Aestheticizing Pragmatics --; The Gamut of Pragmatics --; Homo Economicus and Homo Sociologicus --; Antilope, Albertine and Penelope: Three Little Ontologies --; Modus Logicus and Modus Aestheticus --; 1 Strategic Rationality --; 1. Philia and Ens --; 2. Calculus and Manipulation --; 3. The Art of War or Kriegskunst --; 4. Games of Society and Games of Culture --; 2 Time, That Great Sculptor --; 1. Saying Time --; 2. Sensing Time --; 3. Remembering Time --; 4. Epilogue: Suffering Time --; 3 Abductive Understanding --; 1. Intuition --; 2. Presumption --; 3. Habit --; 4. Sensibility --; 4 Reasonable Pathos --; Prolegomena: The Discursive Economy of Pathos --; 2. The Logic of Sentiments --; 3. The Reasons of Passion --; 4. The Reasons for Desiring Passion --; 5 The Sublime and the Ambiance of Seduction --; 1. Hypostasis and Critique of the Sublime --; 2. The Schema of Aesthetic Values --; 3. The (Sublime) Ambiance of Seduction --; 6 The Attitude of Good Taste --; 1. Understanding the Acceptable --; 2. Desiring the Obligatory --; 3. The Royal Way --; 7 Communicating Through Aisthesis --; 1. The Pursuit and Crisis of Foundations --; 2. The Argumentative and Communicative Community --; 3. The Affective Community --; 4. Socializing the Sensible, Sensibilizing the Social.
SUMMARY OR ABSTRACT
Text of Note
The dominant paradigm in the sciences of language conceives the subject-in-community as a truth-sayer, a communicator, and a player-economist. The major ontology of the human community reconstructs being-together as a system of interactions and transactions subject to the rules of economic rationality and, as a consequence, the community as source and target of finite strategical games. The primordial value then is the circulation of information and ideal communication is favored by the truth-functional status of our discourses. However, this dominant ontology has a few cracks. This is where the aesthetic dimension intrudes, establishing here and there the blink of an eye, shattering the economic, communicational, and truth-saying phantasm, scattering the field of being-together, fragmenting it. These aesthetic fringes conduct themselves according to the isotopy of blossoming, of rupture and fracture, of thresholds and discontinuity. Their effect is one of bedazzlement, trembling, shaking, upheaval, lightheadedness. Infinite games in conversation, the musicality of voices, understanding by flair and tact, the temporariness of nostalgic memory, reasonable pathos, are what has been emphasized in this book.