https://shs.cairn.info/build/assets/cairn-B7RWiji2.png tag:cairn.info,2005:rss/revue/E_NRE Cairn.info 2026 2025-10-09T00:00:00+02:00 tag:cairn.info,2005:numero:E_NRE_035 2025-09-08T00:00:00+02:00 2025-10-09T00:00:00+02:00

Pages 5 to 14| Roman Ingarden: The act of reading, between reception and creation | Patricia Limido

Pages 17 to 25| Is the cognition of the literary work of art an unattainable ideal? | Anne Coignard

Pages 27 to 37| Embodied Ingarden: Enacting literature through Roman Ingarden’s phenomenology and predictive processing | Michał Mrugalski

Pages 39 to 47| Rethinking “bad reading” | Maxime Decout

Pages 49 to 57| Between the work of art and the aesthetic object: Literary theory in the light of Ingarden | Bernard Gendrel

Pages 59 to 68| The problem of style in Ingarden’s phenomenological aesthetics: Outline of a reconstruction | Adnen Jdey

Pages 69 to 78| Reading and making the work of art: The role of reading in Roman Ingarden and Luigi Pareyson’s aesthetics | Justine Janvier

Pages 79 to 88| The artist and their works: Anatomy of the creative encounter according to Ingarden | Olivier Malherbe

Pages 89 to 97| Cinematographic adaptations of literary works and Ingarden’s theory of work-identity | Jean-Marie Schaeffer

Pages 99 to 106| Ontology and/or musical aesthetics? Roman Ingarden’s quest | Edward M. Świderski

Pages 107 to 114| Can opera be viewed through the lens of Roman Ingarden’s phenomenology? | Maud Pouradier

Pages 115 to 125| Theater at the frontiers of Ingarden’s aesthetic system: The stage apposed to the text | Isabelle Barbéris

Pages 127 to 134| An outline for applying Ingarden’s aesthetic theories to the ontology of video games | Giacomo Baldisseri

Pages 137 to 146| Translating the aesthetics of victimization in John Nkemngong Nkengasong’s Across the Mongolo: A linguistic mediation of a post-reunification Anglophone Cameroon novel | Jean Pierre Atouga

Pages 147 to 159| Reading the landscape through its outline, from Tristes Tropiques to Aranda watercolors | Baptiste Guarry-Petit

Pages 163 to 165| Richard Shusterman, Philosophy and the Art of Writing | Francis Haselden

Pages 167 to 168| Agnès Guiderdoni & Giacomo Fuk, eds., La Part de l’Œil, Lire, Décrire, Interpréter. Louis Marin entre texte et image, no. 39, 2025. | Dominique Chateau

Pages 169 to 170| Dominique Berthet, L’Imprévisible rencontre. L’Autre, le Lieu, l’Art | Hélène Sirven

Pages 171 to 173| Guillaume Robillard, Un cinéma décolonial. Les Personnages du cinéma antillais | Bruno Péquignot

Pages 175 to 178| Jean Mottet, Pour l’arbre et pour l’oiseau, Vitrac, Les éditions du Ruisseau, “Argile”, 2021. | François Amy de la Bretèque

Pages 179 to 184| Neli Dobreva, (ed.) Objets vivants 2. Formes de vie et Autonomie du non-vivant | Paul Walter

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Pages 1 to 4| Front matter

Pages 5 to 15| Kitsch and clichés: Modes and processes of world-becoming | Léo Pinguet

Pages 19 to 31| Kitsch as a tool for analyzing cultural worlds: Back to “Avant-Garde and Kitsch” (1939) by Clement Greenberg | Léa Jusseau

Pages 33 to 42| World wide kitsch and the globalization of clichés | Christophe Genin

Pages 43 to 53| The romantic figure and the kitsch lover: Turning love into a work of art? | Suzie Colin

Pages 55 to 64| Kitsch miniature | Francis Haselden

Pages 65 to 74| The noir novels of Jack O’Connell and Jean-François Vilar: Postmodernist views on kitsch in narrative writing | Julien Campagna

Pages 75 to 82| Is Wes Anderson’s cinema kitsch? | Pascal Engel

Pages 83 to 91| Dread of kitsch and cliché in cinema | Marie-Reine Mouton

Pages 93 to 103| The cybernetic cultural industry: Kitsch or cliché? | Jean-Baptiste Ghins

Pages 105 to 117| Kitsch in international relations: The proper use of cliché in diplomacy | Caroline Gondaud

Pages 121 to 139| From philistinism to totalitarianism: Fragments from “The Fundamentals of a Philosophy of Art: On the Understanding of Aesthetic Experience” (1951) | Heinrich Blücher, Lyvann Vaté

Pages 143 to 152| Are aesthetic categories aesthetic? Benedetto Croce and the problem of psychology | Quentin Gailhac

Pages 153 to 165| Raymond Bayer and slowed-down serpentine grace: The contribution of French aesthetics to the aesthetics of cinema from the 1920s to the 1950s | Marie Gueden

Pages 167 to 182| The form of movement: Between art, science, and “cinema” | Maria Tortajada

