Essays -- Interviews -- Exhibited works -- Appendix.

A well-known Hungarian philosopher, politician, literary and art theorist Georg Lukacs was a notable figure of philosophical thought in XX century. Although he was interested in many problems philosophical-aesthetical matter is the main one in all his works. The problem of human alienation from social forms is outlined in his numerous literary, philosophical, aesthetical works of pre- and post- Marxian periods. The concept of philosophical-aesthetical grounds for overcoming human alienation has been developed in his art from romantic feeling of (...) existential tragedy through the utopian expectancy of “aesthetic ideal” realization to the reliance on being conscious of individual blood nature through dialectic penetration of subjectivity and objectivity in the process of aesthetical perception. Thus he has the unaltered point of view that the art is a particular opposed to alien human nature sphere of being which allows taking away the dual principle of alien forms of human being and its essence. (shrink)

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical materialism and his sociological (...) interpretation of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook. (shrink)

First published in 1948, Frederick Antal’s Florentine Painting and Its Social Background was an important milestone in anglophone art history. Based on European examples, including Max Dvořák, it sought to understand art history’s relationship to social and intellectual history. When Antal, a Hungarian émigré, arrived in Britain in 1933, he encountered an inward-looking discipline preoccupied with formalism and connoisseurship; or, as he phrased it, art historians of ‘the older persuasion’ ignorant of ‘the fruitful achievements of modern historical research’. Despite (...) its considerable scholarship and erudition, Antal’s book was not warmly received, largely because he had used historical materialism to understand the production of art and the development of styles. Antal’s class-based account of the social position of the artist and the role of the patron in determining the emergence of early Renaissance styles was especially controversial. However, although Marxist analysis was used to challenge the assumptions of Anglo art history, it was not Antal’s intention to weaken art history’s disciplinary autonomy. With historical materialism, he sought to place art history on a firmer historical footing. Most importantly, this approach was compatible with the discipline’s Central European tradition, where art-historical scholarship was framed by questions of method and based on broad historical research. Without defending its more deterministic features, this article supports a re-evaluation of Antal’s book, as an important forerunner of interdisciplinary art scholarship. It considers why Antal’s legacy has not endured, despite the ‘social history of art’ enjoying widespread acceptance in English-speaking art history in later decades. (shrink)

In the last few years holography has celebrated some important anniversaries: in 2010 the 50th anniversary of the light amplification by stimulated emission of radiation (LASER) invention; in 2011 the 40th anniversary of the Nobel Prize awarded to the Hungarian scientist Dennis Gabor for inventing holography and in 2012 the 50th anniversary of the first holograms. Holography can create an accurate visual simulation, with total parallax: a replica of the real object made of light, which has the real object’s (...) visual properties but is immaterial, intangible. The holographic images are volumetric and exist in a real and measurable space, and are not based on the Renaissance perspective, which can represent the three-dimensional physical space in a bi-dimensional one. In the near future, holography-based techniques will open up new possibilities in the visualization domain, allowing new visual worlds. In the meantime, holography can be a useful technical and theoretical tool for reflecting on how our everyday mediascape works. The media can produce, reproduce and transmit bi-dimensional images on flat supports. The media system has a high degree of coherence and the images share similar morphostructural rules, and thus can be transferred from one medium to another without any fundamental information loss: bi-dimensionality and image-support coincidently appear to be the basis of this high level of translatability. Conversely, holograms cannot be displayed through the usual media without losing their peculiarity: they require new displays, new visual media and new genres of communication, even if they hybridize with the existing media. Holography stands apart from the media realm, which in part explains the difficulties of this technique in emerging and integrating into the mediascape. Holography suggests a new visual universe within a culture where visual simulation is the most effective communication system, and it lets us reflect on the need for a more comprehensive definition of ‘image’. It is easy to imagine that future images will also be holographic and that we will communicate more and more through them, in a delicate balance between presence and absence, immediacy and remoteness, materiality and immateriality, matter and energy. Holography can work as a model in science, for example in the study of brain activity in the Holonomic Brain Theory, originated by Austrian psychologist Karl Pribram and initially developed in collaboration with physicist David Bohm to explain human cognition. Holography can also be a model in physics, for example in the idea of the physicist David Bohm of an ‘implicate order’ in the universe, where global structure can be found in each small part – the universe would be a gigantic and wonderfully detailed hologram. More recently, theoretical results on black holes suggest that the idea of a holographic universe is a viable hypothesis. And in the field of quantum gravity and string theories the ‘holographic principle’ suggests that the entire universe can be considered as a two-dimensional information structure, and that the three-dimensional world we observe is but a description at a macroscopic scale and at low energies. (shrink)

