Richard Shusterman | Florida Atlantic University (original) (raw)
Papers by Richard Shusterman
The Philosophical Quarterly, 1995
The Journal of Aesthetics and Art Criticism, 1982
... any other pe-riod, that of ancient Greece has provided the paradigm of what literature is or ... more ... any other pe-riod, that of ancient Greece has provided the paradigm of what literature is or ... as it was in its glorious formative days; and if that means disregarding the visual-ity of the ... already in 1890 about the growing, and to his mind unjustified, role of textual visuality, and who ...
Eidos. A Journal for Philosophy of Culture, 2021
Archives de Philosophie, 2019
Richard Rorty entretient une relation ambigue avec l’esthetique. D’une part il accorde une place ... more Richard Rorty entretient une relation ambigue avec l’esthetique. D’une part il accorde une place centrale a la dimension esthetique dans l’activite philosophique elle-meme, puisque celle-ci ne doit pas faire appel a l’argumentation et a la raison, mais a l’imagination et a la creation de nouveaux vocabulaires ; de l’autre, il rejette au nom de l’anti-essentialisme l’idee de l’esthetique comme domaine de la culture distinct et unifie. L’article cherche a explorer les trois domaines ou la dimension esthetique a ete particulierement valorisee par Rorty : la notion d’interpretation en philosophie du langage, la creation de soi en ethique, le rapport entre la poetique et la philosophie sociale dans son analyse de la litterature.
Deutsche Zeitschrift für Philosophie, 2017
Although typically identified with discursive practices of writing and oral dialog that have long... more Although typically identified with discursive practices of writing and oral dialog that have long dominated its practice, philosophy has also asserted itself as something other and more than words; it claimed to be an entire way of life, an art of living dedicated to the pursuit of wisdom (as the word “philosophia” implies). After showing how discursive and non-discursive dimensions of ancient philosophy were designed to complement each other, this paper explains the reasons why even the basic philosophical task of self-knowledge requires discursive communicative tools. It then explores to what extent and in what ways philosophy can be practiced through non-linguistic means, by considering both Western and Asian sources.
Revue Internationale De Philosophie, Jun 1, 2002
Pierre Bourdieu's writings have great value for philosophy. His account of social space, I ha... more Pierre Bourdieu's writings have great value for philosophy. His account of social space, I have elsewhere argued, importantly advances one of the most central lines of analytic philosophy of language. Though Austin, Wittgenstein, and other ordinary-language philosophers have tried to explain the meaning of language by seeing it in terms of the social forms and contexts in which language is used, they never really provide a systematic, ramified analysis of the social forces, positions, stakes, roles and strategies that shape the social filed and thus structure the contexts of language. This is precisely what Bourdieu aims to provide. (') But besides this contribution and his offering of substantive philo sophical views on language, action, knowledge, mind, and art, Bourdieu has developed an extensive metaphilosophical critique of philosophy that affirms Pascal's demand that philosophy be more self critical (that "true philosophy pokes fun [se moque] at philosophy"). Bourdieu's focuses most intensely on what he calls "the critique of scholarly reason" or of "the scholastic point of view" (a term he derives from J.L. Austin), an intellectual approach whose dominant prestige and cultural entrenchment has also left contaminating traces
Internationales Jahrbuch für philosophische Anthropologie, 2015
In der antiken Sage von Amor und Psyche neidete Venus Psyches Schönheit. Weil alle Psyche ihrer S... more In der antiken Sage von Amor und Psyche neidete Venus Psyches Schönheit. Weil alle Psyche ihrer Schönheit wegen, nicht jedoch Venus anbeteten, sann Venus darauf, Psyche zu strafen, indem sie deren Liebe an eine abscheuliche Kreatur band. Diese Kreatur würde erscheinen, wenn der Pfeil des Begehrens ihres Sohnes Amor Psyche im Schlaf verletzte. Psyche verfiele dann dem ersten Ding, das sie nach dem Erwachen erblickte. Als aber Amor Psyche sah, war er von ihrer Schönheit so überwältigt, dass er sich versehentlich mit dem eigenen Pfeil verwundete und deshalb innigst in sie verliebte. Die Geschichte erzählt dann davon, wie Venus vergeblich versuchte, Amor und Psyche voneinander zu trennen – eine hübsche Allegorie der Schwierigkeit, Seele und Verlangen voneinander zu lösen. Obwohl diese Unternehmung so wenig wünschenswert wie erfolgversprechend ist, sollten wir uns doch vergegenwärtigen, dass sich Philosophen – auf der Suche nach einer Therapie, die vom Verlangen befreit – ihr häufig verschrieben haben. Aber die Geschichte vom Begehren und der Seele ruft noch ein anderes Unternehmen ins Bewusstsein, das gleichermaßen schwierig, unserer philosophischen Tradition sogar noch wesentlicher ist: die Trennung von Soma und Psyche, von Körper [body] und Seele. Weil so vielen Denkern der Körper die nie versiegende Quelle problematischen Verlangens (darunter des erotischen) ist, ließe sich Soma mit dem Amor dieser Sage identifizieren. Einer anderen Lesart folgend könnte Soma mit der abscheulichen