This is a comprehensive, integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany, circa 1754-1828, to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an "Aesthetics of Figurative Theo humanism". It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried Herder before (...) moving on to Karl Philipp Moritz, Wilhelm Heinrich Wackenroder and Friedrich Schelling. The reader will discover how this aesthetic tradition, after an initial obsession with classical sculpture, chose painting as the medium more suited to the modern self's exploration of transcendence. This paradigm-shift is traced in the aesthetic discourse of Friedrich Schlegel and Georg Wilhelm Friedrich Hegel. In this work, the widespread prejudice that such aesthetics initiated a so-called "Modern Grand Narrative of the Arts" is deconstructed. One accusation directed at 18th century aesthetics has been that it realised into "Art" what had previously been a living, rich tissue of meaning: this work shows how Figurative Theo humanism's attention to aesthetic values was never detached from deeper theological and humanistic considerations. Furthermore, it argues that this aesthetic discourse never forgot that it emerged from modern disenchantment-far from occluding the dimension of secularization, it draws poignant meaning from it. Anyone with an interest in the current debates about the scope and nature of aesthetics (philosophers of art, theology, or religion) will find this book of great interest and assistance. (shrink)

This concise overview of the perception of Islam in eight of the most important German thinkers of the eighteenth and nineteenth centuries allows a new and fascinating investigation of how these thinkers, within their own bodies of work, often espoused contradicting ideas about Islam and their nearest Muslim neighbors. Exploring a variety of 'neat compartmentalizations' at work in the representations of Islam, as well as distinct vocabularies employed by these key intellectuals, Ian Almond parses these vocabularies to examine the (...) importance of Islam in the very history of German thought. Almond further demonstrates the ways in which German philosophers such as Hegel, Kant, and Marx repeatedly ignored information about the Muslim world that did not harmonize with the particular landscapes they were trying to paint – a fact which in turn makes us reflect on what it means when a society possesses 'knowledge' of a foreign culture. (shrink)

At the moment of its decline, we clearly see that painting in oils developed an original poetics, and one that was all of a piece, throughout a renascent and modern West. From its birth and during a development lasting half a millennium we see it— in Florence, Bruges, Venice, Rome, Toledo, Nuremberg, Amsterdam and Paris—attentive to the sources of signification: languages, rites, myths, theater, tools, techniques and sciences and the urban context that wove them all together. In each case, for (...) one or the other of them, it brought a new relationship to the way of life and then left them to their social order of assimilation, keeping the initial contact for those who would be interested. It studded the West with centers of production that carried the practice and knowledge of art to their limits; engaged with the collective imagination, it punctuated history with decisive works, in which the desire to paint takes action and explains it. Marked by an impatience for change, oil painting revealed itself in a rapport with creativity akin to the other works of civilization. It is at the level of the bases of invention of the imaginary—which are in any expression the most profound structures—that the unfolding of oil painting is tightly bound. The establishment of modern national languages, the orderly rise, around a syntax and because of architecture, sculpture, music, song, tragedy, the systematic construction of scientific and technical expression, arose and grew quickly in importance in Western Europe during the same centuries as painting and with reciprocal correspondence. Dürer “who was the first to publish a treatise in which is collected all knowledge having to do with the expression of forms… wrote in his native tongue and in so doing was revealed as the creator of technical and scientific German.”. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; it (...) appeals to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

The following dissertation shows how German Literature negotiates the relationship between language and the visual arts, particularly in Romantic narratives. In contrast with authors of the Enlightenment, the Romantics tend to deny specificity to visual experience and in so doing dedifferentiate visual experience from the textual. ;The initial, methodological, chapter explicates perceptual models informed by the interplay of the philosophical approaches of Kant and Wittgenstein with the psychoanalytic discourse of Freud. In Chapter Two, I turn to Lessing's Laokoon Uder (...) uber die Grenzen der Malerei und Poesie , in which he divides the arts into pictoral and linguistic signs. While the boundary between the two appears quite clear in Laokoon, his play Emilia Galotti reveals Lessing's anxiety that the difference cannot be so easily maintained. ;The subsequent chapter explores the representation of the visual arts in Tieck's Franz Sternbalds Wanderungen . After a discussion of Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders , 1 turn to Tieck's novel about a young student of Albrecht Durer. The novel responds to the ostensible binary between language and the visual arts by transmuting the distinction into one between readable landscape paintings and phantasmatic images that guide the protagonist. ;As another example of this Romantic viewpoint, I analyze Brentano's Godwi oder das steinerne Bild der Mutter . Here I use the distinction between symbol and allegory to point out the ways in which the text turns the difference between the arts into one between rhetorical figures. A similar manifestation of the problem occurs in Eichendorff's Das Marmorbild , discussed in Chapter Five. The novella follows the same lines as Lessing's Laokoon, thematizing the materiality of its eponymous marble statue. My final chapter concerns Kleist's model of visual perception, which is closely bound to his theology in his tales "Die heilige Cacilie" and "Der Findling" . ;Writing Images interprets the role of visuality in German Romantic literature in order to understand an unresolved problematic of late eighteenth and early nineteenth-century thought for those who would too quickly either differentiate between or conflate the visual and the written. (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to establish Winckelmann's (...) place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

This book develops a philosophy of aesthetic experience through two socially significant philosophical movements: early German Romanticism and early critical theory. In examining the relationship between these two closely intertwined movements, we see that aesthetic experience is not merely a passive response to art-it is the capacity to cultivate true personal autonomy, and to critique the social and political context of our lives. Art is political for these thinkers, not only when it paints a picture of society, but even (...) more when it makes us aware of our deeply ingrained forms of experience in a transformative way. Ultimately, the book argues that we have to think of art as a form of truth that is not reducible to communicative rationality or scientific knowledge, and from which philosophy and politics can learn valuable lessons. (shrink)

In the last part of The Truth in Painting named «Restitution», Jacques Derrida polemicizes with historian and art critic Meyer Schapiro, presenting for discussion the pages Heidegger dedicated to Vincent Van Gogh’s paintings in the conference entitled «The Origin of the Work of Art». The article examines the occurrences of the word «truth» in Derrida’s text and evidences both the power and the limitations of some of the German phenomenologist’s suggestions.

