The global economy has an impact on female beauty today, regardless of the multicultural and historical factors in its formation and construction, resulting in monolithic crazes in women's fashion and appearance. but female beauty in china has been greatly contested with China's turbulent modern history, and this contestation deserves serious consideration, together with the politics by which the Chinese state apparatus has promoted and regulated female beauty. I argue that certain factors have been constant in contemporary (...) discourses of female beauty. Ideal bodies, in all their specifics, are defined by physical standards very few women can attain. These standards are accompanied by demeaning characterizations of women who fail to achieve them, and who are therefore destined to be discontent. It is now necessary for feminist theorists to examine the social and cultural roles of the body in terms of gender, power, the established patriarchy, and its oppression of women. (shrink)

This classic fairy tale tells of a beautiful girl who falls in love with a beast, eventually finding that his outward ugliness masks an inner beauty. A timeless story of transformation and the power of love. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United (...) States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Beauty is in the eye of the beholder, or so we are told. Filippo Contesi, Enrico Terrone, Marta Campdelacreu and Genoveva Martí argue that the traditional view in philosophy of art is that, whilst most of us claim to believe that beauty is subjective, we actually act as though it is objective. The true problem of aesthetics then, is not whether or not we believe that beauty is in the eye of the beholder, but why our behaviour (...) around beauty doesn’t match up with our stated beliefs. Beauty, it seems, is more than skin-deep. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In the United States, running as a leisure activity continues to grow in popularity. Healthism can explain some of this popularity, but it does not explain ultradistance running. Motivations for running can be seen through the framework of the Kantian beautiful and the sublime. Beauty arises through extrinsic motivation and relates to an economy of form, while the sublime arises through intrinsic motivation and relates to confronting the challenge of infinity. The commercial, casual, and competitive aspects of distance running (...) correspond to the beautiful, while its wilderness, serious, ultradistance aspects correspond to the sublime. This framework is used to explain the resistance of ultrarunning to the would-be detrimental effects of commodification, as well as ultrarunning’s ‘wild turn.’. (shrink)

Some recent discussions of A. N. Whitehead's treatment of the problem of value have stressed the point that his work in this field is open to serious objection. For example, Professor John Goheen claims that Whitehead's attempt to indicate distinguishing characteristics of experience of “the Good”, is too general to be adequate. He also suggests that this generality of approach makes it impossible for Whitehead to differentiate between different species of value. Further, according to Goheen, Whitehead involves himself in confusion (...) when he claims that satisfaction is achieved when experience is characterized by order ; and yet he also suggests that in some cases, the presence of disorder makes possible a higher type of satisfaction. Professor P. A. Schilpp agrees with Goheen in feeling that Whitehead's explanation of the good life in terms of “pattern” is too vague. In Schilpp's opinion, Whitehead does not answer the basic question: “What kind of pattern?” There is a further objection to Whitehead's “theory of the close connection between morality and beauty,” because at times it looks like an actual identification. Schilpp also objects to what appears to be Whitehead's identification of “good” with “interest”. Finally, it is claimed by Schilpp that Whitehead subordinates goodness to beauty. This interpretation is apparently supported by Prof. George Morgan who states: “Truth and moral values are instrumental except in so far as they enhance beauty.” Professor B. Morris objects to Whitehead's attempt to apply the mathematical method to aesthetic experience. He suggests that the method of symbolic logic is too abstract to deal adequately with concrete aesthetic data. Professor J. W. Blyth, as the result of his examination of Whitehead's theory of truth, reaches the conclusion that “the various elements involved in Whitehead's theory of truth cannot be brought together in one coherent and consistent system. (shrink)

This book considers the Chinese conception of beauty from a historical perspective with regard to its significant relation to human personality and human existence. It examines the etymological implications of the pictographic character mei, the totemic symbolism of beauty, the ferocious beauty of the bronzeware. Further on, it proceeds to look into the conceptual progression of beauty in such main schools of thought as Confucianism, Daoism and Chan Buddhism. Then, it goes on to illustrate through art (...) and literature the leading principles of equilibriumharmony, spontaneous naturalness, subtle void and synthetic possibilities. It also offers a discussion of modern change and transcultural creation conducted with particular reference to the theory of the poetic state par excellence and that of art as sedimentation. (shrink)

In Plato's political theory we discover the essence of politics, which provides the requisite lessons to understand political as it is and should be. As there is a Form of the Good, there is a Form of the Polis, discerned in Plato's philosophy and as real for us as it was for him.

