Relevant bibliographies by topics / Ethico - Aesthetic Paradigm

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Ethico - Aesthetic Paradigm'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Ethico - Aesthetic Paradigm"

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Alliez, Eric, and Brian Massumi. "Performing the Ethico-aesthetic Paradigm." Performance Research 19, no. 3 (2014): 15–26. http://dx.doi.org/10.1080/13528165.2014.935166.

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van Tuinen, Sjoerd. "Air Conditioning Spaceship Earth: Peter Sloterdijk's Ethico-Aesthetic Paradigm." Environment and Planning D: Society and Space 27, no. 1 (2009): 105–19. http://dx.doi.org/10.1068/d9608.

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Bandosz, Benjamin. "Framing and Staging Madness in the Ethico-aesthetic Paradigm: How Witold Gombrowicz's Operetka Expresses Nicolas Philibert's La moindre des choses." Deleuze and Guattari Studies 15, no. 3 (2021): 411–31. http://dx.doi.org/10.3366/dlgs.2021.0448.

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Nicolas Philibert's 1997 documentary, La moindre des choses, depicts the daily lives of residents and staff at the private psychiatric clinic La Borde, and their production of Witold Gombrowicz's play Operetka. This paper will analyse the aesthetic and ethical implications of La Borde's production of Gombrowicz's play by mapping the documentary, text and production's collective expressions. The film's capacities to reconfigure audience subjectivities through a filmic and intensive entanglement will be explored at length by framing the documentary's cinematography in Félix Guattari's theories o
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Collins, Lorna. "Making Restorative Sense with Deleuzian Morality, Art Brut and the Schizophrenic." Deleuze Studies 4, no. 2 (2010): 234–55. http://dx.doi.org/10.3366/dls.2010.0005.

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The essay consists of three parts: the first argues that Deleuze's moral philosophy in The Logic of Sense provides an ethical model of counter-actualisation; the second shows how three different practices of art therapy offer a means to effect this counter-actualisation and thereby demonstrate the restorative power of art; the third explores how such a power might form part of what Guattari calls the ‘ethico-aesthetic paradigm’ ( Guattari 1995 ).
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Dahlberg, Gunilla. "An ethico-aesthetic paradigm as an alternative discourse to the quality assurance discourse." Contemporary Issues in Early Childhood 17, no. 1 (2016): 124–33. http://dx.doi.org/10.1177/1463949115627910.

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Colin Gardner. "Towards an Ethico-Aesthetic Paradigm: Animal Politics, Metamodelization, and the Pragmatics of Mutual Inclusion." Criticism 59, no. 1 (2017): 165. http://dx.doi.org/10.13110/criticism.59.1.0165.

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Stalpaert, Christel. "The Performer as Philosopher and Diplomat of Dissensus: Thinking and Drinking Tea with Benjamin Verdonck in Bara/ke (2000)." Performance Philosophy 1, no. 1 (2015): 226. http://dx.doi.org/10.21476/pp.2015.1113.

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Ecology and activism is a burning issue in theatre and performance studies. However, following the French philosopher Bruno Latour, a radically new encounter with ecology is needed today, if eco-activism still wants to have a future. It seems that, in order to survive, eco-activism and eco-art have to move beyond their narrow and limited anthropocentric perspective. In this paradigm shift, the performer as philosopher – in the sense of a diplomat of dissensus – might play an important role. The Flemish artist and performer Benjamin Verdonck picks up this role of a performer as philosopher. In
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Daugelaite, Aurelija, and Indre Grazuleviciute-Vileniske. "The Relationship between Ethics and Aesthetics in Sustainable Architecture of the Baltic Sea Region." Sustainability 13, no. 4 (2021): 2259. http://dx.doi.org/10.3390/su13042259.

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Architecture, as a mean of art and as a factor that physically shapes the environment, undoubtedly serves as a form of expression of ethical attitudes. It combines ethical values and responsibility for solving environmental problems with aesthetic qualities of the built environment. The holistic approach is gaining ground in the paradigm of sustainability, where architectural concepts such as biophilic, biomimetic, resilient, restorative, and others reinforce the idea of coexistence between humans and nature. In the 21st century, sustainability has become a global phenomenon; therefore, contem
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Fleming, David H. "Deleuze, the ‘(Si)neo-realist’ Break and the Emergence of Chinese Any-now(here)-spaces." Deleuze Studies 8, no. 4 (2014): 509–41. http://dx.doi.org/10.3366/dls.2014.0168.