Gestalt gleichgesetzt werden, mit welcher Psyche (die schöne Seele) dadurch gestraft werden sollte, dass sie sich an sie bindet und sich ihr unterwirft. Wie dem auch sei – eine berühmte, von Platons „Phaidon“ sich herschreibende Definition von Philosophie besagt, man lerne mit ihr zu sterben, wenn man die Seele aus ihrem beengenden körperlichen Gefängnis zu befreien weiß, welches das Streben nach Wissen behindert. Dieses philosophische Projekt mögen wir ontologischer oder axiologischer Gründe wegen ablehnen. Wenn wir aber behaupten, dass eine grundlegende Einheit zwischen Körper [body] und Seele (oder Körper und Geist [mind]) besteht und dass diese Einheit von grundlegender Bedeutung ist, bleibt das Problem, diese Einheit zu charakterisieren und letztlich zu erklären. Man kann diese Vereinigung als ontolo-
Contemporary Pragmatism, 2015
In responding to five symposium articles that discuss my book Thinking through the Body and my th... more In responding to five symposium articles that discuss my book Thinking through the Body and my theories of somaesthetics and pragmatism, this essay elaborates two central methodological orientations that guide my philosophical research. The first is transactional experiential inquiry in which inquiry can develop new directions, aims, methods, and standards through the dynamic experiences acquired in the course of the inquiry’s pursuit and in which its transactional experiences involve research that transcends familiar disciplinary limits and conventions. The second principle involves mitigating problematic dualisms by a strategy of inclusive disjunction. I deploy these principles in replying to the five commentaries. Besides clarifying issues in somaesthetics, my reply focuses on such topics as everyday aesthetics, eroticism, architecture, dance, Chinese philosophy, meliorism, and pragmatism.
Nijhoff International Philosophy Series, 1989
Politix, 1993
Légitimer la légitimation de l'art populaire. Richard Shusterman. [153-167]. A travers les ré... more Légitimer la légitimation de l'art populaire. Richard Shusterman. [153-167]. A travers les réponses à une série de critiques ayant suivi la parution de son livre L'Art à l'état vif, Richard Shusterman montre combien la légitimation de l'art populaire demeure une nécessité.
Philosophy and Literature, 1987
La reponse du lecteur dans la conception de la poesie et la critique litteraire de T. S. E.
The Philosophical Forum, 2005
Journal of the History of Ideas, 1985
I. The centenary of T. E. Hulme, born on September 16, 1983, has passed with surprising silence. ... more I. The centenary of T. E. Hulme, born on September 16, 1983, has passed with surprising silence. I have scanned the notices of literary and aesthetic journals and have not found any conferences or publications to commemorate this event and remember the poet-critic-philosopher who not long ago held center stage as a still influential father of modernism and the New Criticism. Indeed, in the late thirties, Hulme's reputation was so great that a reviewer in Scrutiny wrote of "The T. E. Hulme Myth" and felt the need to debunk it and minimize the importance and intrinsic interest of his ideas.' Interestingly, during Hulme's brief life, cut short by death in battle in 1917, he had comparatively little fame or influence;2 and now, after about four decades of posthumous fame (initiated by Herbert Read's publication of Hulme's Speculations in 1924),3 Hulme seems destined to sink back into oblivion, to be vaguely remembered merely as an influence on Eliot, Pound, and the Imagists. I come neither to bury Hulme nor to praise him but primarily to remember him. In doing this, I hope to correct some of the recent misinterpretations of his philosophy of literature, which perhaps have helped make him seem less interesting and memorable; and I would also like to point out the virtually unrecognized close connections of his thought with that of Moore and Russell, and thereby suggest that Hulme is philosophically something other and more than the mere Bergsonian propagandist he is typically portrayed to be. Finally, having corrected these errors of commission and omission in the interpretation of Hulme's thought, I shall go on to maintain that some of his central philosophical ideas and insights, which have been largely overlooked and neglected, are at the forefront of philosophical developments today. Therefore, before condemning Hulme to oblivion, we should recognize that he can be
The British Journal of Aesthetics, 1986
The British Journal of Aesthetics, 1983
IN A recent article in this journal Harold Osborne makes a systematic and instructive effort to e... more IN A recent article in this journal Harold Osborne makes a systematic and instructive effort to elucidate the notion of aesthetic order and to differentiate it from other kinds of order, viz., those distinguished by McTaggart in The Nature of Existence: causal order, serial order, and ...
The Philosophical Quarterly, 1995
The Journal of Aesthetics and Art Criticism, 1982
... any other pe-riod, that of ancient Greece has provided the paradigm of what literature is or ... more ... any other pe-riod, that of ancient Greece has provided the paradigm of what literature is or ... as it was in its glorious formative days; and if that means disregarding the visual-ity of the ... already in 1890 about the growing, and to his mind unjustified, role of textual visuality, and who ...
