Evans Spring Semester Reading and Reflection Blog

Monica Evans

PHIL 306

Redick

Reading and Reflection Blog

Assigned Class Books or Journal Articles (5):

A Disagreement with Plato

Plato’s work as presented in Wartenberg is an excerpt from The Republic. Reflecting on the concept of art as imitation, he asserts that “the arts appeal to the emotions rather than to the intellect” and thusly have no place in society. His theory on art is based on another, his theory of Forms. Forms are timeless and unchanging realms of existence. Objects in daily life are imitations of forms and thusly art is an imitation of an imitation, triply removed. Socrates (and subsequently Plato, who is following a conversation between the first and another one of his young students) only explains further insisting that since art is so far removed, it promotes a weak understanding of the world, one that speaks to the irrational, a challenge to more rational forums of understanding the world such as philosophy.  Reflecting on this assignment, I do not concur with Plato and Socrates. Though their work is eloquently written, its interaction with time only displays to me a lacking in appreciation of the arts and a pedestal in which rational reason is put. 

Aristotle, a Step in the Right Direction

The Aristotle authored piece in Wartenberg follows several chapters in his Poetics. As opposed to his teacher Plato’s “negative appraisal of [art’s] social utility: [that] art is dangerous, for its appeal to the irrational distracts us from the legitimate claims of reason,” Aristotle has quite the affinity for art, especially tragic drama. He states that tragic drama’s “purpose is to bring about a catharsis, or a purging of the emotions, through the experience of fear and pity.” Aristotle provides a teleological assessment of Greek drama as his conception of this particular art form is derived from its goal or purpose. He goes on to state that this facet of art (in addition to art as a whole) does not work against the rational ways in which to understand the world such as philosophy, but rather works with them to convey the truth. Although Aristotle differs from his teacher and both of theirs before, his work remains a bit lacking in flow as the majority of the work is from note excerpts. Nonetheless and conclusively, he provides for a positive assessment in that the imitation or representation of the world of art emphasizes the possible and not the actual and allots for a certain pleasure for its readers/viewers. This emphasis on the possible is the foundation for his “Cognitive Theory of Art” in which he argues for art’s ability to teach. Although the writing may not have been to the high standards of Plato, I enjoyed reading Aristotle’s assertions. I agree with his idea behind art’s teaching powers and ability to bring about great pleasure.

Hume, a Confusing Hue of Thinking

Wartenberg includes in his anthology of art theories Hume’s piece, Of the Standard of Taste. This is a standout piece for the Scottish philosopher. He is “less concerned with finding a definition of art than with exploring the question of whether there are objective standards for assessing the goodness of works of art.” He provides for “an antimony – a pair of ideas, each with a claim on truth but seemingly mutually irreconcilable.” However, while this antimony may sound scholarly and almost qualifying in nature, it is actually quite confusing and by the works end, is not that resolved. Hume first asserts that it is possible to make critical judgments about the quality of works, to pick which one is objectively better. He then goes on to question the grounds for such judgments stating that to critique works of art is to express individual sentiments and thus there can be no objective standards. He ends the piece by asserting that in nature there are just some aspects of art that are universally pleasing to all which allows for some pieces to stand above others. Along the lines of certain pieces of art being naturally above others, Hume also states that some certain, select critics are above the normal human eye which is tainted by “psychological makeup… and shared cultural preferences.” I did not really follow Hume quite easily. I found his work to make strong statements but follow up with weaker commentary.

Kant, an Introduction to Aesthetics

            In a lengthier piece of work, Wartenberg presents The Critique of Judgment, by Immanuel Kant, the author puts forth one of the most influential theories of art. Specifically, “general acceptance of the term aesthetics as applied to the philosophy of art stems from Kant’s discussion of art under what he takes to be the wider rubric of aesthetic judgment.” Kant’s work is also well known for his discussion of “art’s autonomy from specific interest, form as the object of aesthetic judgment, and genius as the faculty of artistic creation.” Based off the last philosopher studied, Kant tries to solve Hume’s complex antimony. This quest involves “how a judgment about our feeling can have objective validity.” Kant introduces the idea of normative force. That when it is said that a work of art is beautiful, not only is it being said in the hopes that another will agree but that it should be agreed upon. He goes on in his exploration of objective validity stating that aesthetics in art arise from disinterested pleasure rather than a particular interest or desire. Kant also states that art starts as sensation then moves to perception which eventually leads to conception. From there, conception organizes the perception into categories of thought where knowledge is discovered. Although this piece was also difficult for me to comprehend due to its complex nature, I found its exploration of aesthetics and knowledge quite fascinating.

The Cultural Phenomena of Dance

It is nothing new to state each different set of peoples has their own unique culture. Different facets of oral and physical traditions that encompass something greater than the individual, that unites an entire community. One of these traditions is without a doubt the art of dance. Dance, however, can be argued to transcend other traditions in the fact that it is able to include the oral, physical and even mental capacities of those partaking. According to Van Der Leew, dance is the original art and “the dance reflects the movements of God.” While this said “God” is up to interpretation by the individual, the idea of a ritualistic activity being a gateway to a higher being or simply a gateway to a higher level of living is one that has perpetuated through the ages.

