British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical (...) concept, and that they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.4 (2001) 705-720 [Access article in PDF] On the Notion of "Disinterestedness": Kant, Lyotard, and Schopenhauer Bart Vandenabeele The strange thing, on looking back, was the purity, the integrity, of her feeling for Sally. It was not like one's feeling for a man. It was completely disinterested, and besides, it had a quality which could only exist between women, between women just (...) grown up.--Virginia Woolf, Mrs. DallowayIf the genuine aesthetic experience exists empirically--and it does--then the definition of its specific quality is at the core of any aesthetic theory that is concerned with the particularity of aesthetic appreciation. Firstly, I shall attempt to provide an acceptable interpretation of this extremely intricate issue in Kant and, moreover, question the interpretation of two philosophers--Lyotard and Schopenhauer--who both struggled with the notion of "disinterestedness" and provided a highly original (but often misunderstood) interpretation of it in their own aesthetic theories. I shall argue that Lyotard took for granted something in Kant's aesthetics that Schopenhauer's aesthetic theory tries to resolve, that is, the wide gap between the agreeable and the charming on one side, and the beautiful on the other. Kant: Disinterestedness and Existence The first moment of Kant's Analytic of the Beautiful asserts that our liking in the beautiful cannot originatefrom any interest and that in the beautiful "we are not compelled to give our approval by any interest, whether of sense or of reason" (§ 5, 52). 1 But Kant also insists that the liking in the beautiful does not createany interest in the object either. [End Page 705]What may this mean? As Kant asserts in the beginning of section 5, it means that "a judgment of taste is merely contemplative, i.e., it is a judgment that is indifferent to the existence of the object [indifferent in Ansehung des Daseins eines Gegenstandes]: it [considers] the character of the object only by holding it up to our feeling of pleasure and displeasure [nur seine Beschaffenheit mit dem Gefühl der Lust und Unlust zusammenhält]" (§ 5, 51). The requirement that a pure judgment of taste be devoid of all interest forms the foundation of Kant's important distinction between aesthetic liking and the pleasure that may accompany moral judgment or action. 2 Kant's analysis of aesthetic response calls for another discrimination, too: the separation of aesthetic liking from mere sensory pleasure, which is the distinction that will occupy us here.Objects that arouse mere sensual pleasure, such as Belgian chocolates, are said to "gratify" (vergnügen) someone, and are then called "agreeable" (angenehm). An object "which one just likes" (was ihm bloß gefällt) is called beautiful. The incentive that corresponds to this object for thought is, respectively inclination (Neigung) or favor (Gunst). Favor, thus accorded the beautiful, is "the only free liking" (das einzige freie Wohlgefallen) (§ 5, 52). 3 Only pleasure in the beautiful is free of a connection with an interest. Both inclination and rational desire are connected with interest, and "all interest either presupposes a need [Bedürfniß] or gives rise to one; and, because interest is the basis that determines approval [als Bestimmungsgrund des Beifalls], it makes the judgment about the object unfree" (ibid.). As Paul Guyer rightly remarks, "in defining the 'quality' of aesthetic judgment Kant is not making a phenomenological distinction between different kinds of feelings of pleasure, but a distinction between the ways in which different instances of pleasure may be occasioned." 4 What Kant is suggesting is "that the presence or absence of a connection to interest may serve as a criterion for the reflective classification of given pleasures" (ibid).Section 3 aims to show that "a liking for the Agreeable is connected with Interest" (§ 3, 47). Pure favor, which is connected with the beautiful, "cannot be an inclination, or else the beautiful would be agreeable and there would be no aesthetic pleasure." 5 Kant, therefore, makes a crucial (but often overlooked) distinction between two senses of "sensation." 6 In the sense of the Critique of... (shrink)

The concept of self-interest is core to modern understandings of individual desire and need. It is also central in the concept of homo economicus and, in a variety of forms, underpins economic science. The critical discussion of the notion of self-interest in William Hazlitt, An Essay on the Principles of Human Action ([1805] 1969), remains unknown in sociology and economics even though it resolves a number of key problems associated with the concept and makes an original, indeed, unique contribution to (...) action theory. In particular, Hazlitt shows that the basis on which an individual pursues their own interest is identical with their sympathy with the interests of others. Hazlitt shows that a clear distinction between self and other cannot be sustained, and that an individual is as remote from their future self as they are from any other person. Even the `sexual appetite' Hazlitt shows cannot be understood in terms of simple self-interest as it is stimulated and consummated through mental and reciprocal capacities. These and related aspects of Hazlitt's Principles are set out below, and their relevance for an understanding of self-interested action and self-formation is demonstrated. (shrink)