The German painter Caspar David Friedrich’s The Monk by the Sea, a picture that has played an important role in accounts of the prehistory of twentieth-century abstract art, is significant among other reasons because it bravely refused painting’s narrative vocation and in so doing radicalized the optics characteristic of the contemporary aesthetics of the sublime. Friedrich’s contemporary, the novelist and dramatist Heinrich von Kleist, intuited precisely this in his scintillating comments on the painting at the time it appeared. Invoking (...) the shocking idea that looking at The Monk by the Sea is like seeing through eyes whose lids have been cut off, he recognized that Friedrich had transformed the canvas into the locus not so much of narration and signification as of sensation. This article leans on the terms devised by Gilles Deleuze to explain the paintings of Francis Bacon in order to explore the seminal shift in the relationship between spectator and composition that Friedrich’s canvas dramatizes with such compelling power. (shrink)

For the New Objectivity art, both literature and paintings, urban reality played a significant role. The aesthetics of the New Objectivity, movement that bloomed in the 20s and 30s, was defined through urban issues. This tendency can be observed primarily in the so-called Zeitroman that became a topic of interest for German literary studies earlier. In contrast to the prose, the New Objectivity poetry was rarely an object of studies. In the article, selected urban verses are analysed and connected (...) with the New Objectivity paintings on a modernist background. (shrink)

Throughout the nineteenth century, German philosophy was haunted by the specter of the French Revolution. Kant, Hegel and their followers spent their lives wrestling with its heritage, trying to imagine a specifically German path to modernity: a “revolution without revolution.” Trapped in a politically ossified society, German intellectuals were driven to brood over the nature of the revolutionary experience. In this ambitious and original study, Stathis Kouvelakis paints a rich panorama of the key intellectual and political figures (...) in the effervescence of German thought before the 1848 revolutions. He shows how the attempt to chart a moderate, reformist path entered into crisis, generating two antagonistic perspectives within the progressive currents of German society. On the one side were those socialists—among them Moses Hess and the young Friedrich Engels—who sought to discover a principle of harmony in social relations, bypassing the question of revolutionary politics. On the other side, the poet Heinrich Heine and the young Karl Marx developed a new perspective, articulating revolutionary rupture, proletarian hegemony and struggle for democracy, thereby redefining the very notion of politics itself. (shrink)

The ArgumentDevelopments in theoretical physics, even when they are revolutionary for physics, usually donotenter public awareness. The reaction to the special relativity theory is one of the few exceptions. The conceptual changes brought by special relativity to our notions of space and time, induced a lively debate not only within intellectual circles but in many strata of the educated middle class. In this article, I focus on a particular moment of public reaction to special and general relativity theory and to (...) its creator Albert Einstein. I try to paint a picture of the anti-Einstein campaign in Germany of 1920, with finer brush strokes than those applied previously by others. My aim is to embed the campaign into the cultural and political climate of the Weimar republic. Without leaving the realm of physics only a superficial understanding of what happened seems possible. My thesis is that the anti-Einstein-campaign was organized, and the physicists involved in it used, mainly in order to rally support for one of the German right-wing parties, the Deutschnationale Volkspartei. (shrink)

Why are the Germans good at music, whereas the Dutch excel in painting? What are the reasons for the outstanding draftsmanship of Australian Aboriginals, and why does this skill seem absent among West African peoples, who appear concerned rather with sculpture? Could it be that the Japanese do not share the European preference for symmetry in decorative art? Moreover, why do tastes in the visual arts, music, and literature change so noticeably throughout history? Is it possible that, despite differences across (...) time and space, there are features that each of humanity's arts share?These are some of the questions that in the late nineteenth-century were going through the mind of the German scholar Ernst Grosse .. (shrink)

A profoundly original philosophical detective story tracing the surprising history of an anecdote ranging across centuries of traditions, disciplines, and ideas Red Sea-Red Square-Red Thread is a work of passages taken, written, painted, and sung. It offers a genealogy of liberty through a micrology of wit. It follows the long history of a short anecdote. Commissioned to depict the biblical passage through the Red Sea, a painter covered over a surface with red paint, explaining thereafter that the Israelites had already (...) crossed over and that the Egyptians were drowned. Clearly, not all you see is all you get. Who was the painter and who the first teller of the tale? Designed as a philosophical detective story, Red Sea-Red Square-Red Thread follows the extraordinary number of thinkers and artists who have used the Red Sea anecdote to make so much more than a merely anecdotal point. Leading the large cast are the philosophers, Arthur Danto and Søren Kierkegaard, the poet and playwright, Henri Murger, the opera composer, Giacomo Puccini, and the painter and print-maker, William Hogarth. Strange companions perhaps, until their use of the anecdote is shown as working its extraordinary passage through so many cosmopolitan cities of art and capital. What about the anecdote brings Danto's philosophy of art into conversation with Kierkegaard's stages on life's way, with Murger and Puccini's la vie de bohème, and with Hogarth's modern moral pictures? Lydia Goehr explores these narratives of emancipation in philosophy, theology, politics, and the arts. What has the passage of the Israelites to do with the Egyptians who, by many gypsy names, came to be branded as bohemians when arriving in France from the German lands of Bohemia? What have Moses and monotheism to do with the history of monism and the monochrome? And what sort of thread connects a sea to a square when each is so purposefully named red? (shrink)

In 1776, the first living giant anteater to reach Europe arrived in Madrid from Buenos Aires. It survived 6 months in the Real Sitio del Buen Retiro before being transferred to the newly founded Real Gabinete de Historia Natural. In 1853, 77 years later, a second anteater was brought to London by two German showmen and exhibited at a shop in Bloomsbury, where it was visited by the novelist Charles Dickens. The animal was subsequently purchased by the Zoological Society (...) of London, which classed it as one of the most important additions to the menagerie since its formation in 1828. Drawing on recent work in animal biography, this article assesses the reception of the two anteaters and considers their cultural and scientific significance. I examine the logistics of the exotic animal trade and trace the transatlantic networks that permitted anteaters-and knowledge about them-to move between continents. I also study the modes of representation, from painting to taxidermy, that enabled the anteaters to reach new audiences. By focusing in detail on the lives of two exceptional anteaters, the article illuminates understandings of the species more broadly and shows how different spaces and places shaped the creation and dissemination of zoological knowledge. I emphasise, in particular, the tensions that emerged between imperial and colonial science and the competing knowledge regimes of the natural history museum, the menagerie, and the field. (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

