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Relevant bibliographies by topics / Spinoza's aesthetics

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Academic literature on the topic 'Spinoza's aesthetics'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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Journal articles on the topic "Spinoza's aesthetics"

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Montag, Warren. "Spinoza's counter-aesthetics." Intellectual History Review 30, no. 3 (2020): 411–27. http://dx.doi.org/10.1080/17496977.2020.1732704.

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Trop, Gabriel. "Spinoza and the Genesis of the Aesthetic." Aesthetic Investigations 4, no. 2 (2021): 182–200. https://doi.org/10.5281/zenodo.5482901.

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This paper identifies an aesthetics implicit in Spinoza’s philosophy through the concept of a genesis of the aesthetic. A <em>genesis </em>of the aesthetic indicates that a philosophy of art is not yet fully formed in his work, but can emerge as a consequence or effect of his thought. This aesthetic theory would evaluate the work of art primarily in its relationship to <em>truth</em>. Following the architectonics of Spinoza’s own thought, this paper constructs a progression – moving from the imagination, to reason, to intuition – toward a concept of aesthetic practices

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Lord, Beth. "‘A Sudden Surprise of the Soul’: Wonder in Museums and Early Modern Philosophy." Royal Institute of Philosophy Supplement 79 (October 2016): 95–116. http://dx.doi.org/10.1017/s1358246116000096.

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AbstractRecent museum practice has seen a return to ‘wonder’ as a governing principle for display and visitor engagement. Wonder has long been a contentious topic in aesthetics, literary studies, and philosophy of religion, but its adoption in the museum world has been predominantly uncritical. Here I will suggest that museums draw on a concept of wonder that is largely unchanged from seventeenth-century philosophy, yet without taking account of early modern doubts about wonder's efficacy for knowledge. In this paper I look at Descartes' and Spinoza's views about wonder and the uses and disadv

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Kretchmar, R. "Should Philosophy of Sport Matter More?" Physical Culture and Sport. Studies and Research 49, no. 1 (2010): 5–12. http://dx.doi.org/10.2478/v10141-010-0013-1.

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Should Philosophy of Sport Matter More?While the philosophy of sport has registered significant gains in stature over the past 40 years, and while its future looks bright quite apart from any enhanced interventions by ourselves, I suggest that the philosophy of sport should still matter more. The achievement of this end, I argue, can be expedited by heeding Spinoza's philosophy of unity, Merleau-Ponty's emphasis on embodiment, and Dewey's focus on the aesthetics of experience. While other philosophers and their works might be used for the same purpose, I claim that it would be difficult to fin

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Nachtigall, Jenny, and Kerstin Stakemeier. "Art Work as Life Work: Lu Märten's Feminist “Objectivity”." October, no. 178 (2021): 35–54. http://dx.doi.org/10.1162/octo_a_00438.

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Abstract “Art Work as Life Work: Lu Märten's Feminist ‘Objectivity’” highlights the feminist stakes of German feminist-materialist art historian Lu Märten's interventions in the interwar discourses on art and labor, on objectivity (Sachlichkeit), and the new media of film and radio. The essay argues that Märten's contributions to these areas sit squarely within more familiar narratives of materialist aesthetics and Weimar culture (from Walter Benjamin's epochal Artwork Essay to the Bauhaus) and that they do so on account of her heterodox reading of Marx and commitment to Spinoza's monism. In M

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Trop, Gabriel. "Spinoza and the Genesis of the Aesthetic." Aesthetic Investigations 4, no. 2 (2021): 182–200. http://dx.doi.org/10.58519/aesthinv.v4i2.11914.

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 This paper identifies an aesthetics implicit in Spinoza’s philosophy through the concept of a genesis of the aesthetic. A genesis of the aesthetic indicates that a philosophy of art is not yet fully formed in his work, but can emerge as a consequence or effect of his thought. This theory would evaluate the work of art primarily in its relationship to truth. Following the architectonics of Spinoza’s own thought, this paper constructs a progression – from the imagination, to reason, to intuition – toward a concept of aesthetic practices that aligns itself ever more closely with the freedo

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Kodalak, Gökhan. "Affective Aesthetics beneath Art and Architecture: Deleuze, Francis Bacon and Vogelkop Bowerbirds." Deleuze and Guattari Studies 12, no. 3 (2018): 402–27. http://dx.doi.org/10.3366/dlgs.2018.0318.