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of (...) unprocessed experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change. (shrink)

In his extended essay "On Grace and Dignity," Friedrich Schiller sets out an important challenge to Kant when he argues that sensibility must play a constitutive role in the ethical life. This paper argues that there is much we can learn from Schiller's "corrective" to Kant's moral theory and Kant's reply to this critique, for what is at stake in their debate are rival conceptions of the proper state of moral health for us as finite rational beings and competing (...) political notions concerning the ideal form of self-governance that we ought to strive to attain. (shrink)

Miguel A. De La Torre rejects hope as the ethical basis for a politically effective and truly liberative form of solidarity. Kelly Brown Douglas, on the other hand, articulates a critical retrieval of hope emphasizing the interpretive relationship between the cross, the lynching tree, and the resurrection. Reading De La Torre and Douglas’s works through Natalie Carnes’s theological aesthetics suggests that their respective works can be engaged as “iconoclasms of fidelity,” or the salutary breaking of idolatrous images toward recovering faithful (...) ones. Examining #SprayTheirNames murals that were created in response to state violence against Black people in the United States, I argue that Carnes’s aesthetics framework holds the violence of the crucifixion and promise of resurrection in visual tension, thus decrying violent oppression while offering a beautiful and dangerous memory that catalyzes hope-filled movement in defense of Black lives. (shrink)

In “Judy Benjamin is a Sleeping Beauty” (2010) Bovens recognises a certain similarity between the Sleeping Beauty (SB) and the Judy Benjamin (JB). But he does not recognise the dissimilarity between underlying protocols (as spelled out in Shafer (1985). Protocols are expressed in conditional probability tables that spell out the probability of coming to learn various propositions conditional on the actual state of the world. The principle of total evidence requires that we not update on the content (...) of the proposition learned but rather on the fact that we learn the proposition in question. Now attention to protocols drives a wedge between the SB and the JB. We have shown that the solution to a close variant of the SB which involves a clear protocol is P*(Heads) = 1/3 and since Beauty’s has precisely the same information at her disposal in the original SB at the time that she is asked to state her credence for Heads, the same solution should hold. The solution to the JB, on the other hand, is dependent on Judy’s probability distribution over protocols. One reasonable protocol yields P(Red) = 1/2, but Judy could also defend alternative values or a range of values in the interval [1/3, 1/2] depending on her probability distribution over protocols. (shrink)

While it has been omitted by numerous critics in their otherwise comprehensive readings of Yeats’s oeuvre, “Beautiful Lofty Things” has been placed among the mythical poems, partly in accordance with Yeats’s own intention; in a letter to his wife, he suggested that “Lapis Lazuli, the poem called ‘To D. W.’ ‘Beautiful Lofty Things,’ ‘Imitated from the Japanese’ & ‘Gyres’... would go well together in a bunch.” The poem has been inscribed in the Yeats canon as registering a series of fleeting (...) epiphanies of the mythical in the mundane. However, “Beautiful Lofty Things,” evocative of a characteristically Yeatsian employment of myth though it certainly is, seems at the same time to fuse Yeats’s quite earthly preoccupations. It is here argued that the poem is organized around a tightly woven matrix of figures that comprise Yeats’s idea of the Irish nation as a “poetical culture.” Thus the position of the lyric in the poet’s oeuvre deserves to be shifted from periphery towards an inner part of his cultural and political ideas of the time. Indeed, the poem can be viewed as one of Yeats’s central late comments on the state of the nation and, significantly, one in which he is able to proffer a humanist strategy for developing a culturally modern state rather than miring his argument in occasionally over-reckless display of abhorrence of modernity. (shrink)

I argue against Hume and Kant, who maintain that ‘beauty’ expresses a state of the subject, rather than describes features of the object. The word ‘beauty’ is far from being alone in having an expressive dimension, and that which it has falls short of individuating it semantically. Instead, I propose a theory of linguistic idealism with respect to ‘beauty’.

