By the start of the twenty-first century, the notion of ‘the sublime’ had come to seem incoherent. In the last ten years or so considerable light has been shed by empirical psychologists on a related notion of ‘awe’, and a fruitful dialogue between aestheticians and empirical psychologists has ensued. It is the aim of this paper to synthesize these advances and to offer what I call a ‘two-tiered’ theory of the sublime that shows it to be a coherent aesthetic category. (...) On this theory, sublime experiences begin in an ‘awe response’ (the ‘thin sublime’) and might, with the additional element of temporally-extended reflection, turn into a ‘thick sublime’ response. Building on accounts of the sublime as a species of ‘aesthetic awe’ (Clewis, 2019a and 2019b; Arcangeli, et al., 2020) I aim to show that this two-tiered theory helps to explain why sublime experiences seem to have a basic, primordial core, but also seem to be historically and culturally quite variable (as Nicolson, 1963 [1959]; Battersby, 2007; and McMahon, 2017 have stressed). On this model, the cultural and historical variability comes in largely at the point of the temporally-extended reflection characteristic of the thick sublime, due to the cognitive stock that the subject brings to the encounter. Thus, sublime experiences really lend themselves to being interpreted quite variously by the subject (as well as by the theorist) of these experiences, as, for example, affording insight into the Divine, our moral vocation, or our metaphysical unity with the entire universe, among other lofty thoughts. (shrink)

In this paper, I juxtapose the work of two contemporary feminist philosophers: Christine Battersby and Adriana Cavarero – both working within the Continental tradition – to show how they go well beyond feminist critique to produce different images of self-identity and conceptions of the political. Both reject traditional positions on selfhood but also stress the materiality of bodies and provide alternatives to the work of post-structuralists, such as Judith Butler. My aim is to draw out some of the politico-legal implications (...) of their differing images of selfhood. In the final section I then apply both their approaches to the concept of self to ask how their respective arguments can inform contemporary political questions regarding privacy and dissensus. (shrink)

No matter how unintuitive it might seem that aesthetic pleasure should be the point where art and morality meet, this is a noteworthy possibility that has been overshadowed by aestheticians’ more visible concerns. Here I briefly survey relevant strands in the literature over the past century, before introducing themes covered in this inaugural issue of Australasian Philosophical Review.

This article considers a range of responses to Plato's Symposium, paying particular attention to Diotima's speech on eros and philosophy. It argues that Diotima's teachings contain resources for a relational pedagogy, but that these resources come more sharply into focus when Plato's text is read through the lens of contemporary (20th and 21st century) thinkers. The article therefore draws on the work of David Halperin, Hannah Arendt, Jean-François Lyotard and Luce Irigaray to argue that Diotima points us towards the value (...) of educative encounters as reciprocal and unpredictable events of initiation and becoming. Diotima's rhetorical emphasis on birth is shown to be especially important for refiguring pedagogical relations in terms of natality, understood as a capacity for new beginnings, and hence for reclaiming education as a potentially generative encounter, rather than one governed by the logic of reproduction. The final section of the article turns to work by Christine Battersby, bell hooks, Richard Smith and Morwenna Griffiths to resituate the discussion in relation to questions of autonomy. As a corrective to the modern bias towards the value of the autonomous individual, it argues that dependencies and unequal power relations can be a constitutive and enabling aspect of the educative process. Attention to such relations should thus form a key part of a relational pedagogy. (shrink)

ABSTRACTTranslated into English in 2004, Vladimir Jankelevitch’s book Music and the Ineffable has made a significant impact in anglophone musicology. I argue that the figure of the feminine is central to his understanding of music and musical ineffability, and use feminist philosophers’ interpretations and critiques of the figure of the feminine in his close friend and colleague Emmanuel Levinas’s work to unpack the gender politics of Jankelevitch’s book and the secondary literature on it. I focus on the figure of the (...) feminine in Time and the Other and Totality and Infinity, which are works we have evidence Jankelevitch read. There, Levinas describes the feminine as a “form of being” that is “inexhaustible, infinite” and thus “refuses thematization positively”. This is nearly identical to Jankelevitch’s definition of musical ineffability as “fertile inexplicability”. Not only is Jankelevitch’s concept of musical ineffability identical to Levinas’s concept of the feminine, it is also couched in gendered terms throughout Music and the Ineffable. “Musical ineffability” in Jankelevitch’s sense is thus a parallel to Levinas’s concept of the feminine. I then read Jankelevitch and his interpreters in musicology through feminist scholarship on Levinas to show how the former two succumb to the same ultimately patriarchal flaws as the latter. For example, just as Levinas prioritizes paternity and the reproduction of patriarchy, muiscologist Carolyn Abbate uses Jankelevitch as the white masculine other in which musicology recognizes itself as both different and the same. (shrink)

