1,721,033 research outputs found
Recensione di Roberta Dreon, Human Landscapes. Contributions to a Pragmatist Anthropology, Albany, SUNY Press, 2022
No full textRecensione del volume: Roberta Dreon, Human Landscapes. Contributions to a Pragmatist Anthropology, Albany, SUNY Press, 2022
Linguaggio e corpo delle emozioni. Dewey, Nussbaum e la lingua di Saba
Full text linkThe essay aims at drawing a comparison between Dewey’s theory of emotions and Nussbaum’s one, focusing the role of «corporeity» in human experience of emotions. Both the theories are empirical verified by examinig a short story by Umberto Saba, Ernesto, wich the Roberta Dreon assumes as pertinent example of a narrative, literary way to express emotions.</p
Aesthetic Disinterest
Full text linkThis entry on "aesthetic disinterest" provides an overview of the origins of the concept and its role in the foundation of aesthetics according to Stolnitz and the following debate on the role of Eighteenth-century British aesthetics, Kant, and Schopenhauer. It also concisely consider some main criticism of the concept in the current debate from the field of institutional theory of art, sociology of art, environmental aesthetics, and evolutionary aesthetics
From a Theory of Experience to a Philosophy of Art. Dewey's Aesthetics in Experience and Nature
No full textThis paper focuses on Experience and Nature as the book in which John Dewey began to develop a philosophy of art out of his theory of experience, suggesting that his philosophy of art is an integral part of his cultural-naturalistic view of human experience and emergence. In a nutshell, if human experience consists of forms of organic interaction with a natural and naturally enculturated environment, Experience and Nature claims that the arts are modes of experience in which both instrumental and consummatory meanings are enjoyed or suffered, i.e. they are the ultimate outcomes of the complicated forms of experience characterizing human animals.
The paper considers some of the main features that characterize Dewey’s first formulation of a philosophy of art in comparison with the second one, developed in Art as Experience, although within a framework of fundamental continuity. Firstly, the author argues that a key role is played by Dewey’s view of primary experience as qualitative or aesthetically characterized, which precedes his characterization of the aesthetic as either the final phase of ordinary interactions or the quality of an artistic experience insofar as it is intentionally brought to its fulfillment. Secondly, she considers the cultural-historical origins and development of the concept of art in relation to other notions, such as experience, science, and contemplation, as well as Dewey’s criticism of the traditional division between useful and fine arts. Finally, she emphasizes Dewey’s conception of the arts as forms of experience characterized by a strong interweaving of both instrumental and consummatory or final features, namely as experiences in which even means are enjoyed or suffered. This view precedes Dewey’s account of "an experience" as a conceptual tool for distinguishing between eminently artistic experiences and ordinary interactions within the continuum of experience
Toward a Sustainable Attitude: Aesthetics, the Arts, and the Environment. Preface to the Special Issue 2024 of Contemporary Aesthetics
Full text linkThis special issue of
Contemporary Aesthetics
aims toinvestigate the environmental challenges facing the worldfrom a philosophical and artistic perspective, particularlyto overcome the indeterminateness of the notion ofsustainability and its multifaceted nature, whichunfortunately falls prey to contrasting world views, as isevident in climate change skepticism. So far, the crisishas been addressed primarily with solutions based ontechnological innovation, rather than ones requiringsignificant shifts in attitudes and conceptual frameworks.The failure to inspire behavioral change through rigorousscientific communication has increasingly fosteredinterest in the relationship among aesthetics, art, andsustainability that offers new forms of knowledgeproduction and human action that complement necessarylegislative developments and shared internationalpolicies
Introduction to Pragmatism and Psychologism
Full text linkTesto introduttivo delle curatrici al numero monografico dello European Journal of Pragmatism and American Philosophy dedicato al tema "Pragmatism and Psychologism". Sebbene l'introduzione sia stata elaborata insieme dalle due autrici, il primo paragrafo è attribuibile a Rosa Maria Calcaterra, mentre il secondo paragrafo deve essere attribuito a Roberta Dreon
Esprimere i significati, esprimere le emozioni. Alcune considerazioni tra Wittgentstein, William James e Luigi Perissinotto
No full textIn his work, Luigi Perissinotto has constantly claimed that meaning is not primarily a mental state or a mental entity and that meaning should be understood as resulting from practices that happen between speakers, who basically share common activities and a language. This thesis is grounded in his reading of Wittgenstein's texts, and, I argue, it can be correlated with Wittgenstein's own somewhat analogous thought that bodily gestures - particularly changes in the face and movements of the hands and the whole body - are not expressions of emotions in the sense of outward manifestations of allegedly inner states of mind. In this paper, I contend that Wittgenstein's antimentalism may have been partly influenced by William James's claim in the Principles of Psychology that emotions should not be interpreted as psychic contents, that would be prior to their manifestations through bodily expressions, although Wittgenstein disagrees with James' alternative formulation, whereby emotions are said to be the feeling of bodily changes as they occur
