Sex in the War: An Aesthetics of Resistance in the Diaries of Etty Hillesum

Abstract

This article explores the wartime journals of Etty Hillesum who chronicled her life in the Netherlands under Nazi occupation and her experiences in the transit camp of Westerbork from where she was transported to Auschwitz. In the midst of appalling circumstances Hillesum constructed an aesthetics of resistance in which eroticism played a significant part. This was a mystical aesthetics in which God is encountered through beauty. Hillesum's work is a major resource for those who are seeking to reflect upon the relationship between aesthetics and politics in the current context as illustrated with reference to the work of Hélène Cixous.     

Meaning and beauty

What place do experiences of beauty have in a meaningful life? A marginal one, at best, it would seem, if one looks at the current literature in analytic philosophy. Treatments of beauty within so-called “analytic existentialism” tend to suffer from four limitations: beauty is neglected, reduced to artistic production, saddled to theology, or taken as a mere application of a broader theoretical framework. These discussions fail to engage with the rich tradition of philosophical aesthetics. In this essay, I begin by responding to the contention that experiences of beauty cannot lend life meaning because they are passive. Drawing on work in philosophical aesthetics, I then argue that encounters with the beautiful count as genuinely meaning-conferring because they have features commonly taken as marks of meaningfulness.     

Hedonistic morality and the art of life: Jean-Marie Guyau revisited

The aim of this paper is to defend the position that aesthetics and ethics in sport are not two separate domains or aspects. In sport, the aesthetic and the ethical both arise from sport’s (aesthetic) attractiveness or from the pleasure sport offers to its activists and consumers. To think about sport philosophically, we should find a link and a principle beyond this division as a source of both the aesthetic and the ethical in sport. The philosophy and philosophical sociology of Jean-Marie Guyau is presented as a response to this problem. Two points of fundamental importance are considered critically here: his criticism of any reductionism, and life or the idea of life as key principle of a philosophical system which puts ethics and aesthetics together.     

The Worldwide Significance of Chinese Aesthetics in the Twenty-First Century

Through comparisons between traditional Chinese and Western aesthetics, this article tries to explain the worldwide significance of Chinese aesthetic tradition in the twenty-first century. In contrast to cognitive-rational spirit and the tendency to distinguish the subjectives and objectives of traditional Western aesthetics, traditional Chinese aesthetics shows a distinctive practical-emotional spirit and a tendency to harmoniously unite human beings with nature, and believes that beauty is, first and foremost, a free state or way (Dao) of human life; the most important thing for human beings is how to make their own lives and existence beautiful. Therefore, it puts forward some persuasive and valuable insights into beauty and art, thus playing an independent and constructive role in intercultural aesthetic dialogues of the twenty-first century. Translated from Journal of Xiaogan College, 2004:5     

生命的核、质与根——性的哲学、伦理学与神学

性是人类生命的道德伤口。性是生命的核、质与根。人类掩藏性的信息,给生命以最大的神学、美学和伦理学的空间;也同时用潜伏的原理忧挂生命发生的神秘和戏剧性;性爱和情爱的形式改变了忏悔的精神说教,与科学实践、生活实践相结合,面临如何延续生命又如何避免蒙受尊严丧失的屈辱。     

Health, Well-being and Beauty in Medicine

This paper aims at explicating the role of the connections and interactions between health, well being and beauty. The primary goal of all medical approaches, including the classic biomedical and humanistic or humane approaches, is to restore or create health, whereby medical approaches that include prevention go beyond the mere restoration of health to include the preservation of health. Equating well-being and thus health with a largely self-determined and joyful life, then not only does a healthy life become a beautiful life, a beautiful life also becomes a healthy life! By bringing Beauty into the health discourse, we are entering the field of aesthetics in general and social aesthetics in particular. As the beautiful is not just a decorative element of life but a genuine source of human strength, it gives us the strength and power we need to implement and achieve all that we then experience as “well-being” and that is called a healthy life. Therefore a further development of a human-based medicine is needed, a medicine that focuses not on a disease construct but which places a human being as a whole, with all his potential and limitations at the heart of diagnostic and therapeutic efforts. The noblest therapeutic goal of this kind of medicine can only be the restoration or preservation of a comprehensive state of health in the sense of complete physical, mental and social well-being, in the sense of opening up the possibility for a mostly autonomous and joyful life.     

