SUNY series in Aesthetics and the Philosophy of Art – serie

Conceptualizes the question of witness and responsibility, following the Holocaust, using continental philosophy, theology, and literary theory.Drawing on the philosophy of Emmanuel Levinas, James Hatley uses the prose of Primo Levi and Tadeusz Borowski, as well as the poetry of Paul Celan, to question why witnessing the Shoah is so pressing a responsibility for anyone living in its aftermath. He argues that the witnessing of irreparable loss leaves one in an irresoluble quandary but that the attentiveness of that witness resists the destructive legacy of annihilation."In this new and sensitive synthesis of scrupulous thinking about the Holocaust (beginning with scruples about the term Holocaust itself), James Hatley approaches all the major questions surrounding our overwhelming inadequacy in the aftermath of the irreparable. If there is anything unique (in a non-trivial sense) about the Holocaust, surely it is the imperious moral urgency that compels those who contemplate it to revise their view of what it means to be human, and to bear witness to such an event.

Rethinks the existing definitions of aesthetics and ethics and the relations between them.This forum of current discussions of ethics and aesthetics addresses a cross-section of disciplines including literary theory, philosophy, women's studies, postcolonial theory, art history, Holocaust studies, theology, and others. Contributors, ranging from philosophers and literary critics to practicing artists and art curators, answer such questions as: In the age of the collapse of metaphysics, what is the relation between philosophical reflection and art? If we question the privilege accorded to the aesthetic, can ethics alone offer a solution to the crisis of representation? Is it possible and ethically viable to represent the other in speech and image? What happens at the conjunction of aesthetics and politics? Can one speak of aesthetic configurations of the space of community? Are the concepts of ethics and aesthetics gendered and repressive of sexual difference? Considering the many works that consider either ethics or aesthetics almost exclusively within the confines of particular disciplines, this collection crosses the boundaries and continues the debate outside the rigid parameters of specialized discourses.

Shows the inseparability of textuality, materiality, and history in discussions of the body.This collection maps the very best efforts to think the body at its limits. Because the body encompasses communities (social and political bodies), territories (geographical bodies), and historical texts and ideas (a body of literature, a body of work), Cohen and Weiss seek trans-disciplinary points of resonance and divergence to examine how disciplinary metaphors materialize specific bodies, and where these bodies break down and/or refuse prescribed paths. Whereas postmodern theorizations of the body often neglect its corporeality in favor of its cultural construction, this book demonstrates the inseparability of textuality, materiality, and history in any discussion of the body.

This book investigates the reciprocal and often transgressive relations between rhetorical figures and libidinal activity. The works of Nietzsche, Artaud, Bataille, Klossowski, and Sade are reconsidered in light of the modernist and postmodernist problematics of simulacra, fascination, sublimation and desublimation, perversion, deconstruction, and libidinal economies.Reading across the boundaries of philosophy, art history, comparative literature, film studies, and psychoanalytic theory, this work reveals the manner in which theoretical discourse is imbued with passional motivations, and, conversely, shows how the passions are structured according to logical and rhetorical figures. In offering specific rereadings of several key figures of our modernist tradition, this work helps identify the sources of the 'postmodern condition.' It thus provides a theoretical foundation for contemporary art and literary criticism-especially of those works to be found at the margins of our culture.

Discusses the ethical aspects of literature.This book addresses the ethical aspects of literature by discussing three major American poets: Walt Whitman, Wallace Stevens, and A. R. Ammons. It develops a philosophical framework by which an ethics of literature can be construed, and differentiates this view from a purely political criticism on the one hand and a purely "disinterested" criticism on the other. Beginning with Nietzsche's assumption that the world itself is an aesthetic place, Hans shows how an ethic is always inevitably implicit in the aesthetic through which a writer constructs his work. At the same time, he argues that this ethic never tells us how to live our lives; it only presents us with a series of constructs through which we can begin to understand the nature of valuing in the everyday world. The book also examines some of the reasons why academics have resisted the ethical aspects of literature, confronting the two major forces in literary criticism today: political writing (chiefly feminist) and post-structuralist (chiefly deconstructionist) writing.The Value(s) of Literature goes beyond Nietzsche and Derrida's critique of Nietzsche, which does not seriously approach the need for positive evaluation of the world. It is precisely this positive attempt to weigh the value of things anew to which this book is devoted.

