July 15, 2017

Download Artistic Detachment in Japan and the West: Psychic Distance by Steve Odin PDF

By Steve Odin

Inventive Detachment in Japan and the West takes up the inspiration of inventive detachment, or psychic distance, as an intercultural motif for East-West comparative aesthetics. The paintings starts with an summary of aesthetic idea within the West from the eighteenth-century empiricists to modern aesthetics and concludes with a survey of assorted evaluations of psychic distance. all through, the writer takes a hugely leading edge method through juxtaposing Western aesthetic idea opposed to japanese (primarily jap) aesthetic idea.

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Extra resources for Artistic Detachment in Japan and the West: Psychic Distance in Comparative Aesthetics

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Kuki makes Buddhist detachment an essential factor in the structure of iki (chic)—an aesthetic ideal that emerged in the amorous bordello society of the “floating world” (ukiyo) in Edoperiod Japan. According to Kuki, the aesthetic value of iki has a threefold structure of “coquettishness” (bitai), “pride” (ikuji), and “resignation” (akirame). While the sexual passion of bitai is embodied by the amorous geisha and the prideful valor of ikuji is grounded in the path of bushidò or way of the samurai warrior, the detached resignation of akirame is rooted in the religious mysticism of Zen Buddhism.

In accordance with the principles of his transcendental idealism, Kant argues that an object cannot be beautiful and an experience cannot be aesthetic unless certain mental conditions are satisfied. It is in this context that Kant came to establish the disinterested attitude as a necessary condition for the possibility of aesthetic experience. Generally speaking, then, Kant’s revolution in aesthetics locates the determining ground of beauty and the sublime in the mind of the subject and not in the object of nature.

Yet insofar as this aesthetic satisfaction is said to be disinterested—that is to say, completely impartial, unbiased, and free of prejudice—it does not depend on any individual preferences but is instead an object demanding a similar delight from all persons and, on that account, valid for everyone. At this point, however, Kant clearly distinguishes between the objective universal validity of logical judgements as opposed to the subjective universal validity of aesthetic judgements. Since an aesthetic judgement of taste is a function of subjective feeling and imagination in a free play of faculties, so as to be liberated from all constraint by concepts, it cannot claim the “objective universal validity” of a logical judgement grounded in the understanding but may nonetheless be said to have a “subjective universal validity” (§55).

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