scholarly journals AESTHETICAL EXPERIENCE AS PATHOLOGICAL DISCOURSES OF ABJECTION AND MELANCHOLIA IN THE BEKSINSKI' ART

2020 ◽  
pp. 55-59
Author(s):  
H.O. Verbivska
Keyword(s):  
Aesthetic Experience ◽  
A Priori ◽  
The Body ◽  
Symbolic Order ◽  
Body Of Christ ◽  
Symbolic Space ◽  
The Common ◽  
The Aesthetic ◽  
Maternal Authority ◽  
First Time

This article tackles the issue of aesthetic experience from the pathologized everyday discourse viewpoint in the system of relations between I and symbolic order, where transgressed and close to symbolic death I is predominant. The stage, in which I, crossing the symbolic borders, stay readable, appears to be the process of continuous constituting the aesthetic experience and its transforming into the primordial a priori structure of everyday discourse. The problem lies deeply in the preserving of evanescent borders which are said to exist in the cultural palpability and simultaneously to be exiled from the system. The article exemplifies pathological discourses by referring to the Beksinski' works, namely his numerous ways of articulating the ineffable. However, articulated ineffable, similarly to such culturally conditioned reactions as abjection and melancholia, declares double death of the discursive subject: the first time when the separation from primordial presymbolic world takes place and the second time during problematizing the symbolic borders and paradoxical immortalization concerning postulated frontiers. The aim of this article is to dig out kaleidoscope of images and sub-images from Beksinski' works through the motive of crucifixion resulting in the specific value of Christ's body and chimerical things inside the dehumanized catastrophic space. It is demonstrated how pathological discourse of melancholia could be intertwined with the discourse of abjection in the common point of transgressing the limits, making the symbolic space full of details indicating the risk of Ego being disintegrated, staying inside the transgressed limits as constituting aesthetical experience. Inexplicability of terrible post-apocalyptic world is readable via symbolic coordinates insofar as the main primal object (the body of Christ) occurs to be banished. Appearing of aesthetic experience is paralleled to the stages of psychosexual development in the existence of symbolic being where in opposition to classical freudism maternal authority is accentuated. That's how Kristevan style of psychoanalytic ruminations looks like.

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

scholarly journals Ekklesia and Ecumenism in the Body of Christ: Unity from the Ground-Up

Religions ◽  
2018 ◽  
Vol 9 (12) ◽  
pp. 390
Author(s):  
Anastasia Wendlinder
Keyword(s):  
Faith Community ◽  
The Body ◽  
Theological Reflection ◽  
Body Of Christ ◽  
Self Identity ◽  
Starting Point ◽  
Potential Benefits ◽  
The Common ◽  
Political Spectrum ◽  
Do So

This article explores the implications for Christian unity from the perspective of the lived faith community, the ekklesia. While bilateral and multilateral dialogues have borne great fruit in bringing Christian denominations closer together, as indeed it will continue to do so, considering how the ecclesiological identity of the faith community both forms and reflects its members may be helpful in moving forward in our ecumenical efforts. This calls for a ground-up approach as opposed to a top-down approach. By “ground-up” it is meant that the starting point for theological reflection on ecumenism begins not with doctrine but with praxis, particularly as it relates to the common believer in the pew. The ecclesiological model “Body of Christ” provides a helpful vocabulary in this exploration for a number of reasons, none the least that it is scripturally-based, presumes diversity and employs concrete imagery relating to everyday life. Further, “Body of Christ” language is used by numerous Christian denominations in their statements of self-identity, regardless of where they lie on the doctrinal or political spectrum. In this article, potential benefits and challenges of this ground-up perspective will be considered, and a way forward will be proposed to promote ecumenical unity across denomination borders.

Historical Musicology and Philosophy

2020 ◽  
pp. 9-26
Author(s):  
Julian Johnson
Keyword(s):  
Aesthetic Experience ◽  
Contemporary Music ◽  
The Body ◽  
Musical Thought ◽  
Key Issues ◽  
The Aesthetic ◽  
Embodied Practice ◽  
Key Terms ◽  
Conceptual Language

This chapter begins from the failure of both musicology and philosophy to grasp the aesthetic experience afforded by music. It argues instead for an approach that explores the gap between the sensuous particularity of musical thought and the kinds of language brought to it. This hinges on recognising that key terms are not absolute but historically constructed – issues of musical beauty, taste, expression, representation, meaning, ontology – and that the aesthetic experience of music resists the generality of conceptual language. It proposes four key issues for rethinking the relation of music and philosophy: (1) the persistence of the aesthetic (what is not reducible in music to either history or philosophy); (2) the restoration of the body (music as an embodied practice that resists being the object of language); (3) the particularity of listening; (4) the challenge of contemporary music to ahistorical ‘normative’ ideas about music.