Pages 183 to 190| The temporality of the tattoo: An embodied pharmakon? | Georges Iliopoulos

Pages 193 to 195| Sémir Badir, Vlad Ionescu and Nathalie Kremer (eds.), Felix Aestheticus. Pour Herman Parret | Maud Hagelstein

Pages 197 to 201| Christophe David and Joan Grandjean (eds.), Photographie et Politique | Snjezana Simic

Pages 203 to 205| Richard Conte and Michel Guérin, Rêves de bête | Dominique Chateau

Pages 207 to 210| Paul Bernard-Nouraud, Une histoire de l’art d’après Auschwitz, vol 1. Figures disparates | Bruno Trentini

Pages 211 to 220| Back matter

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Pages 5 to 9| What difference does artificial intelligence make to art? | Alexandre Gefen

Pages 13 to 23| Reality, possibility, novelty: Creating images with artificial intelligence Aesthetics and semantics (extract) | Radu-cristian Andreescu

Pages 25 to 46| Operative ekphrasis: The collapse of the text/image distinction in multimodal AI | Hannes Bajohr, Carla Marand

Pages 47 to 58| The visible and the sayable: AI and the new algorithmic relations between images and words | Antonio Somaini

Pages 59 to 67| Wordmills: Critical anticipation of artistic AI | Thomas Michaud

Pages 69 to 80| Non-identity theft. What AI-generated productions say about art’s relationship to its objects | Bruno Trentini

Pages 81 to 93| Artificial religious aesthetics? “Religious robots” challenging generative AI systems | Lionel Obadia

Pages 95 to 105| Fluid sensibilities with Balázs and Simondon. A path to thinking about the anxiety of automation | Neda Zanetti

Pages 107 to 118| The unsettling strangeness of the robot-actor on stage | Jean-François Ballay

Pages 119 to 128| The Lady of Shalott revisited: The internalization of authorship in the era of artificial creations | Clarisse Michaux

Pages 131 to 147| Photographing the work of art and its environment: Cy Twombly’s “studio views” | Anthi-Danaé Spathoni

Pages 149 to 161| Aesthetics was born out of the (relative) downgrade of beauty. A contribution to the knowledge of Lord Shaftesbury’s philosophical work | Dominique Chateau

Pages 163 to 177| On Density. An attempt to characterize an aesthetic property | Hugo Martin

Pages 179 to 187| Hypnos, the origin of the therapeutic virtue of poetry? | Jean-Jacques Alrivie

Pages 191 to 193| Christian Accaoui. La Musique parle, la Musique peint. Les Voies de l’imitation et de la référence dans l’art des sons. | Simon Chauviré

Pages 195 to 196| L’Art des charpentiers japonais. Au cœur de l’architecture en bois traditionnelle | Georges Iliopoulos

Pages 197 to 199| Laurent Buffet. Captation et subversion. L’Art à l’épreuve du capitalisme tardif | Eloïse Frœhly

Pages 211 to 212| Books received by the editorial staff

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Pages 7 to 20| Bernard Teyssèdre: A non-conformist aesthetician | Dominique Chateau, Jean Da Silva

Pages 23 to 40| Bernard Teyssèdre’s “aesthetics” (from Hegel to Duvignaud, via Godard) | Dominique Chateau

Pages 41 to 56| Teyssèdre’s method: Arthur Rimbaud et le foutoir zutique (2011) | Hélène Sirven

Pages 57 to 67| Reflections on art and the future of reason | Bernard Teyssèdre

Pages 69 to 75| Aesthetics and semantics (extract) | Bernard Teyssèdre

Pages 77 to 85| Interview with Solange Larre | Solange Larre, Bernard Teyssèdre

Pages 87 to 97| Art after the death of art | Bernard Teyssèdre

Pages 99 to 105| Bachelard and the “material imagination” in painting | Bernard Teyssèdre

Pages 109 to 111| A singular character | Hervé Fischer

Pages 113 to 116| “Tranche-montagne” | Karen O’Rourke

Pages 117 to 118| An astonishing character | Philippe Janvier

Pages 119 to 128| Courbet among the naturists (ongoing exchanges) | Bernard Teyssèdre, Jean Da Silva

Pages 129 to 137| Biography compiled by Jean Da Silva under the direction of Karen O’Rourke | Jean Da Silva, Karen O’Rourke

Pages 139 to 154| Bibliography by Jean Da Silva | Jean Da Silva

Pages 155 to 169| Iconographic notebook

Pages 173 to 181| Gaston Bachelard’s concrete aesthetics or the reintegration of feeling into thinking | Renato Boccali

Pages 183 to 191| André Veinstein, French pioneer of theatrical aesthetics | Isabelle Barbéris

Pages 193 to 202| Jean-Marie Schaeffer’s aesthetics: Between art, cognition, and anthropology | Ancuta Mortu

Pages 203 to 214| Installations, narratives, and spatiality: The tokonoma in the work of the visual artist Alexandre-Takuya Katô | Yann Calbérac

Pages 217 to 220| Harpsichordist Jean Rondeau plays Bach’s Goldberg Variations in the Monts d’Arrée mountains | Bernard Sève

