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The Nudity of Simone de Beauvoir

100%
Nasilowska A.
Teksty Drugie (Second Texts)
|
2008
|
issue 1-2
6-8
EN
A commentary on Richard Shusterman's essay 'Somaesthetics and 'The Second Sex': A Pragmatist Reading of a Feminist Classic', published in this issue.
2
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ESTETICKÁ SKÚSENOSŤ DNES. SKÚMANIE SOMAESTETIKY VO VZŤAHU K ESTETIKE KAŽDODENNOSTI A ESTETIKE ENVIRONMENT

80%
Kvokačka A.
ESPES
|
2015
|
vol. 4
|
issue 2
10 – 15
EN
The title of the paper is the allusion to an article by Richard Shusterman. In the text, I try to explore in the similar strategy the current state of aesthetic experience. Starting from The End of Aesthetic Experience I follow the notion of aesthetic experience which "will be strengthened and preserved the more it is experienced; it will be more experienced the more we are directed to such experience; and one good way of directing us to such experience is fuller recognition of its importance and richness through greater attention to the concept of aesthetic experience". Is the somaesthetics became the answer to the loss of interest in aesthetic experience? The answer lies partly in examining the relationship between aesthetic experience and aesthetics of environment and everyday aesthetics, which further analysis of the notion pointed Shusterman himself. The result of research leads us to renewed role of aesthetic experience in contemporary aesthetics beyond the aesthetics (or philosophy) of art.
3
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PRAGMATISTS ON THE EVERYDAY AESTHETIC EXPERIENCE

61%
Kremer A.
ESPES
|
2020
|
vol. 9
|
issue 2
66 – 74
EN
Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience (1934), Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics (1992). In this paper, I show that Dewey already refuses the gap between the practices of the ‘art world’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our daily life have the same essential structure as the experience of art. While Rorty has revised Dewey’s basic premises, Shusterman has rather restated them. Since the end of the 1980s, he has started developing his own philosophical project, named ‘somaesthetics’. Shusterman’s somaesthetics does not simply incorporate many Deweyan views, but also develops them further. Accepting a Deweyan framework, Shusterman rejects the sharp dualism of the so-called “lower and higher levels of art”. What is more, he considers philosophy as an art of the living, embracing in somaesthetics the ancient Greek and Asian traditions.
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