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By creatively expanding Deleuze's concept of the time-image crystal, I productively fold together and engineer an encounter between two comparable cinematic movements otherwise separated by huge vistas of time and space. Here, I work to plicate the post-war Italian neorealist movement which Deleuze saw inaugurating the modern cinema, with a ‘postsocialist’ mainland Chinese movement that I playfully call ‘(si)neo-realism’. The films of both historical moments formulate comparable break-away cinemas which are often considered moral or socially responsible art cinemas best approached through Andr
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Kong, Byung Hye. "Aesthetical-ethical Paradigm of Care Ethics in Nursing." Journal of Korean Academy of Nursing 32, no. 3 (2002): 364. http://dx.doi.org/10.4040/jkan.2002.32.3.364.

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Dissertations / Theses on the topic "Ethico - Aesthetic Paradigm"

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Kirkham, Nicola. "J18 : movements towards an ethico-aesthetic paradigm." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5790/.

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This thesis offers a materialist account of political action from the perspective of the aesthetic, focusing on a global day of action, protest and carnival staged to coincide with the G8 Summit on June 18th 1999. An event known as J18. Part One begins with a review of contemporary literature concerning the sociologies of contemporary political movements, theories of space and locality provided by geography, analyses of public interventions by art practice as well as the tactical deployment of media and writing related specifically to the cultural politics of anti-capitalism. The theory and me
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Souza, David Britto de. "A Subjetividade MaquÃnica em Guattari." Universidade Federal do CearÃ, 2008. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=3283.

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nÃo hÃ<br>A presente pesquisa se propÃs a dois objetivos principais: 1) Um geral, que serà expor o conceito de subjetividade maquÃnica de Felix Guattari; 2) e um outro, mais especÃfico, que pretende analisar as contribuiÃÃes deste conceito para uma compreensÃo mais social e ampla da subjetividade, levando em consideraÃÃo a heterogeneidade nÃo-humana, maquÃnica, desta produÃÃo, fato este que se evidencia fortemente no capitalismo pÃs-industrial. Mostramos como a produÃÃo de subjetividade à a indÃstria de base deste pe-rÃodo e os pontos de ruptura possÃveis encontrados por Guattari, proporcionad
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SOUZA, David Britto de. "A subjetividade maquínica em Guattari." http://www.teses.ufc.br, 2008. http://www.repositorio.ufc.br/handle/riufc/2239.

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SOUZA , David Britto de. A subjetividade maquínica em Guattari. 2008. 125 f. Dissertação (Mestrado em Psicologia) – Universidade Federal do Ceará, Departamento de Psicologia, Programa de Pós-Graduação em Psicologia, Fortaleza-CE, 2008.<br>Submitted by moises gomes (celtinha_malvado@hotmail.com) on 2012-01-05T13:38:19Z No. of bitstreams: 1 2008_dis_DBDSouza.PDF: 763408 bytes, checksum: 5d1a290d8b9c1d542e979981a0087f03 (MD5)<br>Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-03-08T13:30:51Z (GMT) No. of bitstreams: 1 2008_dis_DBDSouza.PDF: 763408 bytes, check
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Reeves-Evison, Theodore. "After transgression : ethico-aesthetic paradigms of contemporary art." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/16065/.

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This thesis investigates the relationship between ethics and aesthetics by analysing several artworks produced over the last fifty years. It argues that ethics and aesthetics relate to one another in historically specific ways, and that artworks represent a privileged point of access for seeing how this relationship forms and changes. I show that within this period it is possible to discern the rise and fall of a paradigmatic bond between ethics and aesthetics articulated around the concept of transgression. The paradigm of transgression has, I argue, suffered a historical decline in a range o
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Adams, Patricia Lesley, and n/a. "The Implications for Artistic Expressions and Representations of Corporeality of the Experimental Techniques of Biomedical Engineering." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060707.144314.

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While biological scientists justify their research into human genetic engineering on the grounds of its 'therapeutic' potential, art - particularly the genre of science fiction (whose origins can be traced to Mary Shelly's famous tale, Frankenstein) - has acted on the social through culture to alert us to the perilous repercussions of usurping the role of the 'Creator of Life.' Now, at the dawn of the new millennium, the scientific project of mapping human DNA seemingly complete, the plight of the genetically-engineered human has become an intense focus of cultural critique. This doctoral pro
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Houcke, Anne-violaine. "L'invention de l'antique dans le cinéma italien moderne : la poétique des ruines chez Federico Fellini et Pier Paolo Pasolini." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100170.

