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1

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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SOMAESTHETICS AND BANALITY: A REPLY TO KREMER

100%
Migašová J.
ESPES
|
2020
|
vol. 9
|
issue 2
75 – 80
EN
This short paper is an attempt to intersect my reading of Alexander Kremer’s key ideas in his article Pragmatists on the Everyday Aesthetic Experience (2020) with my previous thoughts on banality as an aesthetic quality experienced by the modern subject in her everyday life. My contribution tries to interconnect key theoretical and artistic conceptions of banality (as discussed for example by Charles Baudelaire, Hannah Arendt, Marie Darrieussecq, Edward Keinholz) with Shusterman’s somaesthetics and subsequently to reveal another possibility of rethinking the relationship between aesthetics and ethics.
3

Somaesthetics and 'The Second Sex': A Pragmatist Reading of a Feminist Classic

80%
Shusterman R.
Teksty Drugie (Second Texts)
|
2008
|
issue 1-2
173-205
EN
The author explains in his article the character and structure of somatic aesthetics, the philosophical discipline he created. This is followed by his analysis of Simone de Beauvoir's complex approach to the issue of body in her 'Le deuxieme sexe', referring to those arguments which might support the pragmatic attitude of somatic aesthetics as well as those recognising the somatic aesthetics' focus on the body as a threat to feminism
4

ESTETIKA EXISTENCIE V PRAGMATIZME RICHARDA SHUSTERMANA

80%
Švihura L. A.
Filozofia (Philosophy)
|
2023
|
vol. 78
|
issue 6
444 – 461
EN
This study deals with the analysis and interpretation of the ideas of the pragmatist philosopher Richard Shusterman on somaesthetics. This is an umbrella term used by Shusterman to refer to discourses on the body, philosophies of corporeality, and practical bodily exercises that have emerged in both Western and Oriental cultures over the millennia. In the study particular attention is given to what Shusterman refers to as practical somaesthetics, that is, specific practices performed with one’s body that have the potential to serve several important purposes. These are primarily the overcoming of incorporated somatic deficits, the realization of self-knowledge, and the development of social morality. The aim of this study is to highlight the importance of practical somaesthetics in the above-mentioned areas, not only through an analysis of Shusterman’s major works but also in relation to Wolfgang Welsch’s ideas on aisthésis, Michel Foucault’s ideas on the ancient ideal of an aesthetics of existence, and with a particular emphasis on work on the body in traditions such as yoga.
5
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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.
6
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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.
7
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THE CREATIVE DIMENSION OF DANCE (Tworczy wymiar tanca)

51%
Mond-Kozlowska W.
Horyzonty Wychowania
|
2011
|
vol. 10
|
issue 20
163-179
EN
The paper advocates the high position of the art of dance in the humanities. Since the dance is embedded in the human body, creating dance stands for creating human being. This makes up an authentic realm of the anthropological creativity. Thus one can say that dance is anthropological and anthropocentric. The stand is rooted in the Hellenic tradition, where paideutic formation of the society of free men included physical exercises, predominantly dance united with music and word. In his the human body was perceived as a god-like temple of the noblest human faculties that were the subject of constant training and melioration. The list of modern 'debtors' to the Greeks in this field is presented to instantiate the immortality of Hellenic educational ideas across millennia. Another aspect of the discourse is the interrelation between aesthetics and ethics through the training process in dance.
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