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This essay examines the origins of Gerard Manley Hopkins's term "rove over" in relation to enjambment in his poetry. Hopkins's approach to prosody is not systematic and encompasses various works and casual thoughts. The term "rove over" refers to the ambiguity of reading across line breaks and may have been influenced by St. Augustine's treatise on poetics, De Musica. Augustine's synthesis of rhetoric and theology in De Musica aligns with Hopkins's hybrid thinking, and there are similarities between passages in the treatise and Hopkins's writing. The article explores the connection between the terms "rove over" and "provolutio" in the works of Gerard Manley Hopkins and Augustine, both of which describe the ambivalent function of enjambment in poetry. The author suggests that Hopkins may have derived his term from Augustine's "provolutio," as both terms share structural, semantic, and phonetic similarities. The article also discusses the influence of Augustine's theological and philosophical thinking on Hopkins's work, particularly in relation to the acceptance of contradiction. The author concludes that the terms "rove over" and "provolutio" are not merely technical terms, but are linked to broader philosophical and theological concepts. [Extracted from the article]

In "Subjunctive Aesthetics: Mexican Cultural Production in the Era of Climate Change," Carolyn Fornoff explores how Mexican filmmakers, visual artists, and literary authors use what she calls "subjunctive aesthetics" to imagine possibilities beyond extractivism in the face of climate change. Fornoff identifies three trends within subjunctive aesthetics: foreclosure, imagination, and entanglement, and analyzes the works of various cultural practitioners in Mexico. She acknowledges that some of these artists are funded by an extractivist economy but argues that their use of subjunctive aesthetics includes a recognition of implication and a reckoning with power structures. This book is a valuable contribution to Latin American ecocriticism and the environmental humanities. [Extracted from the article]

Daniel Albright's book, Music's Monisms, explores the concept of 'monism' in relation to musical modernism. The book provides a wealth of reflections and references, offering a comprehensive understanding of literature and music. However, the book's focus on monism is not thoroughly examined and often takes a backseat. Albright argues that modernist music challenges the boundaries between language and languagelessness, questioning the dichotomies that shape our thinking and organization of the world. While the book presents intriguing insights, it lacks theoretical rigor and fails to fully grapple with the complexities of modernist art and aesthetics. The text also critiques Joseph N. Albright's book, Music's Monisms: Schoenberg, Wagner, and the Philosophy of History, particularly the chapter on Wagner. The author highlights the naming dynamics in Wagner's work and asserts that musical meaning is always uncertain. However, the author criticizes Albright for not addressing the political complexities of Wagner's legacy, such as his revolutionism and anti-Semitism. The text suggests that a more deconstructive reading could have been achieved through a deeper engagement with Nietzsche's writings, which heavily influenced Wagner's operas. Overall, the text emphasizes the historical and political implications of the book's analysis of Wagner's music. [Extracted from the article]

Ethicism is the most comprehensively defended answer to the question regarding whether ethical properties determine aesthetic properties in artworks. According to ethicism, aesthetically relevant ethical flaws in artworks count as aesthetic flaws and aesthetically relevant ethical merits count as aesthetic merits. In this paper, I argue that ethicism's most significant argument, the Merited Response Argument (MRA) (and other moralist arguments like it) suffers from an ambiguity that makes it either unsound or uninteresting. Specifically, the notion of an artwork's 'prescribing' a response, central to MRA, is ambiguous between merely attempting to elicit a response from appreciators as appropriate to a work, and endorsing a response as appropriate to relevant parts of the actual world. While the first sense of 'prescribe' does the aesthetic work, the second does the ethical. [ABSTRACT FROM AUTHOR]

This article argues that architecture makes possible a unique form of aesthetic experience, one involving what I will call, departing from a Kantian perspective, embodied free play. I argue that architecture's purpose is to encourage, cultivate, and enable human activities while also becoming crystallizations of those very activities. I will show that the living system of such interaction is called "place," as I explore the role of artifacts, movement, activities, and the environment in place creation. I show that when the embodied activities and design of a place harmonize, a fullness of free play is made possible and daily living can involve aesthetic experience. [ABSTRACT FROM AUTHOR]

This article positions the Marikana Commission of Inquiry as a transitional justice moment for South Africa. Using aesthetic and affect theory, the article examines instances of bodily engagement at this Commission and in the art related to it. The resultant foregrounding of physicality reveals the possibility of both resistance and conformity that has been overlooked in current arts and transitional justice literature. Such resistance and conformity, present inside both the law and the art of Marikana and its Commission, suggest that a binaristic approach to arts and transitional justice misses the full critical potential of each discipline. Softening the boundaries of each discipline through a corporeal approach can reveal different evaluations of the efficacy of transitional justice – in this case, challenging the efficacy of the Marikana Commission's goal of stakeholder inclusion. [ABSTRACT FROM AUTHOR]