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Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mett
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Houcke, Anne-Violaine. "L'invention de l'antique dans le cinéma italien moderne : la poétique des ruines chez Federico Fellini et Pier Paolo Pasolini." Thesis, 2012. http://www.theses.fr/2012PA100170.

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Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mett
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Tougas, Kevin. "La théorie de l’art pour l’art : étude généalogique d’un nouveau paradigme éthique de l’art." Thesis, 2019. http://hdl.handle.net/1866/24363.

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L’objectif de ce mémoire est de proposer une généalogie de la théorie de l’art pour l’art, élaborée dans le contexte historique du romantisme. En prenant pour point de départ le double mouvement d’autonomisation des beaux-arts et de l’esthétique du XVIIIe siècle, cette recherche vise à reconstituer les grands axes de cette nouvelle doxa artistique apparue sous la Monarchie de Juillet. S’inscrivant dans la même démarche de dissociation entre les notions du Beau et du Bien qui caractérise la naissance de la discipline esthétique au siècle des Lumières, la théorie de l’art pour l’art est générale
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Books on the topic "Ethico - Aesthetic Paradigm"

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Guattari, Félix. Chaosmosis: An ethico-aesthetic paradigm. Indiana University Press, 1995.

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Guattari, Félix. Chaosmosis: An ethico-aesthetic paradigm. Indiana University Press, 1995.

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Chaosmosis: An Ethico-Aesthetic Paradigm. Power Publications, 1995.

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Gardner, Colin. Bridging Bateson, Deleuze and Guattari Through Metamodelisation: What Brian Massumi Can Teach Us About Animal Politics. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0009.

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This chapter turns to the seminal work of the English anthropologist/ cyberneticist, Gregory Bateson (1904-80) as a crucial ecological and ludic foundation not only for the work of Deleuze and Guattari – the pair coined the term ‘plateau’ as a continuous, self-vibrating region of intensities from Bateson’s study of Balinese culture – but also Brian Massumi’s more recent exploration of the supernormal tendency in animal play as a metacommunicative model for a new form of political metamodelisation based on Guattari’s advocacy of an ethico-aesthetic paradigm. Drawing heavily on Bateson’s 1955 es
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Bergqvist, Anna, and Robert Cowan, eds. Evaluative Perception. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.001.0001.

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Evaluation is ubiquitous. Indeed, it isn't an exaggeration to say that we assess actions, character, events, and objects as good, cruel, beautiful, etc., almost every day of our lives. Although evaluative judgement—for instance, judging that an institution is unjust—is usually regarded as the paradigm of evaluation, it has been thought by some philosophers that a distinctive and significant kind of evaluation is perceptual. For example, in aesthetics, some have claimed that adequate aesthetic judgement must be grounded in the appreciator's first-hand perceptual experience of the item judged. I
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Mildenberg, Ariane, and Patricia Novillo-Corvalán, eds. Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979350.001.0001.

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Virginia Woolf, Europe, and Peace: Transnational Circulations enlarges our understanding of Virginia Woolf’s pacifist ideology and aesthetic response to the World Wars by re-examining her writings and cultural contexts transnationally and comparatively through the complex interplay between modernism, politics, and aesthetics. The “transnational” paradigm that undergirds this collection revolves around the idea of transnational cultural communities of writers, artists, and musicians worldwide who were intellectually involved in the war effort through the forging of pacifist cultural networks th
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Alperson, Philip. Musical Improvisation and the Philosophy of Music. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.001.

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This chapter argues that the prevailing orienting concepts and tenets of contemporary philosophy of music—the centrality of aesthetic objects, the assumption of the mono-functionality of music, the paradigm of European classical music, and the spectatorialist perspective—do not provide the basis for an adequate understanding of musical improvisation. The essays calls for a more robust philosophical consideration of the gamut of improvisational activity, including the aesthetic aspects of musical improvisation, the range of musical and social skills made manifest by improvisers, and the deeper
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Kennedy, David, and Richard Meek, eds. Ekphrastic encounters. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526125798.001.0001.

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This book offers a comprehensive reassessment of ekphrasis: the verbal representation of visual art. In the past twenty five years numerous books and articles have appeared covering different aspects of ekphrasis, with scholars arguing that it is a fundamental means by which literary artists have explored the nature of aesthetic experience. However many critics continue to rely upon the traditional conception of ekphrasis as a form of paragone (competition) between word and image. This interdisciplinary collection seeks to complicate this critical paradigm, and proposes a more reciprocal model
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Hickmott, Sarah. Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.001.0001.