the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being a work (...) of art is? In this paper we argue that things are works of art in virtue of what they are like, their intrinsic features, that is, in virtue of the fact that they have the perceptual (auditory, visual, etc.) properties they have. In other words: being a work of art supervenes on perceptual-intrinsic features. Currently, this metaphysical view is extremely unpopular within the philosophy of art. It is unpopular because there allegedly exists a knock-down objection to it, the well-known argument from indiscernible counterparts. our thesis implies, among other things, that every perceptual duplicate of a work of art is also a work of art. according to the argument from indiscernible counterparts, however, there could be (or even: there are) indiscernible counterparts such that one of them is a work of art while the other is not. hence things cannot be works of art solely in virtue of what they are like. Our paper divides into three parts. In the first part we state our views. In the second part we defend it against various versions of the argument from indiscernible counterparts. (In doing so our position will become more plausible, we hope). In the final part we provide some meta-reflections on the matter. (shrink)

Filozófiai és művészeti gyűjtemények számára egyaránt érdekes lehet Széplaky Gerda filozófus, esztéta, kritikus legújabb kötete, melynek írásai izgalmasan társítják az esztétikát a fenomenológiával. A szerző esszéi a testiség, a nézőben végbemenő fiziológiai folyamatok felől értelmezik a befogadás aktusát. Az első írás általánosságban szól a radikális kritikáról, majd a figyelemfelkeltő kötetcímmel megegyező című esszé (Kant hátán a szőr) a megrázkódtatásról, mint esztétikai fenoménról szól. Olyan további általánosabb témákról ejt még szót a szerző, mint az esztétikai hatásban megnyilvánuló erőszak vagy az építészeti (...) reprezentáció problémái. A kötet második felében konkrét alkotók művészetével kapcsolatos írások kaptak helyet, olyan témákban, mint Bukta Imre művészetének változásai, Szirtes János videoperformanszai, a játék esztétikai szerepe Bondor Csilla műveiben, vagy az Élet menete című holokauszt-emlékmű és kontextusai. "www.kello.hu © minden jog fenntartva". (shrink)

Art often is the subject of philosophy; it is more rare that a work of art becomes philosophy, pursued by means other than language. In its cinematic way, Son of Saul, a Hungarian film by László Nemes about the Holocaust, engages with the same set of problems that the nineteenth century Danish philosopher Søren Kierkegaard wrote about.

The Netherne Hospital in Surrey is perhaps the most prestigious site in the history of British art therapy, associated with the key figures Edward Adamson and Eric Cunningham Dax, whose pioneering work involved the setting-up of a large studio for psychiatric patients to create expressive paintings. What is little-known, however, is the work of the designated scientist for psychiatric research, Hungarian Jewish émigré Francis Reitman, who was charged with an overall scientific analysis of the artistic products of the studio. (...) Schooled in the biological psychiatric tradition of Ladislas J. Meduna in Budapest prior to his exile to the Maudsley Hospital in 1938 – and committed to treatments such as leucotomy and electro-convulsive therapy (ECT) – Reitman was an unusual candidate for research into the unconscious processes behind art and psychosis. Yet he authored two highly popular and widely reviewed books on his analyses of the abundant artistic output created by patients with schizophrenic diagnoses at the Netherne. In his Psychotic Art (1950) and Insanity, Art and Culture (1954), Reitman compared such schizophrenic images with those produced by artists under the influence of mescaline and examined the artistic output of patients having undergone leucotomy. This article draws on archival materials and Reitman’s original research publications in order to reconstruct his theory of schizophrenic art within the complex context of postwar British psychiatry, negotiating as he did between biologically reductive understandings of Freudian and Jungian psychoanalytic categories, and ultimately synthesizing concepts from both. It also analyses Reitman’s implicit theory of the therapeutic mechanism of art in the treatment of psychiatric patients. (shrink)

