Sternberg Press, 2008.

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Penney, James. The structures of love: Art and politics beyond the transference. Albany: State University of New York Press, 2012.

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Hooks, Bell. Art on My Mind: Visual Politics. New York, USA: New Press, 1995.

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Rasmussen, Mikkel Bolt. Gæstfrihed i kunst og politik: Hospitality in art and politics = Hospitalité en art et politique. København: Basilisk, 2016.

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Capitoli di libri sul tema "Philosophy in art and politics"

Hörcher, Ferenc. "Introduction: Politics, Art and Philosophy". In Art and Politics in Roger Scruton's Conservative Philosophy, 1–31. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13591-0_1.

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Bosetti, Giancarlo. "ASHOKA: Ancient Rocks Teaching the Art of Discussion". In Philosophy and Politics - Critical Explorations, 11–18. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-25523-6_2.

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Janik, Allan. "Psychoanalysis: Science, Literature or Art?" In Style, Politics and the Future of Philosophy, 190–96. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2251-8_12.

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Rudolph, Enno, e Johannes Picht. "Philosophy and Politics (1972)". In Pioneers in Arts, Humanities, Science, Engineering, Practice, 123–28. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-31790-4_7.

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Man, Eva Kit Wah. "Chinese Bodies in Philosophy, Aesthetics, Gender and Politics: Methodologies and Practices". In Chinese Contemporary Art Series, 131–44. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1_11.

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Baldini, Andrea Lorenzo. "Street Art and the Politics of Improvisation". In The Routledge Handbook of Philosophy and Improvisation in the Arts, 285–99. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-23.

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Vernon, Jim. "Knowledge, or From Art to Religion, Philosophy and Politics". In Hip Hop, Hegel, and the Art of Emancipation, 173–225. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91304-9_6.

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Hörcher, Ferenc. "The Emergence of a Philosophy of Art and Politics". In Art and Politics in Roger Scruton's Conservative Philosophy, 33–53. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13591-0_2.

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Hörcher, Ferenc. "The Theory of Art and Culture". In Art and Politics in Roger Scruton's Conservative Philosophy, 135–253. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13591-0_4.

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Hörcher, Ferenc. "The Political Philosophy of Conservatism (Vita Activa)". In Art and Politics in Roger Scruton's Conservative Philosophy, 55–134. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13591-0_3.

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Atti di convegni sul tema "Philosophy in art and politics"

de Oliveira Gelape, Lucas, e Thiago Álvares Feital. "From Art to Politics: challenging representation". In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_wg141_03.

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Neck, Reinhard. "POLITICS WITH AND WITHOUT ROMANCE: DANTE�S MONARCHIA VERSUS MACHIAVELLI�S IL PRINCIPE". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s03.02.

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This paper contrasts Monarchia by Dante Alighieri with Il Principe by Niccolo Machiavelli. It is argued that the Principe not only incorporates the realities of politics but is also superior to the Monarchia as a scientific work because it avoids the latter�s commitment to scholastic philosophy and has greater empirical relevance and logical consistency. Moreover, it can serve to some extent as a role model for an approach to a positive analysis of politics even today.

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Petkova, Tatyana V., e Daniel Galily. "When you are named Ruth". In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.06085p.

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This study aims to recall the ideas and activities in the field of law, politics, philosophy, the struggle for democracy and respect for human rights of two bright and exceptional personalities who left this world last year: Ruth Gavison (her areas of study include ethnic conflicts, protection of minorities, human rights, political theory, the judiciary, religion and politics, and Israel as a Jewish and democratic state. She was a member of the Israeli Academy of Sciences and Humanities. Nominated as a Judge at the Supreme Court of Israel in 2005.) and Ruth Bader Ginsburg (Judge at the Supreme Court of the United States. She upholds and defends the rights of women and people of color, gender equality.).

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Orlova, E. A. "Art project as a new form of environmental education for youth". In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-06-2020-03.

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Ying, Zirui. "From Plato to Locke: The Development of Western Political Philosophy". In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.393.

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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside". In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.

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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.

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Marci-Boehncke, Gudrun, Matthias O. Rath, Thomas Goll e Michael Steinbrecher. "HOW TO BECOME POLITICAL? BASIC CONCEPTS FOR EXPLORING EARLY CHILDHOOD UNDERSTANDING OF POLITICS". In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end038.