Ecclesiological and Canonical Observations on The Principles of Canon Law Common to the Churches of the Anglican Communion

2012 ◽  
Vol 14 (3) ◽  
pp. 400-407
Author(s):  
Christopher Hill
Keyword(s):  
Canon Law ◽  
Common Good ◽  
The Body ◽  
Body Of Christ ◽  
The Common Good ◽  
The Common ◽  
The Church

In the Archbishop of Canterbury's Foreword to the findings of the Anglican Communion Legal Advisers' Network, Rowan Williams argues that law is a way of securing two things for the common good: equity and responsibility. Law is against arbitrariness and for knowing who is responsible for this or that. Law in the Church is also about equitable life in the communion of the Body of Christ and the mutual obligations of our interdependence. As Convenor of the Legal Advisers' Network, Canon John Rees observes that their work, which emerged as The Principles of Canon Law Common to the Churches of the Anglican Communion, is not a quick fix to the contemporary problems of the Anglican Communion. Nor is it a covert device for the introduction of a universal canon law for the whole Anglican Communion with an aim to impose covenantal sanctions for churches which do not toe the line.

Introduction: ‘Straight Answers to the Problem of Sovereignty’?

1991 ◽  
Vol 9 ◽  
pp. 1-5
Author(s):  
Diana Wood
Keyword(s):  
Middle Ages ◽  
Sole Source ◽  
The Body ◽  
The Political ◽  
Body Of Christ ◽  
Historical Scholarship ◽  
Political Ideas ◽  
Corporate Entity ◽  
The Common ◽  
The Church

Michael Wilks’s best-known contribution to historical scholarship is The Problem of Sovereignty in the Later Middle Ages (Cambridge, 1963). This is an exploration of the political ideas of Augustinus Triumphus of Ancona (c. 1270-1328) and his contemporary publicists on the nature of sovereignty—or supreme authority—and its location within society. Like most medieval thinkers Augustinus saw society as the universal Church, the body of Christ, a single corporate entity which embraced all Christians, and within which all were united in pursuit of the common aim of salvation. Most thinkers would have agreed, too, that in theory society itself was the possessor of sovereignty. The ‘problem’ arose in trying to decide how and by whom sovereignty should be wielded in practice. There were various solutions. At one extreme the pope, as the vicar of Christ, was thought to represent Christ’s mystical body, the Church, on earth. He thus became the physical embodiment of sovereignty, and, as such, the sole source of power within society.

scholarly journals Dewey After the End of Art

2020 ◽  
Vol 17 (2-3) ◽  
pp. 146-169
Author(s):  
Roberta Dreon
Keyword(s):  
Summer School ◽  
Aesthetic Experience ◽  
Community Life ◽  
Theoretical Level ◽  
The Arts ◽  
The Common ◽  
End Of Art ◽  
Art As Experience ◽  
The Aesthetic

This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” (lw 10, 12) in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past.

Book Review: The Common Life in the Body of Christ

Theology ◽  
1943 ◽  
Vol 46 (273) ◽  
pp. 64-65
Author(s):  
A. R. Vidler
Keyword(s):  
The Body ◽  
Body Of Christ ◽  
Common Life ◽  
The Common

Mallophagan vectors and the avian filarioids: new subspecies of Pelecitus fulicaeatrae (Nematoda: Filarioidea) in sympatric North American hosts, with development, epizootiology, and pathogenesis of the parasite in Fulica americana (Aves)

1989 ◽  
Vol 67 (11) ◽  
pp. 2821-2833 ◽  
Author(s):  
Cheryl M. Bartlett ◽  
R. C. Anderson
Keyword(s):  
Adult Female ◽  
North American ◽  
The Body ◽  
Age Classes ◽  
Fulica Americana ◽  
Fulica Atra ◽  
The Common ◽  
Podiceps Grisegena ◽  
First Time ◽  
Original Type

Subspecies of Pelecitus fulicaeatrae (Diesing, 1861) Lopez-Néyra, 1956 are proposed for the first time. The parasite in the original type host, i.e., the Common Coot (Fulica atra L.) in Great Britain, becomes the nominotypical subspecies, namely Pelecitus fulicaeatrae fulicaeatrae (Diesing, 1861) n.subsp.; it requires further taxonomic study. Subspecies in two sympatric North American hosts are described, and transmission by lice (Mallophaga: Amblycera) is suggested to have played a role in their evolution. Pelecitus fulicaeatrae americanae n.subsp. in the American Coot (Fulica americana Gmelin) has narrower lateral alae at midbody in the male, tighter helical twisting and more rotations in the body of the adult female, and a vulva that tends to be closer to the end of the oesophagus than that of Pelecitus fulicaeatrae grisegenae n.subsp. in the Red-necked Grebe (Podiceps grisegena (Boddaert)). Development of P. f. americanae was followed in experimentally infected American Coots. At 20 days postinfection, worms had migrated to the definitive site in the ankles and developed to the adult stage; these worms were sexually immature and also differed in other morphologic ways from mature specimens. Worms at 210 and 265 d resembled those from wild-caught coots, and females contained microfilariae. Pelecitus f. americanae is reported for the first time in Wisconsin, North Dakota, and California and probably is widespread in coots in North America. Both nesting and wintering coots contained three age-classes of adult female worms (too young to produce microfilariae, producing microfilariae, senescent), suggesting that transmission is not restricted to any particular period during the year. In general, no evidence of infection was apparent upon external examination of intact wild-caught infected coots, whereas ankles of intact wild-caught infected grebes were frequently swollen. Upon internal examination of coots, a visible response to worms was also generally not observed. In a few coots, however, worms were within soft, thin-walled capsules and histologic examination revealed chronic proliferative tenosynovitis.

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