The study aims to address the existing research gap through a thematic comparison between the aesthetics of Kant and Abhinavagupta. This paper explores Kant’s notion of aesthetic judgment based on disinterestedness with Abhinavagupta’s analysis of sādhāraṇīkaraṇa. We argue that the notions of “disinterested judgment” in Kant and sādhāraṇīkaraṇa in Abhinavagupta points towards the impersonal nature of aesthetic delight which makes the universality of aesthetic experience possible. Hence, aesthetics in both Kant and Abhinavgupta are not the personal and subjective experience (...) but a kind of universality based on the ability to experience the impersonal joy. However, the notion of aesthetic delight in Kant is confined to the agreeable mental states only while in Abhinavgupta the notion of rasa includes both positive as well as the negative mental states like fear, disgust, etc. In this regard, the paper will also analyze the affinity between notion of sensus communius in Kant and sahṛdaya in Abhinavagupta which highlights the importance of aesthetic community and the impersonal nature of aesthetic delight. (shrink)

The notion of disinterestedness is often conceived of as antiquated or ideological. In spite of this, Hilgers argues that one cannot reject it if one wishes to understand the nature of art. He claims that an artwork typically _asks_ a person to adopt a disinterested attitude towards what it shows, and that the effect of such an adoption is that it makes the person temporarily _lose the sense of herself_, while enabling her to _gain a sense of the other_. (...) Due to an artwork’s particular wealth, multiperspectivity, and dialecticity, the engagement with it cannot culminate in the construction of world-views, but must initiate a process of self-critical thinking, which is a precondition of real self-determination. Ultimately, then, the aesthetic experience of art consists of a dynamic process of _losing the sense of oneself_, while _gaining a sense of the other_, and of _achieving selfhood_. In his book, Hilgers spells out the nature of this process by means of rethinking Kant’s and Schopenhauer’s aesthetic theories in light of more recent developments in philosophy–specifically in hermeneutics, critical theory, and analytic philosophy–and within the arts themselves–specifically within film and performance art. (shrink)

While several commentators agree that Schopenhauer’s theory of ‘will-less contemplation’ is a variant of Kant’s account of aesthetic disinterestedness, I shall argue here that Schopenhauer’s account departs from Kant’s in several important ways, and that he radically transforms Kant’s analysis of aesthetic judgement into a novel aesthetic attitude theory. In the first part of the article, I critically discuss Kant’s theory of disinterestedness, pay particular attention to rectifying a common misconception of this notion, and discuss (...) some significant problems with Kant’s approach. In part two, I argue that Schopenhauer gives up Kant’s concern with the transcendental conditions of the reflecting judgement, but nonetheless retains two crucial aspects of Kant’s analysis: first, the idea that pure aesthetic pleasure cannot be based on the satisfaction of some personal desire or inclination and, second, that aesthetic experience is ultimately based on the stimulation of our cognitive powers. For Kant, too, suggests that, although our application of the predicate ‘beautiful’ be independent of the subsumption of the object under any determinate concept, it still leaves room for the imagination and the understanding to play ‘beyond’ what is regulated by determinate concepts. For Schopenhauer, aesthetic pleasure is equally the result of the cognitive freedom and expansion that the ‘will-less’ attitude affords. Schopenhauer thus transforms the Kantian transcendental analysis of beauty in terms of non-conceptual reflection’ into a psychological theory of beauty in terms of ‘non-conceptual cognition’. Hence, according to both Kant and Schopenhauer (or so I argue) a beautiful object yields a degree of harmony that cannot be reduced to the discursively rigid unity offered by conceptual knowledge. And, although Schopenhauer’s ‘idealistic’ version of aesthetic perception fails to accommodate for several valuable ways in which artworks can convey ideas, thoughts, and emotions, his account of aesthetic contemplation in terms of ‘will-lessness’ and objectivity is still rich in psychological insight. (shrink)

