While Hegel’s influence on Arthur Danto has been examined in relation to specific parts of his thought, an overall analysis of said influence is still wanting. In this article, I analyze the presence of Hegelian influence in Danto’s complete thought from three perspectives: (1) Danto’s acceptance of Hegelian assumptions when it comes to the conception of history, narrative realism and historical progress, which allows him to combine timeless essentialism with historicism, (2) the cognitive aspect of art and the conception of (...) art as an embodied symbol, as well as the historical quality of said embodiment, and (3) the assumption that art’s trajectory coincides with the Hegelian prophecy that art will give way to philosophy, on which Danto’s “end of art” thesis is based. This examination not only illuminates the interrelation between the different parts of Dantian philosophy, but also reveals its systematic character. (shrink)

"Popular summaries of existentialism and Sartre's ideas have ensured a wide currency for such words as 'absurdity', 'nothingness', 'engagement', 'shame', and 'anguish'. But for Sartre, each of these words embodies a precise philosophical concept which he applies and explores further in his fiction and plays. Synthesized in 'Being and Nothingness' and 'Critique of Dialectical Reason', these concepts comprise a fully articulated philosophical system which, as Arthur C. Danto argues, in its vision and scope, logical responsibility and human relevance, (...) takes its place among the greatest of philosophical achievements. This book offers a synoptic and sympathetic reconstruction of the Sartrean system and in particular Sartre's analysis of the nature of language, consciousness, knowledge, self, and values." --Descripción del editor. (shrink)

The overall subject of the essays in _The Body/Body Problem_ is the traditional one of what our ultimate makeup is, as creatures with minds and bodies. The central thesis is that we are beings who represent—and misrepresent—actual and possible worlds. Addressing philosophical questions of mental representation, Danto presents his distinctive approach to some of the most enduring topics in philosophy. He is concerned with the nature of description, the status of the external world, action theory, the philosophy of history, (...) and the philosophical status of psychoanalytic explanation. Representation is a central concept in philosophy, says Danto, with differences among philosophers arising in the ways they account for how representations connect to the world or to the individuals possessing them, and how they connect with one another to form systems of beliefs, feelings, and attitudes. In these essays Danto's own voice, with his arguments and speculations, provides rich philosophical pleasures that will endure, to borrow from Santayana, "under whatever sky." Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

A sympathetic and systematic reconstruction of Sartre's philosophy, explaining its relation to other major philosophical theories. Among the themes elucidated are the relation between reality and our representation of it; the parities between language and consciousness; the relationship between the world as it may be and as we structure it in our interventions as engaged beings; the conceptual interdependence of the self and others; and the connections between factual beliefs and systems of value.--Adapted from book jacket.

Arthur Danto numbers among the few contemporary philosophers whose writing is really a pleasure to read. Although rarely recognized, the source of that pleasure is Danto’s humor. His philosophical writing is consistently comic. Of course, the humor is obviously not of the knee-slapping variety. Yet it is pervasively playful.Danto will introduce a thought experiment and then explore it in several directions. Unlike many other contemporary philosophers, he is not stingy in laying out his examples. Whereas it is customary for (...) most other philosophers to sharpen their thought experiments like arrows in order to hit their target while carrying no wasted verbiage, Danto elaborates his, often.. (shrink)

Li Zehou stands among the most influential Chinese philosophers in the post-Mao era. His notion of subjectality is of paramount importance for current developments in contemporary Chinese philosophy. It belongs to the central concepts in Li's theoretical framework, around which his entire philosophical system is constructed. With his elaboration of this concept, Li expanded the problem of the self in post-revolutionary modernism. The present article analyzes the theoretical bases of this concept, exposes its importance in the scope of contemporary (...) Chinese theory and shows why and how it represents a call for a new humanism. Through a multidimensional comparative perspective, the author also explains why the human subject, which is based upon Li's notion of subjectality, has the potential not only to transform modern alienation into a real “human condition,” that is, into spiritually fulfilled society of autonomous individuals but also to fill up the prevailing “vacuum of values.”. (shrink)

As a major source of social values, Modern Confucian theory assumes essential significance amidst the proliferation of instrumental rationality in contemporary China. This current is distinguished by a multifaceted attempt to revitalize traditional thought by means of new influences borrowed or derived from Western systems. It defines itself with a search for a synthesis between “Western” and traditional Chinese thought, aiming to elaborate a new system of ideas and values, suitable for the modern, globalized society. Modern Confucian discourses are (...) based on the supposition that Confucian thought could be amalgamated with capitalistic development. Its proponents also believe that a renewed form of this traditional Chinese system of philosophical and moral thought could serve as a basis for endowing modern life with ethical meaning and as a “spiritual salve” for the alienation which appeared as an undesirable side-effect of capitalist competition and profit-seeking. The present contribution examines the ways in which Modern Confucian philosophers changed the framework within which traditional Chinese philosophical inquiry has been carried out. The article investigates the ontological approaches that have led to this paradigm shift which became axiomatic for the further development of intercultural theoretical syntheses between Europe and China. (shrink)