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There is an aesthetic undercurrent traversing Deleuze's philosophy along confluent trajectories of Baruch Spinoza and Friedrich Nietzsche, which harbours untapped potentials and far-reaching consequences for contemporary discussions of art and architecture. According to this subterranean stream, aesthetic experience is generated, neither in ready-made mental faculties of a subject, nor in essential qualities of an object, but through affective interactions of a relational field. A cartographic inquiry of affective aesthetics constitutes the subject matter of this paper, beginning with a philos

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Dinić-Miljković, Vesna. "The affect and its image in Gilles Deleuze's philosophy." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 1 (2021): 3–16. http://dx.doi.org/10.5937/zrffp51-28286.

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There is no perception without affection. This necessity comes from the very fact that perception measures our possible action upon things, and thereby, the possible action of things upon us. For the French philosopher Gilles Deleuze, affection occupies exactly this gap between the potentiality of action of the perceived objects and our virtual action upon them. This encounter between the affected body and the affecting body presumes the in-betweenness, an interval between a perception which is troubling in certain respects and a hesitant action. As opposed to emotion, which is directed toward

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Hetrick, Jay. "Deleuze and the Kyoto School II." Asian Studies 11, no. 1 (2023): 139–80. http://dx.doi.org/10.4312/as.2023.11.1.139-180.

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The aim of this paper is to bring Gilles Deleuze and the Kyoto School into an imaginary conversation around the idea of philosophy as a way of life, or what I call ethico-aesthetics. I first show how ethico-aesthetics in the Kyoto School modernizes the traditional notion of geidō, or ways of art, through the language of continental philosophy. Even though the discourse they construct in this respect remains less rigorous than that of the other domains of philosophy with which they engage, the ethico-aesthetic concepts of Nishida Kitarō, Nishitani Keiji, and Ōhashi Ryōsuke provide a starting po

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Morrison, James C. "Why Spinoza Had No Aesthetics." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 359. http://dx.doi.org/10.2307/431135.

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Dissertations / Theses on the topic "Spinoza's aesthetics"

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Rawes, Margaret S. H. "Aesthetics and geometry in Proclus, Spinoza, Leibniz, Kant and Bergson." Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414429.

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Yanick, Anthony Joseph. "Prolegomena to a Theory of Cinematic Bodies: What Can an Image Do?" Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1386619321.

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Monea, Alexander Paul. "Dissemination Rhizome: How to Do (Political) Things With Affect." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1354329062.

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Xavier, Henrique Piccinato. "Por uma Estética da imanência." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-13012014-124516/.

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A partir da ideia de uma imanência materialista, a tese procura esboçar um sistema estético que se contraponha aos sistemas estéticos românticos e idealistas (principalmente confrontando-se com noções provenientes do platonismo e do idea- lismo alemão e, também, com algumas noções de M. Heidegger). No percurso da tese são centrais as discussões sobre a possibilidade de se pensar por imagens e so- bre as implicações filosóficas, políticas, ideológicas e históricas da necessidade de se embaralhar ciência com poesia. O trabalho, pensado a partir de Ulysses de James Joyce, procura compreender o

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Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.

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Le philosophe artiste est une figure fantasmée ou désavouée. Par sa seule possibilité, il représente l’impossible frontière entre le discours philosophique et la création artistique. Bien qu’il invoque cette figure polémique, Nietzsche n’a pas été en mesure de fonder le philosophe artiste, mieux, il l’abandonne au profit d’un Dionysos ressuscité, plus à même de surmonter la confrontation avec Apollon. Or, voilà une figure orpheline qui ne semble plus que renvoyer à une nostalgie romantique et idéale où la philosophie, enfin, partagerait ses objets privilégiés ainsi que ses propres méthodes d’a

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Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Electronic Thesis or Diss., Paris 10, 2012. http://www.theses.fr/2012PA100054.

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Le philosophe artiste est une figure fantasmée ou désavouée. Par sa seule possibilité, il représente l’impossible frontière entre le discours philosophique et la création artistique. Bien qu’il invoque cette figure polémique, Nietzsche n’a pas été en mesure de fonder le philosophe artiste, mieux, il l’abandonne au profit d’un Dionysos ressuscité, plus à même de surmonter la confrontation avec Apollon. Or, voilà une figure orpheline qui ne semble plus que renvoyer à une nostalgie romantique et idéale où la philosophie, enfin, partagerait ses objets privilégiés ainsi que ses propres méthodes d’a

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Tiessen, Matthew P. "Creativity, relationality, affect, ethics: outlining a modest (aesthetic) ontology." Phd thesis, 2010. http://hdl.handle.net/10048/1423.

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Are artists autonomous agents? Are they individuals? Engaging with these seemingly commonsensical questions is the objective of this doctoral dissertation. Moreover, my answer to both questions is: no. My objective herein, then, will be to develop the following argument: that because the individual elements of creative, art-producing networks are so profoundly relational, to speak of individual elements or of agents or artists at all is to describe an incomplete picture. After all, how can any individual action occur or individual element exist in the absence of that upon which that action is

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Books on the topic "Spinoza's aesthetics"

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Cecchi, Delfo. Estetica e eterodossia in Spinoza. ETS, 2005.