In these fifteen essays, one Of Germany's most distinguished philosophers of history invokes an extraordinary array of witnesses and texts to explore the concept of historical time. The witnesses include politicians, philosophers, theologians, and poets, and the texts range from Renaissance paintings to the dreams of German citizens in the 1930s. Using these remarkable materials, Koselleck investigates the relationship of history to language, and of language to the deeper movements of human understanding.Reinhart Koselleck is Professor of the Theory of (...) History at the University of Bielefeld. (shrink)

Biography is a story, and a story is something that is meant to be told. It is thus quite evident that biography is the tale of a life: a life-story (Lebensgeschichte in German). But then the question arises as to what exactly is a story and how apt is it for representing life within the limits of this representation as compared to other representations of life: the painted or written portrait, the private diary, the oral or tape-recorded interview, the (...) curriculum vitae, the anthropometric file or the epitaph, which at least has the merit of being concise. (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)

This book surveys research in quantification starting with the foundational work in the 1970s. It paints a vivid picture of generalized quantifiers and Boolean semantics. It explains how the discovery of diverse scope behavior in the 1990s transformed the view of quantification, and how the study of the internal composition of quantifiers has become central in recent years. It presents different approaches to the same problems, and links modern logic and formal semantics to advances in generative syntax. A unique feature (...) of the book is that it systematically brings cross-linguistic data to bear on the theoretical issues, discussing French, German, Dutch, Hungarian, Russian, Japanese, Telugu (Dravidian), and Shupamem (Grassfield Bantu), and pointing to formal semantic literature involving quantification in around thirty languages. -- -/- 1. What this book is about and how to use it; 2. Generalized quantifiers and their elements: operators and their scopes; 3. Generalized quantifiers in non-nominal domains; 4. Some empirically significant properties of quantifiers and determiners; 5. Potential challenges for generalized quantifiers; 6. Scope is not uniform and not a primitive; 7. Existential scope versus distributive scope; 8. Distributivity and scope; 9. Bare numeral indefinites; 10. Modified numerals; 11. Clause-internal scopal diversity; 12. Towards a compositional semantics of quantifier words. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Experience or Interpretation:"What You See Is Not What You Read"Klaus OttmannMuseums of modern and contemporary art are growing at an unprecedented rate. New museums are being founded and existing ones are expanding exhibition spaces and acquiring more and more works of art. Concurrently, cultural institutions compete with a growing number of art fairs, biennials, galleries, and public collection spaces.Since the 1980s the focus of museums increasingly has been on (...) education and interpretation, which among other things has created a boom for audio guides and scholarly exhibition catalogs at the expense of the unmediated experience of works of art. Perhaps what is needed are exhibitions that present art again primarily as "experience," with minimal curatorial and didactic intervention. [End Page 13]I have borrowed the title of my essay from a lecture that was given by Nicolas Serota, the director of the Tate galleries in London, in 1996. His lecture was subtitled "The Dilemma of Museums of Modern Art."But the question of the presentation of art, and specifically, that of experience vs. interpretation, by no means originated in the last decades. It is at least as old a question as modern art itself, going as far back as the nineteenth-century French intellectual dispute on the museum between the poet Paul Valéry and the novelist Marcel Proust, as recounted with a sympathetic voice by the German philosopher and cultural critic Theodor Adorno in a short essay with the minimalist title "Valéry Proust Museum."There is much to be learned from reading this small text. Paul Valéry criticized the museum of his time (the Louvre) for creating confusion in the mind of the spectator by reducing the experience to the level of information only. No one would want to listen to ten orchestras at once, he argued, yet we are forced to apprehend, at the same moment, a seascape, a portrait, and a still-life, or worse, painting styles completely incompatible with each other. He warned that excess of information would lead to impoverishment of the senses, as art was becoming a matter of education. Valéry's view could be regarded as the conservative position.Marcel Proust's view was more modernist: he regarded the museum as the best place to view art. Devoid of décor and other commonplace distractions, its galleries symbolized for him the inner spaces into which the artist withdraws to create works of art.Both Valéry and Proust emphasized that art should be enjoyed. But while for Valéry art lost its vitality in the museum and effectively "died," Proust saw an afterlife of art in the museum and in the subjective stream of consciousness of the viewer.For Adorno, both views were too one-sided and extreme. Valéry's absolute unwavering contemplation of pure art takes the risk of neutralization, unless the work can point beyond itself toward a social context. Thus, a work of art is neither an embodiment of a Platonic idea, as Valéry believed, nor is it exclusively a reflection of the soul, as Proust understood it. Rather, in Adorno's view, art is a "force field" between the art and the viewer, both passive and active.In his 1931 lectures on "Art as Experience," the American philosopher John Dewey said:The trouble with existing theories [of art] is that they start from ready-made compartmentalization, or from a conception of art that "spiritualizes" it out of connection with the objects of concrete experience. The alternative, however, to such spiritualization is not a degrading... materialization of works of fine art, but a conception that discloses the way in which these works idealize qualities found in common experience.1 [End Page 14]In my book The Genius Decision: The Extraordinary and the Postmodern Condition, I describe the creative act as an active-passive leap that the artist is impelled to make and the viewer is challenged to repeat.Wittgenstein often spoke about the inexpressible, that which is beyond the limits of language. He called it "running against the boundaries of language." It is something any poet, musician, or painter is familiar with; they all run against boundaries of language, sound, or color... (shrink)

Hermann von Helmholtz was a leading figure of nineteenth-century European intellectual life, remarkable even among the many scientists of the period for the range and depth of his interests. A pioneer of physiology and physics, he was also deeply concerned with the implications of science for philosophy and culture. From the 1850s to the 1890s, Helmholtz delivered more than two dozen popular lectures, seeking to educate the public and to enlighten the leaders of European society and governments about the potential (...) benefits of science and technology to a developing modern society. David Cahan has selected fifteen of these lectures, which reflect the wide range of topics of crucial importance to Helmholtz and his audiences. Among the subjects discussed are the origins of the planetary system, the relation of natural science to science in general, the aims and progress of the physical sciences, the problems of perception, and academic freedom in German universities. This collection also includes Helmholtz's fascinating lectures on the relation of optics to painting and the physiological causes of harmony in music, which provide insight into the relations between science and aesthetics. Science and Culture makes available again Helmholtz's eloquent arguments on the usefulness, benefits, and, intellectual pleasures of understanding the natural world. With Cahan's Introduction to set these essays in their broader context, this collection makes an important contribution to the philosophical and intellectual history of Europe at a time when science played an increasingly significant role in social, economic, and cultural life. (shrink)

