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| Revue d'esthétique | |
|---|---|
| Title | Revue d'esthétique |
| Discipline | Aesthetics |
| Language | French |
| Abbreviation | Revue esthé. |
| Publisher | Presses universitaires (historical) |
| Country | France |
| History | 20th–21st century |
| Frequency | Annual / Quarterly (varies) |
Revue d'esthétique is a French-language scholarly journal devoted to aesthetic theory and the philosophy of art. It has functioned as a venue linking the traditions of Immanuel Kant, Georg Wilhelm Friedrich Hegel, Friedrich Nietzsche, Henri Bergson, and Maurice Merleau-Ponty with contemporary debates involving Arthur Danto, Nelson Goodman, Theodor W. Adorno, Walter Benjamin, and Gilles Deleuze. The journal has published essays, critical notes, and bibliographic surveys that bridge historical scholarship on figures such as Plato, Aristotle, Plotinus, Jean-Jacques Rousseau, and Denis Diderot with analyses of modern and contemporary artists including Édouard Manet, Marcel Duchamp, Pablo Picasso, Jackson Pollock, and Yayoi Kusama.
Founded in the 20th century amid renewed interest in aesthetic theory, the journal emerged in the milieu of French intellectual institutions such as the École Normale Supérieure, Sorbonne University, Collège de France, and the Centre National de la Recherche Scientifique. Early issues engaged with the reception of Kantian aesthetics through commentary on the Critique of Judgment and conversations around Hegelian aesthetics and the legacy of Alexandre Kojève. During the mid-century period the periodical intersected with debates at venues like the Société française de philosophie and conferences featuring scholars tied to École des Hautes Études en Sciences Sociales and the Musée du Louvre. In the later 20th century it participated in dialogues spurred by the writings of Roland Barthes, Jacques Derrida, Michel Foucault, and Pierre Bourdieu, while adapting to editorial currents associated with Structuralism, Post-structuralism, and Phenomenology.
The journal addresses themes ranging from classical theories of beauty in the work of Plotinus and Alexander Pope to modern theories advanced by Immanuel Kant, G.W.F. Hegel, and Friedrich Schiller. It covers investigations into representation and mimesis as discussed by Aristotle, Plato, and mimesis theorists, intersections of visual art and language found in studies of Wittgenstein and Ludwig Wittgenstein, and questions of form and interpretation related to Hans-Georg Gadamer and Paul Ricoeur. The journal situates analyses of music and sound through reference to Richard Wagner, Arnold Schoenberg, and Theodor W. Adorno, and explores performance studies via work on Bertolt Brecht, Antonin Artaud, and Pina Bausch. It also addresses contemporary practices and conceptual art exemplified by Marcel Duchamp, Joseph Kosuth, Yoko Ono, and Alain Badiou.
Editorially, the periodical has followed a conventional peer-reviewed model with an editorial board drawn from faculties associated with Université Paris 1 Panthéon-Sorbonne, Université Paris-Sorbonne, Université Paris Nanterre, Université de Strasbourg, and international partners at institutions like Oxford University, Harvard University, Columbia University, and University of Chicago. Publication frequency has varied between annual thematic volumes and more frequent quarterly issues. Each issue typically includes invited essays, submitted research articles reviewed by specialists on panels linked to societies such as the International Association for Aesthetics and editorial oversight similar to that practiced by journals like The Journal of Aesthetics and Art Criticism. Special issues have been organized around conferences at venues including the Musée d'Orsay, Tate Modern, and the Museum of Modern Art.
The journal has featured contributions from prominent scholars and critics including Jean-Paul Sartre, Maurice Merleau-Ponty, André Malraux, Georges Bataille, Paul Valéry, Jacques Rancière, Gilles Deleuze, Julia Kristeva, Dominique Janicaud, Arthur Danto, Nelson Goodman, and Michael Fried. Articles have treated seminal works and moments such as readings of Klee, critical reassessments of Impressionism and Cubism, examinations of Surrealism and Dada, and theoretical engagements with Conceptual art and Minimalism. The journal has also published archival documents, translations, and debates over interpretations of major texts like Kant's Critique of Judgment, Hegel's Aesthetics, and Adorno's Aesthetic Theory.
Within French and international humanities networks the journal has been influential in shaping curricula at institutions such as École Normale Supérieure, Conservatoire de Paris, and Université Paris 8 Vincennes-Saint-Denis. Scholars referencing its essays appear in monographs published by presses like Presses Universitaires de France, Cambridge University Press, Oxford University Press, and Routledge. Its impact is visible in citation networks connecting works on phenomenology, hermeneutics, critical theory, and continental philosophy, and in interdisciplinary fields involving departments at Sorbonne Nouvelle University, Goldsmiths, University of London, and New York University.
The journal is indexed in bibliographic services and databases used by humanities scholars, comparable to listings in Scopus, JSTOR, Project MUSE, and national catalogs maintained by the Bibliothèque nationale de France. Back issues are held in major research libraries including Bibliothèque nationale de France, British Library, Library of Congress, and university libraries at Harvard University, University of Oxford, and Université de Montréal. Selected articles have been translated and reprinted in anthologies from academic publishers such as Gallimard, Éditions de Minuit, and Le Seuil.
Category:Philosophy journals