My aim in this paper is to draw attention to a currently underdeveloped notion of pain and alienation, in order to sketch an account of the harms of ‘discursive abuse’. This form of abuse comprises systemic practices of violating a person’s vulnerable integrity as a knowing agent. Discursive abuse results in, what I would like to call, ‘agential alienation’. This particular genus of alienation, whose broad conceptual origins lie in the respective works of Hegel and the early Marx, involves an (...) agent being robbed of their self-conception as a rational inquirer and participant in a deliberative public sphere. Such alienation causes a particular kind of pain for an agent that often has harrowing material effects. (shrink)

Arthur Danto invokes his philosophy of history to authorize a reading of Nietzsche that his philosophy of history nevertheless undermines. Danto's Nietzsche was a system builder, for, “if only tacitly,” he submitted his thinking to the demands of the philosophical “discipline,” “where there is no such thing as an isolated solution to an isolated problem”. In his Analytical Philosophy of History, Danto invents a character he dubs “the Ideal Chronicler.” Danto's notion of a narrative sentence clarifies his (...) idea that historical understanding is retrospective; that it is a matter of assigning significance to earlier events in light of later ones – thus, a matter of placing earlier events within a story we wish to tell. Danto attributes the structural coherence of Nietzsche's writings both to historical understanding and to the systematizing tendencies of philosophical inquiry. (shrink)

Hegel's Phenomenology of Spirit put alienation high on the philosophical agenda, as was readily recognized by Marx. Relatively well-known is also that Hegel's concept of alienation was inspired by Goethe's translation of Diderot's dialogue Rameau's Nephew, but the details and the conceptual implications of these details typically escape scholarly attention. Recognizing the basic idea of alienation as not-belonging to or being deprived of something, I emphasize that alienation implies a movement towards the limits of the human being, in which (...) the mental suffering this involves is conditioned by social pathologies. To substantiate this claim, I show how Diderot?s satire implies uncompromising materialist social criticism, but that it does not employ the term 'aliénation' but instead reserves it for a kind of frenzy that borders on insanity. My claim is then that, in Goethe?s translation of Diderot?s dialogue, and in his translation of 'aliénation' to 'Entfremdung', Hegel found a general key for the conceptual critique of the spirit of Modernity. I therefore argue that, in the Phenomenology, Hegel employed alienation in more than one sense, raising madness to the level of a characteristic of Modernity, stressing the detrimental implications for consciousness under such living conditions, emphasizing how alienation works as negation, and, finally, pointing nevertheless to the possibility of embracing social and political reality. (shrink)

Cybernetic-Existentialism: Freedom, Systems, and Being-for-Others in Contemporary Art and Performance offers a unique discourse and an original aesthetic theory. It argues that fusing perspectives from the philosophy of Existentialism with insights from the 'universal science' of cybernetics provides a new analytical lens and deconstructive methodology to critique art. In this study, Steve Dixon examines how a range of artists' works reveal the ideas of Existentialist philosophers including Kierkegaard, Camus, de Beauvoir and Sartre on freedom, being and nothingness, eternal recurrence, (...) the absurd, and being-for-others. Simultaneously, these artworks are shown to engage in complex explorations of concepts proposed by cyberneticians including Wiener, Shannon, and Bateson on information theory and 'noise', feedback loops, circularity, adaptive ecosystems, autopoiesis, and emergence. Dixon's ground-breaking book demonstrates how fusing insights and knowledge from these two fields can throw new light on pressing issues within contemporary arts and culture, including authenticity, angst and alienation, homeostasis, radical politics, and the human as system. (shrink)