Pages 221 to 223| Vieira Da Silva, L’Œil du labyrinthe | Justine Prince

Pages 225 to 227| The challenges of staging: Richard Wagner’s Tristan and Isolde directed by Philippe Grandrieux | Milena Escobar herrera

Pages 229 to 231| François Soulages, Aniko Adám, and Aniko Radvanszky (eds.), Visage à voir, visage à lire | Jean-Marie Baldner

Pages 239 to 240| Books received by the editorial staff

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Pages 7 to 12| Introduction to the special report: Metaphysical aesthetics in France (1800–1950) | Carole Talon-Hugon

Pages 15 to 29| The metaphysics of art in Antoine Chrysostome Quatremère de Quincy: A brief history of cultural transfers between France and Germany in the early nineteenth century | Kerim Salom

Pages 31 to 42| The ambivalence of the notion of plastic arts: Lamennais and Taine | Dominique Chateau

Pages 43 to 54| A metaphysical line from Ravaisson to Merleau-Ponty: The serpentine line between visible and invisible, unity and variety, time and space | Baptiste Tochon-Danguy

Pages 55 to 63| Paul Souriau’s aesthetic realism | Roger Pouivet

Pages 65 to 73| Maurice Griveau’s aesthetics and the ambition of an idealistic science | Jean Colrat

Pages 75 to 85| Victor Basch and aesthetic feeling: Notes on his criticism of Kantian critique | Danielle Lories

Pages 87 to 98| Ars for ars’s sake: Difficulties of a neothomistic theory of fine art in Jacques Maritain’s Art et Scolastique | Maud Pouradier

Pages 99 to 110| On the necessity of introducing the Hegelian philosophy of art to France: The non-literal translation of the Lessons on Aesthetics by Charles Bénard | Audrey Rieber

Pages 113 to 121| The proximity of poetry and thought: Pindar, the poet of the birth of things | Jean-Jacques Alrivie

Pages 123 to 140| The form of movement: Étienne-Jules Marey’s scientific sculpture | Maria Tortajada

Pages 143 to 144| Richard Conte (ed.), René Passeron. La Création en acte | Fabienne Brugère

Pages 145 to 146| Emmanuel Pernoud, Le Serviteur inspiré. Portrait de l’artiste en travailleur de l’ombre | Carole Talon-Hugon

Pages 147 to 149| Anri Sala, Ravel Ravel Revisited | Maki Cappe

Pages 151 to 152| Martine Potoczny, Ateliers d’artistes en Caraïbe. Martinique, Cuba | Dominique Chateau

Pages 153 to 155| Étienne Chambaud, Lâme | Simon Chauviré

Pages 157 to 164| Éric Bordas, Pierre Glaudes, Nicole Mozet (eds.), Dictionnaire Balzac | Dominique Chateau

Pages 165 to 168| Sabrina Ratté, Exhibition at La Gaîté Lyrique from March 17 to November 6, 2022, curated by Jos Auzende. | Eloïse Frœhly

Pages 169 to 170| Books received by the editorial staff

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Pages 5 to 8| A francophone branch of analytic aesthetics | Vincent Granata, Guillaume Schuppert

Pages 11 to 18| For a second truth of analytic philosophy (and phenomenology) | Maud Pouradier

Pages 19 to 29| Art after culture: A dialogue | Roger Pouivet

Pages 31 to 42| New realities: Video games and theories of art | Alexis Anne-Braun

Pages 43 to 53| Goodmanian variations on the video game | Alexandre Declos

Pages 55 to 66| Fiction, transparency, perception. Three ideas of Walton on the moving image | Guillaume Schuppert

Pages 67 to 70| The expression of emotions in music: Foreword by the translator | Vincent Granata

Pages 71 to 88| The expression of emotions in music | Stephen Davies

Pages 91 to 103| A ruffled Holy Spirit: Diderot’s impertinent discourse on religious painting in the Salons | Laurence Mall

Pages 105 to 114| Benjamin and Marinetti: Fragments of a focus on aestheticization | Dominique Chateau

Pages 115 to 129| The space of representation according to Cassirer and Panofsky. Perspective and theory of proportions | Audrey Rieber

Pages 131 to 143| The wave and the particle. Abstraction and figuration in the aesthetics of Adorno and Lévi-Strauss | Raphaël Gomérieux

Pages 147 to 149| Annette Messager, Louise Bourgeois & Jenny Holzer. La forme d’un livre au cœur des œuvres. À propos de deux expositions : Annette Messager, Comme si, 11 mai – 21 août 2022, L.a.M., Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut, Villeneuve d’Ascq. - Louise Bourgeois & Jenny Holzer, 19 février – 15 mai 2022, Kunstmuseum, Basel | Marie Schiele

Pages 151 to 154| Franz R. Kempf, Poetry, Painting, Park. Goethe and Claude Lorrain, Oxford, Legenda, 2021 | Francis Haselden

Pages 155 to 157| Jean-Alexandre Perras, Erika Wicky (eds.), Mediality of smells / Médialité des odeurs, Oxford, New York, Peter Lang, 2023 | Sandra Barré

