L’œuvre de Judith Butler, largement reconnue pour son apport en études de genre, recèle d’ouvertures nombreuses sur l’animalité et à son rôle dans la constitution de l’humain. Construite en patchwork et sans prétention à la systématicité théorique, elle repose, dans des contextes toujours différents, la problématique de la régulation normative de la vie et de la mort. Aussi, c’est en prenant au sérieux la marge constituante qu’y représente la question animale et par la (re)lecture de ses textes consacrés à l’étude (...) de pratiques esthétiques et artistiques, que cet article propose un décentrement théorique pour penser la question politique des corps qui comptent des animaux. Il étudie, de manière comparée, les happenings publics de L214, 269Life, 269 Libération Animale et Anonymous for the Voiceless. Il suggère que les choix esthétiques de ces différents collectifs reflètent et alimentent un certain regard politique porté sur la cause animale et sa finalité aussi bien que sur le genre de subjectivité politique attribuée ou non aux animaux non-humains. Il montre d’abord que les animaux constituent, chez Judith Butler, d’autres corps qui comptent : il s’agit alors d’introduire la diversité des outils théoriques de læ philosophe qui articulent la dimension publique, esthétique et souvent même artistique de la vie des corps avec la question du politique. C’est cette fondation qui lui permet, ensuite, de s’atteler à l’élaboration d’une cartographie des articulations esthético-politiques dans les performances militantes antispécistes. Y sont discutées une esthétique humanimale subversive et critique du binarisme humain/animal, une esthétique de l’« horreur morale » qui appelle au changement de comportement individuel par la mise en évidence de la violence, et une esthétique de la reconnaissance, qui valorise la possibilité d’une égalité radicale entre humains et non-humains dans le partage de la précarité de toute vie et du deuil public de chaque mort. (shrink)

L'objective principal de cette étude est d'observer comment certains des attributs evolutives essentiels de l'humanité, comme la criativité, l'imagination et la association, peuvent devenir une maladie dangereuse, à labri des ombres brumeuses de l'inteligence.

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...) a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

In this paper I provide an ecological, Schelerian-based description of the aesthetic experience that, without being exhaustive, may account for its complexity, perspective character and stratifications. Aesthetic enjoyment, aesthetic object and the creative process of the artistic type are all specific and necessary moments of an experience – an aesthetic experience – shared by different experiential “individuals”, who also contribute to its formation process. The content of this experience grows and develops in conformity with its own laws, like a living (...) being so to speak, able, as such, to turn its own gaze to the others’ gaze at the same time as they turn to it. In other words, I will deal with the dynamics of the artist’s interactions with the spectator, of those of the spectator with the artist and of those of both with the work of art, which, created by the artist, or rather, “brought to light” by the artist, becomes an object– a quasi-sujet in Dufrennian terms – unique to the spectator. In this context, I will try to rehabilitate the axiological virtues of beauty, not in the sense of a metaphysics of beauty, but in a sense nearer to our experiences of “seeing something in a new light”. (shrink)

“Anima naturaliter christiana” (Anima naturalmente cristiana) così si esprimeva per Tertulliano, e per Jung questo vale in senso psicologico, per noi occidentali: “Per lui (l’occidentale) l’uomo interiormente è infimo… cerca di propiziarsi quella grande potenza (Dio), mediante il timore, la penitenza, le promesse, la sottomissione, l’autoumiliazione… la grande potenza non è egli stesso, bensì… l’interamente altro, assolutamente perfetto ed esterno, l’unica realtà… (per l’orientale) La psiche è perciò la cosa più importante, è il respiro che tutto penetra… Tutta la vita (...) fluisce da lui e tutte le diverse forme apparenti si ridissolvono in lui… Anziché mandare a mente le tecniche spirituali dell’Oriente, sarebbe molto più importante scoprire se esiste nell’inconscio una tendenza introversa, simile al principio spirituale che domina in Oriente… Saremmo allora in condizione di edificare sul nostro suolo e con i nostri metodi. (shrink)

La città vivente sotto le ombre e le macerie dell'estraneazione.

This paper argues (i) that the possibility of experiencing at once pleasures and unpleasures does not threaten the contrariety of pleasure and unpleasure. (ii) That the hedonic balance calculated by adding all pleasures and displeasures of a subject at a time yields an abstract result that does not correspond to any new psychological reality. There are no resultant feelings. (iii) That there are nevertheless, in some cases, sentimental fusions: when the co-occurent pleasures and unpleasures do not have any bodily location, (...) and that their intentional object vanishes, they truly fuse with each other, giving rise to sentimental mixtures in which the initial pleasures and unpleasures are no longer discernible. (shrink)