The author of this chapter critiques Oakeshott's view of aesthetics as inconsistent, & despite his focus on the need for playfulness & " 'useless activity" for participation in the conversation of mankind, reveals his true nature as a linguistic realist. Oakeshott's evolution through his early writing on modes ("Experience and its Modes, The Voice of Poetry") leads to the conclusion that, for him, there is no single formula for the aesthetic. Poetry remains ambiguous, paradoxical & (like conversation), plural, yet works to signify or symbolize things in a reasonably objective manner. Although Oakeshott does have some postmodern affiliations, in the arena of declarative discourse he is a linguistic realist. The practical modes of science, history & practice are safe from his demand for nonsymbolic language. The idea that words themselves are unstable would be absurd, & a postmodern view of ordinary language as fiction (Derrida) would be accused of irrelevance. 14 References. J. Harwell
Aesthetic experience of nature is seen as a mean to promote environmental awareness. The traditional approach to some classical concepts such as nature, beauty and landscape must be updated incorporating those values which are generally accepted and involve the relationship between humans and their environment. The current cultural context which is biased towards a superficial and formalist approach of aesthetics is also reviewed. Later, stress is put on the sensitive and cognitive sides of aesthetic experience. It is argued that our dependance on environmental processes carries with it the need to hold a responsible approach towards the aesthetic experience of nature and landscape. ; La experiencia estética de la naturaleza es entendida como un medio para promover la conciencia medioambiental. El enfoque tradicional de algunos conceptos clásicos tales como naturaleza, belleza y paisaje debe ser actualizado incorporando aquellos valores que son hoy generalmente aceptados e incluir la relación entre los seres humanos y su entorno. También se revisa el contexto cultural actual y su tendencia a un enfoque superficial y formalista de la estética. Posteriormente, se subrayan el aspecto sensible y cognitivo de la experiencia estética. Se argumenta que nuestra dependencia de los procesos medioambientales implica la necesidad de asumir una actitud responsable hacia la experiencia estética de la naturaleza y del paisaje.
The stories gathered in these pages lay bare the power of the arts to unsettle and rework deeply ingrained religious beliefs and practices. This book grounds its narrative in the accounts of 82 Evangelicals who underwent a sea-change of religious identity through the intervention of the arts. "There never would have been an undoing of my conservative Evangelical worldview" confides one young man, "without my encounter with the transcendent work of Mark Rothko on that rainy afternoon in London's Tate Modern." "The characters in The Brothers Karamazov began to feel like family to me," reports another individual, "and the doubts of Ivan Karamazov slowly saturated my soul." As their stories unfold, the subjects of the study describe the arts as sources of, by turns, "defamiliarization," "comfort in uncertainty," "a stand-in for faith" and a "surrogate transcendence." Drawing on memoirs, interviews, and field notes, Philip Salim Francis explores the complex interrelationship of religion and art in the modern West, and offers an important new resource for on-going debates about the role of the arts in education and social life. - Publisher