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1

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

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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.

2

„A jednak oczyma / [m]oimi patrzycie...”. O doświadczeniu sztuki w doświadczaniu przestrzeni

86%

Dynkowska J.

Białostockie Studia Literaturoznawcze

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2017

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vol. 11

EN

The paper discusses specific literary form of the cultural prefiguration of spatial perception – seeing landscapes and other spaces through the filter of one’s experience of art. In the examined texts by Jacek Dehnel’s and in Julia Hartwig’s poems spaces perceived by the subject are juxtaposed and correlated with the afterimages of masterpiece paintings or memorable and identifiable styles of various artists.

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Literackie (kraj)obrazy Jane Austen a angielska estetyka malowniczości

86%

Borowska-Kazimiruk S.

Przegląd Humanistyczny

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2019

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vol. 63(2 (465))

63-76

PL

The main inspiration for the article dedicated to aesthetics of picturesqueness in Jane Austen’s novels is W. J. T. Mitchell’s Introduction in Landscape and Power, where he defines a landscape not as a noun, but as a verb. In this context, this term becomes a cultural medium, by which the new political and social meanings of the epoch are transmitted and sanctioned. Selected parts of Austen’s works, in which long descriptions of nature have been replaced by dialogues about a landscape as an artistic, picturesque object, will allow to describe the consequences of the reconceptualization of the nature within English theory of aesthetics.

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1 Białostockie Studia Literaturoznawcze

1 Estetika: The Central European Journal of Aesthetics

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1 Borowska-Kazimiruk S.

1 Dynkowska J.

1 Dönmez D.

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

„A jednak oczyma / [m]oimi patrzycie...”. O doświadczeniu sztuki w doświadczaniu przestrzeni

Literackie (kraj)obrazy Jane Austen a angielska estetyka malowniczości