György Lukács was a Hungarian Marxist philosopher, writer, and literary critic who shaped mainstream European Communist thought. Soul and Form was his first book, published in 1910, and it established his reputation, treating questions of linguistic expressivity and literary style in the works of Plato, Kierkegaard, Novalis, Sterne, and others. By isolating the formal techniques these thinkers developed, Lukács laid the groundwork for his later work in Marxist aesthetics, a field that introduced the historical and political implications of text. (...) For this centennial edition, John T. Sanders and Katie Terezakis add a dialogue entitled "On Poverty of Spirit," which Lukács wrote at the time of Soul and Form, and an introduction by Judith Butler, which compares Lukács's key claims to his later work and subsequent movements in literary theory and criticism. In an afterword, Terezakis continues to trace the Lukácsian system within his writing and other fields. These essays explore problems of alienation and isolation and the curative quality of aesthetic form, which communicates both individuality and a shared human condition. They investigate the elements that give rise to form, the history that form implies, and the historicity that form embodies. Taken together, they showcase the breakdown, in modern times, of an objective aesthetics, and the rise of a new art born from lived experience. (shrink)

György Lukacs was a Hungarian Marxist philosopher, writer, and literary critic who shaped mainstream European Communist thought. _Soul and Form_ was his first book, published in 1910, and it established his reputation, treating questions of linguistic expressivity and literary style in the works of Plato, Kierkegaard, Novalis, Sterne, and others. By isolating the formal techniques these thinkers developed, Lukács laid the groundwork for his later work in Marxist aesthetics, a field that introduced the historical and political implications of text. (...) For this centennial edition, John T. Sanders and Katie Terezakis add a dialogue entitled "On Poverty of Spirit," which Lukács wrote at the time of _Soul and Form_, and an introduction by Judith Butler, which compares Lukács's key claims to his later work and subsequent movements in literary theory and criticism. In an afterword, Terezakis continues to trace the Lukácsian system within his writing and other fields. These essays explore problems of alienation and isolation and the curative quality of aesthetic form, which communicates both individuality and a shared human condition. They investigate the elements that give rise to form, the history that form implies, and the historicity that form embodies. Taken together, they showcase the breakdown, in modern times, of an objective aesthetics, and the rise of a new art born from lived experience. (shrink)

The present study investigated the cross-cultural variations in parents' views on the role of play in child development and the primary purpose of preschool education from Ethiopia and Hungary. It also examined the cross-cultural variations in preschoolers' executive functions, the frequency of their engagement in home activities, and the role of these activities in the development of EF skills. Participants included 266 preschoolers with their parents. The independent samples t-test showed that Ethiopian parents view fostering academic skills for preschooler significantly (...) more important than their Hungarian counterparts do. We also found that while Ethiopian parents hold the belief that academic and cognitive development is the major purpose of preschool education, Hungarian prioritize social-emotional development and entertainment. Additionally, preschoolers in Ethiopia were reported to engage in academic and arts and crafts activities after preschool significantly more frequently than their Hungarian counterparts. On the contrary, preschoolers in Hungary were found to engage in fine-motor activities, solitary play, sports and other physical activities significantly more frequently than their Ethiopian counterparts. No significant differences were found in EF skills between preschoolers from Ethiopia and Hungary. Results from hierarchical regression analyses showed that, after accounting for age and SES, preschoolers' frequency of pretend play and their parents' play support beliefs were found to be small to medium-sized predictors of inhibitory control skills in both samples. However, children's frequency of having breakfast at home was another significant predictor in the Ethiopian sample only. The frequency of participation in arts and crafts and other fine-motor activities were found to be important predictors of preschoolers' visual-spatial working memory skills in the Ethiopian and the Hungarian samples, respectively. We also found that, after controlling for SES, parental play support was an important factor associated with preschoolers' shifting skills only in the Hungarian sample. Based on the findings, we made important conclusions. (shrink)