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"In the interdisciplinary project PoJoMeC, we investigate children's understanding of politics at preschool and primary school age. The interdisciplinary research approach is based on the perspectives of political didactics, literature and media didactics, and journalism. Initially, we will use qualitative approaches to find out how children's political awareness is shown. Our research methods focus on the one hand on the children's explicit knowledge, but on the other hand already on concepts of rule-governed action. The different degrees of abstraction of these concepts are based on a modification of the ecological model of human development according to Uri Bronfenbrenner (1979). The paper reconstructs the argumentative process of developing an acceptable interdisciplinary concept of politics for our joint research. Considering political didactics, literature and media studies, and philosophy, a research framework is presented that does not start with terms and concepts but considers more fundamental forms of social perception."

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Presnyakov, K. A., e A. A. Kupriyanova. "ROMANTICISM AS A STYLE IN SOVIET CULTURE AND ART". In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.9.

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Didmanidze, Ibraim, e Irma Bagrationi. "INFORMATION PARADIGMS OF ART FROM THE HISTORY OF SOCIAL AESTHETICS". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s07.06.

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The present scientific paper deals with the worldview understanding of features of information and communication functions of art according to the �Theory of Environment� and �Conception of Organotropism� from the history of Europeanworldview philosophical and aesthetic thought, particular: According to the main principle of Social Aesthetics of French philosopher and sociologist Jean-Marie Guyau [in the work �Problems of Contemporary Aesthetics�] the aesthetic ideal of art has a meaning by presentive only social sympathy aesthetics; A German philosopher and aesthetician Alexander Gottlieb Baumgarten discusses the highest aesthetic value of art by social point of view [in the work �Aesthetics�], supports the main principle of his theory of art � life reaches its highest intensity in the socium as cooperation and collaboration and communication and in order to make it solid, it must deserve social sympathy � and unchangeably takes it into his theory of aesthetics. A famous French philosopher, thinker, writer, historian, one of the leaders of the French Enlightenment Francois Marie Arouet de Voltaire, French sociologist Charles de Montesquieu, German historian and theorist of art Johann Joachim Winckelmann, German philosopher, man of letters and critic Johann Gottfried Herder, English aesthetician and critic of art John Ruskin, German philosopher, founder of the philosophy of dialectical and historical materialism Karl Marx, French idealist philosopher, historian and theorist of art Hippolyte-Adolphe Taine by their original and completely social-aesthetic doctrine consider phenomenon of art by Organotropic formula that means they outline the peculiarities of the information function of art is pre-defined with some social conditions, especially geographic, geologic, climatic, biologic, social, political, cultural and historical factors. As it is seen from the paper, these are selected models of some searching aesthetic paradigms that have been identified to suggest that information content and status of the artistic creation works for the peculiar and special level of social condition and situation.

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Skender, Lana. "THE SPECTATOR PHENOMENON AND THE POWER OF THE GAZE". In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/gonk4945.

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This paper explores the relevant knowledge in philosophy, psychology, art theory, and visual culture dealing with the phenomenon of the spectator. Spectatorship is explored through complex relationships between authors, works, observers, and the environment, which condition the view and consider how social and cultural patterns mediate the image. In this approach, interest is no longer primarily focused on the visual object but on visuality, a complex set of conditions in which a work of art is created, observed, and interpreted, researching the history of the gaze theory: perception and its physiological and cultural conditioning, the implicitness of the observer in the aesthetics of the reception, psychoanalytic theories about the constitution of the subject with a gaze, feminist ideas of voyeurism, and the male gaze, theories on technological and cultural conditioning of the scopic regimes, the cultural history of gaze and the gaze politics that approach viewing as possession of power. An analysis of the theory shows that the role of the body as a perceiving mechanism is present in the naturalistic approach to observation but is avoided due to its subjectivity and relativity. Although it was created in the 1960s, the theory of gaze has roots in the hermeneutics of art history and the aesthetics of reception. The cultural determination of gaze, its dependence on social norms, and the technological conditions of the medium indicate that our view of art and the visual world has been learned, which opens spaces for the acceptance of other gazes that are equally valuable.

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Rapporti di organizzazioni sul tema "Philosophy in art and politics"

Mandaville, Peter. Worlding the Inward Dimensions of Islam. IIIT, ottobre 2020. http://dx.doi.org/10.47816/01.003.20.