This article analyses a footnote to the third version of the ‘Work of Art’ essay in which Walter Benjamin presents an account of ‘a certain oscillation’ between ‘cult value’ and ‘exhibition value’ as typical of the reception of all works of art. Benjamin's example in that footnote is the Sistine Madonna, a painting by Raphael in the Dresden Gemäldegalerie that has played an important part in German aesthetics since Winckelmann. Benjamin's footnote on the Sistine Madonna, along with his critique (...) of Hegel's aesthetics in that context, demand to be understood in relation to his remarks on Dada elsewhere in the artwork essay, and to his claim that technological reproducibility leads to the ‘actualization’ of the original reproduced. In that connection, the article concludes with an analysis of Kurt Schwitters's 1921 montage picture Knave Child Madonna with Horse. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are (...) devoted to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

By analysing the policies and ideas of German social democracy, the British Labour Party and the Italian Communist Party, this article explores their attitude towards science and their imagination of the future in the 1950s. Deeply different, social democrats and communists shared a positivist attitude in favour of scientific progress and high modernity. This painted their attitude towards the space race, peaceful nuclear power and automation. Science was conceived as a neutral power to be supported, but it required political (...) guidance to harness it and turned it into social progress. Thus, their disagreement was over the political implications for capitalist societies experiencing growing prosperity. Science was also a powerful rhetorical argument to castigate the conservatives for failing the nation and allowing it to decline and fall behind its competitors. The article combines comparison and transnational history, innovating the latter by introducing the concepts of horizontal, vertical and antagonistic transnationalism. (shrink)

Of the main models or projects of globalization, the Vatican Group's project is of particular interest in research, whereby the stake in the world-wide rule is on the "network" the empire "of Catholicism, the" Opus Dei "Order and the Special Service, and the oldest Roman-Germanic aristocratic families. "In the sphere of business," observes A. Yeliseyev, "the Vatican group" puts the main focus on the post-industrial "knowledge economy", unlike the Rockefeller group, which sits on oil and the military-industrial complex, and the (...) "Rothschild group", which deals with noble metals and precious stones and "financial pyramids". It is noteworthy that the Vatican Group has a very winning image of the traditionalist force that affirms the "eternal values ​​of Christianity" in a changing, modern world. In reality, this "pool" offers its own project of globalization, only painted in colors of traditionalism. And this was best confirmed by the Pope of Rome: in his latest encyclical, which contains a direct and unambiguous appeal to the establishment of "world political power.". (shrink)

Published in the Series Encyclopedia of Indian Religions, this volume is devoted to Christianity in India, where it has had a long presence, going back to the time of the apostles of Jesus Christ. Divided into two parts, this volume focuses on the history, origin, organizations and local engagements, belief system, worship practices, Rites, Rituals, Christian life, Contributions, Spirituality and a few of the main doctrinal items. The Second Part covers the doctrinal and theological arena. It examines the earlier phase (...) of the history of Christianity starting with the traditional belief of the arrival of St. Thomas in AD 52, moving to the periods of its association with the Chaldean church, the Portuguese, the Dutch, English and so on. This volume highlights the missionary activities of persons like St. Francis Xavier, the creative contributions made to the inter-religious dialogue by such people as Roberto de Nobili (1577-1656) and Swami Abhishiktananda (1910-1973), the linguistic and educational contributions of some of the pioneers like the German Jesuit Johanne Ernst Hanxleden (known as Arnos Padiri) (1681-1732), Herman Gundert (1814-1893), St. Elias Kuriakos Chavara (1805-1871), and, a fortiori, the enormous contributions in the healthcare area throughout the country. Caring for and serving the socio-economically marginalized ones, the peripheralized people formed an integral part of the Christian activity In India, as it is done even today. This is highlighted very much in the volume. It, further, explores the contact India had with European Christianity, showing that European Christianity proved to have wider influence in the Norther part of India, unlike India’s early episodic encounters with Palestinian and Persian forms of Christianity, which had deep influence in the Southern part of India. The volume also highlights the inner struggle among the followers resulting even in its division originating at the Synod of Diamper in 1599 manifesting, by and large, the Church-state ‘love and hate’ relationships. In fine, in spite of the drawbacks of putting the herculean task of two thousand years of history in eight hundred pages or so, this volume gives a rather comprehensive view of Christianity in India especially to those who are unfamiliar with its life and dynamics in the Indian context. The wide range of photographs, especially of the churches revealing the architectural beauty and multiplicity along with the ensample of art and paintings and pilgrimage centers adds to the enrichment of the volume. (shrink)

This book is the authorized political biography of Kenneth Waltz. The theoretical work of Kenneth Neal Waltz (June 8, 1924 - May 12, 2013) during the last half of the twentieth century in international relations theory is known by virtually everyone in this scholarly field. He is among the few likely still to be cited in the last half of the twenty-first century. Then, as now, he no doubt has followers within the realist camp who see him as an earlier (...) luminary as well as his critics drawn to the lightning-rod quality of his work. Paul Viotti identifies the intellectual sources and experiences leading to the ideas that underlie Waltz's theoretical work. Viotti has been granted unfettered access to Waltz's files at Columbia, in his residences in Manhattan and Maine, and in archives at Oberlin, and uses these documents to paint a thorough, insightful biography bolstered by some of Waltz's previously-unexplored work. Through a series of interviews with Waltz about his life-starting with his German great-grandparents' immigration to the US in the 19th century-this biography produces personal insights into the development of his theoretical and policy-based contributions. (shrink)

An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music.As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of (...) art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms."In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise. (shrink)