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This book looks at the way music is used, characterised and understood in the work of Nancy, Labarthe and Badiou. Despite the differences in their philosophical-theoretical positions, they all invoke music – both directly and indirectly – to negotiate their relationship to ontology, politics, ethics and aesthetics. The book situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music ‘is’ is often assumed rather than critically re-evaluated. It argues tha
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Book chapters on the topic "Ethico - Aesthetic Paradigm"

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Berleant, Arnold. "The Transformations of Aesthetic Theory." In Examining a New Paradigm of Heritage With Philosophy, Economy, and Education. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3636-0.ch001.

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Recent decades have witnessed a dramatic broadening in the scope of aesthetic inquiry. No longer focused exclusively on the arts and natural beauty, the mainstream of aesthetics has entered a delta in which its flow has spread out into many channels before entering the oceanic expanse that is Western civilization. Several decades ago, environmental aesthetics began to attract interest and has grown to be an important focus of present-day inquiry in aesthetics. Along with environmental ethics, it has become part of the broader range of environmental studies and the environmental movement in general. This expansion has continued, interpreting environment not only as natural but also as social. Aesthetics has been applied to social relations and political uses, and now, most recently to the objects and situations of everyday life. The course of the arts has displayed a similar succession of changes.
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"Paradigms, Ensembles, and Anachronisms." In Painting, Ethics, and Aesthetics in Rome. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108329514.006.

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Hunnekuhl, Philipp. "Kant, Aesthetic Autonomy, and Literary Ethics." In Henry Crabb Robinson. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621785.003.0004.

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Chapter three reveals the paradigm shift in Robinson’s theorization of literature that his ‘conversion’ from the empiricism of Locke, Hume, and Godwin to Kant’s critical philosophy prompted. Yet Kant’s notion of aesthetic autonomy – of art’s detachment from the motives of the mind and the causality governing the laws of nature – occasioned an impasse in Robinson’s conceptualization of literature’s ethical relevance. He resolved this in an ingenious move by skilfully locating in Kant’s critical philosophy, and then developing, an analogy between art and morals: the self-contained structure and dynamic of a work of literature find their corresponding parameters in the reader’s mind, in her or his moral compass. On the basis of this analogy, chapter three argues, Robinson conducted his own ‘ethical turn’ away from notions of absolute aesthetic autonomy, and developed the ground-breaking critical principle of ‘Free Moral Discourse’ (Hunnekuhl) that from here onwards underpinned his literary activities. Against the backdrop of various unpublished manuscripts, this chapter discusses Robinson’s articles on Hume and causality, and on Moses Mendelssohn and the Pantheism Controversy, in the Monthly Magazine (1799–1801), as well as his letters ‘On the Philosophy of Kant’ in the Monthly Register and Encyclopaedian Magazine (1802–03).
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Ibrahim, Y. "The Ethics of Gazing." In Handbook of Research on Technoethics. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-022-6.ch033.

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This chapter situates the current debates on pornography in the virtual realm and its ethical and legal implications for users and researchers. It examines the ethics of gaze and politics of looking and how these acts of consumption can pose new moral and ethical dilemmas for societies and communities. Debates on online pornography have to integrate and reconcile dialectical elements and values such as aesthetics, privacy, rights, taboos, private pleasures and community standards while acknowledging the intrinsic features which define the Internet as a liminal space between the private and public and between individual consumption and infringement of societal norms. Beyond the legal and ethical paradigm, the chapter explores the issues of empowerment associated with online pornography as well as the epistemological and ontological problems which can face researchers.
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Fludernik, Monika. "Introduction." In Metaphors of Confinement. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840909.003.0011.

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The Introduction offers a theoretical overview of the topic of imprisonment and supplies an initial conspectus of major models of carceral space. It discusses the study’s relationship to Foucault’s seminal Discipline and Punish, elucidating key aspects of this paradigm and explaining how the book extends but also modifies Foucault’s work. The Introduction also provides an explanation of basic terminology in recent metaphor theory, distinguishing between different types of metaphor that will become relevant in the bulk of the study. Another section concentrates on literary topoi and the terminology used in the study of tropes and topoi. The final section delineates the concept of the carceral imaginary and underlines its connection to the politics of punishment as well as issues of ethics and aesthetics.
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Krstić, Igor. "Postmodern Bricolages." In Slums on Screen. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406864.003.0007.

