先秦儒家美学之"美"的边界

“Beauty” is a very important concept in Pre-Qin Confucian aesthetics. Pre-Qin Confucian aesthetics generally had two viewpoints when defining beauty: Negatively, by stressing that “beauty” in the aesthetic sense was not “good”; and positively, by stressing two factors: one, that beauty was related to “feeling” which was not an animal instinct, the other was that “beauty” was a special texture with a particular meaning. “Beauty” in Pre-Qin Confucian aesthetics may be defined as “texture (or form)” capable of communicating feeling or triggering a reaction of feeling. __________ Translated from Shanghai shifan daxue xuebao 上海师范大学学报 (Journal of Shanghai Normal University), 2007, (7): 80–85     

Reasoning to what is true in fiction

The paper discusses the principle by which we reason to what is true in fiction. The focus is David Lewis's article Truth in Fiction (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the recovery of meanings in interpretative frameworks. The model theoretic approach fails to account for common literary or rhetorical devices like unreliable narration, connotation and point of view. And in explaining indeterminacy of content in terms of truth-value gaps it gives too simplistic an account of critical reasoning about character motivation and thematic development. A more adequate account of content-indeterminacy can be provided through a comparison of the interpretation of fiction with the interpretation of human action. A broader motif in the paper is the underlying tension between what is required for the logic of fiction and what is required for the aesthetics of fiction.     

Moderate Partisanship as Oscillation

In Watching Sport, Stephen Mumford distinguishes two ways in which sport can be seen. A purist sees it aesthetically while a partisan sees it competitively. But this overlooks the obvious point that most sports fans are neither entirely purist nor entirely partisan. The norm will be some moderate position in between with the purist and partisan as ideal limits. What is then the point of considering these pure aesthetic and pure competitive ways of seeing? In this discussion note, I consider possible accounts of the way in which the moderate spectator watches. After rejecting what I call a pure perception theory and a mixed view, I defend an oscillation theory. This means that the moderate sports fan is one who switches, sometimes rapidly, between the aesthetic and competitive perceptions of sport. A pay-off of this account is that we do not need a further, third way of perceiving sport in order to account for the moderate. It has been explained in terms of our original two forms of perception. This fills a lacuna in Mumford's account.     

The Creativity Paradox: An Introductory Essay

In this introductory article to the special issue, I explore the trope of paradox to think through the idea of creativity. Traditionally, metaphor has been the favored trope to conceptualize creativity: the combination of two existing elements into something different, something new. In this special issue, we focus on the trope of paradox as a trope defined by juxtaposition and an apparently irresolvable conflict to delineate creativity. Glossing the usefulness of paradox for artistic as well as scientific creativity, I show how the idea of Janusian thinking or being in two minds holds great potential to bridge creativity research in the humanities and social sciences. This issue starts building that bridge with multidisciplinary perspectives on creativity that, first, deconstruct apparent dichotomies in creativity research and, second, approach creativity as a situated, distributed concept.     

What ugly and beautiful photographs reveal about COVID-19 lockdown experiences,everyday aesthetics and photography aesthetics

Against the backdrop of the COVID-19 pandemic, which restricted our daily (visual) experiences, we asked people to take an ugly and beautiful photograph from within their homes. In total, 284 photographs (142 ugly and 142 beautiful) and accompanying statements were submitted and brought to light an intimate portrait of how participants were experiencing their (lockdown) home environment. Results revealed an aesthetic preference for (living) nature. Beauty and ugliness were also connected to good versus bad views, mess versus cosiness, unflattering versus flattering portraits and positive versus negative (COVID-19) emotions. In terms of photography strategies, editing and colour were important for beautiful photographs, whereas a lack of effort and sharpness showed up relatively more in ugly photographs. A follow-up study revealed that other viewers' (n = 86) aesthetic judgements of the photographs were largely in line with the original submissions, and confirmed several of the themes. Overall, our study provides a unique photographic window on our everyday aesthetic experiences at home during the COVID-19 lockdown.     

Book reviews

Books reviewed:
Zoja, E. P. Transl. by Henry Martin. Abortion: Loss and Renewal in the Search for Identity.
Bomford, Rodney. The Symmetry of God.
Fisher, James. The Uninvited Guest. Emerging from Narcissism towards Marriage.
Rutzky, Jacques. Coyote Speaks: Creative Strategies for Psychotherapists Treating Alcoholics and Addicts.     

Books received

Aron, Elaine N. The Highly Sensitive Person. How to Thrive When the World Overwhelms You. David L. Smith. Approaching Psychoanalysis. An Introductory Course. Gabriella Ripa di Meana. Figures of Lightness. Anorexia, Bulimia and Psychoanalysis. Strasser, Freddie. Emotions. Experiences in Existential Psychotherapy and Life. Althusser, Louis. Writings on Psychoanalysis: Freud and Lacan. Corneau, Guy. Lessons in Love. The Transformation of Spirit through Intimacy. Moody, Harry R. & Carroll, David. The Five Stages of the Soul. For Everyone who has ever asked, ‘Is this it?’. Peterson, Jordan. B. Maps of Meaning. The Architecture of Belief.     

The Neuropsychology of Aesthetic, Spiritual, and Mystical States

An analysis of the underlying neurophysiology of aesthetics and religiousexperience allows for the development of an Aesthetic-Religious Continuum. This continuumpertains to the variety of creative and spiritual experiences available to human beings. This mayalso lead to an understanding of the neurophysiological mechanism underlying both"positive" and "negative" aesthetics. An analysis of this continuumallows for the ability to understand the neurophenomenological aspects of a variety of humanexperiences ranging from relatively simple aesthetic experiences to profound spiritual and unitarystates such as those obtained during meditation. However, it may be possible through aneuropsychological analysis to determine the similarities that exist across such experiences.Thus, certain parts of the brain may be functioning in similar ways during different experiences.It may be the case that the specific neuropsychological components of a given experience maydepend on the strength of the affectual response of the person and the ability to mark suchexperiences as significant. Further, even though similar structures may be functioning duringdifferent experiences, their inhibitory and excitatory interactions may be different. Finally, byconsidering the Aesthetic-Religious Continuum, we may eventually arrive at a betterunderstanding of how we experience and define reality.     

Three ways of watching a sports video

It does not typically seem to be worthwhile rewatching a sport match, for example, in a video recording, once the result is known. Sports matches are like detective stories. Once one knows ‘whodunit’, there seems little point in revisiting the tale. By drawing on an argument from musicologist Edward T. Cone, this paper argues that certain sports matches may be revisited with profit. The initial experience of a game may be of a series of events that are often ambiguous or confusing as to their meaning or purpose. The full appreciation of a sport match requires, not just this initial familiarity with the immediately perceived events of the game, but also an awareness of the tactics being deployed by both sides. An understanding of tactics and strategy is akin to the analysis of a piece of music (or other art work). A further (third) viewing of the game, during which one can appreciate how the tactics inform the events naively experienced in the first viewing, will yield, it will be argued, an aesthetic pleasure. This takes the experience of sport beyond the merely entertaining or exciting. In certain games, the third viewing may also transcend an appreciation of the merely formal qualities of the game, and so offer substantial insights into what it is to be human.