Eidos. A Journal for Philosophy of Culture, 2021
Archives de Philosophie, 2019
Richard Rorty entretient une relation ambigue avec l’esthetique. D’une part il accorde une place ... more Richard Rorty entretient une relation ambigue avec l’esthetique. D’une part il accorde une place centrale a la dimension esthetique dans l’activite philosophique elle-meme, puisque celle-ci ne doit pas faire appel a l’argumentation et a la raison, mais a l’imagination et a la creation de nouveaux vocabulaires ; de l’autre, il rejette au nom de l’anti-essentialisme l’idee de l’esthetique comme domaine de la culture distinct et unifie. L’article cherche a explorer les trois domaines ou la dimension esthetique a ete particulierement valorisee par Rorty : la notion d’interpretation en philosophie du langage, la creation de soi en ethique, le rapport entre la poetique et la philosophie sociale dans son analyse de la litterature.
Deutsche Zeitschrift für Philosophie, 2017
Although typically identified with discursive practices of writing and oral dialog that have long... more Although typically identified with discursive practices of writing and oral dialog that have long dominated its practice, philosophy has also asserted itself as something other and more than words; it claimed to be an entire way of life, an art of living dedicated to the pursuit of wisdom (as the word “philosophia” implies). After showing how discursive and non-discursive dimensions of ancient philosophy were designed to complement each other, this paper explains the reasons why even the basic philosophical task of self-knowledge requires discursive communicative tools. It then explores to what extent and in what ways philosophy can be practiced through non-linguistic means, by considering both Western and Asian sources.
Revue Internationale De Philosophie, Jun 1, 2002
Pierre Bourdieu's writings have great value for philosophy. His account of social space, I ha... more Pierre Bourdieu's writings have great value for philosophy. His account of social space, I have elsewhere argued, importantly advances one of the most central lines of analytic philosophy of language. Though Austin, Wittgenstein, and other ordinary-language philosophers have tried to explain the meaning of language by seeing it in terms of the social forms and contexts in which language is used, they never really provide a systematic, ramified analysis of the social forces, positions, stakes, roles and strategies that shape the social filed and thus structure the contexts of language. This is precisely what Bourdieu aims to provide. (') But besides this contribution and his offering of substantive philo sophical views on language, action, knowledge, mind, and art, Bourdieu has developed an extensive metaphilosophical critique of philosophy that affirms Pascal's demand that philosophy be more self critical (that "true philosophy pokes fun [se moque] at philosophy"). Bourdieu's focuses most intensely on what he calls "the critique of scholarly reason" or of "the scholastic point of view" (a term he derives from J.L. Austin), an intellectual approach whose dominant prestige and cultural entrenchment has also left contaminating traces
Internationales Jahrbuch für philosophische Anthropologie, 2015
In der antiken Sage von Amor und Psyche neidete Venus Psyches Schönheit. Weil alle Psyche ihrer S... more In der antiken Sage von Amor und Psyche neidete Venus Psyches Schönheit. Weil alle Psyche ihrer Schönheit wegen, nicht jedoch Venus anbeteten, sann Venus darauf, Psyche zu strafen, indem sie deren Liebe an eine abscheuliche Kreatur band. Diese Kreatur würde erscheinen, wenn der Pfeil des Begehrens ihres Sohnes Amor Psyche im Schlaf verletzte. Psyche verfiele dann dem ersten Ding, das sie nach dem Erwachen erblickte. Als aber Amor Psyche sah, war er von ihrer Schönheit so überwältigt, dass er sich versehentlich mit dem eigenen Pfeil verwundete und deshalb innigst in sie verliebte. Die Geschichte erzählt dann davon, wie Venus vergeblich versuchte, Amor und Psyche voneinander zu trennen – eine hübsche Allegorie der Schwierigkeit, Seele und Verlangen voneinander zu lösen. Obwohl diese Unternehmung so wenig wünschenswert wie erfolgversprechend ist, sollten wir uns doch vergegenwärtigen, dass sich Philosophen – auf der Suche nach einer Therapie, die vom Verlangen befreit – ihr häufig verschrieben haben. Aber die Geschichte vom Begehren und der Seele ruft noch ein anderes Unternehmen ins Bewusstsein, das gleichermaßen schwierig, unserer philosophischen Tradition sogar noch wesentlicher ist: die Trennung von Soma und Psyche, von Körper [body] und Seele. Weil so vielen Denkern der Körper die nie versiegende Quelle problematischen Verlangens (darunter des erotischen) ist, ließe sich Soma mit dem Amor dieser Sage identifizieren. Einer anderen Lesart folgend könnte Soma mit der abscheulichen Gestalt gleichgesetzt werden, mit welcher Psyche (die schöne Seele) dadurch gestraft werden sollte, dass sie sich an sie bindet und sich ihr unterwirft. Wie dem auch sei – eine berühmte, von Platons „Phaidon“ sich herschreibende Definition von Philosophie besagt, man lerne mit ihr zu sterben, wenn man die Seele aus ihrem beengenden körperlichen Gefängnis zu befreien weiß, welches das Streben nach Wissen behindert. Dieses philosophische Projekt mögen wir ontologischer oder axiologischer Gründe wegen ablehnen. Wenn wir aber behaupten, dass eine grundlegende Einheit zwischen Körper [body] und Seele (oder Körper und Geist [mind]) besteht und dass diese Einheit von grundlegender Bedeutung ist, bleibt das Problem, diese Einheit zu charakterisieren und letztlich zu erklären. Man kann diese Vereinigung als ontolo-
Contemporary Pragmatism, 2015
In responding to five symposium articles that discuss my book Thinking through the Body and my th... more In responding to five symposium articles that discuss my book Thinking through the Body and my theories of somaesthetics and pragmatism, this essay elaborates two central methodological orientations that guide my philosophical research. The first is transactional experiential inquiry in which inquiry can develop new directions, aims, methods, and standards through the dynamic experiences acquired in the course of the inquiry’s pursuit and in which its transactional experiences involve research that transcends familiar disciplinary limits and conventions. The second principle involves mitigating problematic dualisms by a strategy of inclusive disjunction. I deploy these principles in replying to the five commentaries. Besides clarifying issues in somaesthetics, my reply focuses on such topics as everyday aesthetics, eroticism, architecture, dance, Chinese philosophy, meliorism, and pragmatism.