"Eva Besnyö was not only an exceptionally gifted photographer but was also politically active during her lifetime: she acquired her photographic skills in the studio of József Pécsi in Budapest, became aware of the aesthetics of modern photography in the early 1930s in Berlin and became a respected master photographer in Amsterdam. Eva Besnyö's life and work were not only influenced by Modernism the arts but also by the dramatic political movements and events of 20th century Europe such as Fascism, (...) National Socialism, immigration and persecution. By the time the Hungarian-Jewish photographer arrived Berlin in 1930, she had made the two most momentous decisions of life: to make photography her profession and to leave Fascist Hungary forever. Modern art was a passion for her. She produced true masterpieces with her Rolleiflex during her expeditions around Berlin. When Besnyö immigrated to Amsterdam in 1932, she was one of the outstanding representatives of "New Photography" together with László Moholy-Nagy and Erwin Blumenfeld: her portraits, architectural views and landscapes have retained their intensity to this day. She worked as a photographer until the 1980s, and among her other roles as a chronicler of the "Dolle Mina" feminist movement. In the 1990s she won prestigious awards Germany and The Netherlands for her outstanding body of work."--Publisher's website. (shrink)

Fin de siecle Vienna was once memorably described by Karl Kraus as a "proving ground for the destruction of the world." In the decades leading to the World War that brought down the Austro-Hungarian empire, the city was at once an operetta dream world masking social and political problems and tension, as well as a center for the far-reaching explorations and innovations in music, art, science, and philosophy that would help to define modernity. One of the most powerful critiques (...) of the retreat into fantasy was that of the philosopher Ludwig Wittgenstein, whose early career in Vienna has helped frame debates about ethical and aesthetic values in culture. In Wittgenstein's Vienna Revisited Allan Janik expands upon his work Wittgenstein's Vienna (co-authored with Stephen Toulmin) to amplify a number of significant points concerning the genesis of Wittgenstein's thought, the nature of Viennese culture, and criticism of contemporary culture. Although Wittgenstein is the central figure in this volume, Janik places considerable emphasis on other influential figures, both Viennese and non-Viennese, in order to break down some of the persistent stereotypes about the philosopher and his surrounding culture, especially the myths of "carefree" Vienna and Wittgenstein the positivist. The persistence of these myths, in Janik's view, stems in part from the inability of many historians to differentiate past from present in the evaluation of intellectual currents. Janik reviews a number of figures overlooked in assessing Wittgenstein: Otto Weininger, Kraus, Schoenberg, Nietzsche, Wagner, Ibsen, Offenbach, and Georg Trakl. All of these, Janik demonstrates, are absolutely necessary to understand what was at stake in the debates on aestheticism and the critique of a modern culture. Wittgenstein's efforts to recognize the limits of thought and language and thus to be fair to science, religion, and art account for his place of honor among critical modernists. These essays elucidate Wittgenstein's perspective on our culture. (shrink)