If the guiding question of ethics is “how should I live?,” then the guiding question of aesthetics might be “what is beauty?” For Simone Weil, these two questions have intertwined answers that turn on a like conceptual apparatus. Focussing on Weil's foremost ethical problem, the plight of the afflicted (malheur), this article offers an account of the philosophical basis to Weil's claim that, when truly recognized, beauty and affliction motivate the same form of experience. I argue that, for (...) Weil, both the aesthetic and moral disposition are grounded in an experience of the real, an experience that both requires and compels the subject to the same attentive state. Finally, I address the charges that might be leveled at Weil for suggesting that our experience of beauty is the same as our experience of affliction, specifically arguing that rather than this experience leading to a form of passive aesthetic arrest, as the experience of beauty has typically been theorized to lead to, Weil understands the experience of beauty and affliction as fundamentally motivational toward the Good. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:iPod, YouTube, Wii Play: Theological Engagements with Entertainment by D. Brent Laytham, and: If These Walls Could Talk: Community Muralism and the Beauty of Justice by Maureen H. O’ConnellJoel WardeniPod, YouTube, Wii Play: Theological Engagements with Entertainment By D. Brent Laytham EUGENE, OR: CASCADE, 2012. 209 PP. $24.00If These Walls Could Talk: Community Muralism and the Beauty of Justice By Maureen H. O’Connell COLLEGEVILLE, MN: LITURGICAL (...) PRESS, 2012. 319 PP. $39.95Although, in the Republic, Plato discussed the usefulness (and danger!) of having artists practicing within the civic community, from his time forward, social philosophers, moral theologians, and religious ethicists have tended to avoid [End Page 199] probing too much into the relationship between the aesthetic and the ethical. To be sure, as organized academic philosophy developed, especially after the Enlightenment, the separate intellectual bailiwick of aesthetics left ethical considerations of what is morally (as opposed to artistically) good to the domain of ethics. The result of such segmentation was to keep both interests’ discussions of “the good” significantly apart.The two books reviewed here represent new (and, hopefully, now less uncommon) attempts to find the correspondence between beauty and goodness. Because both authors think and write specifically from the perspective of Christian ethics, these attempts make use of the resources of the Hebrew and Christian scriptures, the sometimes contrasting traditions of Protestant and Catholic spiritual reflection, and the authors’ own personal engagement with sources of beauty or entertainment. Both authors argue in some way that the pursuit of the beautiful (or the enjoyable) bears a relation to goodness. They both also argue that our use of technology and our making of art ought to attend to the building of justice.In his book iPod, YouTube, Wii Play: Theological Engagements with Entertainment, D. Brent Laytham investigates varied forms of contemporary entertainment activities and technologies (e.g., the media-sharing website YouTube, video games, fashion magazines, sporting events) and unearths the ways in which these contemporary and technologically facilitated pastimes both support and endanger human social interaction. In particular, he pays close attention to how entertainment(s) help or hinder the drive of a community of believers into lives of discipleship.The thirteen chapters of the book are each organized around a particular technological theme and make good use of sociological reflection on media, as well as some Christian reflection on games, the communal pursuit of fun, and festivity. Laytham, a Methodist, takes a sympathetic stance toward modes of entertainment in how they function, at times, as legitimate means of communication between persons. But he also warns that they can, if used without an understanding of their effects on the inner lives of the persons involved, be damaging. The author often demonstrates remarkable psychological insight, such as when he discusses the pressures put upon teenagers’ sense of physical self-image when based on the values of fashion magazines (140), the spiritual dangers of any kind of escapism (118), and the complicated motivations underlying petty gambling (107). And though reflection questions that are scattered throughout the body of the text are sometimes distracting from the arguments he puts forward (and so maybe would be better placed at the end of each chapter), he clearly wants his critique of media and entertainment to lead to a fuller, better enjoyment of them, a proper enjoyment possible when they are understood in relation to what should be their ultimate purpose: the drawing together of communities of persons. [End Page 200]Moving from a consideration of entertainment to art, properly speaking, Maureen O’Connell’s If These Walls Could Talk: Community Muralism and the Beauty of Justice is a number of things. It is a narrative description of what has happened in one urban environment in the United States, where socioeconomic decline, street violence, and crushing poverty produce needful places for transformative grace; a theological-aesthetic analysis of a genre of fine art, peculiar for the materials used and the venues in which it is displayed; a moral-ethical project inspired by familial ties to a particular city, as well as the fruit of continued interest (and, one might even say, pastoral zeal) on the author’s... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:To Glimpse Beauty and Awaken Meaning:Scholarly Learning as Aesthetic ExperienceAnna NeumannIntroductionIn this article, I portray university professors' scholarly learning as a location for aesthetic experience. To do so, I explore the intellectual and creative narratives of individuals who, with tenure newly in hand, position themselves to engage with beauty and to pursue its meanings, expressed distinctively through the subjects, creations, and questions of scholarly disciplines and professional (...) fields. In interviews, scholars — professors with tenure in major research universities — described the sparks of beauty they experience in their scholarly work. For many, such moments of beauty, and often of deep engrossment, had recurred through life. Yet these were truly "moments": brief, bounded, hard to evoke, and by no means continuous, assured, or predictable. They were hard won. Many of the professors I interviewed referred to persistent struggles to craft scholarly agendas, communities, collaborations, and work lives that might invite the aesthetic glimmer, however brief. Many drew for insight and inspiration on childhood memories of beauty to guide their intellectual and creative pursuits in adulthood. They hitched present-day desires for moments of passionate thought to vivid memories — what they saw and felt in their earliest, often out-of-school encounters with an aesthetic they would pursue through their lives. Even now, in tenured university professorships, they relied on these deeply imprinted images to light their intellectual ways.1I also claim that scholars may experience aesthetic moments as deeply emotional and personal. This is not something I inferred; this is something the professors I interviewed said to me — directly, repeatedly, with emotion. [End Page 68] Yet I am something of an organizational realist, and the social sciences strand of my conscience impels me to pepper these scholars' accounts of recurrent beauty in their lives with less than beauteous recognition of a hard academic fact: that within the normative structure of academe, the personal (and emotional) meanings infusing professors' scholarly learning get short shrift. Public academic talk about the personal meanings of one's work, or the emotional content of study, is largely taboo. The press for institutional survival, social legitimacy, and financial and political gain typically call for presentations of scholarship as objective and outwardly directed, negating the personal origins of research in researchers' lives.2 Scholarly learning as an aesthetic awareness — as moments of fused insight and emotion, as dazzling sensations of coming to know, as frustration over ideas that unravel or that will not gel — is often lost in translation between the personal life from which it derives and the modern profession, career, and organization within which it is housed and enacted.I worry that this lost awareness of scholarly learning, occurring in large scale, forces questions about its social worth. Yet to persist, scholarly learning requires substantial social legitimation, appreciation, and support. I suggest further that this state of affairs calls for response: that to garner societal understanding for and support of scholarly learning as a setting for pursuits of beauty and as the communal mission of higher education, we must learn to talk out loud, and in educative ways, about it. However, we, as scholars and learners ourselves, must understand, first, what it is that we are defending and then represent its worth to publics who may learn to care about it. We must first define among ourselves what scholarly learning means, what it takes to engage it, and what it entails — cognitively, professionally, aesthetically, and emotionally. My aim in this paper is to advance this collegial conversation by addressing its possibly most contentious element: its beauty, its emotion, its personal meanings in scholars' lives.3Roots of the StudyGiven that we have no well-honed public-professional vocabulary for speaking coherently about professors' scholarly learning and aesthetic experience, I devote this article to defining and exploring these terms. In earlier writing on this topic, I used the psychology of peak experience, as defined by Mihaly Csikszentmihalyi, to frame professors' representations of passionate thought in scholarship.4 In this article, I seek to advance the concept of passionate thought as scholarly experience by exploring its aesthetic contents, namely its concerns with beauty. I begin by presenting the roots of the exploration — in... (shrink)