Starting from the late Renaissance, efforts to make vocal music more expressive heightened the power of words, which, in turn, gave birth to the modern semantics of musical expression. As the skepticism of seventeenth-century science divorced the acoustic properties from the metaphysical qualities of music, the door was opened to dicern the rich links between musical perception and varied mental faculties. In Tuning the Mind, Ruth Katz and Ruth HaCohen trace how eighteenth century theoreticians of music examined anew the role (...) of the arts within a general theory of knowledge. As the authors note, the differences between the physical and emotional dimensions of music stimulated novel conceptions and empirical inquiries into the old aesthetic queries. Tracing this development, their opening chapter deals with seventeenth-century epistemological issues concerning the artistic qualities of music. Katz and HaCohen show that painting and literature displayed a comparable tendency toward "musicalization," whereby the dynamic of forms-the modalities specific to each artistic medium-rather than subject matter was believed to determine expression. Katz and HaCohen explore the ambiguities inherent in idealization of an art form whose mimetic function has always been problematic. They discuss the major outlines of this development, from Descartes to Vico through Condillac. Particular emphasis is placed on eighteenth-century British thinkers, from Shaftesbury to Adam Smith, who perceived these problems in their full complexity. They also explore how the French and the Germans dealt differently with questions that preoccupied the British, each nation in accordance with their own past tradition and tendencies. The concluding chapter summarizes the parallel development of abstract art and basic hypotheses concerning the mind and explores basic theoretical questions pertaining to the relationship between perception and cognition. In addressing some of the most complex problems in musical aesthetics, Katz and HaCohen provide a unique historical perspective on the ways their art creates and develops coherent worlds, and, in so doing, contribute to our understanding of the workings of the mind. Ruth Katz is Emanuel Alexandre Professor of Musicology at the Hebrew University in Jerusalem. She is co-editor with Carl Dahlhaus of Contemplating Music, a four-volume study of the philosophy of music. Ruth HaCohen is Clarica and Fred Davidson Senior Lecturer of Musicology at the Hebrew University. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Ethics, Aesthetics and the Historical Dimension of Language collects together Gadamer's most important untranslated writings on ethics, aesthetics and language. With a substantial introduction by the editors exploring Gadamer's ethical project and providing an overview of his aesthetic work, this book collects Gadamer's writings on ancient ethics, including the moral philosophy of Aristotle, and on practical philosophy. In the final section, Gadamer's writings on art and language are collected, including his examination of poetry, opera and painting among other art forms, (...) and such topics as artistic language and translation. This important collection is a useful resource for scholars in philosophy, studying hermeneutics, continental, 20th-century and German philosophy. (shrink)

An English adaptation of the publication that accompanied the exhibition BLAST: Vortizismus--Die erste Aventgarde in England 1914-1918 in Hanover and Munich in 1996-97. British and German art historians examine the only British avant-garde movement to make an original contribution to European Modernism. Initiated in 1914 by Wyndham Lewis and christened by Ezra Pound, it was a sustained act of aggression against the moribund and moderate Victorianism that they saw as stifling the artistic energies of the new generation. In addition (...) to 63 black-and-white illustrations, 40 color plates reproduce example paintings. c. Book News Inc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Religion, Modernity, and Politics in Hegel by Thomas A. LewisVincent LloydReligion, Modernity, and Politics in Hegel THOMAS A. LEWIS Oxford: Oxford University Press, 2011. 277 pp. $135Religion, Modernity, and Politics in Hegel explicates Hegel’s account of religion and contends that Hegel offers important insights for contemporary conversations in religious studies. Specifically, Thomas Lewis argues in this book that Hegel’s thought enriches discussions regarding the relationship between philosophy and (...) religion, religious pluralism, the meaning of tradition, and the concept of religion itself.Lewis is careful and reasonable in his explication of Hegelian texts, cognizant of recent scholarship on Hegel in both English and German, but also attentive [End Page 226] to Hegel’s location in German political history and the history of ideas. The young Hegel, we learn, was primarily a social theorist and not a philosopher. Concerned with social fragmentation in the context of the late Holy Roman Empire, Hegel saw religion as a means to unify. He understood civil religion (not just philosophy or natural religion) as capable of engaging the imagination in a way that motivates people to act in line with reason and so to act morally. In Hegel’s mature thought, religion is integrated into his broader philosophical system; it is an entry point into the dialectical movement beyond immediacy. Yet Hegel continues to think that religion inculcates crucial intuitions about what matters most to us as we live together. While some philosophers have recently emphasized Hegel’s deep debt to Kant, others hold that Hegel’s account of religion demonstrates his distance from Kant. For Lewis, Hegel’s account of religion, as the entwined beliefs and practices representing a community’s sensibilities, demonstrates his close relation to Kant and his continuing struggle to bring together sensibility and understanding, worldly objects, and human thoughts.Lewis occasionally ventures beyond the explication of Hegel, although these forays sometimes feel brief and thin. Like Alasdair MacIntyre, Stanley Hauerwas, and Jeffrey Stout, Lewis presents Hegel’s view of religion as essentially mixing—or synthesizing—history, narrative, community, and identity. Lewis understands Stout to be in agreement with Hegel, extending Hegel’s account of religious tradition to include the broader array of traditions that we encounter in the contemporary world. He suggests that Hauerwas could learn to better appreciate religion’s conceptual aspect from Hegel. Hegel and MacIntyre share what might seem to be a Christian triumphalism, but Lewis reads this more sympathetically as a self-awareness that rejects relativism. They both argue that (certain versions of) Christianity can account for the insights of other worldviews and can address contradictions in those other worldviews. But MacIntyre requires that such judgments be based on deep knowledge of two traditions in a comparison; Hegel paints non-Protestant traditions with very broad strokes. Indeed, this is the point where Lewis himself is the most critical of Hegel. He charges that Hegel’s attempt to survey all major world religions (in his account of “determinate religion”) is overly ambitious, and he argues that Hegel would be more successful had he detached this survey from his argument for Christianity’s status as the “consummate religion.” Hegel’s conception of consummate religion should be understood more broadly, Lewis argues, to include nonreligious beliefs and practices, such as civic education, that reflect the spirit of a community.Lewis claims that Hegel complicates the supposed Protestant bias of religious studies scholarship with its focus on belief at the expense of practice. Although unequivocally Protestant, Hegel’s approach to religion emphasizes the inextricability of practice and belief. But what was Hegel’s approach? Was it an [End Page 227] alternative Protestant tradition? Was it a theological movement or simply a philosophical one? Further, it is unclear whether Lewis’s Hegel would find any use for religious ethics other than as an idiom for ethical reflection suited to those who are not capable of advancing to philosophical heights.Vincent LloydSyracuse UniversityCopyright © 2014 Society of Christian Ethics... (shrink)