Nijhoff International Philosophy Series, 1989
Politix, 1993
Légitimer la légitimation de l'art populaire. Richard Shusterman. [153-167]. A travers les ré... more Légitimer la légitimation de l'art populaire. Richard Shusterman. [153-167]. A travers les réponses à une série de critiques ayant suivi la parution de son livre L'Art à l'état vif, Richard Shusterman montre combien la légitimation de l'art populaire demeure une nécessité.
Philosophy and Literature, 1987
La reponse du lecteur dans la conception de la poesie et la critique litteraire de T. S. E.
The Philosophical Forum, 2005
Journal of the History of Ideas, 1985
I. The centenary of T. E. Hulme, born on September 16, 1983, has passed with surprising silence. ... more I. The centenary of T. E. Hulme, born on September 16, 1983, has passed with surprising silence. I have scanned the notices of literary and aesthetic journals and have not found any conferences or publications to commemorate this event and remember the poet-critic-philosopher who not long ago held center stage as a still influential father of modernism and the New Criticism. Indeed, in the late thirties, Hulme's reputation was so great that a reviewer in Scrutiny wrote of "The T. E. Hulme Myth" and felt the need to debunk it and minimize the importance and intrinsic interest of his ideas.' Interestingly, during Hulme's brief life, cut short by death in battle in 1917, he had comparatively little fame or influence;2 and now, after about four decades of posthumous fame (initiated by Herbert Read's publication of Hulme's Speculations in 1924),3 Hulme seems destined to sink back into oblivion, to be vaguely remembered merely as an influence on Eliot, Pound, and the Imagists. I come neither to bury Hulme nor to praise him but primarily to remember him. In doing this, I hope to correct some of the recent misinterpretations of his philosophy of literature, which perhaps have helped make him seem less interesting and memorable; and I would also like to point out the virtually unrecognized close connections of his thought with that of Moore and Russell, and thereby suggest that Hulme is philosophically something other and more than the mere Bergsonian propagandist he is typically portrayed to be. Finally, having corrected these errors of commission and omission in the interpretation of Hulme's thought, I shall go on to maintain that some of his central philosophical ideas and insights, which have been largely overlooked and neglected, are at the forefront of philosophical developments today. Therefore, before condemning Hulme to oblivion, we should recognize that he can be
The British Journal of Aesthetics, 1986
The British Journal of Aesthetics, 1983
IN A recent article in this journal Harold Osborne makes a systematic and instructive effort to e... more IN A recent article in this journal Harold Osborne makes a systematic and instructive effort to elucidate the notion of aesthetic order and to differentiate it from other kinds of order, viz., those distinguished by McTaggart in The Nature of Existence: causal order, serial order, and ...
RICHARD SHUSTERMAN, "ESPERIENZA ESTETICA E ARTI POPOLARI. PROSPETTIVE SOMAESTETICHE SULLA TEORIA ... more RICHARD SHUSTERMAN,
"ESPERIENZA ESTETICA E ARTI POPOLARI. PROSPETTIVE SOMAESTETICHE SULLA TEORIA E LA PRATICA",
translation from English into Italian by Teresa Gallo and Stefano Marino,
edited by Stefano Marino,
MIMESIS, MILANO-UDINE 2023.