The emerging research area of neuroaesthetics has provoked a good deal of discussion. Although it seems reasonable to describe the experience of aesthetic enjoyment as a mental event, and it also seems reasonable to claim that mental states must be related to brain states, the search for specific brain states that correlate with aesthetic enjoyment is tricky, despite the many recent advances in brain-imaging technology. Correlating the aesthetic experience with specific brain states involves defining the aesthetic experience. By applying a (...) model from the world of empirical consciousness research to three neuroaesthetic experiments, I show that each of these studies approaches the object of study, the aesthetic experience, from a different perspective. By employing a framework to make explicit the sometimes implicit assumptions involved in neuroaesthetic research, I hope to open a new avenue for the continuation of an already fascinating discussion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beauty in the Context of Particular LivesPauliina Rautio (bio)IntroductionThere is a village in the north of Finland with some thirty inhabitants. While the villagers do not lead the idyllic lives that are sold as images to tourists, they also do not lead lives of depression, alcoholism, poverty, and seclusion—an image generated by research results from the likes of National Research and Development Centre for Welfare and Health. The (...) ill-being of rural northern villages is well documented in large-scale quantitative research,1 but qualitative research on the actual well-being, of what is already good and fulfilling, is scarce.In this paper I present a research project in education in which I have collected the data through a year-long correspondence with four participants from a small village. Letters in this correspondence were exchanged once a month in a way that everyone read everyone’s letters. I asked the participants to write about beauty. The aim of this research has been to find out what kind of place beauty, as defined by the participants themselves, holds in the their everyday lives. In this paper I will discuss some challenges of researching everyday beauty empirically. I will also concentrate on selected findings that highlight the importance of context in discussing experiences and use of beauty.Everyday life2 has been characterized in research by concepts such as “time,” “space,” “rhythm,” and “bodily movement.”3 These concepts embrace an idea of a continuum and refer to everyday life as subjectively experienced and actively engaged in. Everyday life is a contextual process but one that nevertheless defies definitions bound in time and space. This is because as subjectively experienced, it entails simultaneously the past, the present, and the future as necessary for the managing of it. By managing of everyday life I mean a practice that consists of constant reflection, evaluation, and steering, but one that we are mostly unaware of engaging [End Page 38] in. We are in a way creating our everyday lives as we go. This makes the everyday a subjective construct instead of an objectively definable unit such as “a Monday.” And so, instead of an attempt to tame the very vague notion of “everyday” as something universally shared,4 this research delves into particular individuals’ everyday lives as uniquely managed continuums. And to strike a rare positive chord to research on rural northern villages, I have chosen aesthetics, the notion of beauty in particular, as the vantage point to this making of everyday.I’m aligning with Ludwig Wittgenstein and quoting Katya Mandoki in stating that “beauty is a linguistic effect used by a particular subject to describe personal experiences and social conventions... a linguistic categorisation of a non-linguistic experience.”5 And despite the ambivalence that surrounds beauty as a concept in scholarly discussion, it is to be noted that it has remained in constant use in everyday conversation of common experience. When commonly used, “beautiful” still signals admiration, excellence, and that which is desirable.6 Beauty is therefore future-oriented, bringing about replication, distribution, and a wish to protect.7 As such a concept and a word of everyday use, “beauty” orients us to concentrate on the desirable in our lives at present. In doing so it guides us to evaluate this desirableness in light of the past and commits us to replicate and protect it for the future. Embedded in the use of the concept of beauty is thus a continuum of evaluating one’s relation to her surroundings. As beauty is not a quality of objects in themselves but an effect of the relation between the experiencing subjects and certain objects,8 it is not the objects of everyday beauty that I explore but the relation of particular people to their everyday life environments through ways of using and expressing beauty.The significance in thinking of beauty as something we create and use rather than something that exists objectively is in the realization that we can change what we find beautiful. Beauty as used by a particular subject is not fixed but changes and mirrors the changing of that subject herself. In realizing beauty this way, it becomes a... (shrink)