This book outlines and circumvents two serious problems that appear to attach to Kant’s moral philosophy, or more precisely to the model of rational agency that underlies that moral philosophy: the problem of experiential incongruence and the problem of misdirected moral attention. The book’s central contention is that both these problems can be sidestepped. In order to demonstrate this, it argues for an entirely novel reading of Kant’s views on action and moral motivation. In addressing the two main problems in (...) Kant’s moral philosophy, the book explains how the first problem arises because the central elements of Kant’s theory of action seem not to square with our lived experience of agency, and moral agency in particular. For example, the idea that moral deliberation invariably takes the form of testing personal policies against the Categorical Imperative seems at odds with the phenomenology of such reasoning, as does the claim that all our actions proceed from explicitly adopted general policies, or maxims. It then goes on to discuss the second problem showing how it is a result of Kant’s apparent claim that when an agent acts from duty, her reason for doing so is that her maxim is lawlike. This seems to put the moral agent’s attention in the wrong place: on the nature of her own maxims, rather than on the world of other people and morally salient situations. The book shows how its proposed novel reading of Kant’s views ultimately paints an unfamiliar but appealing picture of the Kantian good-willed agent as much more embedded in and engaged with the world than has traditionally been supposed. (shrink)

Reflecting on the technological age, poet Rainer Maria Rilke wrote of the intense emotions with which people can endow manufactured objects. We seem to "charge" the world of things as we would a battery. Now German art historian Christoph Asendorf explores this transformation of human sense perception in the industrial age and contributes to a new understanding of European culture and modernity. Drawing from literature, painting, architecture, film, philosophy, anthropology, and popular culture, Asendorf offers rich analyses of works by (...) Manet, Baudelaire, Monet, Zola, Benjamin, Heidegger, and Duchamp. These close readings are combined with a montage of key cultural images and events ranging from Paxton's Crystal Palace to the introduction of electricity. The result is a striking account of the emergence of consumer culture within the developing commodity economy of modern Europe. Certain to challenge the mono-disciplinary perspectives of many specialists, this book will interest historians of art, culture, literature, science, and technology. (shrink)

Although equal in power to other facets of the rich cultural ferment of modern Russia that have profoundly influenced Western civilization—such as painting, literature, drama, and politics—the authentic legacy of twentieth-century Russian philosophy has until recently been eclipsed by Soviet ideological dominance. Of the important philosophers drawing upon the characteristically Russian synthesis of Ancient Neoplatonism, German Idealism, and Byzantine spirituality, Sergei Bulgakov is outstanding, and his work has important implications for our contemporary thinking about the relationship between humanity and (...) nature in an age of environmental crisis. Overcoming the objectivist stance toward nature consolidated by Descartes and ensconced by Kant, Bulgakov anticipates not only many existential and phenomenological thinkers in the West—especially Heidegger—but also current ecological sensibilities, by showing the ontological status of humanity and nature as profoundly interconnected, especially through his understanding of nature as “household.” Beyond this, he elucidates a normative, “thoesophianic” character of nature corresponding to Plato’s “world soul,” the Renaissance natura naturans, and Heidegger’s “divinely beautiful nature” which is best revealed not by science and technology, but by the aesthetic and contemplative energies of a humanity whose essential interconnection with nature is shown most profoundly by means of this mode of revealing itself. (shrink)

The article explores for the first time the theological relevance of the work of the artist Karl Bauer, who specialized in portraits of those he called „Great Men“. Influenced by the pseudo-science of phrenology, he believed that „greatness“ manifested itself in certain features of the skull. Luther, for example, he painted with a prominent forehead as a sign of strong will and Germanic defiance, presenting him as a national hero whose translation of the bible into German had laid the (...) foundation of Bismarck's Empire of 1870. Bauer's Luther-portraits became a trademark of national Protestantism until well into the 20th-century and were used in the mass media of popular culture. Their enormous popularity points to the relevance of non-logocentric means of theological communication which have not yet been sufficiently appreciated as an important source of church history. (shrink)

For us, the word "technique" connotes the world of technological artefacts, each of them having their own function. Nevertheless, this word comes from the old Greek word technè, which meant both arts and technology, and could in the medieval times be accurately translated in latin by "ars". Indeed, "ars" shared the same ambiguity as technè, as does the German Kunst, since künstlich is used as much for "artistic" as for "artificial". But when the "liberal arts" began to include painting, (...) sculpture, and so on, previously belonging to "mechanical arts", those two words split and began to name two different things. In the end, "art" meant only the "artistic" side, and "techniques", the side of technological or technical artefacts. The division between "artefacts" and "objectsof arts" became something taken for granted in European thinking. Of course, this shift had both "internal" reasons, within the artists' practices (concerning the difference between working according to a tradition in order to deliver a piece of art, and working spontaneously in a non-useful fashion, and so on) and some "external" reasons (some craftsmen vindicating privileges due to the special situation of their practice among the group of so-called artists; see Heinich 1999). However, in the present perspective the common root of technology and art in this old experience named technè could prove to be illuminating concerning the status of artefacts. (shrink)

English summary: From an international and interdisciplinary viewpoint, Thomas Aquinas was the most important scholastic philosopher and theologian. His life, work and legacy are set out in this four section handbook which provides orientation in what is currently known about the man, his affinities and character, his work and its impact. The volume offers a summary of research up until now, as well as a basis for further investigation. Comprehensive indexes and literature sources mean it can be used as a (...) work of reference whose articles can be separately or integrally understood. Writing from their different perspectives, philosophy and history scholars along with Protestant and Catholic theologians all help paint this portrait from their different perspectives. German description: Das Thomas Handbuch bietet eine Darstellung von Leben, Werk und Wirkung von Thomas von Aquin, dem wohl bedeutendsten Vertreter der scholastischen Philosophie und Theologie in interdisziplinarer und internationaler Perspektive. In vier Sektionen enthalt es Ausfuhrungen zur Orientierung in der gegenwartigen Forschungslage, zur Person des Thomas und ihren Verbindungen und Pragungen, zu seinem Werk und zu seiner Wirkung. Es bietet eine Zusammenfassung der bisherigen Forschungen zu Thomas von Aquin und eine Grundlage fur weitere Arbeiten. Erschlossen durch umfassende Register und Literaturangaben, kann es als Nachschlagewerk genutzt werden, dessen einzelne Artikel je fur sich verstehbar sind, aber auch als umfassende Gesamtdarstellung. Die interdisziplinaren Beitrage eroffnen eine Gesamtschau, in welcher verschiedene Perspektiven ihren Ort finden und ihren je eigenen Beitrag zum Gesamten bieten. Mit Beitragen von: Henryk Anzulewicz, Carmela Baffioni, Michael Basse, David Berger, Inos Biffi, Volker Henning Drecoll, Mechthild Dreyer, Stephan Ernst, Sabine Folger-Fonfara, Elias Fullenbach, Ruedi Imbach, Ingo Klitzsch, Ulrich Kopf, Pieter de Leemans, Volker Leppin, Jurgen Miethke, Thomas Prugl, Francois-Xavier Putallaz, Reinhold Rieger, Philipp W. Rosemann, Marianne Schlosser, Gury Schneider-Ludorff, Rolf Schonberger, Christoph Schwobel, Notger Slenczka, Wolfgang Sturner, Hubert Philip Weber. (shrink)