The old, historical concept of ‘disinterestedness’ has dominated the tradition of aesthetics for almost two centuries. In environmental aesthetics, a rather recent branch of aesthetics, some scholars such as Arnold Berleant have criticized disinterestedness, claiming that it is not a satisfactory criterion since it views the environment as an artwork. As an alternative, Berleant proposes a theory of the ‘aesthetics of engagement’. I claim that although his main intention is to introduce a comprehensive perception of nature, ‘appreciating (...) nature as nature’, into the aesthetics of nature, Berleant misinterprets ‘disinterestedness’ and overlooks the fact that it can still be maintained within environmental aesthetics. Disinterestedness can guide our judgements with the notions of non-instrumentality, transparent self, and impartiality. In this sense, I argue that the proper opposite of engagement is not disinterestedness but a dominant concept of aesthetics left over from the eighteenth century, the ‘picturesque’, in contrast to holistic accounts of the philosophers who look for an immersion-of-self-in-a-bigger-Self, disinterestedness provides being devoid-of-any-empirical-self and disinterestedness is not anthropocentric, but anthropogenic, human-generated, which accepts the ‘otherness’ of nature and opens the way for respect and care in environmental ethics. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by (...) excluding the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of (...) Reality -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

Alfred Schütz is often credited with providing sociology with a firm ground derived from phenomenology of science and justifying it as a science operating within natural attitude. Although his project of social science draws extensively on Edmund Husserl’s theory of attitudes, it would be incorrect to assume that Schütz shares with the founder of phenomenology his conception of science. This paper compares Husserl’s and Schütz’s views on the structure and meaning of science and traces the roots of their radical (...) divergence. Whereas Husserl increasingly emphasises the importance of phenomenological reduction for the genuine human science, Schütz eventually rejects reduction and restricts the social science to a specific system of relevancies within the reality of the lifeworld. This paper presents the argument that Schütz’s conception eliminates the possibility of a phenomenological justification of social science, as it implies that there are no rationally justifiable grounds to pursue science. In this way, Schütz’s views substantially differ from the phenomenological theory of science and become open to the phenomenological critique of naivety. (shrink)

This chapter contains sections titled: Is There a Problem about Ethical Criticism? The Sensible Representation of the Moral The Theory of Disinterestedness Coda: The Beautiful as that which is Complete in itself.

In the Critique of the Power of Judgment, Immanuel Kant proposes a puzzling account of the experience of the beautiful: that aesthetic judgments are both subjective and speak with a universal voice. 1 These properties – the subjective and the universal – seem mutually exclusive but Kant maintains that they are compatible if we explain aesthetic judgment in terms of the mind’s a priori structure, as explicated in his earlier Critique of Pure Reason. Kant advances two major claims towards arguing (...) for the compatibility of the subjectivity and universality of the experience of beauty: that aesthetic judgments are ‘disinterested’, and that the universality of an aesthetic judgment derives from the transcendental idealist’s account of ordinary spatio-temporal experience – that is, our ordinary cognitive framework can explain the experience of beauty. If correct, these two claims support the thesis that, while the experience of beauty is wholly subjective, it nevertheless speaks with a universal voice . I will move to interpret Kant’s theory of the beautiful with reference to his earlier two Critiques in order to better understand the marriage of subjectivity and universality. In turn, this re- veals a deeper symmetry between the disinterestedness of the experience of beauty and the freedom of moral action, allowing Kant to maintain, as he indeed does, that “beauty is the symbol of morality.”. (shrink)

This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address (...) questions of aesthetic normativity; the role of aesthetics in the acquisition of empirical concepts; the emotional nature of aesthetics; subjectivity and disinterestedness; connections between aesthetics, anthropology, and politics; and aesthetic non-conceptualism. The second section begins with contributions dealing with matters of formalism and conceptualism in Kant’s aesthetics, as well as their relation and relevance to thinking about art, the arts, and contemporary art. It continues with papers that address key issues of Kant’s aesthetics, such as the free play and the role of imagination, as well as possible complementarities between the three Critiques. It closes with articles that focus on the reception of Kant’s aesthetic theory in the works of major philosophers of the 20 th century, namely within critical theory and the phenomenological-hermeneutical tradition. (shrink)