Greta Garbo named herself. It was she who invented the name “Garbo” and officially registered the change from Greta Gustafsson to Greta Garbo at the Ministry of Justice in Sweden on 4 December 1923. The name had the metonymic virtue of suggesting the nature of her screen presence. The Swedish meaning of garbo, “wood nymph,” suggests the association with otherworldly forces that became part of her image; while the Spanish meaning of the word, “animal grace sublimated,” combines the animal passion (...) and spiritual grace that were part of her power.1 And yet in most accounts of Garbo’s life and work the legend still persists that it was Swedish director Mauritz Stiller who named her after a seventeenth-century Hungarian king. The extent to which the legend has obscured Garbo’s initial act of self-naming is symptomatic of the larger tendency in film theory and criticism to mask the creative power of the actress by treating her as the blank sheet upon which the director inscribes his own signature.What is particularly misleading about the Svengali metaphor as it has figured in studies of Garbo is that it so deliberately masks the evidence. In her article “Gish and Garbo: The Executive War on the Stars,” Louise Brooks suggests that the popular image of Garbo—the “dumb Swede” transformed by Stiller’s art—was perpetuated by Hollywood executives eager to play down the very real power that Garbo already exhibited in the rushes for her first American film, The Torrent . “The whole MGM studio, including Monta Bell, the director, watched the daily rushes with amazement as Garbo created out of the stales, thinnest material the complex, enchanting shadow of a soul upon the screen.” Although recent accounts of Garbo’s life and work have advanced beyond the “dumb Swede” publicity of Photoplay magazine, critics still reveal a similar, almost vampish determination to deprive Garbo of her creative power. “Her contribution,” states Kenneth Tynan, “is calm and receptiveness, an absorbent repose which normally, in women, coexists only with the utmost vanity. Tranced by the ecstasy of existing, she gives to each onlooker what he needs” . Comparing Garbo to a “watermark in a blank sheet of paper,” David Thomson says in an essay in honor of her seventy-fifth birthday: “She must be no one in herself if she is to signify so much to so many others…. All the moods and moments of love are encompassed because the appearance is hollow. We are to inhabit it, to flesh it out.” In these accounts, Garbo is presented not as an active shaping power but as a passive female vessel, ready to receive the impress of male voyeuristic fantasy. Betsy Erkkila, assistant professor of English at the University of Pennsylvania, is author of Walt Whitman among the French: Poet and Myth and editor of Ezra Pound: The Critical Reception. She is currently working on a book, Whitman the Political Poet, and a collection of essays, American Women Poets Musing. (shrink)

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and (...) German aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

Seen through the quest for a new metaphysics, the visual arts were interpreted in the framework of the particular sense of progress that the generation of György Lukács developed in the first decade of the twentieth century. They saw Impressionism as the veritable symptom of the deficiencies of their age and dreamed of a great, solid, lasting new Hungarian culture which would transcend the fragmentariness, sociological interests, and ethereality of Impressionism. Although exhibitions of contemporary modernist art were organized in (...) Budapest and the Nagybánya artists' colony was in contact with the living French art, the nascent aesthetic theory, first of all that of Lukács, based the appreciation of Post-Impressionism on ideological considerations rather than the artistic particularities of the artists. Central to this aesthetic was the notion of greatness and a sense of metaphysics derived from German idealist philosophy and applied to the art of Cézanne, Gauguin, and the Budapest group The Seekers, all of whom were appreciated for features pointing in the direction of a new Classicism. (shrink)

In all European countries, the eighteenth century was characterised by efforts to improve the vernaculars. The Transylvanian case study shows how both codified medical language and ordinary language were constructed and enriched by a large number of medical books and brochures. The publication of medical literature in Central European vernacular languages in order to popularise new medical knowledge was a comprehensive programme, designed on the one hand by intellectual, political and religious elites who urged the improvement of the fatherland and (...) the promotion of the common good by perfecting the arts and sciences. On the other hand, the imperial administration’s initiatives affected local forms of medical knowledge and the construction of vernacular languages. In the eighteenth century, the construction of vernacular languages in the Habsburg Monarchy took on a significant political character. However, in the process of building of the scientific and medical vocabulary, the main preoccupation was precision, clarity and accessibility of the neologisms being invented to encompass the medical phenomena being described. In spite of political conflicts among the ‘nations’ living in Transylvania, physicians borrowed words from German, Hungarian and Romanian. Thus they elevated several words used in everyday language to the upper social stratum of language use, leading to the invention of new terms to describe particular medical practices or phenomena. (shrink)

