Dewey’s Notion of Aesthetic Experience. A Comparative Approach

This presentation attempts to contribute the nature and scope of Dewey’s aesthetic, through a comparative methodology, which brings Deweyan notion of aesthetic experience into dialogue with the concept of harmony that Confucian philosophy suggests. Thus, I will briefly explore this dialogue in two phases: firstly, I consider the resonances between Dewey’s emergentism and what Roger Ames and David Hall names Confucian ontology of events ; secondly, I try to clarify the notion of experience and dào (道), from Deweyan and Confucian thought, by means of a comparative analysis.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

The Pace of Aesthetic Process: A Comparative Approach

Traditionally, western theory of art has been equipped with a set of dualisms such as subject-object, artistic process-artistic product, active artist-passive spectator, that has supposed a rejection of a plenary notion of the human integrated with nature and the cosmos. In this context, John Dewey, who presented his theory of art in 1934 in Art as Experience, showed how the “art has been set in a remote pedestal”, separated from the low activities which we realized in our ordinary lives. He refused the way aesthetics has separated the live creature from the world in which it lives, and proposes a new approach which begin from the raw, from everyday human activities. The aim of this paper is to focus interest in Dewey’s notion of rhythm, because this characteristic set the pace of the aesthetic process. This paper explores Dewey’s proposal from a comparative approach, because the rejection of art-centred discourse to the rich aesthetic dimensions of our lives is not common in all cultural traditions. I begin defining the deweyan notion of rhythm in contrast to the vital rhythm of Taoist aesthetics. Both Dewey and Taoists postulate that Human beings are affected and participate in nature’s rhythms and the reality is a continually changing balance. Secondly, I would like to consider a specific classic Chinese work of aesthetics, written by Shí Tāo (石涛) in the seventeenth century, which was developed fundamental aspects of rhythm in capturing the spirit resonance of the world and revealed its immensity through the method of the one-stroke. Through this paper’s presentation, I wish to show the importance of the rhythm in the creative process, because rhythm marks not only our interaction with the environment and with other people, but also the impulse of the aesthetic world-making process

On Birds, Beasts and Human Beings. An Approach to the Continuity between Art and Life

In 1934 John Dewey laid the foundation of a Philosophy of Art which had its roots in the essential conditions of life, that is, the basic vital functions which human beings share with birds and beasts. Dewey asserted that at every moment living creatures are exposed to conflicts from its surroundings, and at every moment they try to restore the harmony, to satisfy their needs. Fifty four years after, Ben-Ami Scharfstein published his book Of Birds, Beasts and other Artists (1988) in which he tries to show the universality of the art instinct in humans, animals and birds. He returns to the biological background of art and explains how human beings and other animals are pushed to self-expression by their personal and social needs. Although he recognizes an explicit expressive behaviour of human beings, also indicates that if we want to understand our nature and the art we create, we will not deny these biological roots. The aim of this paper is to examine that continuity between art and life from a comparative approach to the views of these authors. This paper’s presentation explores two main points: the naturalistic background of aesthetics and the functionality of art such as manifestation of a culture. I begin drawing a comparison between deweyan naturalistic humanism and Scharfstein’s biological thesis. Both authors emphasize how important it is the natural context to develop aesthetic experiences, however, they present big differences in their epistemological elaborations. Secondly, I would like to address fundamental similarities between Dewey’s notion of art as a celebration of the life of a culture and Scharfstein’s view of art as exhibition of the deep forms of individual and culture, carried in his recent work Art without borders (2009). They show how all human beings share the condition that makes art both universal and indispensable. Despite the divergences, these proposals provide a global overview of art’s creation and reception which attempt to demonstrate the rich background of our lives from which we create art as a way of leading a meaningful life

La técnica Alexader y John Dewey: propuesta para una educación corporal

Esta presentación revisa la propuesta de Frederick Matthias Alexander (1869-1955) en relación a la filosofía deweyana, tratando de destacar su actual potencial. La exploración trata de proporcionar una revisión del cuerpo a través de esta propuesta de educación corporal que no sólo crítica los esquemas filosóficos modernos, sino que proporciona una filosofía meliorativa de nuestra corporalidad. Para ello, en primer lugar considera, a grandes rasgos, en qué consiste la técnica Alexander. En segundo lugar, atendiende a la relación de John Dewey y Frederick Matthias Alexander, estableciendo los elementos que el filósofo introduce en el último periodo de su pensamiento. En tercer lugar, a modo de conclusión, apunta la actualidad de esta propuesta educativa en el discurso filosófico, pero también en nuestra cotidianeidadUniversidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

'Reading' Films and 'Watching' Literary Texts: 5 Lesson Plans for Advanced TEFL Students

This paper justifies the use of literary works and their filmed version, offering an extended lesson plan using five combinations of films and books for upper-intermediate and advanced students. In the first part we argue in favour of using both modes (the visual and written ones) for improving students’ general level of proficiency. The two codes constitute authentic sources of comprehensible input, increase students’ learning time outside the classroom and provide a linguistic and paralinguistic context that supplies a relevant schema background for understanding language. Moreover, their comparison also allows for a critical analysis. In the second part 5 lesson plans to carry out throughout the course is provided, combining books and their filmed version. For every book and visual adaptation previous, while and follow-up reading and viewing activities are proposed, integrating the four skills and promoting negotiation