This study of Western philosophic systems, their types, history, relations, and projected future in the next half century, stems from Robert S. Brumbaugh’s forty-year fascination with the paradox of the many consistent overarching systems of ideas that are nevertheless mutually exclusive. Brumbaugh argues that when we isolate these systems’s patterns and look at them more abstractly, they consistently fall into four main types, and the interaction of these four types of explanation and order is a dominant theme (...) in the history of Western philosophy. In Brumbaugh’s view these four philosophic systems are not, as some critical historians and thinkers have claimed, so different that they are mutually unintelligible, forcing us to make a choice among them that is entirely arbitrary. But neither are they, as a majority of past thinkers and historians have hoped, simply parts of some single "right" or "orthodox" scheme. Their mutual understanding requires a method of transformation that interprets one to another without destroying their diversity. The history of Western philosophy from the fifth century A.D. to the present shows a pattern of alternating revolutions in systematic method and direction of explanation. Brumbaugh feels that the pattern is continuing in a change toward a revised Platonism, just beginning with the twenty-first century. He anticipates that it will be a Platonism of a new texture, one that has matured and learned a great deal in the course of the adventures of its ideas through space and time. (shrink)

Description: This scholarly work of Dr S.M.S. Chari's deals with the critical review of seventeen philosophical systems as presented in an important philosophical treatise of the thirteenth century titled Paramata-bhanga contributed by Vedanta Desika, an illustrious successor to Ramanuja, who is the chief exponent of Visistadvaita Vedanta. The main objective of Paramata-bhanga is to establish that Visistadvaita is a sound system of philosophy as compared to the several other Non-Vedic as well as Vedic schools and also Vedanta (...) schools developed by Samkara, Yadavaprakasa, Bhaskara, and other exponents of the post-Ramanuja period. The original text written in Manipravala (a mixture of Tamil and Sanskrit) language contains, besides a brief account of the fundamental doctrines of Visistadvaita. The schools covered are Carvaka, Buddhism, Jainism, Sankhya, Yoga, Vaisesika, Nyaya, Purvamimamsa, Pasupata, Sabdabrahma-vivartavada, and Advaita Vedanta. Among the extant philosophical classics, Paramata-bhanga is a unique work. Realizing the importance of the Paramata-bhanga for the comparative study of Indian philosophy, late Dr Chari tried to give a lucid exposition of this treatise in English. This volume, which is the first of its kind, would be invaluable for students of Indian philosophy in general and Visistadvaita in particular. (shrink)

Previous attempts to elucidate the meaning of Plato's exile of the poets in Republic X fall into two groups: they either dismiss the exile of poetry as marginal to the dialogue's main argument or they understand its logic in relation to only one, among several, fundamental Platonic doctrines advanced within the dialogue. In Alien Pleasures: The Exile of the Poets in Plato's Republic, I argue that not only is Book X's exile of poetry an integral and important part of the (...) dialogue but it is also the site where all of Plato's most innovative and controversial theories are finally inextricably bound together as one complete philosophical system. Further, I explicate how Plato uses his whole philosophical system to deploy a definition of the poetic effect as essentially dangerous to and subversive of the values of the philosophical life. ;The dangers of poetry are explored in four separate chapters, each of which examines a distinct aspect of Plato's uncomfortable relation to poetic creation and experience. In Chapter One, I concentrate on Plato's definition of the metaphysical dangers of poetry, both a disguised and false imitation of divine production and of philosophical discourse. In Chapter Two, I suggest how Plato enacts an epistemological break with prior definitions of poetry so to define it as the most deceptive and dangerous speech possible. Chapter Three concentrates on the operations of the poetic image in Plato's ontology. I argue that Plato conceives the poetic image as the most dangerous kind of representation, removed as far as ontologically possible from the reality of the forms. The final chapter concentrates on Plato's conception of poetic grief and the psychological dangers poetry poses to the ethical and rational individual. I demonstrate that the pleasures of poetic passion are of a different order than those of to epithumetikon. Furthermore, unlike these desires, poetic passion cannot simply be mastered by the exercise of reason. Rather, Plato argues, spirit must first be aligned with reason and all the distinct parts of the soul harmonized in order to counter the irresistible attraction to the alien pleasures of poetic passion. (shrink)

Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in _The Raising of Lazarus; _chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of (...) Robert Motherwell, Andy Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical. Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