The paper presents the state of the art of business ethics teaching, research, and training in Hungary. It reviews the most important publications by Hungarian authors on business ethics issues since 2011. It identifies the most striking business ethics related problems in Hungary. It maps the important activities, topics and issues in business ethics teaching and research in Hungary and reports on the themes in training on business ethics. Also, the paper reflects on the main business ethics related issues (...) that Hungary faces in the future including restoring democratic institutions and the rule of law, reforming the tax system, managing the energy transition, and financing sustainability transformations. The paper concludes that business ethics can be considered as a well-developed discipline in Hungary. However, the impact of business ethics on the current economic, social and political affairs in Hungary should be increased which requires using creative strategies in knowledge dissemination and knowledge creation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 334-345 [Access article in PDF] Philosophy After Joyce:Derrida and Davidson Reed Way Dasenbrock A GOOD DEAL OF ATTENTION has been paid to James Joyce's influence on literature. Few novelists in the twentieth century have escaped Joyce's influence one way or another, and Robert Martin Adams has even dedicated a book, AfterJoyce, 1 to the proposition that the history of prose fiction is most properly (...) divided into two eras, before and after Joyce. One suspects that Joyce would have appreciated Adams's quasi-blasphemous periodizing.My focus here is Joyce's influence on a different intellectual and cultural realm, philosophy. Joyce's impact on philosophy clearly has not been of the same magnitude. Joyce is not one of those rare figures who have spanned fields or been as important an influence in another field as in his own, unlike Nietzsche, say, or a figure of concern to us here, Jacques Derrida. Joyce's impact on philosophy, thus, is not epoch-changing or field-changing in the way his impact on literature is. Wittgenstein and Heidegger are the two philosophers in the twentieth century whose work have comparably been assessed as epoch-changing. It is worth noting that both men are close contemporaries of Joyce: Wittgenstein, in particular, with his multilingual, Austro-Hungarian, and pan-European character, orientation towards the arts, defiance of so many philosophical conventions, and self-awareness of language, offers a fascinating parallel with Joyce, a parallel already explored to [End Page 334] some extent in the literature. If Joyce, Stravinsky, Picasso, and Le Corbusier, for example, can be said to exemplify modernist literature, music, painting, and architecture, then Wittgenstein is the exemplification of modernist philosophy. But Modernism, or at least so we are told, is out of fashion and out of date, yet Joyce remains our contemporary in ways many of his fellow modernists may not. Nowhere is this more clearly shown than in his continuing presence in contemporary philosophy.The conventional way of writing the history of philosophy in the twentieth century is to divide it into two camps, one oriented towards mathematics, science and logical analysis, a school of philosophy called the analytic or Anglo-American school, the other oriented towards literature and culture and an engagement with the history of philosophy, called the Continental school. That there are a number of problems with this way of mapping the field is by now widely accepted, but no one has successfully replaced this division with anything generally seen to be more adequate, so we continue to use the terms, if as Derrida might say "under erasure." If contemporary analytic philosophy has a single leading figure, I would assign that position to Donald Davidson; continental philosophy has distinct German and French variants, but clearly foremost on the French side is Jacques Derrida. One of the factors leading to our awareness that this bipolar model of the history of twentieth-century philosophy doesn't work very well has been a body of work pointing out a number of similarities between the work of these two philosophers. 2 But what hasn't been pointed out is that both philosophers are interested in Joyce. Thus, the work of Joyce is one of the places the two currents of philosophy merge or at least come into contact. In my opinion, neither Derrida nor Davidson is or deserves to be a crucial figure in Joyce criticism, but looking at their interest in Joyce allows us to trace a neglected chapter in Joyce's influence on the culture and thought of our time and to assess the similarities and differences between the work of these two philosophers.Derrida's work on Joyce includes two essays on Joyce, one an address to the 1984 Joyce Symposium in Frankfurt, "Ulysses Gramophone: Hear say yes in Joyce," 3 an essay which Margot Norris included in A Companion to James Joyce's Ulysses (in abridged form) as one of five exemplary or representative pieces of theoretical approaches to Ulysses (representing deconstruction, of course), and an earlier essay on Finnegans Wake, "Two Words for Joyce... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 363-381 [Access article in PDF] Imre Lakatos and Literary Tradition Suzanne Black ALTHOUGH THE CANON DEBATES have largely subsided, the categories of tradition and canon remain problematic and unhelpfully contentious. Some authors view tradition as weighty and oppressive, while cultural studies scholars criticize the concept itself as elitist and exclusionary. Yet literature, like other creative pursuits, cannot avoid its past; nor should it seek (...) to do so. Progressive ideas have a history and a logical development; to argue otherwise leaves them vulnerable to accusations of faddish trendiness. Artists learn from the work of other artists, and critics rely on older examples to describe and understand what they study. Thus activist critics, writers, and moderate scholars all need some way to react to and to conceive of literary history.E. Dean Kolbas has argued that shared assumptions such as a preoccupation with educational institutions limit the arguments of conservative humanists and canon openers alike. 1 If the perspective of literary critics is indeed narrow, they may benefit from broader and more interdisciplinary studies of tradition. For example, historicist philosophy of science devoted considerable energy to understanding how major accomplishments influence the work of scientists. This scholarship offers several complex accounts of the ways science is shaped by its past, and so can offer literary critics another, more structured, more rational, and even more flexible, view of tradition. In addition, some of its preoccupations, like the emergence of consensus or criteria for the selection of representative examples, are relevant to the canon debates. Finally, because writers and scientists understand the past differently and because their ideas develop in distinct social contexts, literary theory and philosophy of science have potentially complementary strengths and weaknesses. [End Page 363]In this article I first summarize Imre Lakatos's conception of the research program and explain some of its potential benefits for an understanding of literary tradition. Then, to show that the concept of a "literary research program" makes sense, I use the category to examine the ideas of Ricardo Reis, a neo-classical persona created by the Portuguese modernist Fernando Pessoa. Finally, I turn to a discussion of W. H. Auden's "Letter to Lord Byron" to identify some difficulties in applying Lakatos's model to literature. To view Auden as working within a Byronic program directs attention to his interpretation of the older poet, but the poem's formal innovation and its irony suggest some important differences between artistic and scientific approaches to the past, as well as some limitations of Lakatos's analytical framework.During the 1960s and 1970s, partly in response to Thomas Kuhn, but also in reaction against other approaches to their field, several important philosophers of science sought to incorporate the history of science into their work. David J. Hess terms this tendency a historicist "period and style" 2 within philosophy of science. As the Hungarian philosopher Imre Lakatos (echoing Kant) contended, "Philosophy of science without history of science is empty; history of science without philosophy of science is blind." 3 Generalizing about how scientists think (or ought to think) while still bearing in mind actual science led some philosophers of science to devise subtle and provocative ways of viewing the past. Kuhn's notion of paradigms as "models from which spring particular coherent traditions of scientific research" 4 is the best known and influenced Stanley Fish and Frank Kermode. Generally, however, literary critics are unaware of philosophers' responses to Kuhn and of their attempts to refine his category of paradigm. Larry Laudan, for example, sought to delineate the role of "research traditions" in the natural sciences. As his terminology suggests, these formulations overlap to some extent with literary understandings of past practice.But how much overlap is there, and is it significant? While Kuhn and Laudan both mention the arts, they disagree about the relevance of their work to the humanities. In 1969, noting that "topics" such as "competing schools," "changing standards of value" and "altered modes of perception" "have long been basic for the art historian," Kuhn argued that The Structure of Scientific Revolutions "makes them central to... (shrink)