Sobre la noción deweyana de ritmo: la vida como proceso estético

En 1934, Dewey se propone la tarea de restaurar la continuidad entre la estética y los procesos vitales a partir de un renovado concepto de experiencia, y más concretamente de experiencia estética. No obstante, debido a la complejidad que encierra la noción de experiencia, ésta se ha visto expuesta a múltiples críticas procedentes de estetas de lo cotidiano. Dichos ataques arguyen que su propuesta sigue siendo demasiado restrictiva, ya que sólo unos pocos afortunados pueden llegar a tener “una experiencia estética”. Esto es, lo cotidiano se sigue viendo desde la óptica de la monotonía, convirtiendo las experiencias estéticas en sucesos aislados en la vida. Esta presentación pretende actualizar y superar las críticas contemporáneas desde la noción deweyana de ritmo. Palabras claves: experiencia estética, ritmo, estética pragmatistaUniversidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Jueus i conversos en el comerç internacional barceloní de la baixa edat mitjana (1349-1450)

El paper exercit pels jueus i els conversos en el comerç internacional barceloní de la baixa edat mitjana és un tema sobre el qual existeix, encara a dia d'avui, un gran desconeixement, tot i la seva importància evident i indiscutible. L'activitat comercial de jueus i conversos ha quedat reflectida en un important nombre de comandes marítimes, una font que ens ha proporcionat valuosa i important informació sobre els intercanvis i les relacions socials, no tan sols de la comunitat hebrea, anterior i posterior als atacs soferts l'any 1391, sinó també dels conversos de la seva època, de manera que es demostren forts llaços d'unió entre els uns i els altres, i l'existència d'una població jueva a la ciutat de Barcelona després de 1391, la qual cosa demostra la falsedat del tòpic de la seva desaparició o inexistència. És evident avui dia la necessitat, dins de la historiografia, de posar fi al desconeixement sobre la participació dels jueus i els conversos en el comerç marítim mediterrani de la baixa edat mitjana; esperem que aquest article hi col·labori.We still know very little about the role of Jews and converts in Barcelona’s international trade in the Late Middle Ages, despite their clear, undisputable importance in that regard. The commercial activity of Jews and converts is reflected in a significant number of maritime contracts (comandes marítimes). The documents in question are a source of valuable, important information on social relations and exchanges, not only of the Hebrew community, before and after the attacks of 1391, but also of the converts of the time. They show that there were strong ties between the two groups, as well as that the city of Barcelona had a Jewish population after 1391, giving the lie to claims it had vanished or ceased to exist. Today, within historiography, there is an evident need to remedy the lack of knowledge of the role of Jews and converts in Mediterranean maritime trade in the Late Middle Ages. This article is intended to help do just that

John Dewey and Friedrich Nietzsche: Aesthetics of Life

In 1934 John Dewey laid the foundation of a Philosophy of Art which try to restore the continuity between art and everyday life. Dewey asserted that aesthetics has its roots in the essential conditions of life, that is, the basic vital functions which human beings share with birds and beasts. Human beings are exposed to conflicts from its dynamic surroundings, and at every moment they try to restore the harmony, to create more meaningful ways of living. Not many years before, Friedrich Nietzsche developed a philosophy of art which was not interested in Fine Arts or in providing a traditional theory of art, but in art as a transformative and creative force. Although these authors never met each other and their thoughts seem to be quite different, both philosophers overcome modern aesthetics which considered art for art’s sake and stress the role of art because of its power to reevaluate human experience and their surroundings. The aim of this paper is to examine the thesis of life as an aesthetic process from a comparative approach to the views of these authors. This paper’s presentation explores two main points: the naturalistic background of aesthetics and the creative and dynamic role of art. I begin drawing a comparison between deweyan naturalistic humanism and nietzschean physiology of art. Both authors show the importance of nature and body to develop aesthetic experiences, however, they present several differences. In spite of the fact they share the emphasis in art as a conciliation between human beings and nature in their later works, they have different positions. Secondly, I would like to address fundamental similarities between the creative role of artist and human beings through Dewey’s notion of experience and Nietzsche’s conception of pulsional life (Triebleben). They offer a way of transforming philosophy from an aesthetic approach, which focus on the impulse of aesthetic world-making. Thus, I will try to explain how both authors share that living creatures develop a cumulative progression toward fulfillment experiences, which are not permanent constants, but variable and changed situations of creative process that constitutes our lives. Through this paper’s presentation, I wish to show how, despite the divergences, these proposals provide an overview of art’s creation which attempt to demonstrate the rich background of our lives from which we create art as a way of leading a meaningful life.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

El paisaje en la antropología de Unamuno

Los diferentes estudios de la antropología de Miguel de Unamuno se han venido caracterizando en torno al hombre de carne y hueso, aquel en el que mente y cuerpo forman uno. Sin embargo, el propósito de estas páginas será la relación del ser humano con su medio, la elaboración de nuestra concepción paisajística. Para ello, se procederá desde un lenguaje comunicativo, antropológico y estético que nos remite a lo más íntimo y que no sólo presentará la concepción cultural de una época, sino también la personalidad del pueblo español, su sentimiento hacia la naturaleza. En este sentido, siguiendo el tema del paisaje a través de la obra de Unamuno, el texto considera dos aspectos fundamentales: por un lado la relación del hombre con la naturaleza; por otro lado el amor inteligente hacia la naturaleza.The different Studies in Miguel de Unamuno’s anthropology have focused on only humans, in whom mind and body are one. Nevertheless, the aim of these pages is the relationship between human beings and their surroundings, the development of our notion of landscape. For this purpose, this is an anthropological, aesthetic and communicative approach which brings us to the most intimate. What is more, this approach does not only present a particular cultural conception, but also Spanish personality, its feeling for nature. In this sense, following the topic of landscape through Unamuno’s work, this paper develops two main points: the relationship between human being and nature; and the intelligent love for nature