Reflections on Outside Readings (5):

Approaching the Phenomenological Approach

            For me, learning about a phenomenological approach was extremely new and different and brought about many new concepts.. First, it was said that there is a body subject in the world, that all have projects but are not made up of dual body and mind but instead individual body subject and individual world. This idea ties into the concept of “lebenswelt” or “life world.” In this life world there are constituents; in the over-arching world we live in, one cannot be completely divided from another. Phenomenology’s most critical aspect is the search for meaning versus explanation; the idea of trying to return to the “concrete” or “tangible” often utilizing the five senses.

Jane Ellen Harrison, Ritual and Myth

Harrison published works predominantly studying Greek art and religion. She emphasized archaic over classical evidence and ritual over myth. Harrison was also a leading role model for women’s rights and was famous for her lectures throughout Europe. Contrasting Socrates and Plato, Harrison advocated for intuition over reason. Essentially, Harrison was a famous scholar that explored the meaning of human life, especially through religion.

More specifically, Harrison asserted that art arises out of a common human impulse, that impulse being emotion. She also stated that the ritual art can morph into “art” and “magic,” where magic is defined as the use of some technique to achieve a desired end. In her work, Ancient Art and Ritual, Harrison states that the unity between art and ritual is not based on appearance but on motive. She ties in her connection to the religious in that the ritual is still an emotional experience, but it becomes more transcendent than emotional. It is a vehicle for imminence, a tool for connecting with the divine. All together, I enjoyed reading Harrison’s work and was able to tie her thoughts into other areas of the course.

C.S. Lewis and the Importance behind Participation

While it has been demonstrated that cultures around the world are diverse and utilize dance as an art form, the form can be examined even further with the concept of performance versus presentation. For an example, an observer watching a variation of traditional African dance, one may notice a person in a stance closer to the ground trying to be one or at least close to the Earth. The only time the person really comes out of this intimate relationship with nature is when they seem to stretch back, utilizing their body as an offering. Although these descriptions can be watched and noticed, the actual act of dancing cannot be fully and wholly experienced unless one partakes in the dance themselves. As C.S. Lewis writes, “We have been mere spectators. Beauty has smiled, but not to welcome us; her face was turned in our direction, but not to see us. We have not been accepted, welcomed, or taken into the dance.”

Tracey Smith and Roland Barthe, an Examination of Words

            Based on the poetry written in Tracy K. Smith’s Pulitzer Prize winning work, Life on Mars, one is able to interpret a great number of meanings. Although the theory behind all poetry in general is to invoke some sort of emotion in the reader, a little biographical information to Smith’s life provides a deeper insight to the work. Smith’s biography, in addition to Roland  Barthe’s theory of semiotics, specifically his work with signs and signifiers, allows the reader to draw out Smith’s true intentions through her diction, word placement and format. On the surface Life on Mars may seem to be a super cosmic book trying to decipher the grand meaning of life. However, a closer look may provide a different result. Exploring the poetry in Smith’s Life on Mars through Barthe’s Theory of Semiotics will show the reader that human life is characterized as cyclical in nature and beauty.

Haitian African Dance

Dance as a ritual can be seen through many of the native tribes of Haiti. While many people may ignorantly perceive all the inhabitants of Haiti to be the same, in actuality they are vastly different (although they do have many cultural similarities). This is due to the workings of the Trans-Atlantic Slave Trade where peoples of African descent especially from West Africa were dispersed worldwide. Those that landed in Haiti were not just from one area of West Africa but many. These African Nations include Fon (also known as Dahomey), Yoruba, Ibo (also known as Nigeria) and Kongo-Angola.

While these people of Haiti have rich history and culture, they are perhaps best known by the Western world for their religion of vodou. Again, contrary to popular conception, vodou is not the negative and almost demonic “black magic” that it has been stereotyped as. Instead it has many different characteristics, including dance, which through the people utilize to connect to their spiritual world. According to specifically Haitian dance company, Mikerline, “each dance possesses a history that shapes its execution and ignites its expression.” They also write that “each dance pulsates through the body in its own unique way because every movement has a meaning, a history and a reason for being.”

Although there are various tribes, as mentioned above, that all reside within Haiti and all practice the religion of vodou through dance, they each can be described uniquely. The Rada Pantheon utilize a more “benevolent and earthly” type dance that incorporates the shoulders, feet and torso which can be seen in the Zepol, Mahi and Yanvalou dances (Mazzocca). Dissimilarly the Nago Pantheon uses a “warrior-like” dance also called Nago that spotlights the torso (Mazzocca). The Ibo Pantheon enjoys celebrating the idea of “freedom” with the Ibo dance that focuses on the torso feet and arms (Mazzocca). Lastly, the Petwo Pantheon is typically characterized as “fiery” and “social” with the Petwo dance that uses the feet, pelvis and shoulders and the Congo dance that uses the hips and torso (Mazzocca).

