This paper aims to map and highlight the diverse heritage of Pragmatism in aesthetics. It argues that pragmatist aesthetics represents an interesting third way of doing aesthetics beyond the analytic philosophy of art and continental aesthetics. It offers a first, provisional sketch of existing research trends in pragmatist aesthetics, such as somaesthetics, environmental aesthetics, everyday aesthetics, and social aesthetics. Furthermore, it identifies some “family resemblances” connecting most pragmatist “relatives” in the field of aesthetics: the idea that (1) aesthetics is broader (...) than the traditional philosophy of art, (2) the criticism of the view of art as constituting an independent realm or an autonomous system, (3) the thesis of a basic continuity between artistic practices and experience “in the raw,” (4) the adoption of a naturalistic yet non-reductive stance, and (5) a broadly socio-political inspiration. (shrink)

Pierre Bourdieu, inspirado pelos estudos de Panofsky, delineou o conceito de habitus para tratar da relação entre indivíduo e sociedade. Para ele, habitus tem um papel mediador: é criado a partir da internalização das estruturas sociais em que um sujeito se encontra e prepara a ação futura desse indivíduo na sociedade. O objetivo deste artigo é apresentar habitus como um signo, sob a ótica da filosofia de Charles Sanders Peirce, e a relação entre indivíduo e sociedade como um processo semiótico (...) e pragmático de fixação de crenças. Para isso, será apresentada a base escolástica comum aos conceitos de habitus em Bourdieu e de hábito em Peirce, para então serem apresentados os conceitos peircianos. Assim, se tornará mais evidente como o habitus participa de um processo de evolução contínuo que pode manter os modelos de uma sociedade ou transformá-los por meio das ações inventivas dos agentes. (shrink)

Roberta Dreon - Richard Shusterman is one of the leading figures in the current field of pragmatist aesthetics and he has undoubtedly played a pivotal role in recovering a pragmatist approach to aesthetics. His book Pragmatist Aesthetics was simultaneously published in France under the title L’Art à l’état vif. La pensée pragmatiste et l’esthétique populaire in 1992, paving the way for a long awaited French translation of Dewey’s Art as Experience (Dewey 1989) in 2010 (Dewey 2005/2010), beaut...

The comparison of Thomas Aquinas’ Summa Theologiae with the architecture of a cathedral is not new. We find it in 1850 in Karl Werner’s System der christlichen Ethik (1850, 47), and in 1860 the German architect Gottfried Semper writes in the preface to his two-volume manual Style in the Technical and Tectonic Arts: art... appears isolated and relegated to a field especially marked out for it. The opposite was true in antiquity, where philosophy held sway over this field as well. (...) Philosophy was seen as an artist herself and a guide to the other arts. But in growing old, she turned to analysis and devised dead categories instead of living analogies. In just the same way, Gothic architecture was the.. (shrink)