This article undertakes a critical analysis of the work of Gisèle Sapiro, with reference to sociology of literature. From 1999 (Sapiro, 2014a), Sapiro has developed the Bourdieusian research tradition, amplifying especially Bourdieu’s theory of crisis. Focusing on the antagonisms between literary “prophets” and “priests”, she has drawn on a rich sample of 184 writers to elucidate the struggles inherent in World War II between writers from different field positions and literary habitus. Further, her historical analyses of the ethical commitments (...) of nineteenth century writers via a fresh microsociology of literary trials (Sapiro, 2011) has reminded us of the importance of popular poets in articulating the suffering of the subordinate classes. Her most recent book (Sapiro, 2018) has expanded on her earlier themes, whilst identifying the recuperation of certain 1930s’ fascist worldviews within contemporary literature. This article notes that there is a telling divergence between Bourdieu and Sapiro on the issue of interests behind disinterestedness, exemplified in the case of Zola. On this issue, Sapiro’s reading (Sapiro, 2011) is found convincing. Finally, the dialectic of avant-garde consecration and routinisation is questioned as a universal structure. It is suggested that certain avant-garde – the Harlem Renaissance, for example – did not undergo swift consecration or routinisation, although this contention deserves greater research. The paper concludes by showing that Sapiro’s conception of writers’ responsibility owes its origins less to Sartre than to the Durkheimian/ Bourdieusian notion of the expertise of the “specific intellectual”. It welcomes Sapiro’s concern for literature as a potential force for social change. (shrink)

Neoliberalism is invariably presented as a governing regime of market and competition-based systems rather than as a set of migratory practices that are re-setting the ethical standards of the academy. This article seeks to explore the way in which neoliberalism is shifting the prevailing values of the academy by drawing on two illustrations: the death of disinterestedness and the obfuscation of authorship. While there was never a golden age when norms such as disinterestedness were universally practiced they represented (...) widely accepted aesthetic ideals associated with academic life. By contrast, neoliberal academics embrace a new set of assumptions and norms that stand in sharp relief to many of the values that were previously espoused. Practices that might have been regarded as ethically dubious by earlier generations of academics, such as grantsmanship, self-justificatory expressions of interestedness and tangential claims to authorship, are now regarded as legitimate and positive virtues in a more aggressive age of hyper-performativity. (shrink)

Arnold Berleant’s enlargement of the scope of aesthetics to environments and social relationships opens the way for associations with approaches from other human and social sciences. One possible term of comparison is Hartmut Rosa’s theory of modernity, which applies the concept of resonance to various fields, including nature and art. At the beginning, their aims appear to be different and their alternatives slightly different: engagement stresses the continuity between the embodied self and the world, whereas resonance is primarily based (...) upon a model of communication. Nevertheless, their relational theories converge in several respects: they focus on experience, defend participatory models against objectifying and merely contemplative relationships, and practise social criticism in their search for a meaningful and good life. (shrink)

In this paper, I am trying to reconstruct Shaftesbury’s views on natural beauty, writing and painting. Thus, the term ‘aesthetics’ I am using refers to both aesthetic experience and artistic creativity, to both natural and artistic beauty. As, however, in Shaftesbury’s work aesthetics cannot be considered irrespective of his overall philosophy, I am obliged to examine in parallel with aesthetics Shaftesbury’s ontology and moral theory. It is the concern for this last one that gave the occasion for the emergence (...) of an aesthetic theory in Shaftesbury’s work. My argument is that Shaftesbury’s view on natural beauty and his deep appreciation of natural scenery opened extremely fertile prospects for aesthetics, prospects that were meant to give their seeds both in enlightenment and in romanticism The concepts of disinterestedness, of natural sublimity and genius, for example, are some of Shaftesbury’s main contributions to the newborn discipline of aesthetics that were to have great future in the relevant conversation. In the case of writing, while the paradigm Shaftesbury uses comes undoubtedly from Horace and his advice to the poets to study philosophy, the place reserved for the true poet, his apotheosis indeed, anticipated the romantic appreciation of artists. The analysis of painting, finally, retains the strong link between art and morality and is based mainly on the Aristotelian concepts of unity and probability. It is thus undoubtedly a typical example of neoclassical analysis. It remains, however, a strong testimony of Shaftesbury’s pertinent commitment to empiric reality against those views that would present him as a high-flown Neoplatonist metaphysician. (shrink)