***
Il pensiero di Richard Shusterman rappresenta oggi un punto di riferimento importante all’interno del dibattito filosofico, in generale, ed estetico, in particolare. Partendo da un background filosofico-analitico ma aprendosi presto agli stimoli offerti dal pragmatismo e mantenendo un dialogo anche con autori e tradizioni di pensiero “continentali”, Shusterman ha offerto contributi originali e stimolanti su una grande varietà di pratiche estetiche della contemporaneità, concentrandosi sulla rivalutazione dell’esperienza estetica nel suo complesso e, soprattutto, sul recupero della dimensione della corporeità e del piacere. Ciò si è rivelato estremamente utile e proficuo dal punto di vista filosofico anche al fine di liberare l’indagine estetica da ogni suddivisione schematica, meramente dicotomica e astratta delle arti in “basse” e “alte”, “popolari” e “serie”, e al fine di elevare la dimensione corporea nel suo insieme, nella sua capacità unica di unire insieme natura e cultura. Di ciò e di molto altro ancora offrono una testimonianza esemplare i saggi di Shusterman selezionati per questa raccolta di suoi scritti in lingua italiana.
Al Dante Aka - Cellule éditoriale de l'Académie royale des beaux arts de Bruxelles, 2013
Chemins de l'art. Transfigurations, du pragmatisme au zen, with Afterword by Arthur Danto. Raphaë... more Chemins de l'art. Transfigurations, du pragmatisme au zen, with Afterword by Arthur Danto. Raphaël Cuir, trans. Paris and Brussels: Al Dante Aka - Cellule éditoriale de l'Académie royale des beaux arts de Bruxelles, 2013.
Thinking through The Body, 2012
Style is a crucial feature in the arts; not only the fine arts but also in the practical arts of ... more Style is a crucial feature in the arts; not only the fine arts but also in the practical arts of fashion, jewelry, fragrance, cuisine, and product and graphic design. To appreciate how the body is likewise central to the arts, we need only to recognize its crucial role in style. Yet one of America's greatest minds and finest stylists, Ralph Waldo Emerson, has affirmed, "A man's style is his mind's voice. Wooden minds have wooden voices." If Emerson here defines style through the notion of mind, it is not to deny the somatic dimension of style. Style is essentially embodied, as Emerson's reference to voice clearly implies. Vocalization is clearly a bodily act, involving one's breath, vocal chords, and mouth. Moreover, the materiality of the mind's expression in style is further suggested in Emerson's reference to wooden minds and wooden voices. If we look at the concept of style through etymology, however, we find its somatic roots not in the orality of voice but rather in the bodily gesture of inscription. The word derives from the Latin word stylus, one of whose primary meanings was a sharp instrument used by the Romans for writing and engraving on wax tablets. It thus came, by implication, to convey more generally the method of writing or engraving with any sharp or pointed instrument, such action involving some somatic skill. From a particular physical tool or method of writing (one notably different from the traditional Chinese use of a soft brush), style's primary meaning has evolved into a more abstract, literary, and lofty sense. Not merely a means of writing or making other kinds of signs, style has become an aesthetic quality whose creation and appreciation forms part of the...
Cambridge University Press, 2021
The term ars erotica refers to the styles and techniques of lovemaking with the honorific title o... more The term ars erotica refers to the styles and techniques of lovemaking with the honorific title of art. But in what sense are these practices artistic and how do they contribute to the aesthetics and ethics of self-cultivation in the art of living? In this book, Richard Shusterman offers a critical, comparative analysis of the erotic theories proposed by the most influential premodern cultural traditions that shaped our contemporary world. Beginning with ancient Greece, whose god of desiring love gave eroticism its name, Shusterman examines the Judaeo-Christian biblical tradition and the classical erotic theories of Chinese, Indian, Islamic, and Japanese cultures, before concluding with medieval and Renaissance Europe. His exploration of their errors and insights shows how we could improve the quality of life and love today.
https://www.cambridge.org/core/books/ars-erotica/B201B916BEF4DA599A68E54F001B368B
volume di contributi sul tema Cibo, estetica e arte
Le Style à l’état vif : somaesthétique, art populaire et art de vivre
L'Objet de la critique littéraire
Paths from the Philosophy of Art to Everyday Aesthetics, 2019
This paper explores the ways that somaesthetics can treat the problems of pain and illness that e... more This paper explores the ways that somaesthetics can treat the problems of pain and illness that emerge in our everyday experience of life. Noting the evolutionary value of pain for our survival and well being, the paper argues that the perceptual acuity achieved through better somaesthetic awareness can help us minimize the damage that pain typically signals while also helping us better appreciate the lessons pain can teach us and the pleasures that can be derived from everyday illnesses and experiences of pain. These points are illustrated by using the texts of influential thinkers such as Michel de Montaigne, Edmund Burke, and Virginia Woolf.