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Muqtedar Khan’s Islam and Good Governance: A Political Philosophy of Ihsan is, above all, an expression of faith.[1] This does not mean that we should engage it as a confessional text — although it certainly is one at some level — or that it necessitates or assumes a particular faith positionality on the part of its reader. Rather, Khan seeks here to build a vision and conception of Islamic governance that does not depend on compliance with or fidelity to some outward standard — whether that be European political liberalism or madhhabi requirements. Instead, he draws on concepts, values, and virtues commonly associated with Islam’s more inward dimensions to propose a strikingly original political philosophy: one that makes worldly that which has traditionally been kept apart from the world. More specifically, Khan locates the basis of a new kind of Islamic politics within the Qur’anic and Prophetic injunction of ihsan, which implies beautification, excellence, or perfection — conventionally understood as primarily spiritual in nature. However, this is not a politics that concerns itself with domination (the pursuit, retention, and maximization of power); it is neither narrowly focused on building governmental structures that supposedly correspond with divine diktat nor understood as contestation or competition. This is, as the book’s subtitle suggests, a pathway to a philosophy of the political which defines the latter in terms of searching for the Good.

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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, ottobre 2020. http://dx.doi.org/10.47816/01.001.20.

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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, gennaio 2000. http://dx.doi.org/10.15760/etd.7033.

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Prud’homme, Joseph. Quakerism, Christian Tradition, and Secular Misconceptions: A Christian’s Thoughts on the Political Philosophy of Ihsan. IIIT, ottobre 2020. http://dx.doi.org/10.47816/01.006.20.

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In his elegant and insightful book Muqtedar Khan admonishes Muslims to do beautiful things. It is an arresting call in a book itself beautiful in style, clarity, and boldness of vision for a better world. Professor Khan’s quest for beauty in a specific Muslim context: the beauty that arises when actions are done with the inescapable sense that God sees all one does – or, Ihsan. But what exactly do the commands of God require of those who, knowing He is watching, set themselves the task of scrupulously doing His will?

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Papadopoulos, Yannis. Ethics Lost: The severance of the entrenched relationship between ethics and economics by contemporary neoclassical mainstream economics. Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp1en.

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In this paper we examine the evolution of the relation between ethics and economics. Mainly after the financial crisis of 2008, many economists, scholars, and students felt the need to find answers that were not given by the dominant school of thought in economics. Some of these answers have been provided, since the birth of economics as an independent field, from ethics and moral philosophy. Nevertheless, since the mathematisation of economics and the departure from the field of political economy, which once held together economics, philosophy, history and political science, ethics and moral philosophy have lost their role in the economics’ discussions. Three are the main theories of morality: utilitarianism, rule-based ethics and virtue ethics. The neoclassical economic model has indeed chosen one of the three to justify itself, yet it has forgotten —deliberately or not— to involve the other two. Utilitarianism has been translated to a cost benefit analysis that fits the “homo economicus” and selfish portrait of humankind and while contemporary capitalism recognizes Adam Smith as its father it does not seem to recognize or remember not only the rest of the Scottish Enlightenment’s great minds, but also Smith’s Theory of Moral Sentiments. In conclusion, if ethics is to play a role in the formation of a postcapitalist economic theory and help it escape the hopeless quest for a Wertfreiheit, then the one-dimensional selection and interpretation of ethics and morality by economists cannot lead to justified conclusions about the decision-making process.

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Tyson, Paul. Climate Change Mitigation and Human Flourishing: Recovering Teleology, Avoiding Tyranny. Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp5.

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It is most unlikely that adjusting to a 1.5 to 2 degree hotter world is possible within the prevailing political and economic norms of our times. In our post-capitalist times we need to modify modern technological market “liberalism” (which has become, actually, techno-feudalism). If we do not modify our present norms, the collapse of the natural means of power and privilege native to our present world order makes it almost inevitable that democratic liberalism will devolve further into a distinctly anti-liberal species of techno-tyranny. To avoid such a dystopian future, this paper explores how we might re-imagine our global politico-economic norms without embracing techno-tyranny. The argument put forward is that modern liberalism makes the means of personal wealth accumulation and private freedom, the end of public life. This confusion of means with ends implies, ironically, that if our means become unviable, we have no way of aiming at valuable human ends by different means. We have a culturally assumed faulty teleology in political economics and in our philosophy of technology. A revised form of Aristotle’s teleology is proposed whereby an understanding of common human flourishing defines human ends, and where a range of new means could then be pursued to achieve that end, respecting the natural limitations on means that are now upon us.