Purpose. The article aims to comprehend the concept that has a serious anthropological meaning, – a "co-existential educational community" – which points at the real subject and object in the development of the educational reality, as well as to explicate its importance towards understanding the real way of addressing actually to the culture and its acquisition in the pedagogical process. Theoretical basis. To achieve this purpose, the method of categorical-reflexive analysis of texts and problems of real educational realities is used; (...) this allows to involve of such philosophical concepts as "sobornost", "all-unity", "culture" and distinguish their anthropological meaning. Under this approach, philosophical categories are able to appear as internal dimensions of the essence in the educational process, rather than a certain matrix, for which one or another theoretical or practical construction is adjusted. Originality. The originality of the article lies in the actualization of philosophical content in "sobornost" and "all-unity" concepts for philosophical-educational discourse and in solving the question on the real way of entering culture in the context of pedagogical communication. Conclusions. Addressing the idea of a co-existential educational community is able to oppose the widespread superficial notions of the so-called "educational environment" in the pedagogical and psychological literature and orient pedagogical theory and pedagogical practices on the real way of entering the individual into truly human forms of life. It is argued that the co-existential educational community can and should unfold not only "horizontally", but also "vertically", consciously integrating the high culture in itself as a culture of high. The authors emphasized the role of imagination in this process. Education can and should build co-existence with the culture of participants in pedagogical communication. It is with this approach that the education sector can emerge from the systemic crisis and actively oppose those trends in modern social life that increase alienation and depopulation. (shrink)

This full-scaled monograph, rich in factographic material, concerns Nārāyaṇa Guru, a founder of a powerful socio-religious movement in Kerala. He wrote in three languages, drawing on three different literary conventions. The world of this complex philosophic-religious literature is brought closer to the reader with rare deft and dexterity by the Author who not only retrieves for us the original circumstances, language and poetic metre of each work but also supplies histories of their reception. Thanks to numerous glosses, comments and elucidations (...) supplied by the Author, we can much better understand how Nārāyaṇa's mystical universe creatively relates to the Tamil OEaiva Siddhānta and to Kerala's variety of Vedānta tradition. Prof. Cezary Galewicz. (shrink)

Richard Browring called "Isi monogatari" one of the most important and at the same time one of the most mysterious texts of Japanese culture. Created at the beginning of the tenth century, at a turning point, at the dawn of the early and mature phases of Hayan's days, this work was one of the first written in classical Japanese, one of the first works of the genre of monogatari, the first work of the genre Uta-monogatari, and others like that. He (...) then laid down standards for the entire development of the Japanese literary tradition. However, we are not interested in the philological aspect of the problem, and such an aspect that was still on the periphery of the studios "Isi monogatari", namely, the religious and philosophical interpretation of the work. A vivid example of such an interpretation is one of the most ancient commentary on this work, "Isa monogatari zuiṇo:". Next, for convenience, we will call it just "Zuino". (shrink)

The Confucian revival, which manifests itself in the modern Confucian current, belongs to the most influential and important streams of thought in contemporary Chinese philosophy and represents a crucial part of the new prevailing ideologies in P. R. China. Although many books and articles on this topic are available in Chinese, academic studies in Western languages are still few and far between. The present article aims to introduce this stream of thought which is grounded in the conviction that traditional Confucianism, (...) understood as a specifically Chinese social, political, and moral system of thought can, if renewed and adapted to meet the conditions of the modern era, serve as the foundation for an ethically meaningful modern life. Simultaneously, modern Confucian philosophers also aim to provide a spiritual antidote to the alienation which is seen by them as a collateral effect of the capitalistic glorification of competition and the single-minded pursuit of profit. The scholars belonging to this stream sought to reconcile ‘Western’ and ‘traditional Chinese’ values, in order to create a theoretical model of modernization that would not be confused or equated with ‘Westernization’. (shrink)

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact -- especially the essay "The End of Art," which dramatically announced that art ended in the 1960s -- this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's (...) ideas, _The Philosophical Disenfranchisement of Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

Newman’s English empiricist background had alienated him from neoscholastic and analytic philosophers. His theological concerns separated him fromother empiricists, while his empiricism separated him from idealist philosophers who gave serious consideration to religious ideas. It is only recently that Newman has begun to be taken seriously as a philosopher as well as a theologian. We can now see that Newman identifies epistemological problems and offers solutions that are philosophically relevant today. In the words of Basil Mitchell, Newman was original because (...) he demanded “a much more subtle appreciation of the way reason works, not only in relation to religious truth, but also in respect to all matter of serious importance,” including the philosophy of science. For Newman realized that science and philosophy are like religious faith in that none of these branches of knowledge is ‘rational’ in the traditional Lockean sense, and thus none can appeal to a neutral, objective standard of rationality. Since he rejects foundationalism, the problem for Newman (as for Plantinga) is how to judge between differing systems of belief. Newman’s resolution, in Mitchell’s words, lay in the recognition that “a rational resolution of disputes between rival traditions does not depend on... a neutral standpoint.” Instead, one can always re-examine and revise one’s first principles or antecedent assumptions in light of one’s evolving understanding and appeal to tradition. All branches of knowledge, not only religious convictions, require one to refine one’s judgment in this manner. (shrink)