COMMENTARY ON ELIZABETH COREY'S INTERPRETATION OF MICHAEL OAKESHOTT

Elizabeth Corey suggests that in order to understand Michael Oakeshott's worldview one should pay special attention to two subjects, religion and aesthetics, and analyze the connection between these two realms and the idea of practical life in general and of politics in particular. Her book provides a sympathetic but also critical conversation with Oakeshott's ideas, ultimately offering us a coherent picture of the place of the religious, poetical, and political in the totality of his thought. Corey persuasively shows that the major ideas of the mature Oakeshott originated in his earlier religious convictions and that his philosophy of aesthetics, contrary to what his critics claimed, fit nicely in the general framework of his thought.     

审美现代性与日常生活批判

一、问题的提出从历史角度说 ,艺术作为人类文化一个不可或缺的重要组成部分 ,是与社会生活密不可分地联系在一起的。审美发生学的研究已经证实 ,艺术的基本社会功能就是协同功能 ,通过艺术活动来教化社会成员 ,协调社会关系 ,传递文化、道德和行为方式 ,沟通社会成员之间的情感联系。这种功能我们可以在原始艺术、古典艺术甚至一切前现代艺术中清楚地看到。在前现代 ,艺术与社会的功能关系基本上是协调一致的。虽然在传统文化中不乏反抗现存社会的艺术 ,特别是面临巨大变迁的时代的艺术 ,但从总体上说 ,艺术和社会成员的日常生活及其意识形…     

Vertical and Horizontal Transcendence

Transcendence is explored from two perspectives: the traditional concept wherein the origination of the sacred is "out there," and the alternate concept wherein the sacred originates "here." Each is evaluated from the perspectives of aesthetics and hierarchy. Both forms of transcendence are viewed as essential to the full religious life.     

Wisdom and Knowledge: The Outline of Eastern and Western Aesthetic Spirits?

Wisdom and knowledge are the basic spirits of Eastern and Western aesthetics. The shortcoming of the aesthetics based on knowledge, i.e., the aesthetics of knowledge, lies in the fact that it clings to the opposing differences between Western- and Eastern-centered theories. These differences include essentialism and anti-essentialism; harmonious and non-harmonious relationships between person, self, nature and society; art or nature as the highest aesthetic realm; metaphysics or psychology as the aesthetic domain; dualism and Advaita; and so on. The aesthetics based on wisdom, namely aesthetics of wisdom, is valuable due to its adopting an impartial attitude toward Eastern and Western aesthetics, essentialism and anti-essentialism, philosophical horizon and psychological horizon, theory of harmony and theory of antagonism, beauty of art and beauty of nature, dualism and Advaita, up to aesthetics of knowledge and aesthetics of wisdom. Contrasted with this understanding of the aesthetics of knowledge, non-dualism and non-Advaita are the soul of the spirit of the aesthetics of wisdom.     

The aesthetics of luxury fashion,body and identify formation

In this paper we theorize and empirically investigate how female consumers' attitudes and preferences relating to bodily appearance are linked to their perceptions of the aesthetics of fashion. Our theoretical work is informed by three streams of research: aesthetics of production, aesthetics of reception and aesthetic labor. These three converge to illuminate our study. Using the ZMET technique, we uncover four themes: fashion as wearable art, body and self-identity, bodily appearance and high fashion brands, and aesthetic labor through fashion. Our focus on the aesthetics of fashion and identity formation provides a segue into the broader discussion of the growing importance of aesthetics in understanding consumer behavior.     

The artist speaks. Sigmund Koch on aesthetics and creative work

Sigmund Koch is widely recognized as a prime mover of the radical transformation of psychology from a discipline dominated by behaviorism and related views to a multivalenced set of inquiries into human mentality and functioning. It is less widely remarked that Koch saw aesthetic endeavors as standing at the center of human life and thus warranting psychologists' closest attention. Koch's interest in aesthetics and art making is evident in his writings from the mid-1950s to the mid-1970s on different states of mind, the notion of value properties, and the theory of definition. Koch's study of creative work in the latter decades of his life with artists of high accomplishment was guided by a set of methodological signposts for the study of creative work, contains formulations relevant to contemporary psychoaesthetics, and generates significant questions for further inquiry.     

