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- W4306945323 abstract "Current debates about decolonisation in the arts and humanities provide a stimulus for this chapter’s examination of Tagore’s pedagogical and aesthetic thought, bringing out the exemplary role of music in his philosophy of culture. Developments across Tagore’s thinking and educational experience at Santiniketan from the 1900s to the 1930s show the emergence of an idea of aesthetic experience and productivity—the “surplus”—rooted in a dual rejection of Western social Darwinist philosophy and colonial-bureaucratic practices of rationalisation. Competing with rival anti-colonial visions, including that of Gandhi, which reconfigured rather than challenged social Darwinist doctrines as they emphasised the value of moral “strength” and asceticism, Tagore instead chose to celebrate culture precisely for its transcendence of strength and efficiency. In particular, he defended music against those who charged it with being “superfluous.” In resonance with ideas of aesthetic education explored by European Romantic and Idealist thinkers such as Schiller, Tagore’s cultural project did not withdraw into an autonomous aesthetic universe, but maintained its focus to the end on putting art’s surplus of expressive energy towards the development of moral sympathy and political freedom." @default.
- W4306945323 created "2022-10-21" @default.
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- W4306945323 date "2022-10-20" @default.
- W4306945323 modified "2023-09-27" @default.
- W4306945323 title "“Music's Spring Breezes Blew through the Heart of the Land”" @default.
- W4306945323 doi "https://doi.org/10.4324/9781003157762-15" @default.
- W4306945323 hasPublicationYear "2022" @default.
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