Hegel’sLogicargues in a manner that is supposed to support a systematic philosophy. But it is difficult to explain how such a systematic argument is supposed to work. For answers, I look to the key transition from the Doctrine of Essence to the Doctrine of the Concept. Here we find discussions of both Spinozist and Kantian systems of philosophy: both are supposed to be helpful, and yet also to be lacking in instructive ways. So the initial hope is that these (...) comparisons can help us to understand Hegel’s own systematic argument, and what it means to transition from an objective to a ‘Subjective Logic’. But the comparisons bring additional difficulties. First, to defend a comprehensive system involves refuting rivals, and the discussion of Spinoza demonstrates that refutation is difficult. Second, it is hard to see how any argument for Hegel’s system could be akin to those in Spinoza and Kant given the extent of the differences between them. I argue that the best way to deal with these difficulties is to explain the systematic argument of theLogicas modelled on the Transcendental Dialectic of Kant’s firstCritique. (shrink)

In this paper I made an attempt to discuss how the concept of alienation has been discussed in G.W.F. Hegel’s (1770–1831) social philosophy. In Hegel’s philosophy, alienation is part of the process of self-creativity and self-discovery. According to Hegel, initially our consciousness is alienated from itself. It cannot understand its own true nature. In order to realize its own true nature consciousness’s needs to develop absolute knowledge. The development of consciousness’s absolute knowledge is possible through the overcoming of self-alienation of (...) consciousness. Here, concept of alienation plays an important role in bringing consciousness to the shape of itself called absolute knowing. According to Hegel, consciousness cannot easily know itself with certainty. Consciousness has to develop its self-understanding to fully understand itself. In his discussion of the concept of alienation Hegel compares the dialectic of self-consciousness and consciousness which is not self-realised with the famous dialectic of the lord and the bondsman. It means while discussing the relation of lord and bondsman Hegel compares lord with independent consciousness and bondsman with dependent consciousness. This dialectic of lord and bondsman is sometimes referred to as the dialectic of the master and the slave relationship. In the productive system when everybody regards themselves to be producer and as a member of productive activity, when everybody participates in the large collaborative activity, then there exists no alienation in the society. But when people forget this identity then alienation arises in the society. Hegel thinks that when our consciousness reaches at the stage of itself called Absolute knowledge then it clearly comes to know that it is a differentiated spiritual unity of subjectivity and objectivity. Then it comes to know its own true nature and it overcomes its self-alienation. In the same way in society people overcome their self-alienation when everyone can think themselves to be a part of the whole community. In the present study, I shall deal with how Hegel has applied the concept of alienation in his social philosophy and how does he try to show that through overcoming his alienation a man gets united with the other or the whole community. (shrink)

Uriah Kriegel presents a rich exploration of the philosophy of the great nineteenth-century thinker Franz Brentano. He locates Brentano at the crossroads where the Anglo-American and continental European philosophical traditions diverged. At the centre of this account of Brentano's philosophy is the connection between mind and reality. Kriegel aims to develop Brentano's central ideas where they are overly programmatic or do not take into account philosophical developments that have taken place since Brentano's death a century ago; and to (...) offer a partial defense of Brentano's system as quite plausible and in any case extraordinarily creative and thought-provoking. Brentano's system grounds a complete metaphysics and value theory in a well-developed philosophy of mind, and accordingly the book is divided into three parts, devoted to Brentano's philosophy of mind, his metaphysics, and his moral philosophy. The book's fundamental ambition is to show how Brentano combines the clarity and precision of the analytic philosopher with the sweeping vision of the continental philosopher. Brentano pays careful attention to important distinctions, conscientiously defines key notions, presents precise arguments for his claims, judiciously considers potential objections, and in general proceeds very methodically - yet he does so not as an end in itself, but as a means only. His end is the crafting of a grand philosophical system in the classical sense, attempting to produce nothing less than a unified theory of the true, the good, and the beautiful. (shrink)

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto’s thinking—posthistory and the end of aesthetics—provocative notions that to this day shape questions about the meaning and future (...) of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto’s ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto’s thinking, emphasizing where the two disagree as well as what they learned from each other. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. (...) The strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, and (...) a thesis about the end of art once it has been defined. Is this strategy successful, or does it result, as I argue, in a philosophical disenfranchisement of art of precisely the type that Danto himself has criticized? (shrink)

