How does emancipation from social oppression work and unfold? The paper is an attempt to deal with this question from an aesthetic point of view. By drawing on pragmatist resources, and more precisely on John Dewey’s aesthetic theory and on Charlotte Perkins Gilman’s short story ‘The Yellow Wallpaper’, I discuss the critical and transformative potential of a special kind of aesthetic experience, namely ‘aecsthetic experience’. The paper unfolds in three steps: First, I introduce Iris Marion Young’s account of social oppression, (...) which fits particularly well with the framework of the ‘The Yellow Wallpaper’ (1). I show then, in contrast to an established interpretation, how the protagonist of Gilman’s story makes an experience of liberation from oppression (2). Finally, I reconstruct Dewey’s role in my interpretation of this feminist classic, and I suggest what a Deweyan account might learn from it (3). (shrink)

My goal in this paper is to argue that some cases of autobiographical remembering can be, and sometimes are, experienced aesthetically. Building on a Deweyan approach to the nature of aesthetic experiences, I show how Dewey conceived of aesthetic experiences as having a cumulative and progressive structure—I call experiences with such structure Deweyan experiences—and how that structure is replicated in some cases of autobiographical remembering in virtue of their having narrative structure. I also discuss the relationship between remembering and other (...) forms of narrative thinking and argue that not only it is easier for remembering to be experienced aesthetically, but also that only remembering can have the cumulative and progressive structure that characterizes Deweyan experiences. I conclude by showing how the Deweyan approach allows us to conceive of the aesthetic value of remembering in terms of the pleasurable or hedonic character of Deweyan experiences. (shrink)

This article’s assumption is that ordinary aesthetics does not necessarily imply a distancing from art and artists; rather, it can benefit from the input of creators when they use everyday scenes or objects as their theme. This approach focuses on the practice of twentieth-century Italian painter Giorgio Morandi, who depicted compositions of common objects such as bottles, jars, and vases. Through Morandi’s meditative and artistic search, these objects are given value and aesthetic elevation in his paintings. Thomas Leddy’s aesthetics of (...) everyday life will also be called upon in my analysis, insofar as the author recognizes a continuity between the ordinary and the extraordinary, through auratic experiences. If Morandi discovers the extraordinary in the trivial, this is achieved through a gradual process of selection regarding the objects he favoured, which allows for the interaction of various levels of aesthetic intensity. Morandi’s objects and models and their preparation suggest a circulation between aesthetic degrees that, in turn, suggests a timeless “language of things” fixed through the discourse of the paintings. Along these lines, it will be necessary to address the enchantment related to common things, a mesmerizing presence of which we became more aware through Morandi compositions. (shrink)

Everyday Aesthetics, radicalizing Dewey’s notion of the continuity between art and experience, aims to find aesthetic qualities in ordinary experience. The problem is that it reduces the aesthetic significance that Dewey attributed to artistic production. Analyzing Dewey’s work and its interpreters, I will demonstrate that the continuity of ordinary experience and art is what lends art its vital and distinctive character. The work of art contributes to developing other ways of seeing and acting in the world, reinforcing life in common, (...) the basis of democracy. (shrink)

Even though the American thinker John Dewey and the Italian Luigi Pareyson belong to two different philosophical traditions, on the aesthetic ground they show many resonances and similarities. Using Pareyson’s words, “just as it happens between people, who in particularly happy encounters […] reveal themselves to each other,” it is therefore possible to have Dewey’s aesthetics and Pareyson’s dialogue with each other, highlighting their affinities. This operation can strengthen the idea that the aesthetic experience is a way to fulfil human (...) existence. Thus, the hermeneutic character of Pareyson’s aesthetics in combination with Deweyan pragmatist aesthetic theory not only have great importance for the artistic experience, but also considerable value for human beings’ everyday lives. -/- Starting from some Deweyan resonances in Pareyson’s aesthetics, the discourse focuses on his aesthetics in its educational and hermeneutic significance within the dialogue between the two philosophers, coming, finally, to Dewey’s and Pareyson’s aesthetics in connection with so-called “everyday aesthetics.” Although a Deweyan influence on Pareyson is ascertained, and the similarities between them are not superficial at all, it is worth bearing in mind the different backgrounds of the two philosophers in order to accurately situate their reflections. (shrink)