Philosophical Perspectives on Fashion, ed. by G. Matteucci and S. Marino, Bloomsbury, London-New York 2017, 2017
ABSTRACT "Philosophical Perspectives on Fashion" places philosophical approaches at the heart of... more ABSTRACT
"Philosophical Perspectives on Fashion" places philosophical approaches at the heart of contemporary fashion studies. Considering the mutual relationships between aesthetics, modern society and culture, fashion and the fine arts, and the way these relationships have influenced and shaped our views on identity and taste, this ground-breaking book also explores the various intellectual and cultural movements that inform how people dress. The leading fashion and philosophy scholars contributing to this volume refer to and apply theories posed by key thinkers of the modern and contemporary age, from Darwin and Wittgenstein to Husserl and Goodman, in order to answer questions such as: What is the essence of fashion and the reasons behind its fascination? What is 'anti-fashion'? What or who do we imitate when we 'follow' fashion? What is fashion criticism and what should it be? Anyone studying or interested in fashion or philosophy will find this book a rich source of ideas, insight and information. "Philosophical Perspectives on Fashion" is a valuable contribution to contemporary fashion theory, one that revitalises the way we look at the form, purpose and meaning of fashion.
TABLE OF CONTENTS.
Introduction: Philosophical Perspectives on Fashion,
Giovanni Matteucci and Stefano Marino
- 1 Philosophical Accounts of Fashion in the Nineteenth and Twentieth Century,
Stefano Marino
- 2 Fashion: A Conceptual Constellation,
Giovanni Matteucci
- 3 Anti-Fashion: If Not Fashion, Then What?,
Nickolas Pappas
- 4 Fits of Fashion: THe Somaesthetics of Style,
Richard Shusterman
- 5 On Fashion Criticism,
Lars Svendsen
- 6 Thought Without Concept: Carol Christian Poel's Paradoxical Aesthetics,
Christian Michel
- 7 Caprices of Fashion in Culture and Biology: Charles Darwin's Aesthetics of 'Ornament',
Winifried Menninghaus
- 8 Fashionable Proteus: The Euphoria of FAshion for Fashion's Sake,
Cesar Moreno-Marquez
- 9 The Fascination of Contingency: Fashion and Modern Society,
Elena Esposito
Index
REVIEWS.
“This edited volume is likely to provoke much-needed debate about the relationship between philosophy and fashion. Using a philosophical lens, the authors address and push questions with which fashion theorists have been grappling: is anti-fashion a useful concept in fashion criticism? Is there, or can there be, an essence of fashion? To what extent can fashion be understood as a dialectic between imitation and differentiation? To what extent does fashion rely on ambivalence and ambiguity? Philosophical Perspectives on Fashion will be a welcome addition to the literatures on fashion and philosophy alike.” – Susan B. Kaiser, University of California, Davis, USA,
“A timely and thought-provoking collection of contributions, which explore fashion from a specifically philosophical perspective and reflect on the complex and dynamic nature of fashion itself. This book, much needed in philosophy, will open the field to further debates and lines of inquiry.” – Flavia Loscialpo, Southampton Solent University, UK.
ESPES. The Slovak Journal of Aesthetics, 2023
These three articles constitute a Book Forum on "Shusterman's Somaesthetics," edited by Jerold J.... more These three articles constitute a Book Forum on "Shusterman's Somaesthetics," edited by Jerold J. Abrams. The authors are Stefano Marino, Alessandro Nannini, and Lukáš Arthur Švihura. They were published in the "Slovak Journal of Aesthetics."
https://espes.ff.unipo.sk/index.php/ESPES/issue/view/24
European Journal of Pragmatism and American Philosophy, 2012
Volume 10, Issue 2 of Frontiers of Philosophy in China features a special theme on "Richard Shust... more Volume 10, Issue 2 of Frontiers of Philosophy in China features a special theme on "Richard Shusterman's Somaesthetics", with an introduction by Wen Haiming and articles by Roger T. Ames, Eva Kit Wah Man, and Russell Pryba.
Volume 12 of Contemporary Pragmatism features an author-meets-critics symposium on Richard Shuste... more Volume 12 of Contemporary Pragmatism features an author-meets-critics symposium on Richard Shusterman’s Thinking Through the Body, with articles by Thomas Leddy, Curtis L. Carter, Pradeep A. Dhillon, James Garrison, and Mathias Girel.
Author Meets Critics Session for the book by Richard Shusterman, Ars Erotica: Sex and Somaestheti... more Author Meets Critics Session for the book by Richard Shusterman, Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love (Cambridge University Press, 2021).
The Northwest Philosophy Conference is held each fall, attracting philosophers from across the United States and abroad. The primary purpose of this conference is to provide a forum for philosophical work as a service to the profession. This has been the major professional philosophy conference in the region for the past 73 years.
The conference will explore the multiple ways political authorities wield their power on and thro... more The conference will explore the multiple ways political authorities wield their power on and through our bodies, but also the ways that we individuals and groups can find paths of emancipation through more creative, progressive somaesthetic thinking and action. The conference will host contributions from diverse disciplinary perspectives in the humanities, social sciences, and the arts. If you are interested in attending, the event please register using the following link to receive the Zoom access: https://docs.google.com/forms/d/e/1FAIpQLSdaxE1dMqpC14NpaaYKacqQC5UXrd4A1CebKjkFnHBjdRMSbA/viewform?usp=sf_link
For the thirtieth anniversary of the publication of Pragmatist Aesthetics (1992), the MOME (Mohol... more For the thirtieth anniversary of the publication of Pragmatist Aesthetics (1992), the MOME (Moholy Nagy University of Art and Design) and the Hungarian Forum for Somaesthetics is organizing a conference in Budapest between May 25-28th, 2022. The title of the conference is "The Promise of Pragmatist Aesthetics: Looking Forward after 30 Years.” This is the Call for Abstracts.