ArgumentThe article takes as its starting point the relationship of academic economists and the wider society. First, various bodies of literature that deal empirically with this matter are discussed: epistemologically, they range from a bold structuralism via a form of symbolic interactionism to a form of radical constructivism. A Bourdieusian approach is recommended to complement these perspectives with a comprehensive perspective that is sensible to the cultural differences between social groups. Starting from the established notions of field, capital and habitus, (...) the article then attempts to go the initial steps towards formulating a theory of the specificity of academic economics, taking Germany as its example. For that it uses and compares in-depth interviews of recognized and non-recognized German economics students. It shows the thorough interweaving of specific normative and positive dispositions into a conviction of objectivity and disinterestedness. This exploratory empirical induction furthers follow-up questions, the empirical answering of which may help to gain a more complete understanding of the actions and thoughts of economists in their specific contexts. (shrink)

In his classic text, A Theory of Justice, John Rawls argues that the structural principles of a society are just when they issue from a procedure that is fair. One crucial feature that makes the procedure fair is that the persons who will be subjected to these principles choose them after they have deliberated together in a condition marked by a certain balance of knowledge and ignorance. In particular, these people know enough to consider principles that are workable, yet (...) converse behind a “veil of ignorance,” unable to predict what their place in society will be and hence discouraged from slanting the principles toward any preferential interests. My paper questions whether this attempt to ensure the disinterestedness of the conversation of justice is feasible. I worry that when we approach this question practically, we discover that the education that furnishes us with the knowledge necessary to choose viable principles must at the same time preclude genuine ignorance about our social position and interests. As an alternative, I suggest that we convene the conversation of justice behind a “veil of existence.” In this condition, people possess knowledge about how their society works and even about their places in it; however, this knowledge does not foster preferential interests because all interests are subjected to the question of their existential meaning. As Jean-Paul Sartre explains in his essay, “Existentialism is a Humanism,” for our interests to be truly meaningful, they must be affirmed as free responses to our thrownness into existence. Yet how do we find the wherewithal to make such responsible choices rather than lapse into paralysis before their essentially arbitrary differences? My positive thesis is that we may do so by acknowledging how all of us in this existential predicament critically and mutually provoke each to commit oneself to depart from the others in specific ways. This process of provocation is thus educational. It broaches a conception of non-instrumental, non-mimetic, liberal study, one which I try to enact in a writing that employs direct address, regular returns to questions that put discourse at a loss, and expanding webs of association. In this manner, I hope to demonstrate that liberal study may deepen our appreciation of our communal nature, our camaraderie, and thus motivate us to participate unselfishly in the conversation of justice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Demise of the Aesthetic in Literary StudyEugene GoodheartAnumber of years ago at an MLA convention I was on a search committee interviewing candidates for a position in Victorian literature in our department. One of the candidates had done a dissertation on Christina Rossetti in which “Goblin Market” played a prominent role. As I recall, the candidate was putting forth a New Historicist or feminist argument about the poem, (...) when one of my colleagues on the committee interrupted her with the question: “But is it a good poem?” The question took me by surprise, for I didn’t remember such a question having been asked of students in years. It dumbfounded the candidate. She had apparently never considered the question. The poem was there as an occasion for... I was about to write interpretation or analysis, but it would be more accurate to say: a placement in a particular discourse—historicist, feminist, deconstructionist, ideological. The candidate’s fluency about the poem came to a halt. She spluttered a few phrases about the power of the poem. She was unprepared to answer the question, having never been asked or taught to ask it by her teachers of any poem or novel or play that she had read.We may not have been fair in our judgment of her. If we had been consistent and asked the same question of all the candidates, I don’t think we would have met with greater success. Our candidate’s disability was, indeed still is, built into the profession of literary studies at the present time. That aesthetic judgment is not one of the current professional practices is clear not only from its absence in the content of literary study but from the styles of the discoursers. No longer written [End Page 139] in a vernacular style, criticism has become a species of sociological prose once held in contempt by literary scholars: ponderous, abstract, obscure, ungainly, jargonish. There are practitioners of New Historicism, ideology critique, and deconstruction who write well, but who seem to regard their own gifts of expression as incidental, and are not in the least discomfited by the bad writing of others.Style is not an incidental matter. Orwell made a compelling case for its political and moral significance. In his classic essay “Politics and the English Language,” he preaches the virtues of plain speech, the transparent and elegant style as a mark of self-honesty. (Transparency makes it difficult to conceal your ideas from yourself.) In Writing Degree Zero and subsequent writings, Barthes deconstructed, so to speak, the Enlightenment myth of transparency as a guarantor of honesty and truth. Reality was not as perspicuous to “natural” plain writing as the Enlightenment believed. Barthes’s own style (rich, inventive, personal, alternately perspicuous, and obscure) is that of an imaginative writer. I don’t want to adjudicate the differences between Orwell and Barthes, but I should note what may not be obvious: they have a shared aesthetic concern with style, a concern that has virtually disappeared from academic discourse.It has become almost an embarrassment to speak in behalf of aesthetic value in the academy. One of the few unembarrassed exceptions is the voice of Harold Bloom whose jeremiad The Western Canon begins defiantly with an affirmation of the aesthetic against its demystifiers. “‘Aesthetic value’ is sometimes regarded as a suggestion of Immanuel Kant’s rather than an actuality, but that has not been my experience during a lifetime of reading.” 1 I take it that Bloom is saying that aesthetic value is an experience and not a theory. Indeed, if we insist on a theoretical justification of the aesthetic, we will end up speaking as does Barbara Herrnstein Smith of its contingent and subjective status (it is in the eye of the beholder and every beholder sees things differently) or we may find that the aesthetic is inescapably contaminated by political, moral, and philosophical interests. “Contaminated” perhaps, but as Bloom says, not reducible to these interests. It is useful to remember that aesthetics has been traditionally associated with the idea of disinterestedness. As Jerome Stolnitz remarks, we perceive beauty when it is the object of a “disinterested and sympathetic attention... (shrink)