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This chapter focuses on the 1970s and 1980s and illustrates how some of the most celebrated world cinema directors became profoundly affected by postmodern thought and cultural practice, among them auteurs like Kurosawa, Brocka or Scola, all of whom have approached the slums of their native countries and cities in their films. The author argues that the cultural and architectural practice of bricolage may serve as a key paradigm that subsumes the otherwise quite disparate styles of these directors. Postmodern concepts and aesthetic strategies such as bricolage – and, by extension, intertextuality, intermediality or hybridisation – put the traditional claims of realist and documentary practices in doubt. Instead, postmodern films, like the chapter’s main example Time of the Gypsies (Kusturica 1989), mix what are apparently contradictory notions, such as magic and realism. However, the chapter also discusses other examples of (predominantly ‘Third-Worldist’) filmmakers who have been trying to preserve and recover the historically inherited, but now vehemently questioned (ethical, social and political) concerns of realist and documentary modes to approach their countries’ social problems, but without turning a blind eye towards the new postmodern realities of increasingly consumer-oriented ‘Third World’ cultures.
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Lauter, Paul. "The Literatures of America—A Comparative Discipline." In Canons and Contexts. Oxford University Press, 1991. http://dx.doi.org/10.1093/oso/9780195055931.003.0008.

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An image has long haunted the study of American culture. It limits our thought, shapes our values. We speak of the “mainstream,” and we imply by that term the existence of other work, minor rills and branches. In prose, the writing of men like Franklin, Emerson, Thoreau, Hawthorne, Melville, James, Eliot, Hemingway, Faulkner, Bellow—to name some of the central figures—constituted the “mainstream.” Others—writers of color, most women writers, “regional” or “ethnic” male and female authors—might, we said, be assimilated into the mainstream, though probably they would continue to constitute tributaries, interesting and often sparkling, but finally of less importance. They would, we tacitly assumed, be judged by the standards and aesthetic categories we had developed for the canonical writers. At best, we acknowledged that including in the canon writers like Wharton, Cather, Chopin, and Ellison might change somewhat our definition of the mainstream, but the intellectual model imposed by that mainstream image, this Great River theory of American letters, has persisted even among mildly revisionist critics. Such critics have continued to focus on a severely limited canon of “major” writers based on historical and aesthetic categories from this slightly augmented mainstream. The problem we face is that the model itself is fundamentally misleading. The United States is a heterogeneous society whose cultures, while they overlap in significant respects, also differ in critical ways. A normative model presents those variations from the mainstream as abnormal, deviant, lesser, perhaps ultimately unimportant. That kind of standard is no more helpful in the study of culture than is a model, in the study of gender differences, in which the male is considered the norm, or than are paradigms, in the study of minority or ethnic social organization and behavior based on Anglo-American society. What we need, rather, is to pose a comparativist model for the study of American literature. It is true that few branches of academe in the United States have been so self-consciously indifferent to comparative study as has been the field we call “American literature.”
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Charteris, Charlotte. "The Master and the Pupil." In Twenty-First-Century Readings of E.M. Forster's 'Maurice'. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621808.003.0004.

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This chapter draws on Foucault’s ‘Friendship as a Way of Life’ in an exploration of Forster’s most significant and productive inter-generational relationships of the 1930s, arguing that these queer alliances shaped – and were shaped by – not only the Maurice manuscript, but an emerging queer culture that embraced the homosexual’s ‘slantwise’ position in society. As a young queer writer struggling to reconcile the demands of his personal and professional lives, seeking a mentor and yet fundamentally dissatisfied with interwar paradigms of leadership, Christopher Isherwood found in Forster not just a friend, but a master – a model of homosexual writerly life. The master-pupil dynamics that would characterise the pair’s relationship for the remainder of their lives fused the personal with the professional, establishing an ethics of equality and mutual exchange that would ultimately underpin both Forster’s novel, and the collaborative queer aesthetic that would, under Isherwood’s care, finally bring it to birth. Having established the peculiarly generative power of their relationship, the chapter repositions both men within a complex queer dynasty, calling on contemporary theory to offer an affirmative answer to the poignant questioning in Forster’s Goldsworthy Lowes Dickinson: ‘is there nothing which will survive when all of you also have vanished?’
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