Pages 159 to 161| Quentin Gailhac, De la répétition. Langage musical et formes de l’invariance, Paris, Éditions MF, 2022, “Répercussions” | Thomas Mercier-Bellevue

Pages 163 to 165| Jacinto Lageira, L’Art du don. Éléments d’esthétique économico-politique, Milan, Mimésis, 2022 | Bruno Trentini

Pages 167 to 168| Yves Michaud, “L’Art c’est bien fini”. Essai sur l’hyper-esthétique et les atmosphères, Paris, Gallimard, 2022 | Carole Talon-Hugon

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Pages 7 to 15| Aesthetic encounters on the edges and in the margin | Dominique Chateau

Pages 19 to 27| The blow in pro wrestling or pleasure taken to the limits of fiction | Thomas Morisset

Pages 29 to 38| Street art: Autonomous overflow | Christophe Genin

Pages 39 to 47| Stop motion: A cinematic singularity and an alternative to synthetic image simulations | Cyril Lepot

Pages 49 to 57| The aesthetics of licensed merchandise | Antoine Quilici

Pages 59 to 79| The modeled pottery of Sejnane, figures of an aesthetics of painted earth | Hélène Sirven

Pages 83 to 91| The circus beyond the repertoire: Equestrian and acrobatic explorations on the edge of the ring | Charlène Dray, Paul Warnery

Pages 93 to 100| On the margin of the Japanese “margin” | Yoshiko Suto, Frédéric Weigel

Pages 103 to 107| Démosthène Agrafiotis | Démosthène Agrafiotis, Dominique Chateau

Pages 109 to 113| Christian Jaccard | Christian Jaccard, Dominique Chateau

Pages 117 to 126| The conflict of norms in opera | Maud Pouradier

Pages 127 to 135| Living with architecture. Miterleben, the body, and the historicity of forms in the young Wölfflin | Quentin Gailhac

Pages 137 to 147| Two concepts for thinking about the experience of art: Fruition and actuation | Arianna B. Fabbricatore

Pages 149 to 158| Between exposure and exhibition. Representing temptation: Challenges and issues A thirty-picture corpus of the temptation of St. Anthony from the fifteenth and sixteenth centuries has been analyzed to understand the way art can provide an experience of temptation, that is, of such an unrepresentable reality as the moment one may deviate or yield. | Céline Leclaire

Pages 161 to 162| L’Âme primitive. Exhibition at the Musée Zadkine, from September 29, 2021 to February 27, 2022, curators: Jeanne Brun, Claire le Resti, with the collaboration of Pauline Créteur | Marianne Massin

Pages 163 to 165| Susan Sontag, Devant la douleur des autres, French translation by Fabienne Durand-Bogaert, Paris, Christian Bourgois, 2003 - Goya, Exhibition at the Fondation Beyeler (Riehen) in collaboration with the Prado Museum, from 10 October 2021 to 23 January 2022 - Philippe Parreno, La Quinta del Sordo (La Maison du sourd), sound and visual installation | Marie Schiele

Pages 167 to 169| Richard Conte, Les Animaux malades de l’humain, éditions de l’UPF (Université de la Polynésie française) et de la MSH (Maison des sciences de l’Homme), 80 p., 2021, http://www.richardconte.fr ; r-conte@wanadoo.fr - Tant qu’il y aura du miel, film by Axel Clévenot, editing by Christian Boustani, 15’ 19’’, AnimaViva Productions, 2021, https://vimeo.com/651253769 | Sophie Bourly-Goussot

Pages 171 to 176| Mikel Dufrenne, L’Inventaire des a priori. Recherche de l’originaire, facsimile preceded by an introduction by Maud Pouradier, Caen, Presses universitaires de Caen, “Fontes & Paginae”, équipe “Identité et Subjectivité”, 2021 - Herman Parret, La Main et la Matière, jalons d’une haptologie de l’œuvre d’art, Paris, Hermann, 2018 - Michel Guérin, Expérience et Intention, Aix-Marseille, Presses universitaires de Provence, “Arts”, 2020 - Vincent Metzger, De l’interruption dans l’aphorisme et l’essai, foreword by Biagio d’Angelo, Paris, L’Harmattan, “Eidos”, 2021 - Bence Nanay, L’Esthétique, une philosophie de la perception, trad. fr. de Jacques Morizot, Rennes, Presses universitaires de Rennes, “Aesthetica”, 2021 - Arnold Berleant, L’Engagement esthétique, French translation by Bertrand Rougé, Rennes, Presses universitaires de Rennes, “Aesthetica”, 2022 | Dominique Chateau

Pages 177 to 179| Dominique Berthet, L’Incertitude de la création. Intention, Réalisation, Réception, Pointe-à-Pitre, Presses universitaires des Antilles, “Arts et esthétique”, 2021 | Pierre Juhasz

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Pages 5 to 23| What is aestheticization the name of? | Emmanuel Alloa, Christoph Haffter

Pages 27 to 40| Be creative! Aestheticization and creativity in the age of aesthetic capitalism | Andreas Reckwitz

Pages 41 to 50| Market aestheticization through the lens of art theory (and vice versa) | Laurent Buffet