An increasing attention to and interest in food, cooking and eating are hallmarks of contemporary... more An increasing attention to and interest in food, cooking and eating are hallmarks of contemporary culture. Cooking shows keep proliferating in the media, social movements focused on healthy nutrition are mushrooming and becoming ever more influential, and the culinary blogosphere and food tourism are thriving. Food and eating prove also inspiring to many contemporary artists, who not only view them as relevant subjects but also - more importantly perhaps - use food products as materials for their art. Can we food and cooking, without hesitation, call art? This question will be answered by the participants of Perspectives on Food Aesthetics conference.
The special guest of the conference is prof. Richard Shusterman, who will give a keynote speech titled Somaesthetics and the Fine Art of Eating.
Journal of Aesthetic Education, Vol.53, No.4, 2019
CORRECTION: Endnote 38 should be "Dewey, Art as Experience, 150." This article revisits a Plat... more CORRECTION: Endnote 38 should be "Dewey, Art as Experience, 150."
This article revisits a Platonic idea that has been formative for the history of aesthetics and then explores how this idea can be reinterpreted meaningfully in today's aesthetic context. The Platonic idea I discuss (which Plato introduces in Ion and Phaedrus) is that artistic creation and its appreciative reception involve a form of divine possession. After exploring how this nonrational, supernatural idea has been critically countered yet repeatedly recurs in important subsequent theories of aesthetic experienced proposed by rational thinkers, my presentation suggests how we might give the notion of possession a more naturalistic explanation. I exemplify this through an analysis of performance art presented in The Adventures of the Man in Gold.
![Research paper thumbnail of Spotkanie Gadamera z Derridą-spojrzenie pragmatysty [The Gadamer-Derrida Encounter: A Pragmatist Perspective].](https://attachments.academia-assets.com/66093527/thumbnails/1.jpg)
](Przestrzenie Teorii, 2016
The paper offers a philosophical commentary on the widely discussed 1981 meeting of Derrida and G... more The paper offers a philosophical commentary on the widely discussed 1981 meeting of Derrida
and Gadamer at Paris’ Goethe Institute. These two figures “virtually personify, in hermeneutics
and deconstruction, the two major and rival ‘schools’ of contemporary continental philosophy
associated with the primacy of interpretation.” Adopting a pragmatist perspective, the author
discusses their approaches to the issue of interpretation – different and often seen as mutually
exclusive. He claims that Derrida and Gadamer in fact have a great deal in common and tries to
show that American pragmatism offers a mode of mediation, which allows us to grasp their mutual
relations. The author concentrates on the three central issues that emerge from Derrida’s Three
Questions to Hans-Georg Gadamer, namely the context of interpretation, consensual continuity
versus rupture as the basis or precondition of interpretation, and the nature or possibility of perfect
dialogical understanding.
Authors: Jarosław Woźniak and Katarzyna Lisowska Translation approved by: Wojciech Małecki
Traduzione del testo della conferenza "Soma and Utopia. Reflections from a Genius Loci Zen", tenu... more Traduzione del testo della conferenza "Soma and Utopia. Reflections from a Genius Loci Zen", tenuta da Richard Shusterman il 26 maggio 2015, presso la Gallaria Nazionale di Arte Moderna (GNAM), all'interno di Sensibilia - Colloquium on Perception and Experience.
Shusterman's Somaesthetics, 2022
This chapter is based on an extended interview (conducted online because of the covid lockdown) t... more This chapter is based on an extended interview (conducted online because of the covid lockdown) that interrogates various topics central to Shusterman’s thought. The interview begins with Shusterman’s brief on the value of interviews for philosophical communication and with some brief remarks on the relation of somaesthetics to the problems of covid. The chapter then considers the reasons for the very positive reception of somaesthetics in China and what Shusterman has learned from classical Chinese thought. This is followed by a discussion of the role of affect in Shusterman’s thought and its relationship to Spinoza and Deleuze, which leads into a discussion of how Shusterman moved from his early work in literary theory to increasing focus on somaesthetics and visual arts. Here Shusterman’s background in disciplines of somatic training is explored. The chapter concludes with a discussion of the relation of somaesthetics to issues of disability and eroticism and the complexity of ethical questions and norms involved in these issues. With respect to the latter, Shusterman alludes to his new book Ars Erotica, which was published the year following the interview.