This e-book written in Hungarian seeks to reconstruct “the aesthetic” in the modern sense of the word, from the mid-17th century to the 1730s, through the texts of mainly British authors such as John Dennis, Lord Shaftesbury, Joseph Addison, Richard Steele, Francis Hutcheson, George Berkeley, sometimes using their Spanish and French predecessors for contextualization. It assumes that “the aesthetic” is an unprecedented type of experience that had to be discovered, or rather invented; it is therefore more than a discussion (...) of some old, always existing quality or sensibility in a new theoretical guise. If the words “(school) philosophy”, “art” and “criticism” can be associated with the mostly systematic theories of aesthetics that emerged in the wake of Alexander G. Baumgarten as a loose characterisation, then the words “(popular) theology”, “nature” and “exercise” are even more so with the earlier texts that are on the table here, which played a role in the formation of “the aesthetic”. It seems that in this period, “the aesthetic” is understood above all as a new and intimate link between the sensual and the supernatural or spiritual, in which the former is not just an apropos or disposable means to the latter, but an indispensable and ever-present component that provides a constitutive framework for experience. Its unprecedented modernity lies in its nisus to capture the divine in the sensual and to make it present as sensual. In this new experiential form, both the “nature” of the transcendence and the spiritual economics of the beholder are reconfigured. The new “aesthetic” is connected to and associated with the full experience of life, the joy of existence, the openness to the transcendent through the sensuality of the natural or everyday world, the interplay of external determination and internal spontaneity, the enchanted state of mind experienced in a waking dream, the reinterpretation of the relationship between reality and fiction, the intense existential experience of spiritual and emotional movement provided by walking, wandering, boating or cheerful imagination. (shrink)