This paper briefly summarizes Durkheim’s theory of the dual nature of man suggested earlier in his Elementary Forms of Religious Life. It is characteristic of human beings that two opposite principles confront each other within them: soul and body, concept and sensation, moral activity and sensory appetites. Although this inherent inconsistency of man has been long recognized by philosophical thought, no doctrine explanation to it has been provided to date. While empiricist monism has proved to be unable to explain (...) how concepts emerge from sensations and disinterestedness develops from self-interest, absolute idealism, on the contrary, cannot deduce sensations from concepts. Although theories suggested by Plato and Kant do not bypass the problem of dualism, they only rephrase it and make no progress in solving it. According to Durkheim, dualism of human nature stems from the fact that all religions are founded on dividing all things into the sacred and the profane. This division, in turn, is explained by coexistence of collective and individual origins in the human being. Sacred things arise out of the collective origin that enables individual consciousnesses to fuse into communion. Collective origin does not act with constant strength, but intensifies during the periods of effervescence, when it subdues the individual origin. Since the importance of the social aspect of man increases over time, there is no reason to believe that complete consent between individual and society is possible that would endow man with internal harmony. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Critique of the Power of Judgment: Critical EssaysTed KinnamanPaul Guyer, editor. Kant’s Critique of the Power of Judgment: Critical Essays. Lanham, MD: Rowman & Littlefield, 2003. Pp. xxiii + 253. Cloth, $75.95. Paper, $27.95.The volume under review is a collection of essays on a wide range of topics concerning Kant's Critique of the Power of Judgment. All the papers included here have been published previously, although many (...) of them in places where they might not be easily accessible to English-speaking philosophers. While some of the articles will be familiar to Kant scholars, this collection should be useful to specialists and valuable to students first delving into the third Critique.One essay in the volume, Guyer's own piece on "Kant's Principles of Reflecting Judgment," will be of particular interest to Kant scholars. Guyer's thesis here is that the account of reflecting judgment Kant offers in the Critique of the Power of Judgment is both continuous with the account of regulative principles of reason in the Critique of Pure Reason and the basis of the unity of the third Critique as a whole. He supports this by demonstrating how each of the sorts of judgment discussed in the work can be seen as an application of the broader account of reflecting judgment in general. Guyer identifies five such applications, and shows that each of them has three features central to regulative principles: they set a goal of constructing a system within a certain specific range of cognitions; they require the suitability of objects for attainment of the goal in question, and thus are transcendental [End Page 499] and not merely logical principles; and they supply heuristic advice for the investigation of nature. Thus every form of judgment can with justice be considered as an instance of the general activity of reflecting, that is, finding a universal for a given particular.Several of the essays included here concern the most prominent issues relating to the Analytic of the Beautiful. Nick Zangwill's piece deals with the disinterestedness of aesthetic judgment, while Christopher Janaway's "Kant's Aesthetics and the Empty Cognitive Stock" debunks what he sees as misguided readings of the role of concepts in judgments of taste. In "The Idealism of Purposiveness," an excerpt from his 1993 book Kantian Aesthetics Pursued (Edinburgh, 1993), Anthony Savile criticizes what he calls the "established reading" of Kant's claim that beautiful objects exhibit "purposiveness without purpose." On this reading, to say that a thing is purposive without purpose is to say that it appears to be designed, but to no particular purpose. Savile argues instead that we should take purposiveness without purpose to indicate that an object is suitable for a function, but not as a result of conscious design. Articles by Eva Schaper (from her well-known book on Kant's aesthetics) and Malcolm Budd discuss the distinction between free and dependent beauty and the account of the sublime, respectively.Some of the other selections in the volume are interesting for their focus on somewhat neglected aspects of the third Critique. One such aspect is the role of the imagination in Kant's account of aesthetic appreciation, and by extension in cognition more generally. In "Imaginative Freedom and the German Enlightenment," Jane Kneller argues that appreciation of the role of imaginative freedom in Kant's account of aesthetic judgment helps to connect Kant to the Enlightenment rationalist tradition that saw the value of art in its ability to educate and improve those who appreciate it. This education cannot, of course, be of the most straightforward nature, since Kant emphatically argues that to judge a thing beautiful is altogether different from judging it morally good. Instead, Kneller argues, our awareness of our own imaginative freedom provides us with evidence of our ability to realize the "highest good" on earth, evidence otherwise denied us in Kant's philosophy. Also addressing the theme of imagination is Donald Crawford's "Kant's Theory of Creative Imagination," in which he points out striking parallels between Kant's account of the imagination's role in mathematics and in the creation of fine art.Another aspect of Kant... (shrink)

