A major part of Ordinary Aesthetics has been to include the traditionally marginalized aesthetic categories excluded when studying beauty, truth, and goodness. These “negative aesthetics” are implicated in the construction, presentation, and sustenance of marginalized identities. For the purposes of my article, I will be focusing on the effort to incorporate the aforementioned in the study of aesthetics, essentially arguing for them to be inherently valuable and not for the sake of producing a “positive.” To this end and keeping up with the thrust to include other traditions within aesthetics, my article will explore certain strands of Sufi poetry, namely the tradition of Qalandariyat, which present marginalized social identities to our awareness and not for the sake of changing or improving them. I will present some samples from the Persian poetry of Hafez and Rumi, as well as Punjabi couplets of Bulleh Shah and Shah Hussain, for a hermeneutic study that grounds the aesthetics of their Qalandari-themed literature in the usage of “negative” aesthetic categories. This exercise contains the promise of expanding the horizons for our field of sensibilities, by engaging with those social identities that have remained outside them and that too on their own terms.

中文翻译：

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Qalandariyat：苏菲诗歌消极美学中的边缘性

普通美学的一个主要部分是包括在研究美、真和善时排除的传统边缘化美学类别。这些“消极美学”涉及边缘化身份的构建、呈现和维持。就我的文章而言，我将重点关注将上述内容纳入美学研究的努力，本质上是主张它们具有内在价值，而不是为了产生“积极的”。为此，为了跟上将其他传统纳入美学的推力，我的文章将探讨苏菲诗歌的某些方面，即卡兰达里亚特，它们将边缘化的社会身份呈现给我们的意识，而不是为了改变或改善它们。我将展示哈菲兹和鲁米的波斯诗歌以及布勒沙阿和沙阿侯赛因的旁遮普对联的一些样本，以进行诠释学研究，以奠定他们的美学基础。卡兰达里-使用“消极”审美范畴的主题文学。这项练习有望通过接触那些仍然在我们的情感领域之外的社会身份，并按照他们自己的方式进行接触，从而扩大我们的情感领域的视野。