1st ser. The philosophy of art. The ideal in art.--2d ser. The philosophy of art in Italy. The philosophy of art in the Netherlands. The philosophy of art in Greece.

As a recent addition to the editorial board for the journal of Philosophy in the Contemporary World, I wanted to revisit a practice from past editions of the journal—interviewing philosophers who engage philosophical practice that reflects the mission of PCW. In this interview, a model for what I hope will continue to be a regular feature, I have a dialogue with the philosopher Burcu Gurkan. Professor Gurkan currently lives and works in Turkey while I live in work in the central (...) US, so what follows is edited from an email exchange.—Taine Duncan. (shrink)

With all of exciting changes happening with the Journal, we thought a joint interview of one another might be a great way to highlight the vision and mission for Philosophy in the Contemporary World moving forward. This edition is our first edition to be printed fully online, a practice we look forward to ensuring accessibility and worldwide access for subscribers. We also wish to acknowledge our appreciation of the patience of all who follow, read, and subscribe to our journal. Infrastructure (...) changes and a reprint have caused us some publication delays. However, we are very excited about the future to come here at the journal! (shrink)

The minutes of Adorno’s aesthetics seminar, held during the summer term of 1932 at the university of Frankfurt, are a rare trace of the early philosophical reception of Walter Benjamin’s opus magnum, The Origin of German Tragic Drama (1928). Showcasing his critical spirit and pedagogy, Adorno and his students attempt a clarification, as well as a problematization, of this dense and difficult text, touching on such problems as the historicity of ideas or the concept of a ‘constellation’. This document is (...) thus both a valuable aid for reading Benjamin’ Trauerspiel-Buch and an important document for understanding the sources of Adorno’s own philosophy. (shrink)

The Society for Philosophy in the Contemporary World maintains a commitment to pluralism in philosophical discourse by encouraging original, unconventional research with regard to contemporary concerns. Often this original and unconventional approach enables urgent and timely discussions to come to the fore. In the special section of this issue, Andrew Fiala’s Tyranny from Plato to Trump (2022) is engaged, not merely as an abstract author-meets-critics discussion, but as a provocative meditation on the present and a call to philosophers to respond (...) to our political moment. (shrink)

This article contains four essays from the Anarres Project, a forum for conversations, ideas, and initiatives that promote a future free of domination, exploitation, oppression, war, and empire. In the spirit of philosophy in the contemporary world, the selection includes recent work on the pandemic and related struggles for justice in the past year. An introduction to the project is included.

Deconstruction is no game of mirrors, revealing the text as a play of surface against surface. Its more radical philosophical effort is to get behind the mirror and question the very nature of reflection. The Tain of the Mirror explores that gritty surface without which no reflection would be possible.

C'est par anachronisme que l'on distingue aujourd'hui en Taine l'historien, le psychologue, le critique et l'écrivain. Cet ouvrage entreprend de montrer l'unité de son oeuvre et propose une réflexion sur la nature propre des sciences humaines, dont Taine a contribué à forger l'identité moderne.

The Táin Bó Cuailnge, centre-piece of the eighth-century Ulster cycle of heroic tales, is Ireland's greatest epic. It tells the story of a great cattle-raid, the invasion of Ulster by the armies of Medb and Ailill, queen and king of Connacht, and their allies, seeking to carry off the great Brown Bull of Cuailnge. The hero of the tale is Cuchulainn, the Hound of Ulster, who resists the invaders single-handed while Ulster's warriors lie sick. Thomas Kinsella presents a complete and (...) living version of the story. His translation is based on the partial texts in two medieval manuscripts, with elements from other versions, and adds a group of related stories which prepare for the action of the Táin. Illustrated with brush drawings by Louis le Brocquy, this edition provides a combination of medieval epic and modern art. (shrink)

ABSTRACT: Taine aspired to place his philosophical project in the synthesis of the two major theoretical tendencies of the nineteenth century: positivism, on the one hand, giving preference to the English tradition, and German metaphysics, mostly Hegelianism, on the other. What does this attempt mean in the field of aesthetics? Taine based his interpretation of the production of art on a series of objective laws, following the naturalist method, as he clearly stated at the École des Beaux-Arts de (...) Paris where he taught for several years from January 1864. (shrink)