The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, (...) does transcend towards it. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

If you relish paradoxes, this is the book for you. The writings quoted are full of them; the book is largely about “a category beyond all categories”, “atemporal temporality”, “the radical possibility of the impossible itself”, the “concept without concept”, “the myth of the myth, the metaphor of the metaphor”, “hospitality-without-hospitality, brotherhood-without-brotherhood, messianicity-without-messianism”, “relation without relation”, “ethics beyond ethics”, and “the One plus or minus One, no longer exactly One, or more than One”. The author and his protagonists seem (...) to conceive of God only as “wholly other”; nothing constructive can be said about God except perhaps that the wholly other really isn’t wholly other because it is wholly-other-than-other. (shrink)

"I am often rude. I often want to be rude. I often enjoy being rude. I even frequently enjoy witnessing the rudeness of others. Indeed, I could write a book devoted entirely to rudeness I have relished." This is, perhaps, the most charming opening to a philosophical study of civility that has been, and maybe ever will be, penned. The rest of us working on the topic should probably abandon our aspirations now. And these lines are not only charming; they (...) are illuminating, revealing something of both the style and substance of The Wrongs of Rudeness. Stylistically, we learn that the work that follows will be both personal and personable, its author a warm and witty companion. Substantively, we learn that this exhortation... (shrink)

Although trained in the Anglophone analytic tradition, the French education of his formative years seems to have left its mark on Ronnie de Sousa’s thinking and writing. He appeals to temperament as an explanation for fundamental attitudes to life: neither the quest for a source of meaning in God or nature, nor his own tendency to relish life’s meaninglessness can be grounded in reason. To show this, Ronnie has argued that there is no such thing as human nature, and (...) that appeals to evolution can neither guide us in choosing how to live, nor give us good reason to prefer the “normal” to the “deviant”. Instead, aesthetic reasons deserve to be given more weight than is granted by the alleged overriding character of morality. (shrink)

Sometimes we say that pleasure is distinct form joy, happiness, or good mood. Some other times we say the joy, happiness or good mood are types of pleasure. This suggests the existence of two concepts of pleasure: one specific, the other generic. According to the specific concept, pleasure is one type of positive affects among others. Pleasure is to be distinguished from joy, gladness, contentment, merriment, glee, ecstasy, euphoria, exhilaration, elation, jubilation; happiness, felicity, bliss, well-being; enjoyment, amusement, fun, rejoicing, delectation, (...) enchantment, delight, rapture, relish, thrill; satisfaction, gratification, pride, triumph; good mood, jollity, gaiety, cheerfulness; relief (or at least from some of these concepts). According to the generic concept of pleasure, a pleasure is any of these positive affects. Joy, gladness, contentment, merriment, glee, ecstasy, euphoria, exhilaration, elation, jubilation, happiness, felicity, bliss, well-being, enjoyment, amusement, fun, rejoicing, delectation, enchantment, delight, rapture, relish, thrill, satisfaction, gratification, pride, triumph, good mood, jollity, gaiety, cheerfulness, relief and pleasure in the specific sense are all species of pleasures. In this thesis, I shall focus on the generic concept of pleasure, in order to address the question “what is the property of pleasantness common to all positive affects?” In order to address this question nevertheless, one need to have at least rough grip on pleasure in the specific sense and on what distinguishes it from other positive affects. I shall therefore start by hinting at the problem of the definition of the specific concept of pleasure. (shrink)

Bertrand Russell was a meta-ethical pioneer, the original inventor of both emotivism and the error theory. Why, having abandoned emotivism for the error theory, did he switch back to emotivism in the 1920s? Perhaps he did not relish the thought that as a moralist he was a professional hypocrite. In addition, Russell's version of the error theory suffers from severe defects. He commits the naturalistic fallacy and runs afoul of his own and Moore's arguments against subjectivism. These defects could (...) be repaired, but only by abandoning Russell's semantics.Russell preferred to revert to emotivism. (shrink)

This study outlines a new proposal on the creation of Islamic Anthropology on the basis of "perennialist epistemology", to use Aslan's term (2005:55). A previous proposal of this kind had been put forward by Akbar S. Ahmed in his Toward Islamic Anthropology: Definition, Dogma and Directions (1986). While Ahmed's proposed Islamic Anthropology aims at assessing and arguing with Western anthropologists over their misconceptions about Islamic societies they observe, then preparing and replying to their study in a scholarly manner by "creating (...) their own alternative scholarship" (1986:55), this author's recommended Islamic Anthropology aims at finding philosophia perennis or sophia perennis or religio perennis or "essential commonality" (Beinorius 2005:237) or "transcendent unity" (Aymard & Laude 2004:38) between Islamic, other religious and ethnic cultural manifestations, or rather, in Indonesian context, between Islamic, other religious and adat cultural manifestations. The building of Islamic Anthropology of perennialist bend in Indonesia is imperative since in the aftermath of national economic crisis and dethronement of Pres. Soeharto, Anthropology academia in Indonesia relishes the freedom of no longer having to serve the regime socio-political agenda. Post-Soeharto era of decentralization, liberalization, emancipation, and democratization provides favourable opportunity for Anthropology to set its own purely academic goals (Ramstedt 2005 :215). This new situation also enables anthropologists from diverse epistemological traditions to contribute directly to establishment of new kinds of Anthropology based on their specific epistemologies. To clarify what is meant by his perennialism-based Islamic Anthropology, the author herein elaborates the perennialist epistemology on which he bases his suggested Islamic Anthropology, explains the perennialist ontology on which the epistemology is based, delineates how to build an Islamic Anthropology based on the perennialist epistemology, and lastly exemplifies application of the perennialist method in Islamic Anthropology he proposes. (shrink)

Based on the premise that an aesthetic experience is inevitably a human one, this paper considers a non-anthropocentric ecological aesthetic experience through the lens of Indian aesthetics. It does so by problematizing the beautiful in the aesthetic. Rasa in Indian aesthetics refers to the essence of emotion felt in an aesthetic experience. The adbhuta rasa refers to the experience of wonder through astonishment. I argue that what we might find amazing in nature is not only the picturesque, but rather the (...) ecological interconnectedness of nature. Through Indian aesthetics, we recognize in this paper, the criterion for a sensitive, receptive and responsive subject presenting themselves to an engulfment, as important for a non-othered ecological aesthetic experience. It is recognized that there might be an aesthetic allowance in ecological design, realized by placing importance on a sensory immersion in the natural world that allows an engulfment in it. While not neglecting a cognitive reflexive analysis of such a relishing of the adbhuta, we conceive of an experience that finds aesthetic value and appreciation beyond the instrumental and commodified value placed on natural environments. The paper concludes with key questions that a rasa anubhuti raises for emerging eco-aesthetic theories and a summary of the unique hermeneutical and epistemological contributions this approach could make to the field. (shrink)