Ingarden’s phenomenology of aesthetics is characterised primarily as a realist ontological approach which is secondarily concerned with acts of consciousness. This approach leads to a stark contrast between spatiotemporal objects and literary objects. Ontologically, the former is autonomous, totally determined, and in possession of infinite attributes, whilst the latter is a heteronomous intentional object that has only limited determinations and infinitely many “spots of indeterminacy.” Although spots of indeterminacy are often discussed, the role they play in contrasting the real and (...) literary object is not often disputed. Through a close reading of Ingarden’s ontological works and texts on aesthetics, this essay contests the purity of Ingarden’s ontological approach and the ensuing disparity between real and literary object, particularly on the question of spots of indeterminacy. I do this by demonstrating the following five theses: 1) Ingarden’s claim that the real object has an infinitude of properties belies an epistemology, and we should instead conclude that ontologically the real object’s properties are finite. 2) Ingarden’s a priori argument that absent properties of real objects are ontologically determined is unsound. 3) The radical difference between the infinitude and finitude of givenness and absence of the real and the literary object ought to be relativised. 4) Indeterminacies within the novel are concretised in much the same way that absent properties of real objects are intended. 5) Literature makes claims that have a truth value that we can attribute to their author. (shrink)

This paper locates its genesis in a small town called Vitebsk in Belorussia which experienced a flowering of creativity and artistic energy that led to significant modernist experimentation in the years 1917–1921. Marc Chagall, returning from the October Revolution took up the position of art commissioner and developed an academy of art that became the laboratory for Russian modernism. Chagall’s Academy, Bakhtin’s Circle, and Malevich’s experiments, artistic group UNOVIS—all in fierce dialogue with one another—made the town of Vitebsk into an (...) artistic crucible in the early twentieth century. We argue that this creative collective transformed creative energies of Russian drama, music, theatre, art, and philosophy in a distinctive contribution to modernism, structuralism and formalism that contributed richly to the social understanding of creativity itself that is so evident across Mikhail Bakhtin’s subsequent body of work, and elsewhere across the world. This paper argues that a consideration of such interplay has much potential for twenty-first century educational philosophy. (shrink)

Aksumite elites electively identified themselves as “black” in relation to the paler integument of other Mediterranean peoples. Prior to the fourth century CE, the proper noun Aithiopía referred to the area of northern Sudan. Aksum, however, deliberately appropriated the Greek term for its own geopolitical purposes, partly as a way to write itself both into the grand narratives of Graeco-Roman history, where “Ethiopians” recurrently figure as morally “blameless,” as well as—with their conversion to Christianity—into Old and New Testamental eschatologies that (...) consistently position “Ethiopians” as first in the sight of God. This process of self-definition—achieved under the formative gaze of Hellenic, Roman, and Levantine Others—ultimately allowed ‘Ityȯpyā to become a key, if nonetheless still liminal and rogue, player in the post-Constantinian politico-religious arena, in such a way that both economic and cultural capital accrued to the benefit of Aksum. (shrink)