Pages 51 to 59| Aestheticization and democratic culture | Juliane Rebentisch

Pages 61 to 68| Life as a work of art? | Martin Mees

Pages 69 to 77| Documentary art in the German-speaking world: Aestheticizing politics yesterday and today | Priscilla Wind

Pages 79 to 87| Aesthetics against aestheticization: Lyotard and the tautegory of the work of art | Aleksey Sevastyanov

Pages 89 to 95| Mickey Mouse in the land of aestheticization | Sylvia Kratochvil

Pages 99 to 110| The serpentine form, “image of movement,” at the turn of the twentieth century in France: Polymorphic legacy and paradoxical persistence in scientific and metaphysical aesthetics | Marie Gueden

Pages 113 to 119| De-quarantining among other screens: A visit to Hito Steyerl’s exhibition I Will Survive: Physical and Virtual Spaces at the Centre Pompidou, and a reading of her book Duty Free Art | Jacopo Bodini

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Pages 5 to 10| Criticism before all else | Marc Cerisuelo

Pages 13 to 20| Was Félibien an art critic? The aesthetics of “Félibien’s gaze” in the works of Raphael and Michelangelo | Anthony Saudrais

Pages 21 to 28| The experience of time regained. Benjamin reading Proust | Sylvia Kratochvil

Pages 29 to 37| Literary criticism of art between 1850 and 1950: Approach, method, and style | Nathalie Kremer

Pages 39 to 48| "Dumb art" criticism in the 1990s | Morgan Labar

Pages 49 to 56| Godard the critic and filmmaker: On the essay-form | Bamchade Pourvali

Pages 57 to 65| When rock criticism met disco. Rhetoric of a misunderstanding | Thomas Mercier-Bellevue

Pages 67 to 75| The exercise of criticism in ecological art | Benjamin Arnault

Pages 77 to 86| Of color in criticism | Jacob Lachat, Julien Zanetta

Pages 89 to 98| Did Aristotle found literary theory? | Jean Robelin

Pages 99 to 109| Art and interpretation | Johann Michel

Pages 111 to 119| The originarity of images | Jean-François Devillers

Pages 121 to 130| Ontology of artistic performance | Alexis Anne-Braun

Pages 131 to 143| Architectural fantasies in Yakov Chernikhov: Overcoming mimesis through phantasia as an agent of progress | Marianna Charitonidou

Pages 147 to 148| Carole Maigné, Audrey Rieber, Céline Trautmann-Waller (eds.) “La Kulturwissenschaftliche Bibliothek Warburg comme laboratoire” | Léa Jusseau

Pages 149 to 149| Maria Giulia Dondero, Les Langages de l’image. De la peinture aux Big Visual Data | Jean-François Bordron

Pages 151 to 155| Aline Caillet, Frédéric Pouillaude (eds.) Un art documentaire. Enjeux esthétiques, politiques et éthiques | Paul Bernard-Nouraud

Pages 158 to 165| Benjamin Riado, Paysages théoriques du Land Art | Dominique Chateau

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Pages 5 to 8| A many-sided genius | Marc Cerisuelo

Pages 11 to 19| From criticism to aesthetics through poetics, an “oblique path” | Bernard Vouilloux

Pages 21 to 30| Situating Gérard Genette | Dominique Combe

Pages 31 to 42| How can the Genettian focus be reconciled with the study of subjectivity in narrative? | Raphaël Baroni

Pages 43 to 51| And Genette invented metalepsis | Françoise Lavocat

Pages 53 to 68| Proof by Proust | Marc Escola

Pages 69 to 78| The Proustian formula of the “je”. Elements for a cryptanalysis of la Recherche | Thierry Marchaisse

Pages 79 to 87| Gérard Genette and the Proustian novel | Ioana Vultur

Pages 89 to 99| Genette and interactive fiction: a new field of application | Olivier Caïra

Pages 101 to 106| Gérard Genette, space, and narrative | Gerald Prince

Pages 107 to 117| French structuralism and its reception in Germany | Joachim Küpper

Pages 119 to 125| Gérard Genette and German narratology: the example of Narrative Discourse | Michael Scheffel

Pages 127 to 135| Revising one’s own life | Karen Haddad

Pages 139 to 145| Poetics and teaching. At the seminar of Gérard Genette | Annick Louis

Pages 147 to 166| Constitution and issues of the Raymonde Debray-Genette and Gérard Genette archives at EHESS | Goulven Le Brech, Anne Simon

Pages 167 to 173| If you like one riverbank, go and live on the other (about preferences in Gérard Genette’s work) | Marielle Macé

Pages 175 to 178| “The Death of Marcel”, an unpublished piece by Bergotte | Gérard Genette

Pages 181 to 190| The artist as an amateur: a critical positioning at the turn of the 21st century | Pascale Riou

Pages 191 to 198| Artforum and artists’ writings. One part of the art history of the sixties | Lorena Garcia Cely

Pages 201 to 204| Emmanuel Alloa, Partages de la perspective | Guillaume Schuppert

Pages 205 to 206| Maurice Fréchuret, L’Art et la Vie. Comment les artistes rêvent de changer le monde, XIXe-XXIe siècle | Carole Talon-Hugon