超越意识美学与身体美学的对立

Modern aesthetics in its early phase was “consciousness aesthetics” which upheld spirit but obviated body, hence offered demonstration for the priority of refined art as well as elite culture. In its later period, modern aesthetics converted into “somaesthetics” which, at the same time when it affirmed the identity of consciousness and body, laid particular stress on body, hence offered basis for the reasonableness of popular art as well as mass culture. Thus consciousness aesthetics and somaesthetics have their respective reasonableness and limitation. We should transcend the opposition between them, acknowledging the spirit aspect of aesthetics as well as the body aspect of it and affirming the dominant position of spirit, so as to establish a modern aesthetics characterized by body-mind integration.     

The Contemporary Pertinence of the Later Foucault. Have his Strategies of Resistance Stood the Test of Time?

Abstract

What happened during the fairly long silence following The History of Sexuality? … had he [Foucault] not trapped himself within the concept of power relations?' asks Deleuze. According to him, Foucault would have answered ‘that power does not take life as its objective without revealing or giving rise to a life that resists power’ (Deleuze 1988: 94). The object of this essay is to assess what happens ‘if the transversal relations of resistance continue to become restratified’. When the long silence was fmally broken, Foucault proposed a more affirmative - aesthetic - mode of countering power, but what exactly is the contemporary pertinence of the late Foucault’s insistence that an aesthetics of existence provides us with the means to resist an over-determination by power. This essay follows the trajectory of Foucault’s turn to aesthetics: from care of the self as a reaction against constraining governmental regulations and institutionalised normalisations; to self-(trans)formation as a more affirmative strategy; to the present day in which cultural capitalism has usurped all aesthetic strategies of resistance. The essay therefore questions the potentially subversive status of self-creation in the light of the fact that contemporary governmental rationalities encourage self-stylising individuality, alternative life-style choices and original ways of being different. It concludes by arguing in favour of its continued relevance.     

The Significance of Xuwu 虚无 (Nothingness) in Chinese Aesthetics

Just as nothingness is a fundamental concept in Daoist philosophy, it is also a fundamental concept in Chinese aesthetics, where it has multiple meanings: First, nothingness, as a reaction against unaesthetic psychical activity, is a primary precondition of aesthetic and artistic activity. Second, as the void or intangible “stuff” juxtaposed to “substance,” it is an indispensable compositional property of artworks as well as an essential condition for the manifestation of an artistic form. Finally, as a reaction against the unaesthetic world of daily life—the experiential world—nothingness is the fundamental basis and essential provision for establishing an artistic world.     

The Unrealized Eschatology of Michel Henry: Theological Gestures from his Phenomenological Aesthetics

This study responds to readings of Michel Henry’s eschatology as over-realized through an analysis of his frequently neglected phenomenological aesthetics in Seeing the Invisible: On Kandinsky in light of the theological articulation of his phenomenology of life. It argues for a distinctly unrealized thrust to his program by foregrounding the notion of monumental art and the rootedness of human praxis, artistic and otherwise, in concrete sensible reality. The conclusion suggests that Henry’s project, while theologically problematic, opens a path towards the development of a theological phenomenological cosmology when supplemented.     

The Theology of Jean Daniélou: Epochs,Correspondences, and the Orders of the Real

After a survey of the life and work of Jean Daniélou considered as the classic theologian of twentieth century 'ressourcement', his theological method is explored under three headings: 'epochs' indicates his reliance on the theology of history as developed by 'biblical theology'; 'correspondences' his cosmic aesthetics, indebted to French Symbolism, and invoked theologically by way of typology; 'orders' his Pascalian emphasis on a distinction between levels of reality and the variety of epistemological approaches they require. The article concludes by applying Daniélou's method, so understood, to the heart of his theological doctrine, his account of God in Jesus Christ.     

Liberal Feminism,from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics

This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.