The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...) and its failure to present the Absolute in a singular, naturally infected, lively, human (made) form. The ending of art brings about a new form of the sacred: the representational language of revelatory religion. The ongoing production of modern artistic forms is a feature of actuality ("Wirklichkeit") and as such is condemned to an infinite approximation of what has been. Such actuality nonetheless "ends" in the ironic discourse of contemporary artistic expression, which Hegel qualifies as a "Vereitelung". The final realization of the beautiful art form, as a human-informed singularity embodying absolute content, may well be the Encyclopedia of Philosophical Sciences, whose performative iteration takes place in the form of "worship" practiced in the modern, state university. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 218-219 [Access article in PDF] David Roochnik. Beautiful City: The Dialectical Character of Plato's Republic. Ithaca: Cornell University Press, 2003. Pp. ix + 159. Cloth, $35.00. Plato makes no general assertions, certainly none about "universals" (108). The Republic does not advocate the creation of an ideal state (78, 93) but transcends utopias to acknowledge the merits of democracy and democratic (...) diversity (92). Nor does Plato hold the tripartite psychological theory associated with the Republic (18-20). Such theories are impossible for human souls with their essentially temporal natures (104). The Republic is a dialectical work (2). Its movement shows without Plato's saying it that diversity is a social good; that the psychological theory of Book 4 "is preserved in its partiality as a moment of the dialectical development of the dialogue" (3); and so on.David Roochnik belongs in the tradition of Leo Strauss, unearthing an odd and unknown Republic from beneath the dialogue familiar to hordes of readers (beginning with Aristotle) who evidently read it wrongly. Roochnik brings intelligence to his project, clear writing, and a mind inclined toward originality. Nevertheless Strauss's influence is everywhere. E.g.: The Republic is "a conversation that twists and turns, develops, and at times revises what was earlier said. In its totality it gives voice to the truth about the human soul" (131).Roochnik's main subject is that truth about the soul. He says that the Republic corrects Book 4's tripartite analysis with the temporally oriented psychology told in the anecdotes of Books 8 and 9. The wise reader respects both approaches. The soul is "erotic and therefore necessarily diverse, but... desires arithmetical simplicity," and both diversity and simplicity "must be included in an adequate psychology" (120). "Our souls are... suspended between... time and eternity, the divine and the beastly" (108). The erotic and the arithmetical serve as poles between which Plato navigates. Book 4 proposes a mathematical psychology, but Eros increasingly dominates the Republic and the rigid arithmetic designed to harness Eros fails. Book 4's arithmetical account of the soul is "inadequate, and... it is meant to be inadequate" (19). One should see the soul as arithmetical in one respect, irrepressibly erotic in another.Number plays a defining role in the Platonic city, too (38). Kallipolis battles Eros with an arithmetical ideal but loses (44-45). The failure of arithmetic amounts to the failure of utopia. The Republic "teaches that perfect justice is neither possible (the marriage number fails) nor desirable (we don't really want to exile everybody over ten)" (93). Notice: because "we"—Roochnik and his friends?—don't want to found a city among impressionable children, the Republic teaches that Kallipolis is not desirable.To similar effect: "if Kallipolis were to come into being, then the Republic could not. But since Kallipolis requires the Republic in order to come into being, it contains in itself the seeds of its dissolution" (69). Nonsense! Kallipolis needs the Republic in order to come into existence but not to remain existent. The dialogue's disappearance implies nothing about the city's dissolution.Straussians routinely deny that the Republic constructs its city. Though typical, Roochnik claims not to be (7 n. 4, 75). His reading "is not ironic": "the... revisions I have discussed take place on the surface of the dialogue itself, and the kinds of negations that follow are dialectical ones which... preserve what is negated in its partiality" (91).But garble about surfaces and dialectic will not rescue a hermeneutical method if one begins (Roochnik does, all Straussians do) by calling every flaw in a Platonic argument intentional. That Platonolatry is implausible in itself; it is methodologically shoddy for other reasons too. In the first place, it yields meager results. When every argumentative failure is intentional the Republic becomes platitudinous. Thus Roochnik's dialectical meaning is less memorable than the laziest reader's understanding of the Republic (Forms, cave, archons). He dismisses radical claims as unworthy of Plato but replaces them with the mealy... (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to (...) the United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