Art Brut, also termed Outsider Art, has long been suppressed from most art historical writing. Why this rejection? The hyperbolic expressions of Romanticism and Symbolism nourished a desire for derangement and dissociation that inspired both Expressionism and Surrealism. Simulated delirium became the object of the new art - experimental, avant-garde, modernist - which arose from the fragmented codes, the shattered forms of everyday communication. But what of those artists whose works, and often whose deliria, are the manifestations of sheer eccentricity, of social isolation and marginalization, or of madness? In this book Weiss investigates the origins of the unrestricted contemporary artistic field, seeking its sources in those works hitherto absent from the official histories of art - works that constitute art's dark interior, its disturbing netherworld. Secluded, occluded, excluded, Art Brut nevertheless extends the limits of artistic creativity and aesthetic discourse, regardless of whatever anxieties such works may produce. Shattered Forms explores the relations between Art Brut, the psychopathology of expression, and avant-garde Modernism, attempting to show how the consideration of Art Brut should lead to a revision of our theoretical and museological paradigms.

Examines the role of the sacred in art and makes a compelling case for its continued contemporary relevance.From Walt Disney World to the movie Natural Born Killers, this book explores uncommon indicators of the spiritual in contemporary art and culture. Drawing on a diversity of perspectives in philosophy and aesthetics to highlight conscious and unconscious manifestations of the sacred in art, this work makes a compelling case for its continued contemporary relevance.Contributors include Andrew Doerr, Melissa E. Feldman, Cher Krause Knight, Debra Koppman, Janice Mann, Dawn Perlmutter, Crispin Sartwell, and Susan Shantz.

Examines the role of the sacred in art and makes a compelling case for its continued contemporary relevance.From Walt Disney World to the movie Natural Born Killers, this book explores uncommon indicators of the spiritual in contemporary art and culture. Drawing on a diversity of perspectives in philosophy and aesthetics to highlight conscious and unconscious manifestations of the sacred in art, this work makes a compelling case for its continued contemporary relevance.Contributors include Andrew Doerr, Melissa E. Feldman, Cher Krause Knight, Debra Koppman, Janice Mann, Dawn Perlmutter, Crispin Sartwell, and Susan Shantz.

Draws upon a wide range of aesthetic theories and artworks in order to challenge the view that art is valueless or purely subjective.By analyzing the three loci of aesthetics-the subjective, the objective, and the absolute-the author concludes that only the sublime demonstrates that art is neither subjective nor objective. The one essential component of art is the new, the sole "instrument" that can guarantee art's vitality even when confronted by the nihilistic tendencies of modernity.

Rethinks the existing definitions of aesthetics and ethics and the relations between them.This forum of current discussions of ethics and aesthetics addresses a cross-section of disciplines including literary theory, philosophy, women's studies, postcolonial theory, art history, Holocaust studies, theology, and others. Contributors, ranging from philosophers and literary critics to practicing artists and art curators, answer such questions as: In the age of the collapse of metaphysics, what is the relation between philosophical reflection and art? If we question the privilege accorded to the aesthetic, can ethics alone offer a solution to the crisis of representation? Is it possible and ethically viable to represent the other in speech and image? What happens at the conjunction of aesthetics and politics? Can one speak of aesthetic configurations of the space of community? Are the concepts of ethics and aesthetics gendered and repressive of sexual difference? Considering the many works that consider either ethics or aesthetics almost exclusively within the confines of particular disciplines, this collection crosses the boundaries and continues the debate outside the rigid parameters of specialized discourses.