Purpose of this article is to study the phenomenon of desire in Ancient Chinese and ancient Indian society, to reveal a material basis for the appearance and formation of the specific ethical attitude towards desire in the philosophical reflection of ancient thinkers. To fulfil this purpose, we should study and analyse methodology of desire studies in philosophical and psychological literature, analyse the ethical attitude towards desire in religious and philosophical texts of Chinese and Indian thinkers, understand social (...) and economic basis of such an ethical attitude, that is to establish material basis of desire as the specific form of psychic activity and to recreate the logic of its development. Theoretical basis. Culturological and economic studies of orientalists and dialectical logic. Originality. The paper presents the analysis of the perspectives and drawbacks of different approaches in desire studies. Research of ethical attitude towards the desire in Ancient China and India allowed us to recreate the logic of social relations and the level of productive forces in that society. The ideological foundation of conservation and recreation of power and property relations was found in the religious doctrine of suppression of individual desires. The connection between desire formation and division of labour and its preservation in the religious, political and legal forms of social consciousness was shown. Methodological perspectives of dialectical logic were defined in the study of logical and historical coincidence in the further development of the phenomenon and the notion of desire. Conclusions. Analysis of modern philosophical and psychological literature has revealed methodological drawbacks in desire studies, as they are focused on studying desire’s notion, its representation or separate aspects of desire in individual psyche disregarding its inner logic and material basis of its becoming. Studies of the ethical attitude towards desire in Eastern culture have shown the consensus in desire suppression of individuals and similarities between Ancient Chinese and Indian cultures. There is shown significance and material basis of the transcendental law suppressing the desires even of the higher classes of the oriental society. The methodological approach stated in this article can be applied for further desire studies of Ancient Greece culture, Christian ethics and modern society. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So (...) the theorist goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

Arthur C. Danto's lucid introduction to the central topics of Western philosophical thought remains an unparalleled guide to problems in metaphysics and epistemology that have engaged philosophers for several millennia. Examining the work of Plato, Berkeley, Descartes, Hume, and Wittgenstein, Danto explores debates about empiricism, the mind/body problem, the nature of matter, and the status of language, consciousness, and scientific explanation. In a new preface to this edition he considers the current relationship between philosophy and the humanities.

“'Ontological Mislocations', Modes of Conciousness and History: Indiscernibles, Displacement and Horizons of Possibility in the Philosophy of Arthur Danto”. In this article my purpose is to trace the links between three key elements in Arthur Danto’s philosophy: first, the capital consideration, for philosophical purposes, of human beings as ens representans , departing from the elucidation of a type of cognitive episode that Danto called “basic”. Secondly,I am concerned with the recurring appeal to a plane of consciousness that supports a (...) dual characterization in terms of the pair inside/outside and enables alogical space that is characteristic of philosophy as a reflective mode. Finally, I will treat a form of cognitive failure that Danto considered fundamental to the philosophical perspective, which leads to a specific type of restructuring of our ordinary system of beliefs. What I contend is that in Danto’s philosophical system these three elements become intelligible from the postulation of an effectual background that the author calls “objective historical structure”, which is characterized in terms of the horizons of possibility and impossibility that it delineates. These figures of historical-temporal possibility and impossibility constitute the matrix of historicity itself and also contribute decisively to shaping the permanent nucleus of dantean philosophical concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy and Religion in Plato's Dialogues by Andrea NightingaleMarina Berzins McCoyAndrea Nightingale. Philosophy and Religion in Plato's Dialogues. Cambridge: Cambridge University Press, 2021. Pp. 308. Hardback, $39.99.Andrea Nightingale has written a scholarly work that will prove indispensable to restoring the centrality of religion and theology to Platonic philosophy. She demonstrates that Plato uses the language of Greek religion to inform his metaphysics and his very conception of philosophy. (...) She deftly interweaves classical scholarship with close readings of a wide range of texts in order to build her claims. She gives especially good treatments of Eleusinian mysteries and Orphic ritual. She also explores the way in which the epiphanic nature of the encounter with the Forms has a transforming influence on the philosopher's soul.In the introduction, Nightingale presents an overview of key "divinity markers" (8–23) present in the dialogues—occurrences in which the Forms are described as godlike, references to Eleusinian and Orphic mysteries, poetic narratives of epiphanic encounters, and references to the sacred spectacle. She also assesses why these references are so often overlooked in contemporary scholarship, noting many contemporary scholars' unfamiliarity with the specific nature of Greek religion, and a general movement toward secularism in philosophy. She acknowledges some notable exceptions (e.g. Mark McPherran's work), but she might have given attention to others as well. Specifically, Jill Gordon's Plato's Erotic World: From Cosmic Origins to Human Death (Cambridge: Cambridge University Press, 2012) characterizes Platonic philosophy in terms of both striving for and alienation from the divine, and Ross Romero's Without the Least Tremor: The Sacrifice of Socrates in Plato's Phaedo (Albany: SUNY Press, 2009) on religious sacrifice in the Phaedo is another example. Still, Nightingale is accurate in her assessment of the field's tendency to ignore religious language or to assimilate it too quickly to later monotheistic traditions. Her book convincingly argues that religious language can serve a philosophical purpose in suggesting how union with Beauty and the Good is experienced. The book as a whole provides precious information about many connections between Greek religion and culture that add depth and richness to particular Platonic passages.Chapter 1 sketches out a theory of the Forms and argues that as a group they are treated as "divine." The Phaedo connects the Forms to concepts of eternality, unchangingness, and intelligibility (50). Human beings can connect with the Forms through contemplation (51). Similarly, the Republic describes the Forms as divine and the soul that contemplates them as undergoing a kind of divinization. The Form of the Good is the highest divinity, and its pursuit is an encounter with the divine. Nightingale notes that this does not mean that the Good can be grasped completely. But insofar as we can contemplate the Forms, Plato thinks that we can come to know the Good and become more like it.In chapter 2, Nightingale turns to the topic of human longing, focusing on the Symposium. We humans, Plato believes, have two different but related kinds of longing for immortality. While human beings long for a divine kind of immortality that is ultimately unreachable, they can have a partial kind of immortality through desiring the Good and giving birth to "children" of the soul. The vision of the Beautiful can be a kind of divine epiphany that leads to wonder. Nightingale delves more deeply into the concept of epiphany through texts such as the Homeric Hymn to Dionysius and Herodotus, as well as sanctuary inscriptions. Epiphanies validate the Greek religious system. Similarly, Plato's metaphysics is validated [End Page 149] by a philosophical vision of the Forms. Nightingale's detailed account of Eleusinian mysteries brings together a wide range of source material with which many philosophers will be unfamiliar, and which is especially valuable for scholars seeking to interpret Platonic passages that allude to the mysteries. Nightingale also offers an engaging interpretation of Alcibiades as one who has encountered the divine in Socrates yet failed to understand it, and so has "profaned" the mysteries in the context of human relationship (107–13).Chapter 3 examines Socrates's accounts of the soul and immortality in the Phaedo. Whereas those... (shrink)