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Buchanan, Riley, Daniel Elias, Darren Holden, Daniel Baldino, Martin Drum e Richard P. Hamilton. The archive hunter: The life and work of Leslie R. Marchant. The University of Notre Dame Australia, 2021. http://dx.doi.org/10.32613/reports/2021.2.

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Professor Leslie R. Marchant was a Western Australian historian of international renown. Richly educated as a child in political philosophy and critical reason, Marchant’s understandings of western political philosophies were deepened in World War Two when serving with an international crew of the merchant navy. After the war’s end, Marchant was appointed as a Protector of Aborigines in Western Australia’s Depart of Native Affairs. His passionate belief in Enlightenment ideals, including the equality of all people, was challenged by his experiences as a Protector. Leaving that role, he commenced his studies at The University of Western Australia where, in 1952, his Honours thesis made an early case that genocide had been committed in the administration of Aboriginal people in Western Australia. In the years that followed, Marchant became an early researcher of modern China and its relationship with the West, and won respect for his archival research of French maritime history in the Asia-Pacific. This work, including the publication of France Australe in 1982, was later recognised with the award of a French knighthood, the Chevalier d’Ordre National du Mèrite, and his election as a fellow to the Royal Geographical Society. In this festschrift, scholars from The University of Notre Dame Australia appraise Marchant’s work in such areas as Aboriginal history and policy, Westminster traditions, political philosophy, Australia and China and French maritime history.

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García Canclini, Néstor, Ronald Inglehart, Wayne E. Baker e Camile Herrera. Cultural Capital and its Impact on Development: Modernization, Cultural Change, and the Persistence of Traditional Values: Culture Industries and the Development Crisis in Latin America. Inter-American Development Bank, ottobre 2001. http://dx.doi.org/10.18235/0007946.

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Camilo Herrera (1975-), Colombian sociologist and economist, founding director of the Center for Cultural Studies for Political, Economic and Social Development in Bogotá. Ronald Inglehart (1934-), North American political scientist, Director of Institute for Social Research at University of Michigan; and Wayne E. Baker, Faculty Associate. Néstor García Canclini (1939-), distinguished Argentine philosopher and anthropologist, Casa de las Americas Prize (1981), and Director of Urban Culture Studies at UNAM.

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Kost’, Stepan. THE CONCEPT OF CREATIVITY IN JOURNALISM. Ivan Franko National University of Lviv, marzo 2021. http://dx.doi.org/10.30970/vjo.2021.50.11092.

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The article analyzes some theoretical and practical aspects of creativity. The author shares his opinion that the concept of creativity belongs to the fundamental concepts of philosophy, psychology, literature, art, pedagogy. Creativity is one of the important concepts of the theory of journalism. The author does not agree with the extended definition of creativity. He believes that journalistic activity becomes creativity when it is free and associated with the creation and establishment of new national and universal values, with the highest intensity of intellectual and moral strength of the journalist, when journalism is a manifestation of civic position, when this activity combines professional skills and perfect literary form.The author also believes that literary skill and the skill of a journalist are not identical concepts, because literary skill is a component of journalistic skill.

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Maron, Nancy, e Peter Potter. TOME Stakeholder Value Assessment: Final Report. Association of American Universities, Association of Research Libraries, and Association of University Presses, agosto 2023. http://dx.doi.org/10.29242/report.tome2023.

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The Association of American Universities, the Association of Research Libraries, and the Association of University Presses have published a final report assessing the success of their five-year pilot project to encourage sustainable digital publication of and public access to scholarly books. The associations launched the Toward an Open Monograph Ecosystem (TOME) project in 2018 to publish humanities and social science scholarship on the internet, where these peer-reviewed works can be fully integrated into the larger network of scholarly and scientific research. The project engaged a network of more than 60 university presses and ultimately produced more than 150 open-access scholarly works. The books cover a wide range of topics in many disciplines, including philosophy, history, political science, sociology, and gender and ethnic studies. The pilot was designed to last five years, and the sponsoring associations committed to assessing its value to its target audience at the end of that period. The report analyzes whether the community of authors, institutions, libraries, and presses that participated in the pilot found it helpful. Author Nancy Maron of BlueSky to BluePrint surveyed and interviewed authors and TOME contacts at participating institutions to assess how each benefited from the pilot—from increased global readership to stronger relationships among libraries, research deans, and faculty.

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