I will be headed to Europe to give a series of talks. If you are in the area, I would love to see... more I will be headed to Europe to give a series of talks. If you are in the area, I would love to see you there. Also there are a couple events that have a virtual option. I have included the links to those invents for anyone that is interested attending remotely. For more information including programs to the individual talks please see my website: https://www.fau.edu/artsandletters/humanitieschair/lectures/
Estetyka Pragmatyczna, 2021
A la Frontiere des arts, 2018
L'Observatoire des politiques culturelles, 2019
À l’occasion de la réédition de L’art à l’état vif, Richard Shusterman revient sur ce célèbre ouv... more À l’occasion de la réédition de L’art à l’état vif, Richard Shusterman revient sur ce célèbre ouvrage dans lequel le philosophe se fait l’exégète du rap, dont il montre la richesse et l’intérêt littéraire, esthétique et philosophique. Principal héritier du « pragmatisme » de John Dewey et de L’art comme expérience, il développe une vision de l’art qui libère des mythes intimidants qui font obstacle à l’expérience artistique, pour remettre en cause les barrières entre culture populaire et culture dite « cultivée ». Richard Shusterman était l’hôte de l’Observatoire pour une conférence lors d’un passage en France, l’occasion pour lui de présenter l’évolution de sa réflexion philosophique qui l’amène, plus récemment, à défendre l’idée d’une « somaesthétique » ou comment, dans la société contemporaine, la conscience du corps est utilisée dans la création et l’appréciation de l’art.
![Research paper thumbnail of Testtudatosság és filozófia. Interjú Richard Shustermannal [Jelenkor]](https://attachments.academia-assets.com/54635750/thumbnails/1.jpg)
](Richard Shusterman (1949) filozófus, a Florida Atlantic University professzora volt az idén nyáro... more Richard Shusterman (1949) filozófus, a Florida Atlantic University professzora volt az idén nyáron Szegeden megrendezett, The Soma as the Core of Aesthetics, Ethics and Politics (A szóma mint az esztétika, az etika és a politika lényege) című konferencia plenáris előadója. Ebből az alkalomból beszélgettünk test és filozófia kapcsolatáról. A pragmatista Shusterman szerint a filozófia az élet művészete – többek között e gondolatból született a szómaesztétika projektje, amely a „megélt, érző, intelligens” emberi testet, a szómát, „az érzéki-esztétikai élvezet (aiszthészisz) és a kreatív önformálás” helyének tekinti. Mint egyszerre elméleti és gyakorlati diszciplínának, célja a test „tapasztalatának és használatának kritikai-melioratív tanulmányozása”. Shusterman a szómaesztétikáról szóló könyveivel – nagy részük magyarul is olvasható, lásd a végjegyzetet – izgalmas, új diskurzust alkotott a testről.
The opening lecture of ART (Aesthetics Research Torino) The opening lecture of ART (Aesthetics R... more The opening lecture of ART (Aesthetics Research Torino)
The opening lecture of ART (Aesthetics Research Torino) Philosophical Seminar will be delivered by Prof. Richard Shusterman on
March 9th at 3 p.m.
Location: Università di Torino - Aula Guzzo - Via Po 18 - Torino
Three centuries after his birth, Johann Joachim Winckelmann (1717-1768) is
still celebrated as the founder of archaeology and art history. His continued
fame rests chiefly on his pioneer role in these fields and on his influence on
such past masters as Goethe, Herder, Schiller, and Hegel. This lecture uses
the approach of somaesthetics to argue for his more-than-historical relevance
for contemporary aesthetic theory, despite the fact that his archaeological and
art historical judgments have been largely discredited. Winckelmann's
theoretical value today lies in his distinctively embodied approach to the
cultivation of taste and the understanding of art, exemplifying central themes
of contemporary somaesthetic theory.
Richard Shusterman is the Dorothy F. Schmidt Eminent Scholar in the
Humanities at the Florida Atlantic University. Educated at Jerusalem and
Oxford, he was chair of the Temple University Philosophy Department before
coming to FAU in 2005. He has held academic appointments in Paris, Berlin,
and Hiroshima and was awarded senior research Fulbright and NEH
fellowships. His widely translated research covers many topics in the human
and social sciences with particular emphasis on questions of philosophy,
aesthetics, culture, language, identity, and embodiment. Authored books
include T.S. Eliot and the Philosophy of Criticism (Columbia), Practicing
Philosophy (Routledge), Performing Live (Cornell), Surface and Depth
(Cornell), Pragmatist Aesthetics (Blackwell, 2nd ed. Rowman & Littlefield, and
translated into 12 languages), and most recently Body Consciousness
(Cambridge). His non-technical essays have been published in the Nation
and the Chronicle of Higher Education and in various art reviews and
catalogues, such as artpress and Dokumenta. He directs the FAU Center for
Body, Mind, and Culture.
Studies in Somaesthetics vol 6., 2023
Design permeates every dimension of our lifeworld, from the products we consume and the built env... more Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple elds: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities. Readership All scholars, students, critics and art and design practitioners and theorists interested in somatic approaches to design.