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Pages 5 to 8| The amateurs | Alexandre Gefen

Pages 11 to 22| The artist as an amateur historian | Danièle Méaux

Pages 23 to 32| The contradictions of Theatre of the Oppressed: The insoluble triangulation between amateur, professional, and activist theaters | Sophie Coudray

Pages 33 to 44| Flamenco afición: A passion squared | Anne-Sophie Riegler

Pages 45 to 55| Is haiku an amateur activity in Japan? | Minami Akiba

Pages 57 to 66| Toward a common poetry? The amateur poets of Twitter, Instagram, and Wattpad | Olivier Belin

Pages 67 to 75| Literary productivity of the amateur archive: The case of the fan archive | Marion Lata

Pages 77 to 85| The family movie: A poetics of the accident | Rodolphe Olcèse

Pages 89 to 106| Image and face: On the prohibition of representation in Emmanuel Levinas’ philosophy (2) | Paul Bernard-Nouraud

Pages 107 to 119| From the dying of the statue to the obliteration of the face: Levinas and the work of Sosno | Cesare Del Mastro

Pages 121 to 134| L’Autre Scène by Jean-François Lyotard | Francis Haselden

Pages 135 to 144| How environment affects aesthetics: On the thought of Arnold Berleant | Diane Linder

Pages 145 to 153| The broken lines of art. Diderot and Baudelaire on painting | Nathalie Kremer

Pages 157 to 158| Isabelle Bonnet, Sébastien Lifshitz, L’Inventaire infini, | Alexandre Gefen

Pages 159 to 162| Christian Boltanski, Faire son temps. Pascale Marthine Tayou, Black Forest. Sam Mendes 1917 | Dominique Chateau

Pages 163 to 166| Michel Ratté, Accorder les écritures. Georg Lukács/Rainer Rochlitz | Emmanuel Chaput

Pages 167 to 168| Thomas Carrier Lafleur and Jean-Pierre Sirois-Trahan (eds.), Revue d’études proustiennes, Proust au temps du cinématographe : un écrivain face aux médias | Dominique Chateau

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Pages 5 to 10| Artification/de-artification | Danielle Lories

Pages 13 to 20| Artification, or art from a nominalist perspective | Nathalie Heinich

Pages 21 to 33| A prolegomena to a philosophy of artification | Thierry Lenain

Pages 35 to 43| Art, aesthetic experience, and value: A phenomenological approach to artification | Claudio Rozzoni

Pages 45 to 52| Artification as “cognification” | Gerard Vilar

Pages 53 to 62| De-artification as emancipation from the prerequisite of a prior concept | Isabelle Rieusset-Lemarié

Pages 63 to 71| Proposals for artification and de-artification? Kant and the openness of the concept of fine arts | Danielle Lories

Pages 73 to 80| Beyond art, a conceptual existence: Lee Lozano and Stanley Brouwn | Émilie Robert

Pages 81 to 89| The artification of politics and the de-artification of art? The use of an activist style in some twenty-first-century art exhibitions | Nadia Fartas

Pages 91 to 98| Artification, de-artification, and re-artification in contemporary architecture | Rudy Steinmetz

Pages 99 to 108| Technical equipment, or art? On tool manipulation in the Japanese tea ceremony | Iulia Toader

Pages 111 to 128| Aesthetic experience: From analysis to Eros | Richard Shusterman

Pages 129 to 135| The glory of the machinist and the pleasures of illusion in France in modern times (1645–1772) | Anthony Saudrais

Pages 137 to 151| At the limits of reality: Perceptual reversals and reversibility between auditory and visual registers at work in in situ soundwalks | Lucia Angelino

Pages 155 to 156| Maryvonne Saison, La Nature artiste. Mikel Dufrenne : de l’esthétique au politique | Dominique Chateau

Pages 157 to 162| Three recently published theses on Japan, by Simon Ebersolt, Minami Akiba, and Teddy Peix | Dominique Chateau

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Pages 5 to 7| Art and ornaments | Carole Talon-Hugon

Pages 9 to 20| Industrial art and decorative art: Defenders and detractors of ornamental cast iron in the nineteenth century | Noémie Boeglin

Pages 21 to 29| Paul Souriau and Émile Gallé: Ornament, situated between dream and utility | Rossella Froissart

Pages 31 to 39| The legacies of John Ruskin and William Morris in Oscar Wilde’s American lectures | Alexandre Bies

Pages 41 to 53| When ornament becomes the subject: Wallpaper in avant-garde paintings of the late nineteenth century | Brice Ameille

Pages 55 to 67| Renoir as theoretician: The painting as ornament and its relationship to the wall | Marine Kisiel

Pages 69 to 77| The ornament in Jean d’Udine’s essays | Marion Sergent

Pages 79 to 86| Enrichments, and out of the ordinary, misshapen, and symbolic ornaments: On some categories of the classical tradition | Catherine Titeux

Pages 87 to 94| The appropriateness of ornament: An ethical issue? | Elisabetta Di Stefano