In the early 12th century, a Jewish community first settled in the medieval city of Erfurt (Thuringia). The synagogue, the mikvah (ritual bath), and several private dwellings of this community are preserved until today. A room in one of the private houses formerly inhabited by Jews has a wooden beam ceiling, dating from 1244, which is colourfully painted with tendrils, leaves and blossoms. This ceiling was added to the room together with other extensive refurbishments: the former door in the eastern (...) wall was replaced with a built-in cupboard, a new door as well as a recess for an oil lamp were added to the northern wall, and the room received an oriel window. Furthermore, the ceiling shows the remains of suspensions for lamps, and traces of shelves are still visible on the walls. As an ensemble, these alterations suggest that the chamber was converted into a prayer room in the mid-13th century. As the only preserved example of a medieval Jewish private room for prayer, it constitutes an important source for understanding Jewish piety in the German-speaking lands. (shrink)

This collection brings together thirteen essays by some of the most respected contemporary scholars of Schopenhauer's aesthetics from a wide spectrum of philosophical perspectives. The dynamics of the empirical will and Will as a thing-in-itself in the interplay of Schopenhauer's metaphysics and philosophy of fine art has important implications for the freedom, salvation and tragic suffering of the artist, the representation of Platonic Ideas in art, and the role of artistic inspiration, emotion and aesthetic pleasure in the beautiful and sublime. (...) These essays examine the unique theory Schopenhauer developed to explain the life and work of the artist, and the influence his aesthetic philosophy has had on subsequent artistic traditions in such diverse areas as music, painting, poetry, literature and architecture. The authors present Schopenhauer's thought as a vital and enduring contribution to aesthetic theory, and to the idealist vision which continues to guide Romantic and neo-Romantic art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to David Carr, “The Significance of Music for the Promotion of Moral and Spiritual Value”Iris M. YobDavid Carr has addressed a question that has been lurking in philosophical literature for centuries and, I might add, in our collective intuition as well: Just what is the connection between music and the moral and spiritual life? And as we have come to expect from his work, he brings a (...) new perspective to this perennial question in his answer. First he traces a line of thinking since Plato about music and the ordering of the soul, he touches on the role of music and the other arts in exploring the complexities of the moral imperative as it is lived out in human lives, and returns at the end to give a new take on the old Platonic idea of ordering of the soul. Just maybe, he suggests, the detachment, however temporary, "from the trials and tribulations that beset us in the day to day rough and tumble of human practical affairs" "in the interests of some more balanced perspective" on spiritual and moral matters "might be easier to achieve in the contemplation and appreciation of great works of 'music alone.'"This conclusion does not lay claim to more than what is perfectly reasonable. Allowing oneself to be immersed in a great work of music or art or architecture or dance may very well provide that distance from every day life where one might [End Page 209] re-center and refocus, refresh and renew one's outlook on the world. Such an engagement with an artwork can interrupt the patterns of thinking and acting that might have become increasingly thoughtless and ego-centric. It can be a re-creation in the true sense of the word. Paul Tillich, one of the great twentieth century religious philosophers, tells of an experience he had during the First World War where he served as a chaplain in the German army. On a brief leave from the front he visited Kaiser Friedrich Museum in Berlin and stood entranced before Botticelli's "Madonna and Child with Singing Angels." The moment was spiritually transformative, he tells us, lifting his spirits beyond the mud and grime of the battlefield to contemplate life and meaning on a different plane altogether. The experience enabled him to return to duty with renewed inner strength and calm.1 I believe this is a rather powerful and compelling example of what Carr is talking about.In coming to his conclusion, Carr is relying on the particularly difficult case of "music alone," that is, music that does not have words, title, or any other kind of representative function. In other words his argument does not depend on any didactic nature or morally or spiritually directive intent of the music. Rather, it is centered on music that ostensibly is not about anything. This is musical sound composed and performed for the appreciation of what it is in itself. And yet, in providing distance from the every day world, according to Carr, it can give expression to "realms of spiritual experience that lie beyond the sensual and empirical." Here we enter the world of the metaphorical and symbolic, what Rudolf Otto would call the "irrational" or "superrational," or the realm of the Holy. While Carr does not state this explicitly I would go so far as to say that this realm of the wordless and sacred is where the spiritual and the moral are grounded and from where they draw their power.Against this background, I would like to ask how does "music alone," in the sense intended by Carr and Peter Kivy from whom he borrowed the term bring about this effect? We are unable now to ask Tillich what it was that gave the Botticelli its impact for him, but it is curious that what it did for him it most likely did not do for all the other soldiers from the front who happened upon it the way he did. Tillich would most likely explain its effect by resorting to his theory of symbols, because after all this painting does have a literal meaning that might very well have inspired him. But... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gary Shapiro THE OWL OF MINERVA AND THE COLORS OF THE NIGHT Hegel is known to many readers mainly for a few striking figurative passages which he himself excluded from the central structures of his major texts as extrinsic remarks. His mature system justifies this exclusion by claiming that philosophy operates in the realm of the pure concept, having surpassed the sensuous narrative images of art and religion. Nevertheless, (...) the very forcefulness of the passages themselves indicates that the mature Hegel may never have peacefully aufgehoben the young man who believed in 1796 that philosophy, in order to resume its original role as educator of mankind, must become aesthetic, mythological, and poetic. (I am assuming that Hegel either wrote "the earliest system-program of German idealism" or endorsed its principles.) A reading of the famous elegiac passage in the "Preface" to the Philosophy of Right suggests not only problems of meaning, but of philosophical rhetoric: One more word about giving instruction as to what the world ought to be. Philosophy in any case always comes on the scene too late to give it. As the thought of the world, it appears only when actuality is already there cut and dried after its process of formation has been completed. The teaching of the concept, which is also history's inescapable lesson, is that it is only when actuality is mature that the ideal first appears over against the real and that the ideal apprehends this same real world in its substance and builds it up for itself into the shape of an intellectual realm. When philosophy paints its gray in gray, then has a shape of life grown old. By philosophy's gray in gray it cannot be rejuvenated but only understood. The owl of Minerva spreads its wings only with the falling of the dusk.1 The first focus of attention here is usually on the mood of philosophical resignation in which completion of a rational development leaves no room for action or advice. Theory must necessarily give up any Utopian 276 Gary Shapiro277 or activist pretentions it may have harbored once it sees that it can only describe what has been. Despite the fact that Hegelian actuality (Wirklichkeit) is the result of a rational and dialectical process, ascetic renunciation of any relation to action puts Hegel in the strange company of nineteenth century positivists and empiricists; it also establishes a tone fundamentally different from classical European political philosophy of thinkers like Machiavelli, Hobbes, and Rousseau, a tone which Marx, provoked by Hegel, was to revive. The statement can also be read on a scale much larger than the political, in which it suggests a resigned acceptance of the completion of Western philosophy and civilization. Hegel is notorious for his view that spirit (Geist), the fundamental reality, has completed itself through the self-knowledge which it attains in his system of philosophy. That he sometimes speaks of his enterprise as a Wissen or Wissenschaft (knowledge, science, or wisdom) suggests how far he has come from the Socratic conception of philosophy as always characterized by a lack of that which it loves. It would be intriguing to explore these themes. Such exploration would involve a more thorough knowledge of what Hegel understands by end, completion, and fulfillment when he speaks of political life and the higher forms of spirit—art, religion, and philosophy. We might even be led by such an inquiry into Hegel's meaning to see his claims as historically and philosophically plausible and to reconsider our own resistance to believing that we live in a deepening twilight. What I wish to do, however, is to call attention to the manner in which Hegel speaks of Minerva's owl and to juxtapose both the manner and the substance of his thought about the twilight of philosophy and civilization with some of Hölderlin's dichterisch and Heidegger's denkerisch meditations on similar themes. For if Hegel has announced the coming of the night, Hölderlin and Heidegger have sought to make the night their very own territory and to comprehend it from within. If Hegel has rather gingerly allowed himself to lapse into that famous figurative discourse of the... (shrink)