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Diodato, Roberto. Vermeer, Góngora, Spinoza: L'estetica come scienza intuitiva. B. Mondadori, 1997.

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Dejardin, Bertrand. Éthique et esthétique chez Spinoza: Liberté philosophique et servitude culturelle. L'Harmattan, 2012.

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Reno, Seth T. Amorous Aesthetics. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786940834.001.0001.

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Situated at the intersection of affect studies, ecocriticism, aesthetics, and Romantic studies, this book presents a genealogy of love in Romantic-era poetry, science, and philosophy. While feeling and emotion have been traditional mainstays of Romantic literature, the concept of love is under-studied and under-appreciated, often neglected or dismissed as idealized, illusory, or overly sentimental. However, Seth Reno shows that a particular conception of intellectual love is interwoven with the major literary, scientific, and philosophical discourses of the period. Romantic-era writers conceiv

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Le Dieu de Spinoza. Labor et Fides, 1987.

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Kelly, Daniel Patrick. Kant in Context. The Rowman & Littlefield Publishing Group, 2023. https://doi.org/10.5040/9781666996524.

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Kant in Context: The Historical Primacy of the Transcendental Dialectic examines the introduction of Kant’s critical philosophy through the lens of historical contextualization. Daniel Patrick Kelly argues that Kant’s seismic Copernican epistemic turn must be adequately positioned and understood within the German philosophical landscape that developed in Spinoza’s wake. This necessary historical analysis illuminates the development and comparative strength of Kant’s emergent transcendental idealism. However, in order to render the introduction of Kant’s critical system sufficient to this histo

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Hughes, Joe. Philosophy After Deleuze. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781350275393.

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Philosophy After Deleuze is a bold, wide-ranging and informative book. Joe Hughes affirms unequivocally that there is a Deleuzian philosophy and then shows us how to find it despite the many changes in subject matter and vocabulary that characterize Deleuze's work. He traces the outlines of a Deleuzean philosophy across key manifestations in the fields of ontology, ethics, aesthetics and politics. He provides insightful accounts of Deleuze's engagements with familiar interlocutors such as Kant, Spinoza, Bergson and Nietzsche, but also his less studied engagements with figures such as Blanchot,

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Gipps, Richard G. T., and Michael Lacewing, eds. The Oxford Handbook of Philosophy and Psychoanalysis. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198789703.001.0001.

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With contributions from 35 leading experts in the field, The Oxford Handbook of Philosophy and Psychoanalysis provides the definitive guide to this interdisciplinary field. The book comprises eight sections, each providing an overview of current thinking at the interface between philosophy and psychoanalysis through original contributions that will shape the future of the debate in its area. The first section covers the philosophical pre-history of the psychoanalytic unconscious, including discussions of Spinoza, Kant, Hegel, Schopenhauer, and Nietzsche. The next three present evaluations of p

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Wolodzko, Agnieszka. Affect as Contamination. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350333031.

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Bringing the concept of contamination into dialogue with affect theory and bioart, Agnieszka Anna Wołodźko urges us to rethink our relationship with ourselves, each other and other organisms. Thinking through the lens of contamination, this book provides an innovative approach to understanding the leaky, porous and visceral nature of our bodies and their endless interrelationships and, in doing so, uncovers new ways for thinking about embodiment. Affect theory has long been interested in transmission or contagion but, inspired by Spinoza and Deleuze, Affect as Contamination goes further, as co

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Melancholy Emotion in Contemporary Cinema. Taylor & Francis Group, 2018.

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Book chapters on the topic "Spinoza's aesthetics"

1

Pätzold, Detlev. "Moses Mendelssohn on Spinoza." In Moses Mendelssohn's Metaphysics and Aesthetics. Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2451-8_6.

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Rimas, Juozas, and Juozas Rimas Jr. "The Search for Abilities and Characteristics Which Produce Expression of Quality." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_4.

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AbstractA series of sub-chapters summarising the subjective abilities necessary for expression in music: 3.1. A Musical Ear. “Inner hearing” vs. acoustic hearing; perfect pitch. Hearing and understanding (G. Colombero, B. Asaf’ev; C.P.E. Bach, R. Schumann). 3.2. Sound Creation. The method developed by C. Martienssen. “Wunderkind complex”. The author’s recording of the Andante from the Cassation in B flat major (KV 63a) by the 13-year-old W. A. Mozart. Six elements of sound creation: pitch volition (Tonwille); timbre volition (Klangwille) (cf. A. Losev: “the otherness of tone“); line volition (

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Mathes, Carmen Faye. "Provocation’s Means." In Poetic Form and Romantic Provocation. Stanford University Press, 2022. http://dx.doi.org/10.11126/stanford/9781503630246.003.0001.