Pages 95 to 105| Between abstraction, multiplicity, and materiality in Japanese aesthetics | Alexandre Melay

Pages 107 to 120| The aesthetics of the wild | Yann Lafolie

Pages 121 to 128| Read, seen, heard

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Pages 5 to 7| Environmental esthetics | Jacques Morizot

Pages 9 to 23| From the represented landscape to the real landscape | Justine Balibar

Pages 25 to 35| Ecology and landscape | Paolo D’Angelo

Pages 37 to 53| The principles of environmental esthetics | Pierre-Henry Frangne

Pages 55 to 64| An esthetics of nature or an environmental esthetics? | Jean-Marie Schaeffer

Pages 65 to 74| Esthetics, living environments, and action | Michaël Hayat

Pages 75 to 86| What is esthetic about environmental esthetics? | Patricia Limido

Pages 87 to 96| The illegibility of the landscape | Estelle Zhong Mengual, Baptiste Morizot

Pages 97 to 106| Is there an esthetics of protecting nature? | Catherine Larrère

Pages 107 to 117| Environmental esthetics and research-creation | Nathalie Blanc

Pages 119 to 128| Environmental esthetics and ecocriticism: Pragmatic perspectives | Enno Devillers-Peña

Pages 129 to 139| An esthetics of carrion: Aristotle as the father of cognitive esthetics | Hicham-Stéphane Afeissa

Pages 141 to 146| Read, seen, heard | Claire Thouvenot

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Pages 5 to 7| Presentation | Jacques Morizot, Pierre Leveau

Pages 9 to 20| When is there a Parthenon? | Stéphane Dawans, Claudine Houbart

Pages 21 to 29| Authenticity and heritage, a shifting immobility | Denis Guillemard

Pages 30 to 40| Is there a scientific beauty? | Nathalie Heinich

Pages 41 to 49| Architecture and painting: On the patrimonial unity of the artistic series | Nadia Fartas

Pages 51 to 60| The social ontology of heritage: Lascaux and the problem of time | Pierre Leveau

Pages 61 to 72| Cultural heritage and social processes | Pierre Livet

Pages 73 to 83| Heritage and the preservation of traditional inheritance in Tunisia during the nineteenth and twentieth centuries | Faiza Bruscella Matri

Pages 85 to 97| A study in red: Three ways to kill the author | Salvador Muñoz Viñas

Pages 99 to 108| Rothko’s Harvard Murals: Some philosophical issues related to restoration | Jacques Morizot

Pages 109 to 119| Why should we preserve art works and heritage? | Roger Pouivet

Pages 121 to 129| Ruins at work | Filippo Fimiani

Pages 131 to 141| Untitled (Say Goodbye, Catullus, to the shores of Asia Minor), a landscape by Twombly | Anthi-Danaé Spathoni

Pages 143 to 155| Evolution and artistic creation: On evolutionist art | Ancuta Mortu

Pages 157 to 166| Image and face | Paul Bernard-Nouraud

Pages 167 to 179| Aestheticizing democracy | Jean-Paul Fourmentraux

Pages 181 to 187| Seen, read, heard

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Pages 5 to 8| Scenography: Modern questionings and historical counterpoints | Ondine Bréaud-Holland

Pages 9 to 20| Scenography as heterotopia: From the elsewhere to the after | Gaëlle Périot-Bled

Pages 21 to 29| Theatrical scenography, a modern art | Marie-Noëlle Semet-Haviaras

Pages 31 to 40| The heteronomy of scenography | Benjamin Delmotte

Pages 41 to 49| Scenography, staging, and dramaturgy at the opera | Catherine Ailloud-Nicolas

Pages 51 to 59| Is scenography an art in its own right? | Ondine Bréaud-Holland

Pages 61 to 76| Scenographic spillovers | Victor Thimonier

Pages 77 to 88| Scenographies of the dead end | Guillaume Gesvret

Pages 89 to 97| Aesthetic implosions, or when scenography disappears | Pamela Bianchi

Pages 99 to 111| Bachelard, a phenomenology of spatiality | Jean-Jacques Wunenburger

Pages 113 to 125| Porosity, infiltration, and anticipation in action | Clémentine Cluzeaud

Pages 127 to 147| The domestic space of architects: Scenography and daily living | Anne Roqueplo

Pages 149 to 162| The scene-landscape: Thinking about a scenography of the gaze | Maria Clara Ferrer

Pages 163 to 170| Playing with vision and description | Anthony Saudrais

Pages 171 to 180| The collaboration of stage professions in the critical writing of Oscar Wilde | Alexandre Bies

Pages 181 to 188| Between yesterday and today: The auctoriality of scenography in play | Marion Lemaire

Pages 189 to 196| The future of an illusion | Martine Kaufmann

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Pages 5 to 12| Presentation | Dominique Chateau

Pages 13 to 21| Étienne Souriau’s poetics | Richard Conte

Pages 23 to 31| Life as an artwork | Filippo Domenicali

Pages 33 to 41| Étienne Souriau: A singular ontology | Dominique Chateau

Pages 43 to 53| “Abaliety” and the problem of singular knowledge: Novelistic processes | Renaud-Selim Sanli

