By Guttorm Fløistad (auth.), Guttorm Fløistad (eds.)
The current quantity is a continuation of the sequence Contemporary Philosophy (International Institute of Philosophy). As with the sooner volumes within the sequence, the current chronicles purport to provide a survey of vital traits in modern philosophy.
This quantity on Aesthetics, containing nineteen surveys, indicates the range of ways to Aesthetics in numerous cultures. The shut connection among aesthetics and faith and among aesthetics and ethics is emphasised in different contributions.
The chronicles are regularly written in English, French and German. within the current quantity ten surveys are written in English, 8 in French and one in German. The bibliographical references, with a few exceptions, stick to the trend brought in prior volumes. The bibliographies themselves often keep on with on the finish of every chronicle prepared in alphabetical order. The bibliographies are chosen and organized through the authors themselves.
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Additional info for Aesthetics and Philosophy of Art
P. CHATTOPADHYAYA (Jadavpur University, Kolkata) I. – PRELIMINARY OBSERVATIONS Aesthetics, as a theoretical discipline, presupposes aesthetic use of language in different forms. Prose, poetry and drama are among the three main recognized literary forms. Within one of these forms several other sub-forms are available. Besides, theatre, painting, sculpture, architecture and music are among the aesthetic forms which have been extensively discussed in the Indian tradition. It is very interesting to note that among the traditionally recognized 64 forms of art (kalā) one finds such diverse subjects as (i) floral beautification, (ii) beautification by gems and jewellery, (iii) hair-dressing, (iv) laying bed, (v) perfumery, (vi) house-designing and (vii) designing fire-works.
As distinguished from sensuous loverelated kāma, there is another superior kind of kāma: it is, mokṣ akāma, desire for freedom or mukti. Knowledge of reality, meditation, contemplation and action with inner purity are believed to be the matrix of mokṣa - kāma. From the contrary views and their supporting arguments one is led to the conclusion, though tentative, that no rasa (in the aesthetic sense) can be claimed to be strictly pure or exclusively original. Rasa as an experience, projective or perceptive, is mixed up with many factors, internal or external.
Then, after proposing the concept of « episteme » as « discursive formation », he focused on « institutions » which should need discursive explanations. Another object of his analysis was to reveal political « power » which permeates from outside in any field of discourse. Thus his accomplishments cover various fields and it would be difficult or impossible to trace exactly his journey to ethical interests, in the last days of his life. Faced against fanatic ideologies EXTENDING MEANINGS OF AESTHETICS AND THE ETHICAL MOMENT 37 and terrifying powers as well as diverting attempts by a lot of pseudophilosophical discourses destitute of a sense of responsibility, he must have conceived of the ultimate meaning of individual existence.
Aesthetics and Philosophy of Art by Guttorm Fløistad (auth.), Guttorm Fløistad (eds.)