This paper examines the links between acting upon a duty to assist, responsibility for these actions, and how such actions link with incremental moral duties that can amass as a consequence of such action. More specifically, this paper is concerned with practices of international aid and assistance, whereby public and privately funded donations enable the actions of parties outside of the territorial and jurisdictional boundaries of a community and state to directly influence the functioning of that community, and the (...) incremental moral duties to which such action can give rise. Using a Senian account of the basis of moral duty, it explains how agents are responsible for the outcomes of their acts of assistance, even when mediated through international institutional actors, and how such acts can give rise to accumulative duties and obligations that are not bound or constrained by territorial boundaries or pre-existing special obligations. (shrink)

Resumen: Varios comentaristas han sostenido que la ontología de la concepción hegeliana de “alma bella” se funda en la determinación conocida como “mal infinito”, desarrollada en la Doctrina del Ser. En correlación con lo antedicho, comentaristas como Paha, Hinchman, Solomon y Harris sostienen que Hegel pensaba en el sistema filosófico fichteano al momento de desarrollar su concepción de “alma bella”. Sin embargo, esta hipótesis de lectura adolece de algunas falencias que serán desarrolladas a continuación. En primer lugar, es necesario realizar (...) una breve exposición de la figura del Espíritu conocida como “alma bella”; en segundo lugar, se describirá la determinación denominada “mal infinito”; en tercer lugar, se desarrollarán los problemas que conlleva la mencionada exégesis; en cuarto lugar, se expondrán las objeciones a la inclusión de la filosofía de Fichte como ejemplo de la concepción hegeliana de “alma bella”. Finalmente, se expondrán las conclusiones.: Many scholars have stated that the ontology of the Hegelian notion of “beautiful soul” is grounded in the category known as “bad infinite”, developed in the Doctrine of Being. Regarding this, scholars like Paha, Hinchman, Solomon and Harris state that Hegel was thinking of the Fichtean philosophical system as He developed his own notion of “beautiful soul”. However, this interpretation has some issues, which will be developed below. First, we give a short explanation about the shape of the Spirit known as “beautiful soul”. Second, we describe the category called “bad infinite”. Third, we show the issues related to the interpretation. Fourth, we present the objections to the inclusion of the Fichtean philosophy as an example of the Hegelian notion of “beautiful soul”. Finally, we present the conclusions. (shrink)

