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. This is already evident if one looks at the role of aesthetic theory in the philosophy of the period with contemporary eyes. That Richard Rorty should now regard philosophy as a kind of literature, because he does not think it is possible for it to establish a privileged role in relation to other ways of articulating the world, is not fortuitous. Such a notion has nothing surprising about it for a Romantic thinker, and is not alien to Schelling’s STI, which sees art as able to show what philosophy cannot say. It is, though, important to remember here that the major

in Aesthetics and subjectivity
Open Access (free)
Senses of country living in a Basque-speaking village

’s everyday speech. Similarly, they put down kaleko Euskara (city-dweller Basque), to them a degenerative form polluted by Spanish, the dominant language in the cities.3 Alkiza, among other small mountain villages where Euskara was spoken, responded to this image of cultural authenticity. The intellectual variant was stimulated by the aesthetic theories of sculptor Jorge de Oteiza (1908–2003), who had had a strong influence in the local artistic circles of the time. He argued for a concept of Basque cognitive authenticity based on the pre-Indo-European nature of Euskara

in Alternative countrysides
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Art and interpretation

often forgotten in discussions of music and language. However problematic the notion of immediate self-consciousness may seem, then, it at least keeps open ways of thinking about meaning and intelligibility which are not reducible to what can be said in words, and this is, of course, vital to aesthetic theory. Art as free production: ‘individual’ and ‘identical’ activity So far I have tried to show how Schleiermacher initiates a ‘linguistic turn’, but not in the manner that dominated so much analytical philosophy until the advent of the holism of Quine and Davidson

in Aesthetics and subjectivity