1,721,024 research outputs found
Une disparition de l’auteur? La création impersonnelle
No full textThe question of the « disappearance » or the « death » of the author can be approached advantageously from the polarisations that seem to characterise artistic creation, in particular the pairs activity/passivity and individuality/universality. These tensions span the « history of creation », in which the question always arises of the participation of the author in relation to an external force which can, as it were, submerge and inspire him, but never leaves him in his empty autonomy. In this context the legacy and the challenge which the last century left us are precisely those of thinking the appearance of a paradoxical author, an « impersonal author », for whom the dynamic between these poles cannot be resolved by favouring one side at the expense of the other, but rather according to a new way which thinks below all dichotomous opposition.
According to this approach the author does die, but in the most elevated sense, i.e. to give life to an impersonal style, an instance foreshadowing an intersubjective perspective.La question sur la « disparition » ou la « mort » de l’auteur peut être abordée de manière bénéfique à partir des différentes polarisations qui
semblent caractériser la création artistique, notamment les couples activité/passivité et individualité/universalité. Ces tensions traversent l’« histoire de la création », dans laquelle se pose toujours la question de la participation de l’auteur par rapport à une force extérieure qui peut, pour ainsi dire, le submerger et l’inspirer, mais qui ne le laisse jamais dans sa vide autonomie. Dans ce cadre, l’héritage et le défi que nous a laissés le siècle dernier sont précisément de penser la figure d’un auteur paradoxal, un « auteur impersonnel » pour qui ladynamique entre ces pôles ne peut se résoudre en privilégiant un côté au détriment de l’autre, mais plutôt selon une nouvelle voie qui pense en deçà de toute opposition dichotomique. Selon cette approche, l’auteur meurt bien, mais dans
le sens le plus élevé, c’est-à-dire pour donner vie à un style impersonnel, une instance annonciatrice d’une perspective intersubjective
Body Becoming Image. The Theatrical Window
Full text linkThis paper aims to analyze the question of how to define the essence of the theater, building on a con- ference Spanish philosopher Ortega y Gasset held in Lisbon in April 1946, where he radically raised the question of the «strange» relationship between reality and unreality that the «world of the stage» makes possible for us to experience. On the one hand, Ortega states that theater is essentially vision, while, on the other hand, it seems that such a seeing, in itself, leads to a problematic relationship with a not-seeing. In particular, Ortega seems to claim that in theater spectators experience a vision both «paradoxical» and «magic», insofar as it entails an essential not-seeing that gives rise to a play between opacity and transparency. A play that is also to be found in a masterwork many phenomenologists admired, Proust’s Recherche, in which, in order for Marcel to see the image of Phaedra, the ordinary body of the actress Berma has to vanish. Here the body becomes transparent and one no longer sees the performer himself: he/she is simply a window opening upon a great work of art. This way, the spectator can experience «this new order of creatures» that reminds us of the «êtres d’une nouvelle nature» of which Du Bos wrote in the Eighteenth Century. However, regarding the topics of the «image-window», Eugen Fink and his teacher Edmund Husserl had already paved the way, and an intertwined reading of some important texts of both authors can in turn shed new light on this question. With regard to Hus- serl, special attention will be paid to a very interesting text from the Husserliana XXIII (probably dating to 1918) in which he, taking theatrical image into profound consideration, draws attention to the both paradoxical and powerful notion of perceptual phantasy
Intentionality, Phantasy, and Image Consciousness in Edmund Husserl
No full textEdmund Husserl (1859–1938) was one of the most influential philosophers of the twentieth century, and is known as the founder of phenomenology. Husserl was famously led into philosophy by Franz Brentano (1838–1917), who reintroduced the medieval notion of “intentionality” into his contemporary philosophical reflections; Husserl later autonomously developed the concept in his Logical Investigations, the work that marks the inception of phenomenology
The Familiar Unknown: On the Essence of a Musical Idea
Full text linkFrom a Platonistic perspective, ideas are eternal and unchanging, constituting the foundation of reality. An idea itself does not change; it is a principle, immutable in essence. This approach inherently establishes a hierarchy, valuing the world of ideas—understood as objective truth—over the sensory world—seen as deceptive and unstable. Against this backdrop, this paper examines the nature of musical ideas as they emerge from Marcel Proust’s work, exploring their potentially antiplatonistic implications and the philosophical insights they inspired in influential 20th-century thinkers
Il riso di Molière. Teatro e impersonalità
Full text linkIn un breve e intenso lavoro del 1900 – che raccoglie tre saggi scritti l’anno precedente – Henri Bergson si cimenta nel difficile compito di definire l’essenza «volatile» del riso, arrivando a concepirlo alla stregua d’un rilevatore sociale di forze impersonali. Strumento d’indagine privilegiato di conoscenza diviene per il filosofo francese la commedia di Molière, già oggetto d’indagine delle riflessioni di Du Bos e Diderot, che richiameremo in questo saggio nel tentativo di guadagnare a nostra volta un primo passo verso la definizione della peculiare impersonalità che anima la commedia; fra le arti, come scrive Bergson, quella che maggiormente «oscilla fra l’arte e la vita»
Aesthetics and Values : Contemporary Perspectives
No full textFostering a dialogue enriched by contributions from both the analytic and the continental tradition (and drawing on authors such as Broch, Diderot, Levinson, and Wittgenstein), this volume delves into the complex relationship between aesthetics and values. The chapters gathered here reveal decisive aspects of the nature of aesthetic and artistic values, as well as their multiple connections to other kinds of value. On the one hand, they shed light on how aesthetic value can be distinguished from artistic value, with which it is often associated and sometimes even confused. On the other hand, they inquire into how both aesthetic and artistic values relate to ethical, cognitive, and political values – a task that is becoming increasingly urgent in contemporary debates on the role art can play in our lives
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