In the history of Chinese philosophy, Mozi calls music a "waste of resources," considering it an aristocratic extravagance that does not benefit the everyday people. In its defense, Confucians highlight music's moral and metaphysical qualities, arguing that music aids in moral cultivation and that music's form mimics the structure of reality. The aim of this article is to show that Korean philosophers provide yet another reason to think music is important. Music, and art in general, was used to express a national identity at a time Korean philosophers were beginning to develop their own aesthetic consciousness in the seventeenth and eighteenth centuries. A cultural movement called Joseonpoong (조선풍), "Joseon wind," marked a shift away from Sinocentrism and toward Korea's own unique values and practices. The new attempt to justify art's value apart from its relationship to morality or metaphysics set Joseon thinkers apart from their Chinese predecessors. Using art for identity expression allowed the Koreans to reconceive art's value while Sinocentric cosmological and cultural views were being challenged with the introduction of Western knowledge. Art also became a tool for reversing hermeneutic injustice as new artistic practices and standards allowed the Koreans to meaningfully engage with previously neglected aspects of their lived lives. [ABSTRACT FROM AUTHOR]

ABSTRACT Works of art can be difficult in several ways. One important way is by making us face up to unsettling truths. Such works typically receive praise. I maintain, however, that sometimes they deserve moral censure. The crux of my argument is that, just as we have a right to know the truth in certain contexts, so too we have a right not to know it. Provided our ignorance does not harm or seriously endanger others, the decision about whether to know the truth ought to be left to us. Within this limit, therefore, difficult art is morally problematic if it intentionally targets those who have chosen not to know. To illustrate the problem, I discuss the literary writings of Søren Kierkegaard, which aim to deceive readers into seeing unpleasant truths about themselves that they seek to ignore. [ABSTRACT FROM AUTHOR]

The essay analyzes how Ryan Trecartin and Lizzie Fitch's video installation "Priority Innfield" comprises a critique, a thematization and an exemplification of emerging postcinematic cultures. Topics discussed include disclosing emerging regimes of subjectivity, visuality and self-expression typical of contemporary media cultures by "Priority Innfield," elaboration of posthuman sensoria and the production of networked selves, tracing the mechanisms of neoliberal societies of control.

A number of objections to the style matrix that Arthur Danto introduced in 'The Artworld' seem to have quelled most discussion of it. So telling have these arguments been that Danto himself later recanted the idea entirely. This situation is somewhat unfortunate. It may be that Danto's own interpretation of the style matrix is not tenable, but I believe we can articulate an alternative reading of it that escapes the aforementioned objections. While the interpretation I suggest cannot provide all that Danto initially imagined for his style matrix, it does maintain much that was theoretically beneficial in it. [ABSTRACT FROM AUTHOR]

A subject index for the fall 2015 issue of the periodical "Journal of Aesthetics & Art Criticism" is presented.

In The Aesthetic Function of Art (2004), I was mainly concerned to show how my 'new aestheticism' can meet standard objections to aestheticism, but I have come to realize that, since it is as much a new institutionalism as it is a new aestheticism, its institutionalist aspect requires defense as much as its aestheticist aspect does. In this article, I show how a judicious aestheticizing of George Dickie's second version of the institutional theory of art, incorporating fundamental features of my own view, can meet what seems to me to be the most serious objection to institutionalism in general, the dilemma famously proposed by Richard Wollheim. [ABSTRACT FROM AUTHOR]

In this article, I start with the observation that aesthetic terms resist metaphorical interpretation; that is, it makes little sense to say that something is beautiful metaphorically speaking or to say something is metaphorically elegant, harmonious, or sublime. I argue that aesthetic terms' lack of metaphorical interpretations is not explained by the fact that their applicability is not limited to a particular category of objects, at least in the standard sense of 'category.' In general, I challenge category-based accounts of metaphorical interpretability and instead offer an alternative explanation for aesthetic terms' lack of metaphorical interpretations, one that involves the notion of context shifts rather than category violations. I argue that what is required for metaphorical interpretability is the joint satisfaction of two conditions: (i) multidimensionality and (ii) the presence of a default dimension. Aesthetic terms lack metaphorical readings because they fail to satisfy (ii), even though they satisfy (i). I argue that the alternative account I offer is predictively adequate, more parsimonious, less subject to counterexamples, and hence preferable to the category-based one. [ABSTRACT FROM AUTHOR]

The author acknowledges the critics, Richard Menary, Alva Noë, and Tim Lewens, for expressing their views in a debate on his book "The Artful Species". He justifies his point of view on the treatment of aesthetics in art and explores how they may be related. He considers a range of issues, including the connection of aesthetic responses and art behavior to human nature.