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Koncepcja bezinteresowności ekonomicznej Talcotta Parsonsa

100%

Wechta P.

Annales. Etyka w Życiu Gospodarczym

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2019

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vol. 22

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issue 2

7-24

EN

The task of the paper is to analyze Talcott Parsons’ concept of economic disinterestedness, which the classical American sociologist introduced at an early stage of his work. It is aimed at economic orthodoxy, whose permanent foundation is the still vital figure of homo oeconomicus. The concept of disinterestedness is about crossing the limits of one’s own advantage in economic activities. When justifying the concept, Parsons refers to Alfred Marshall and his concept of a “gentleman of the world of free industry and entrepreneurship” and Max Weber’s concept of the “spirit of capitalism”. According to Parsons, the embodiment of disinterestedness in advanced capitalism should become a specific type of bureaucracy.

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Saving ‘Disinterestedness’ in Environmental Aesthetics: A Defence against Berleant

88%

Dönmez D.

Estetika: The Central European Journal of Aesthetics

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2016

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vol. 53 (New Series: 9)

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issue 2

149-164

EN

The old, historical concept of ‘disinterestedness’ has dominated the tradition of aesthetics for almost two centuries. In environmental aesthetics, a rather recent branch of aesthetics, some scholars such as Arnold Berleant have criticized disinterestedness, claiming that it is not a satisfactory criterion since it views the environment as an artwork. As an alternative, Berleant proposes a theory of the ‘aesthetics of engagement’. I claim that although his main intention is to introduce a comprehensive perception of nature, ‘appreciating nature as nature’ (not as an artwork), into the aesthetics of nature, Berleant misinterprets ‘disinterestedness’ and overlooks the fact that it can still be maintained within environmental aesthetics. Disinterestedness can guide our judgements with the notions of non-instrumentality, transparent self, and impartiality. In this sense, I argue that (1) the proper opposite of engagement is not disinterestedness but a dominant concept of aesthetics left over from the eighteenth century, the ‘picturesque’, (2) in contrast to holistic accounts of the philosophers who look for an immersion-of-self-in-a-bigger-Self, disinterestedness provides being devoid-of-any-empirical-self and (3) disinterestedness is not anthropocentric, but anthropogenic, human-generated, which accepts the ‘otherness’ of nature and opens the way for respect and care in environmental ethics.

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Inspiracja artystyczna, forma znacząca i zaangażowanie

88%

Obidzińska B. J.

Kultura-Społeczeństwo-Edukacja

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2015

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vol. 8

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issue 2

47-58

PL

Contemporary aesthetic thought, especially that rooted in the pragmatist tradition and apologetic for the environmental experience, tends to situate form oriented aesthetics in juxtaposition to the concept of the aesthetic engagement. In particular the notion of disinterestedness is often brought to the forefront as connected to the concept of psychic distance and disdain for the surrounding reality. This essay attempts to revise two theories strongly promoting the importance of the physical form of the objects inspiring the aesthetic experience of the artist, namely that of Clive Bell and that of Maurice Merleau-Ponty, in order to respond to the aforementioned criticisms of formalism. In particular, the concept of the perception of the form as an end-in-itself rather than as a means to a heterogenous end is analyzed with reference to its engaging character.

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1 Annales. Etyka w Życiu Gospodarczym

1 Estetika: The Central European Journal of Aesthetics

1 Kultura-Społeczeństwo-Edukacja

1 Dönmez D.

1 Obidzińska B. J.

1 Wechta P.

1 2019

1 2016

1 2015

Koncepcja bezinteresowności ekonomicznej Talcotta Parsonsa

Saving ‘Disinterestedness’ in Environmental Aesthetics: A Defence against Berleant

Inspiracja artystyczna, forma znacząca i zaangażowanie