Student’s Choosing (5):

Schopenhauer, He can Complicate Kant

            Perhaps varying most drastically from Plato and Socrates, Wartenberg presents the ideology of Arthur Schopenhauer. Schopenhauer asserts that “art reveals the nature of reality and gives us access to metaphysical truths about existence.” He utilizes Kant’s existing theory in that life is a representation of reality, “governed by the principles of sufficient reason” and “individuation – that each person or object is being distinct from over other.” While Schopenhauer puts art on a pedestal, his overall work is dark and pessimistic in his teaching that “Life is a pointless game in which desire demands satisfaction, but in which satisfaction is fleeting. As for our precious individuality, that, too, is illusory, for beneath the appearance of distinctness the will unites all.” In addition to Kant’s philosophy, Schopenhauer includes traditional values such as Plato’s Forms (but renamed as “Ideas”) as well as non-Western thinking such as Hindu doctrine as displayed in his idea of life as illusionary. For me, I initially held a distaste for Schopenhauer and his pessimistic outlook but in the end I did appreciate the depth of his research.

The Dark Nietzsche

Following the heels of Schopenhauer, Wartenberg presents Friedrich Nietzsche and his Birth of Tragedy. As opposed to previous studies with the aim of classifying art as a whole or certain aspects of art, Nietzsche tries to explain the concept of art in general, the purpose behind  its creation. He is also the author of pessimistic ideology as he believes “that life is inherently awful.” Focusing on a Greek origin, Nietzsche asserts “that there are two fundamentally different types of art, the Apolline and the Dionysiac.” This line of thinking can be applied to all aspects of art, even music, and basically indicated that Apolline art is idealized and beautiful and where the individual in control. On the other hand, it is said that Dionysiac art is intoxicating and that removes control from the individual. Although Nietzsche follows the distinct differences in these two forms of art he also states that they are intertwined. This is due to the fact that one another can only be understood in direct comparison with each other. I really enjoyed this chapter due to the fact that I took two other courses this semester, a world music class and an American studies course, that discussed the Apolline and Dionysiac. It was truly eye opening and highly interesting to see how this concept overlaps numerous areas of academic study.

Heidegger and the Big Picture

For the section on Martin Heidegger, Wartenberg discusses The Origin of the Work of Art. Though his reputation was tarnished a bit by his involvement with the Nazi party, Heidegger’s ideology remains widely read and influential. Heidegger undertakes a holistic understanding of art in “every aspect of the complex phenomenon known as art – the art object itself, the artist (or ‘creator’…), the audience (or ‘preserver’), and the work (in the sense of effect) of art – is equally crucial to understanding what art is.” His main assertion that art reveals the truth of Being distinguishes his philosophy. Essentially, Heidegger believes that things are constituted or manifested when they appear as a whole context of relations as entities as they appear to others. He states that art is a way to express truth in culture – that it provides a way to create truth and a way to reveal that truth. Works of art are a production of a community’s collective understanding and every new piece of art created the meaning of existing changes.

 I enjoyed this section a great deal in the fact that I agree with Heidegger’s assertion that art takes you out of your setting and allows you to participate in the artistic experience and that object and the setting/environment which the object exists in are intimately related; all part of a big picture.

Buber’s Realm of Experience

            Martin Buber’s work can be tied to the areas of the philosophical articulation of the dialogic principle, the revival of religious consciousness among Jews and the realization of this consciousness through the Zionist movement. Buber wanted to see the realization of Hebraic humanism and his “aesthetic politics” shaped several cultural movements. His influences included Kant and Nietzche. One of Buber’s main assertions included that the phenomenological approach was the only way to truly experience reality. I personally found Buber slightly difficult to read and his work with the “I” and the “you” hard to follow.

Weitz and the Indefinable World of Art

Wartenberg presents the work of Morris Weitz through the particular section dealing with  his Role of Theory in Aesthetics. Weitz analyzes the issues surrounding a set definition of art and concludes that art is indefinable. While this statement may initially be thought of as lacking in effort due to the fact that human beings were granted the ability to communicate through spoken and written language, Weitz is not dismissive by any means of existing or new theories. He simply calls for a constant reevaluation of art (often utilizing those existing theories) and he provides solid evidence to support his claim such as “each age, each art-movement, each philosophy of art, tries over and over again to establish the stated ideal only to be succeeded by a new or revised theory, rooted, at least in part, in the repudiation of preceding ones… ‘Art,’ itself, is an open concept. New conditions (cases) have constantly arisen and will undoubtedly constantly arise; new art forms, new movements will emerge, which will demand decisions on the part of those interested, usually professional critics, as to whether the concept should be extended or not. Aestheticians may lay down similarity conditions but never necessary and sufficient ones for the correct application of the concept. With ‘art’ its conditions of application can never be exhaustively enumerated since new cases can always be envisaged or created by artists, or even nature, which would call for a decision on someone’s part to extend or to close the old or to invent a new concept.” Personally I was the most drawn to this theory as again, Weitz was not dismissive but simply incorporating of all the varying art theories.