We have a variety of different ways of dividing up, classifying, mapping, sorting and listing the objects in reality. The theory of granular partitions presented here seeks to provide a general and unified basis for understanding such phenomena in formal terms that is more realistic than existing alternatives. Our theory has two orthogonal parts: the first is a theory of classification; it provides an account of partitions as cells and subcells; the second is a theory of (...) reference or intentionality; it provides an account of how cells and subcells relate to objects in reality. We define a notion of well-formedness for partitions, and we give an account of what it means for a partition to project onto objects in reality. We continue by classifying partitions along three axes: (a) in terms of the degree of correspondence between partition cells and objects in reality; (b) in terms of the degree to which a partition represents the mereological structure of the domain it is projected onto; and (c) in terms of the degree of completeness with which a partition represents this domain. (shrink)

In this adventurous contribution to the project of combining philosophy and biology to understand the mind, Carolyn Price investigates what it means to say that mental states--like thoughts, wishes, and perceptual experiences--are about things in the natural world. Her insight into this deep philosophical problem offers a novel teleological account of intentional content, grounded in and shaped by a carefully constructed theory of functions. Along the way she defends her view from recent objections to teleological theories and indicates how (...) it might be applied to notable problems in the philosophy of mind. (shrink)

The goal of this essay is to put forward an original theory of artifact function, which takes on board the results of the debate on the notion of biological function and also accommodates the distinctive aspects of artifacts. More precisely, the paper develops and defends the Dual-Aspect Theory, which is a monist account according to which an artifact’s function depends on intentional and reproductive aspects. It is argued that this approach meets a set of theoretical and meta-theoretical desiderata (...) and is superior to alternative views. (shrink)

This book offers an account of Kant's theory of moral motivation that comprehends the most challenging and controversial aspects of Kant's theory of the will and human moral motivational psychology. It argues for a new approach to the question about the purity of the Kantian moral motive.

Preview: In various guises and cultures, the theme of elevating, ennobling love is a recurrent topos in the premodern erotic theory my book traces. Freed from Plato’s problematic dualistic denigration of the body as prison of the soul and from the modern aesthetic prejudice of disinterestedness, Ars Erotica recaptures the valuable core of ennobling desire by showing how a new somaesthetic approach to sex could channel the power of eros to cultivate qualities of courtesy, grace, skill, self-mastery, and (...) sensitivity to the feelings of others, thus evoking a richer, more positive vision of sex education than we have today. (shrink)