I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...) twenty-first-century practice. I use Nietzsche to track shifts from classical to neo-liberal methods of appropriating “difference.” Hipness is one form of this neoliberal approach to difference, and it is exemplified by the approach to race, gender, and pop culture in Vincente Minnelli's film The Band Wagon. I expand upon Robert Gooding-Williams's reading of this film, and argue that mid-century white hipness dissociates the popular from femininity and whiteness, and values the popular when performed by white men “acting black.” Hipness instrumentalizes femininity and racial nonwhiteness so that any benefits that might come from them accrue only to white men, and not to the female and male artists of color whose works are appropriated. (shrink)

Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., white heteropatriarchy). The (...) first part addresses how systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and (hetero) sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

Behaviour, including criminal behaviour, takes place in lived contexts of embodied action and experience. The way in which abstract models of selfhood efface the individual as a unique, living being is a central aspect of the ‘ethical-other’ debate; if an individual is modelled as abstracted from this ‘living’ context, that individual cannot be properly or meaningfully linked with his or her behaviour, and thus cannot justly be understood as responsible. The dominant rational choice models of criminal identity in legal theory (...) involve at least a partial abstraction of this ‘unethical’ type by prioritising the rational will over the more fluid dimensions of lived reality. From a phenomenological perspective, an approach of ‘restlessness’ is proposed which precludes the development of settled or general abstract categories, and can thus move us closer to an ethical understanding of living individuals on a theoretical level. Although such a move may initially seem to threaten criminal justice with an irrational nihilism, by maintaining awareness of the irreducibility of ‘living’ reality a restless theoretical understanding of moral selfhood may be able to shape or underpin the attribution of responsibility in more practical or substantive contexts without succumbing to meaninglessness. (shrink)

ABSTRACTThis article attempts to construct a distinct formulation of the sublime via an inspection of some of Jacques Derrida's principal works. Through a reading of his assessment of Kantian sublimity and a development of the dialectical from deconstruction, two patterns of the sublime can be formulated. These two constructed patterns of the sublime, which I shall name “sublime of différance” and “aporetic sublime,” are predicated on the notions of infinity and dialecticism. The aporetic sublime includes in its constitutive structure the (...) element of an orientation to an irreducible other. It is argued in the article that these constructions are open to an incorporation of the sublime as located beyond subjectivity and discourse. (shrink)

This paper develops a political ontology of relationality that can account for the dramatic impact that photographs of the plight of others can have on the course of the political. The aim...

Susan Faludi's Backlash, first published in 1991, offers a compelling account of feminism being forced to repeat itself in an era hostile to its transformative potentials and ambitions. Twenty years on, this paper offers a philosophical reading of Faludi's text, unpacking the model of social and historical change that underlies the “backlash” thesis. It focuses specifically on the tension between Faludi's ideal model of social change as a movement of linear, step-by-step, continuous progress, and her depiction of feminist history in (...) terms of endless repetition. If we uphold a linear, teleological ideal of social change, I argue, repetition can only be thought of in negative terms—as a step backwards or a waste of time—which in turn has a negative and demoralizing impact within feminism itself. To explore an alternative model of historical time and change, I turn to the work of feminist philosopher Christine Battersby, who rethinks repetition through the Kierkegaardian mode of “recollecting forwards,” and the Nietzschean notion of “untimeliness.” I suggest that Battersby's philosophical reconceptualization of historical repetition, as a potentially creative, productive phenomenon, can be of great utility to feminists as we enact and negotiate the dynamics of backlash politics. (shrink)

El presente artículo discute algunas de las condiciones problemáticas previas a la postulación de una estética ambiental crítica que pudiese estar orientada a la comprensión de la devastación ecológica. En un primer momento se mostrarán los límites de la estética hermenéutica para analizar la precomprensión de la naturaleza en el arte, así como la necesidad de desarrollar una teoría sobre la movilización del espectador desde el arte. En un segundo momento se cuestionan las estéticas ambientales tradicionales que fundamentan la responsabilidad (...) ética en los valores estéticos. Finalmente, se exponen algunas de las implicaciones políticas del uso de la categoría de lo sublime en los proyectos artísticos sobre el cambio climático y el Antropoceno. (shrink)

This thesis interrogates Nietzsche's ubermensch, a figure capable of overcoming the universal absence of value, and asks how it might logically be realised in light of postmodern developments in nihilism, capitalism and technology. We argue that in order to exist beyond the nihilistic nature of capitalism, one possible solution might be superintelligent artificial intelligence. We first explore the oft-overlooked problem of the village atheist, who rejects god whilst still clinging to theological values. We next look to nihilism in postmodemity, analysing (...) semiotic and hermeneutic developments and highlighting the forces that dictate contemporary society. We then tum to capitalism, understood as a repetition of Christianity, redefining the village atheist as a figure trapped in the nihilism of semiocapitalism. Finally, we tum to technology and the future, where we reject transhuman narratives as farther repetitions of salvation, instead developing an understanding of superintelligent AI as ubermensch based on its potential to exist beyond the trappings of manmade value. This thesis simultaneously outlines the difficulties of overcoming nihilism through transhumanism whilst highlighting the dangers of embracing ubermensch, instead suggesting that a reclamation of the human posits greater grounds for survival, where the embrace of a hermeneutics of nihilism allows for smaller short-term truths. (shrink)