Pages 55 to 63| The essence of unachievement | Jacinto Lageira

Pages 65 to 75| Étienne Souriau or the glory of aesthetics | Patricia Touboul

Pages 77 to 84| Is Souriau’s philosophy of “instauration” an aesthetic? | Aline Wiame

Pages 85 to 96| Étienne Souriau and dance, (missed) encounters? | Lætitia Basselier

Pages 97 to 105| The game machine of Étienne Souriau or theatre as the art of philosophy | Isabelle Barbéris

Pages 107 to 125| Decorative arts on screen: Heuristic implications of the contour, the ornament, and the arabesque in the aesthetics of Étienne Souriau | Isabelle Rieusset-Lemarié

Pages 127 to 139| Étienne Souriau, filmologist: A history of his ontological thought on cinema among the arts (corpus, unpublished works, archives) | Fabien Le Tinnier

Pages 141 to 150| “Instaurative” onto-aesthetics, multirealism of the phantomal, and cinematic fiction | Michaël Hayat

Pages 151 to 196| Étienne Souriau: Fragments for an intellectual biography | Filippo Domenicali, Fabien Le Tinnier

Pages 197 to 211| A comprehensive bibiolography of Étienne Souriau’s works (1892-1979) | Dominique Chateau, Filippo Domenicali, Fabien Le Tinnier

Pages 213 to 223| Iconographic dossier

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Pages 5 to 9| Facts and values in aesthetics: Current approaches and issues | Evangelos Athanassopoulos, Filippo Fimiani, Barbara Formis, Jacinto Lageira

Pages 11 to 27| An alternative deduction of aesthetics judgments | Fabrizio Desideri

Pages 29 to 40| Does theory kill? | Dominique Chateau

Pages 41 to 49| On the faculty to (not) judge | Fred Guzda

Pages 51 to 61| The principle of non-neutrality: Facts and values in the visual arts | Ronald Shusterman

Pages 63 to 70| Aesthetic criticism and philosophy of values: Walter Benjamin, “Rickert’s student” | Patricia Lavelle

Pages 71 to 80| Ethical foundations put to the test by biotechnological art | Catherine Voison

Pages 81 to 91| The dismissal of contemporary art: confusing value and fact? | Cécile Angelini

Pages 93 to 101| Ars, design, and ethical commitment | Joan M. Marín Torres

Pages 103 to 114| What art does to memory: Appropriating human time in a new ethical way | Patricia Touboul

Pages 115 to 132| Modernism and musical autonomy: On Lydia Goehr’s critical formalism | Jean-Philippe Narboux, Katerina Paplomata

Pages 133 to 144| The art of possible | Ronald Bogue

Pages 145 to 172| Valery’s formalism: An aesthetic requirement in the service of the reappropriation of the subject | Anne Launois

Pages 173 to 182| The cosmopolitanism of ugliness | Karl Sarafidis

Pages 183 to 197| Apophatic art | Maria Zoubouli

Pages 199 to 205| Another difference between occidental and Chinese ancient cultural basis: the cult of gold and the cult of jade | Zhongyi Shi

Pages 207 to 216| Read, seen, heard

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Pages 5 to 28| Ruskin reconciled in de Charlus | Cristian Micu

Pages 29 to 41| The metamorphoses of utopia | Léa Barbisan

Pages 43 to 60| For an environmental aesthetics of the landscape | Julien Delord

Pages 61 to 75| “The idea of an affective a priori” and aesthetic perception in the work of Mikel Dufrenne | Claude Thérien

Pages 77 to 87| Intergenericity and interartiality in Alain Mabanckou’s Lumières de Pointe-Noire, or looking at the N’zassa novel | Arsène Blékain

Pages 89 to 103| Nostalgic iconology in the work of R.W. Fassbinder, or cinema as a tool for an alternative history of art | Jean-Michel Durafour

Pages 105 to 112| The “Vitruvian man” and issues of representation of the human body in the arts during the Renaissance | Laetitia Marcucci

Pages 113 to 121| The limits of representation: Eisenstein’s ecstasy as a reinvention of utopia by the Russian avant-garde | Massimo Olivero

Pages 123 to 138| The damaging power of fiction | Raphaël Künstler

Pages 139 to 159| Seeing in art, seeing in science | Maria Giulia Dondero

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Pages 5 to 10| Presentation | Cécile Guédon, Isabelle Rieusset-Lemarié

Pages 11 to 31| When a minor art form rules | Raúl C. Sampaio Lopes

Pages 33 to 45| The king’s two ears | John T. Hamilton

Pages 47 to 63| The free play of the art-effect | Isabelle Rieusset-Lemarié

Pages 65 to 81| The martial arts as Ars Concordia | Christophe Genin

Pages 83 to 96| Comparing the arts with the compass of the aesthetics of diversity? | Hélène Sirven

Pages 97 to 107| The Screening Rooms of El Lissitzky | Olivia Crough

Pages 109 to 122| Archeology of the cinematic frame | Ruth Johnston

Pages 123 to 134| A Poisoned Mixture | Henry Bowles

Pages 135 to 141| Seen, read, heard

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