This book provides original descriptive accounts of two schools of thought in the philosophy of beauty: the 20th-century "Anti-Aesethetic" movement and the 21st-century "Beauty Revival" movement. It also includes a positive defence of beauty as a lived experience extrapolated from Beauty-Revival position. Beauty was traditionally understood in the broadest sense as a notion that engages our sense perception and embraces everything evoked by that perception, including mental products and affective states. This book constructs and places (...) in parallel with one another the Anti-Aesthetic and Beauty-Revival movements. In the author's view, Anti-Aestheticism is devoted to a decisive negation of beauty-denying its importance as a philosophical notion and its significance as a lived experience. It suggests that beauty is a merely sensual experience, which can be used, at best, as a distraction from justice and, at worst, as an instrument of evil. Alternatively, the Beauty-Revival movement advances arguments for beauty as an experience that extends primarily to sensual experience, but which also calls forth mental products and cognitive and affective states evoked by that experience. After reconstructing these two positions, the author elaborates on the notion of beauty as a lived experience through three key moments which occur in the process of our experiencing beautiful objects. These moments are (a) the conditions that constitute an experience of beauty, (b) the attitudinal features most likely to lead to the experience of beauty, and (c) the results of the experience of beauty. The Revival of Beauty will be of interest to scholars and advanced students working in aesthetics, history of philosophy, and art history. (shrink)

Kant holds that when we judge a thing beautiful, we do so from no other basis than our pleasure in the contemplation of the object, while at the same time, we presume to judge with validity for everyone. To explain how this is possible is the task of what he calls the critique of taste. I distinguish among three kinds of explanation that Kant offers. One is a theoretical account of the mental state from which judgments of taste supposedly (...) arise--what Kant describes as a harmonious free play of the cognitive faculties. Another kind of explanation, made on the basis of the first, is an attempted "deduction" or proof of our right to make judgments of taste. I argue that Kant's theory of harmonious free play has little in the way of either content or plausibility, rendering his attempt to derive the universal validity of judgments of taste from it otiose. The main interest of his critical effort, I find, lies in the descriptive and analytical part of his account of judgments of taste, specifically in his attempt to comprehend both their subjective character and their claim to universal validity. The first of these he understands as consisting in the judgment's being based in feeling; the universality-claim he understands as a normative requirement. I argue that no interpretation can be faithful to these basic tenets of Kant's analysis without also accepting his curious conclusion that the act of judging in some sense "precedes" the very feeling of pleasure on which it is said to be based. I attempt to make sense of this conclusion in terms of the peculiar kind of consciousness of pleasure involved in such a judgment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 181 reason that it provides the best arguments available to date against nuclear deterrence, but ultimately the arguments fail because the author takes as an apodictic premise what is actually a prudential judgment that no nuclear weapons could ever be used in a moral and ethical way. Professor Kenny is not only an Absolutist, but also a Determinist. The present reviewers are neither. University of Illinois-Urbana Champaign-Urbana, (...) Illinois Public Affairs Officer ROBERT BARRY, O.P. MATTHEW M. MURPHY United States At·ms Control and Disarmament Agency Art and Beauty in the Middle Ages. By UMBERTO Eco. Translated by Hugh Bredin. New Haven and London: Yale University Press, 1986. Pp. 131. $12.95. This is not a new work. As Umberto Eco himself states in the Preface of this book, the text was written in 1958 and published in 1959 as a single chapter of a four volume handbook on the history of aesthetics, written by various authors (Momenti e problemi di storia dell' estetica, Milano, Marzorati, 1959, vol. 1: 'Dall'antichita classica al barocco, pp. 115-230). No doubt it was due to the recent popularity in Europe and America of Mr. Eco's novel, The Name of the Rose (which subsequently inspired the film of the same title) that Yale University Press saw fit to translate and reissue this seminal work of the author. He wrote it when he was 26 years old and serving in the Italian army. Hugh Bredin, a senior lecturer in scholastic philosophy at Queen's University, Belfast, has simplified in the translation what the author claims was the "tortured syntax" of his impressionable youth. Nevertheless, one suspects that the style and context of this slim volume will appeal primarily to philosophers and not art historians, despite its ubiquitous presence in art bookstores and museum giftshops. The scope of Mr. Eco's work enables the reader to gain an overview of aesthetic problems which developed in Europe in the period between the sixth to the :fifteenth centuries, when the classical tradition inherited by the medieval world no longer provided adequate solutions. A thousand years of artistic and philosophical history are barely penetrated in so few pages, but Mr. Eco forthrightly proceeds to catalogue ideas and thinkers in chapters devoted to such topics as Transcendental Beauty, Symbol and Allegory, and the Aesthetics of Proportion and Light. As 18~ BOOK REVIEWS was evident in The Name of the Rose, the author has an encyclopedic knowledge of both classical and medieval sources (he gently chides Maritain for his ignorance of one of Bonaventure's definitions of beauty, p. 24). As professor of semiotics his understanding of words and images is impressive (he takes a whole page to explain the visual applications of Vitruvius's use of the word euritmia, pp. 65-66). But after repeated eitings of relevant quotations from various medieval works-some in outright conflict with one another-the reader has no satisfying sense of what was the "medieval " view of art and beauty. Rather a mosaic of interesting and diverse facts emerges in the thematic structure of the book which cuts across chronological, geographical, and cultural boundaries. Thus, for instance, one learns in the chapter on the Aesthetics of Light that St. Augustine preferred equilateral to scalene triangles, Hugh of St. Victor considered green to be the most beautiful of colors, the Limbourg brothers in painting miniatures had no use for sfiirnatura just as Chretien de Troyes had no use for it in literature, and the Christian image of God as Light traced its pedigree to the Semitic Baal and the Egyptian Ra with heavy doses of Plato and Arab pantheism thrown in as contributing influences. This dizzying effect of so much intelligent trivia, forcibly pieced together in an effort to arrive at a persuasive conclusion, backfires and ultimately works ag:iinst Art and Beaiity in the Middle Ages in much the same way that the plot in The Name of the Rose suffered from a surfeit of scholastic argumentation. Mr. Eco, in an attempt to bedazzle his readers with facts, merely blinds them to the point. Other authors have written about art in the Middle Ages, and they were successful... (shrink)