Reason, Language, and Life. Frank Lorimer’s Critical Development of Dewey’s Approach
Full text linkIn this paper, I wish to draw scholars’ attention to Frank Lorimer, a much overlooked figure within Pragmatism, by arguing that he provided an insightful contribution to the “naturalism of continuity with difference” (Bernstein 2020) supported by Dewey. Lorimer suggested a continuistic account of the origins of human reason out of previous forms of organic intelligence through the transformation of the latter brought about by the development of human language. Secondly, he worked out a naturalistic interpretation of language development, primarily from an ontogenetic point of view. Particularly insightful are his conception of organic intelligence, his idea of a primarily affective-aesthetic fabric of speech, his thesis about the birth of nomination out of the continuous flow of speech, and the claim that grammar and logic are ultimately grounded in the structures of organic life within a given environment and continue to develop within a symbolic and socially shared medium. Such suggestions prove to be still relevant in the current philosophical debate on naturalism, the intertwining of experience and language in the human world, and the specificities of human cognition with reference to other forms of sense-making
Human Landscapes. Contributions to a Pragmatist Anthropology
No full textHuman landscapes works out a pragmatist anthropology which the Classical Pragmatists never put together in a comprehensive form – despite the many insights on the topic to be found in Dewey’s, James’s, and Mead’s texts. The author retrieves and develops this material in its astonishing modernity with reference to current debates on the mind as embodied and enacted, philosophy of the emotions, social theory, and studies about the origins of human language.
By assuming a basic continuity between natural developments and human culture, the volume highlights the qualitative, pre-personal, habitual features of human experience constituting the background to rational decision-making, normativity, and reflection.
The book rests on three pillars: a reconceptualization of sensibility as a function of life, rather than as a primarily cognitive faculty; a focus on habits, understood as pervasive features of human behaviors, acquired by attuning to the social environment; an interpretation of human experience as "enlanguaged", namely as contingently yet irreversibly embedded in a linguistic environment that has important loop effects on human sensibility and habitual conduct.Human Landscapes works out a pragmatist anthropology which the Classical Pragmatists never put together in a comprehensive form—despite the many insights on the topic to be found in Dewey’s, James’s, and Mead’s texts. Roberta Dreon retrieves and develops this material in its astonishing modernity concerning current debates on the mind as embodied and enacted, philosophy of the emotions, social theory, and studies about the origins of human language. By assuming a basic continuity between natural developments and human culture, this text highlights the qualitative, pre-personal, habitual features of human experience constituting the background to rational decision-making, normativity, and reflection. The book rests on three pillars: a reconceptualization of sensibility as a function of life, rather than as a primarily cognitive faculty; a focus on habits, understood as pervasive features of human behaviors acquired by attuning to the social environment; and an interpretation of human experience as "enlanguaged", namely as contingently yet irreversibly embedded in a linguistic environment that has important loop effects on human sensibility and habitual conduct
La soglia e i custodi delle arti. The Pale and Gatekeepers of the Arts
Full text linkFor this year’s issue Venezia Arti is set to examine the idea of threshold in the arts, primarily meaning the limit or boundary that separates art from what is not considered as such. The definition embraces every possible kind of frontier between the art world and that, which is alien to it, hence observing the arts from the perspective of Pierre Bourdieu’s field of forces, where interdependencies and positions among numerous actors legitimize artistic production. The focus thus shifts to the edge of the art world and to those who are identified as gatekeepers and possibly modify the barriers of a specific artistic discipline. Hereafter all subjects and groups who hold an institutional role (à la George Dickie) in the determination of different arts spheres – whether by implicit or explicit collective approval – should be included in the consideration. As a consequence, rather than focussing on a singular artist, centre of attention is the set of actors that mutually constitute the art worlds in a given time and place, uncovering the structural interrelations between people that originate art in Howard Becker’s view
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