These essays in aesthetics by the philosopher Ernst Bloch belong to the tradition of cultural criticism represented by Georg Lukács, Theodor Adorno, and Walter Benjamin. Bloch's fascination with art as a reflection of both social realities and human dreams is evident in them. Whether he is discussing architecture or detective novels, the theme that drives the work is always the same - the striving for "something better," for a "homeland" that is more socially aware, more humane, more just.The book opens (...) with an illuminating discussion between Bloch and Adorno on the meaning of utopia; then follow 12 essays written between 1930 and 1973, on topics as diverse as aesthetic theory, genres such as music, painting, theater, film, opera, poetry, and the novel, and perhaps most important, popular culture in the form of fairy tales, detective stories, and dime novels.Ernst Bloch was a profoundly original and unorthodox philosopher, social theorist, and cultural critic. The MIT Press has previously published his Natural Law and Human Dignity and his magnum opus, The Principle of Hope. The Utopian Function of Art and Literature is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Still Life Is Really a Moving LifeThe Role of Mirror Neurons and Empathy in Animating Aesthetic ResponseCarol S. Jeffers (bio)IntroductionIn the Western aesthetic canon, the still life enjoys a certain prestige; its place in the museum and on the pages of the art history text is secure. Art aficionados who appreciate the character of Cezanne's apples help to ensure the lofty standing of the still life, as do (...) students who admire the dewdrops still glistening on flowers picked and painted in the nineteenth century. For some students, however, it is difficult to understand such veneration. Despite the coaxing of dedicated art or museum educators, these students find apples nestled among drapery folds or translucent petals in a spring bouquet to be "boring." No matter how compelling the apples, how exquisitely rendered the blossoms, the still life is much too static, offering little more than the lifelessness of inanimate objects.In my experience, even the most unappreciative of students can be persuaded to take a closer look at the inanimate—not by me or any strategies I may have devised but rather by classmates who have chosen still life paintings to serve as their personal metaphors. When shared during the courses I teach, these still lifes and their depicted objects acquire special meanings that are uniquely associated with the individual students who chose them. Reflecting on these class presentations, converted students offered these thoughts: "I related myself with the metaphors and the way my classmates felt"; and "What really stayed with me were the stories and the way my classmates connected with their paintings—how they connected to the art emotionally." Still another wrote: "I really liked the way their presentations went because I got to know [my classmates] a little bit more." Through these connections to still life and other genres, students explored [End Page 31] their concepts of self within a community of others and began to experience the power of empathy.Empathy, typically defined as "the intellectual or emotional identification with another,"1 is a human capacity that, according to the noted neuroscientist Vittorio Gallese, allows us to understand the world of objects as well as the world of others.2 With the recent discovery of the mirror neuron system in the human brain, Gallese and other investigators around the world have identified the neurological basis of empathy.3 Subsequent studies of the remarkable properties of mirror neurons have yielded potent new understandings of the connections between empathy, objects of art and material culture, and intrapersonal relationships among human beings. Interestingly, these twenty-first-century findings tend to confirm a nineteenth-century connection between aesthetics and empathy, or more precisely, Einfuhlung ("in-feeling," or "feeling into"), a term coined by the philosopher Robert Vischer in 1873 to describe the projection of human feeling onto art objects.4 As Vischer himself described this phenomenon, "I transport myself into the inner being of an object and explore its formal character from within, as it were."5These insights, whether gained through the use of state-of-the-art brain imaging technologies or dusty volumes in a German library, have led Gallese to consider some interesting implications, such as, for example, those involving the still life—its bottles, apples, even its brushstrokes—and to claim that "a still life is really a moving life" when understood from the perspective of neuroscience.6 To explore this claim and its relevance to classroom and museum practices, this article examines the relationship between mirror neurons, empathy, and aesthetic response as it developed among preservice teachers who presented metaphorical works of art in two teacher education courses. A brief synopsis of research results highlighting the workings of the mirroring mechanism is presented and then applied to two student presentations: one given by Molly about Cezanne's Still Life with Apples (1893-94) and the other by Deborah about Fantin-Latour's White and Pink Mallows in a Vase (1895). The stories told by Molly, Deborah, and their classmates allow additional insights with implications for art and museum education.Mirror Neurons: Some Research ResultsSome fifteen years ago, what Gallese characterizes as a "strange class" of neurons was discovered, first... (shrink)