The Shroud of Turin is one of the most studied and controversial artifacts. To better understand the reasons for this impossible consensus, we focus on a specific point in the ongoing historical debate: the alleged relationship between the Shroud of Turin and the Pray Codex, the first illuminated manuscript in Hungarian named after the eighteenth-century Jesuit György Pray (1723–1801). Scholars have often compared the characteristics of a miniature in the Pray Codex, commonly dated circa 1192–1195, with the features of (...) the Turin Shroud. The comparison of the Pray Codex with the Shroud of Turin makes the position that the Turin Shroud has absolutely no direct or indirect link with the Pray Codex untenable. It can be said with confidence that the miniaturist of the Pray Codex probably had a direct or indirect link with the Shroud of Turin. (shrink)

Lessons from the Footnotes: The Reception of Burke’s Aesthetics and Social Theory in Szerdahely’s Conception of Aesthetics and Schedius’s Theory of Philokalia This article discusses the early phase of the Hungarian reception of the aesthetic views of Edmund Burke. It does so by considering two reference works on aesthetics, one by György Alajos Szerdahely (1740–1808), the other by Johann Ludwig Schedius (1768–1847). Both authors were, in their day and later, well known amongst the scholars of Europe. Their reference works (...) became university textbooks, and should therefore not now be neglected. The specialist literature has, however, to this day one-sidedly interpreted their conceptions as eclectic mixtures of German, English, and French works on aesthetics. In this article, the author seeks to surmount the poor methodology and unsatisfactory conclusions concerning the reception of foreign authorities in Hungarian aesthetics. She does so by using the example of Burke, reconstructing the context of the places that he is mentioned, presenting them as period topoi, and analysing the narrative strategies of the two Hungarian authors. These approaches allow her more profoundly to explore the relationship between Burke’s Enquiry and the two reference works. In the foreground of the comparison are the key terms ‘beauty’ and ‘the sublime’, the use of narration and metaphor, and also reflections on art, society, and sociability. (shrink)

(1994). Annex: The survey questionnaires. World Futures: Vol. 39, The Evolution of European Identity: Surveys of the Growing Edge A Report by the European Culture Impact Research Consortium (EUROCIRCON), pp. 161-164.

A collection of photographs depicts life on Chicago's west side between 1949 and mid-1960s.

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)