The problem of alienation has come to the focus of philosophical discourse in terms of cogito’s loss of immediacy with the body and intimacy with the world, ever since Descartes—the founding father of modern thought—had his famous meditations. Putting the problem of alienation at the focus of philosophy, how should this human situation be reflected upon and the problem be addressed or dissolved at the least? One thing is clear that the method of enquiry cannot be purely intellectual wherein (...) the subject–object dichotomy has to be rigorously maintained. Rather, it has to turn intuitive at some stage, so that human subjective consciousness could be given its due place in the enquiry and the interplay of it with and the embeddedness of it in the material reality be revealed and accounted for as well. Only such an approach would address the problem at hand. But one cannot remain very optimistic about Western philosophy in this endeavor, due to the reasons to be elaborated in present paper. It is in this context that an enquiry into other philosophical systems becomes relevant. In the Eastern philosophical traditions, the issue at hand is addressed more creatively. Particularly in the Advaita Vedanta school of Indian Philosophy, the problem of alienation is tackled in an original way by elevating altogether the ‘being of man’ to a different level by way of an existential blending of his intellectual and intuitive capacities. Precisely in the Taittiriya Upanishad, man’s true nature is formulated in tune with nature, giving it a unique existential thrust. This conception once elaborated seems to be capable of productively addressing the issue at hand. An attempt will be made in the paper, at elucidating this view. (shrink)

This paper presents a comparison of the philosophical systems of Francesco Patrizi and Henry More. The point, however, is not to demonstrate Patrizi’s influence on More but rather to see how, with respect to some particular subjects, they both tried to offer a modern interpretation of Neoplatonism. The main axis of the analysis follows the topics of space, light, and soul. While to More, light is of merely marginal interest, it is demonstrated that space and soul are of (...) crucial importance and play a similar role in both authors’ systems. They function as intermediary entities that link the higher and the lower reality and form a sort of canvas upon which the material world unfolds. Yet, in comparison with Patrizi, More’s system is both constrained by a much stricter, dualistic classification and at the same time veers dangerously close to immanentism and pantheism (which More tries to avoid). (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements (...) in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art. (shrink)

Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. When Danto's classic study was first published in 1965, many regarded Nietzsche as a brilliant but somewhat erratic thinker. Danto, however, presented a radically different picture, arguing that Nietzsche offered a systematic and coherent philosophy that anticipated many of the questions that define contemporary philosophy. Danto's clear and insightful commentaries helped canonize Nietzsche as a philosopher and continue to illuminate subtleties in Nietzsche's work as well (...) as his immense contributions to the philosophies of science, language, and logic. This new edition, which includes five additional essays, not only further enhances our understanding of Nietzsche's philosophy; it responds to the misunderstandings that continue to muddy his intellectual reputation. Even today, Nietzsche is seen as everything from a precursor of feminism and deconstruction to a prophetic writer and spokesperson for disgruntled teenage boys. As Danto points out in his preface, Nietzsche's writings have purportedly inspired recent acts of violence and school shootings. Danto counters these misreadings by elaborating an anti-Nietzschian philosophy from within Nietzsche's own philosophy "in the hope of disarming the rabid Nietzsche and neutralizing the vivid frightening images that have inspired sociopaths for over a century." The essays also consider specific works by Nietzsche, including _Human, All Too Human_ and _The Genealogy of Morals_, as well as the philosopher's artistic metaphysics and semantical nihilism. (shrink)

This chapter explores Pop Art's significance for Arthur Danto's philosophy of art. It looks at the views of British curator Lawrence Alloway, Danto's immediate predecessor at the Nation. In 1974, Alloway defined the core of Pop Art as “essentially, an art about [emphasis mine] signs and sign‐systems”. Danto characterized artworks as the kinds of things that prompt philosophizing, a point that proves especially helpful when attempting to discern art‐cars, art‐cheese, art‐billboards, and art‐photographs from mere things. By 1973, (...) Danto was already grappling with issues inspired by Pop Art's many conundrums. The more artists adopted imagery and formats familiar to commercial art, the more philosophers needed models to discern, for example, James Rosenquist's billboard‐size paintings publicizing pasta, lipstick, cars, and the like, from his actual roadside billboards, hand‐painted between 1957 and 1960. (shrink)

Danto's Analytical Philosopy of History is one of the undisputed classics of post-war reflection on the nature of historical writing. Upon its publication in 1965 it was immediately recognized to be a major contribution to contemporary historical thought. Strangely enough, however, little effort was made by philosophers of history to penetrate into the depth of Danto's argument. The explanation is, perhaps, that there was more than a hint of historicism in Danto's conception of historical writing and for (...) which philosophers of history at that time were not yet prepared. This explanation is all the more plausible since German philosophers of history - most notably Hans Michael Baumgartner - were far more sensitive to the book's message than their Anglo-Saxon colleagues. The result is, however, that the book still awaits its proper reception in contemporary philosophy of history. (shrink)

Modern utilitarianism has its roots in the eighteenth century, its philosophical blossom in the works of Bentham and the Mills, and its practical fruit in the works of nineteenth‐century radical legal and political utilitarian reformers. Utilitarians held that pleasure, and hence too happiness, are sensations. Human beings are in effect mere pleasure or happiness receptacles or desire‐satisfying mechanisms. The idea of a science of happiness appealed to some economists and social theorists who rightly felt increasingly ill at ease about (...) measuring national welfare and progress in terms of growth in gross national product. The goal of profit maximization dominated economic science. One stimulus for the development of a putative science of happiness was dissatisfaction with economists’ attempts to evaluate the success of an economic system and the progress of a society by measuring gross national product. In a happy society alienation is minimal, and freedom and dignity are respected and preserved. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to (...) a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

This book is a collection of contributions written by philosophers and scientists active in different fields, such as mathematics, logics, social sciences, computer sciences and linguistics. They comment on and discuss various parts of and subjects and propositions introduced in the Handbook of Analytical Philosophy of Medicine from Kadem Sadegh-Zadeh, published by Springer in 2012. This volume reports on the fruitful exchange and debate that arose in the fuzzy community upon the publication of the Handbook. This was not only very (...) much appreciated by the community but also seen as a critical starting point for beginning a new discussion. The results of this discussion, which involved many different perspectives from science and the humanities and was warmly encouraged by Kadem Sadegh-Zadeh himself, are accurately reported in this volume, which is intended to be a critical companion to Kadem Sadegh-Zadeh ́s handbook. Rudolf Seising is currently an adjunct researcher at the European Centre for Soft Computing in Mieres, Asturias (Spain) and a college lecturer at the Faculty of History and Arts, at the Ludwig Maximilians University of Munich (Germany). Marco Elio Tabacchi is currently the Scientific Director of the Italian National Research & Survey Organization Demopolis, and a research assistant in the Soft Computing Group at University of Palermo (Italy). (shrink)