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Situating my overarching inquiry with respect to current critical conversations about Romantic aesthetics, affect theory and the ethical work of poetry, the Introduction engages with the “affective turn” and its development in literary studies over the last two decades. It traces scholars’ renewed attention to the influence of Benedict de Spinoza on Romantic thought; provides an explanation of some basic tenets of Spinoza’s philosophy, as well as a more specific discussion his idea of pity as a negative affect; and describes how the book will trace Romantic formal and generic provocations.

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Reno, Seth T. "Introduction." In Amorous Aesthetics. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786940834.003.0001.

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The introduction traces the development of intellectual love from its first major expression in Baruch Spinoza’s Ethics,through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a British Romantic tradition. While most scholarly work treats Romantic-era theories of love as idealized and illusory, I show how this distinct tradition of intellectual love was integral to broader debates about the nature of life, the biology of the human body, the sociology of human relationships, the philosophy of nature, and the disclosure of being. I situate this

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"8 Spinoza, the Philosopher Craftsman: Understanding the World through Painting and Process." In Embodied Aesthetics. BRILL, 2014. http://dx.doi.org/10.1163/9789004281516_010.

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Armond, Kate. "Baroque Bodies: Agency, Expression and Movement." In Modernism and the Theatre of the Baroque. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419628.003.0006.

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The focus of this chapter is the human body as it is represented and interpreted in baroque writing and performance. In his 1677 treatise Ethics the philosopher Baruch Spinoza contradicts Cartesian dualism, claiming that matter and spirit are united by one fundamental universal substrate. Between the late 1800s and 1914 the German scientist and philosopher Ernst Haeckel popularised many of Spinoza’s ideas for a modern readership, and Haeckel’s comprehensive exposition of pantheism and monist beliefs underpinned his own aesthetic sense of nature and her forms. My work on the Trauerspiel in earl

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Gibson, Andrew. "Badiou (ii): Politics, Ethics, Aesthetics." In Beckett and Badiou. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199207756.003.0003.

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Abstract The account of Badiou’s philosophy that I have given so far raises an obvious question. Being is irreducibly inconsistent. In an actually infinite universe, there is always what I have called a wobble or a play in Being. This is what makes the event possible. But why, then, is Badiou’s world not more like Deleuze’s? Why are events rare? Why is the world not as full of events in Badiou’s later as in his early work? The answer lies in the concept of the State. This has both an ontological and a political significance. Badiou does not define it solely in political terms: Spinoza’s God is

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Cordingley, Anthony. "Spinoza, Leibniz or a World ‘less exquisitely organized’." In Samuel Beckett's How It Is. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440608.003.0008.

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This chapter concludes the investigation by detailing the way that Beckett’s narrator/narrator weighs up a philosophy of imminence (Spinoza) against a philosophy of transcendence (Leibniz). A new reading of Beckett’s relationship to these preeminent Rationalists is sustained through an examination of the Comment c’est notebooks and Beckett’s “Philosophy Notes”, and other works, such as, Endgame. A deep affinity is discovered between Beckett’s work and Spinoza’s uncompromising attack on the Judeo-Christian transcendentalism and anthropomorphism, which complicates the interpretation of Beckett’s

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Bienenstock, Myriam. "The Pantheism Controversy in the 1780s." In Oxford History of Modern German Theology, Volume 1: 1781-1848. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198845768.003.0012.

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Abstract The publication in 1785 of the ‘Letters on the Doctrine of Spinoza’ triggered in Germany a powerful Spinoza cult which had not been willed by F. H. Jacobi, their editor: he had perceived the growing enthusiasm for Spinoza, also manifested by Herder and Goethe, and wanted to react. Rather than waging war on Spinoza himself, he targeted Mendelssohn the Jew and the Berlin Aufklärung, also other famous contemporaries whom he summoned to choose between reason and faith. Many preferred to declare themselves ‘Spinozists’. Kant resisted, but Fichte evolved an influential form of pantheism dis

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"Training Perception and Affection." In The Fold. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059127-005.

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This chapter introduces affective analysis, an aesthetic method that is at the core of this book's practical philosophy. A triadic method, affective analysis postpones conceptual analysis in order to take time experiencing affects, understood as a multi-stage process, and perceptual analysis; it then compares affective and perceptual responses in order to arrive at concepts, or what Spinoza termed adequate ideas. Marks' case studies are Charlie's Angels by McG and Mounira Al Solh's Now Eat My Script. Affective analysis, an exercise to expand embodied capacities for openness and connection, str

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