Often, political theories of the subject detach the subject from nature or else reduce the subject to a mere aggregate of natural features. Consequently, many attempts to articulate theories of the subject purport to preserve political theoretical concepts such as freedom, normativity, or responsibility by means of disjoining the subject from its environment. This article proposes a new theory of the ecologically conditioned subject. Developing the concept of companion ecologies, the article employs three examples – architecture, the human microbiome, (...) and indigenous Amazonian ontologies – to show how theorizing the subject at all necessitates theorizing her ecological conditions, as well. Companion ecologies do not refer merely to our environmental conditions, then. The term also functions as a referent. Ultimately, companion ecologies reveal that the individuation and formation of the subject is a process that takes place, paradoxically, only because of the ecological plurality underlying it. From this, I derive a minimalist theory of the subject for which subjects are materially and temporally extended and causally distributed morphogenetic sites, which emerge only in the context of interactive, multiscalar, and overlapping companion ecologies. (shrink)

WE AIM HERE to outline a theory of evidence for use. More specifically we lay foundations for a guide for the use of evidence in predicting policy effectiveness in situ, a more comprehensive guide than current standard offerings, such as the Maryland rules in criminology, the weight of evidence scheme of the International Agency for Research on Cancer (IARC), or the US ‘What Works Clearinghouse’. The guide itself is meant to be well-grounded but at the same time to give (...) practicable advice, that is, advice that can be used by policy-makers not expert in the natural and social sciences, assuming they are well-intentioned and have a reasonable but limited amount of time and resources available for searching out evidence and deliberating. (shrink)

The concept of self-control is incorporated in a theory of individual intertemporal choice by modeling the individual as an organization. The individual at a point in time is assumed to be both a farsighted planner and a myopic doer. The resulting conflict is seen to be fundamentally similar to the agency conflict between the owners and managers of a firm. Both individuals and firms use the same techniques to mitigate the problems which the conflicts create. This paper stresses the (...) implications of this agency model and discusses as applications the effect of pensions on saving, saving and the timing of income flows, and individual discount rates. (shrink)

Richard Cross provides the first full study of Duns Scotus's theory of cognition, examining his account of the processes involved in cognition, from sensation, through intuition and abstraction, to conceptual thought. Cross places Scotus's thought clearly within the context of 13th-century study on the mind, and of his intellectual forebears.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Kant's Nonideal Theory of Politics" argues that Kant's political thought must be understood by reference to his philosophy of history, cultural anthropology, and geography. The central thesis of the book is that Kant's assessment of the politically salient features of history, culture, and geography generates a nonideal theory of politics, which supplements his well-known ideal theory of cosmopolitanism. This novel analysis thus challenges the common assumption that an ideal theory of cosmopolitanism constitutes Kant's sole political legacy. (...) Dilek Huseyinzadegan demonstrates that Kant employs a teleological worldview throughout his political writings as a means of grappling with the pressing issues of multiplicity, diversity, and plurality--issues that confront us to this day. "Kant's Nonideal Theory of Politics" is the first book-length treatment of Kant's political thought that gives full attention to the role that history, anthropology, and geography play in his mainstream political writings. Interweaving close textual analyses of Kant's writings with more contemporary political frameworks, this book also makes Kant accessible and responsive to fields other than philosophy. As such, it will be of interest to students and scholars working at the intersections of political theory, feminism, critical race theory, and post- and decolonial thought--Provided by publisher. (shrink)

This thesis introduces and defends a ‘C theory’ of time. The metaphysics of time literature is primarily concerned with the distinction between the A and B theories of time, with the disagreement concerning whether the passage of time is an objective feature of reality. I argue that the distinction between the B and C theories—in terms of whether time has a ‘privileged’ direction—is of more obvious relevance to the philosophy of physics than is the distinction between the A and (...) B theories. The thesis has three main contentions. (1) In order to maintain a substantial metaphysical dispute between the different theories of time, they must be defined in terms of structural properties, and the naturalistic metaphysics of time direction involves the assessment of these structures in light of contemporary physics. (2) The A theory of time requires a model with two temporal dimensions, and although such a model provides a resolution to a number of problems faced by standard A theories, it is not motivated by physical theory. (3) The dispute between the B and C theories of time is of direct relevance to the philosophy of physics: the B theorist’s assumption of the existence of a privileged temporal direction is of explanatory relevance to physics; and a comparison between unidirectional and adirectional explanations in physics can in principle shed light on whether time is B- or C-theoretic. (shrink)