One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and (...) morally bad. While the realist can explain the difference by suggesting that each judgment makes reference to a different property (or set of properties), the expressivist cannot. She must show that what is expressed by the speaker is different in each case. This has proven to be difficult to do. (shrink)

"The thesis is radical," writes Marshall Sahlins of this landmark text in anthropology and political science. "We conventionally define the state as the regulation of violence; it may be the origin of it. Clastres's thesis is that economic expropriation and political coercion are inconsistent with the character of tribal society - which is to say, with the greater part of human history."Can there be a society that is not divided into oppressors and oppressed, or that refuses coercive state (...) apparatuses? In this beautifully written book, Pierre Clastres offers examples of South American Indian groups that, although without hierarchical leadership, were both affluent and complex. In so doing he refutes the usual negative definition of tribal society and poses its order as a radical critique of our own Western state of power.Born in 1934, Pierre Clastres was educated at the Sorbonne; throughout the 1960s he lived with Indian groups in Paraguay and Venezuela. From 1971 until his death in 1979 he was Director of Studies at the fifth section of the Ecole Pratique des Hautes Etudes in Paris and held the Chair of Religion and Societies of the South American Indians there.Robert Hurley is the translator of the History of Sexuality by Michel Foucault and cotranslator of Anti-Oedipus by Gilles Deleuze and Felix Guattari. (shrink)

The monograph is focused on the subjectivity of aesthetic experience and the problem of rational interpretation of emotionality. The text studies why does an aesthetic experience exist, what is its content and what is its informational role and structure? Has beauty any cognitive value? Can we analyse beauty? In what sense we can think about the information content of aesthetic experience? The second topic of the book is a cognitive role of emotionality and its research. Why we have (...) emotions? What can they tell us about yourself and about the world? The methodology of the study is designed as a phenomenological research of subjective experience that is combined with the newest results in Cognitive science research. --Page 4 of cover. (shrink)

Non-human animals are as a matter of routine used as means to human ends. They are killed for food, employed for labour or sport, and experimented on in the pursuit of human health, knowledge, comfort and beauty. Lip-service is paid to the obligation to cause no unnecessary suffering, but human necessity is interpreted so generously that this is a negligible constraint. The dominant traditions of Western thought, religious and secular, have provided legitimation of the low or non-existent moral status (...) of beasts. The rival tradition, which includes the Neo-Platonists, Plutarch and Montaigne, is eccentric and archaic. But the teleologies and hierarchies of orthodoxy are equally incredible now and owe their greater respectability and influence to the inertia of custom. Disregard for beasts is supported partly by the vestigial and unowned belief that they are intended for our use, partly by a more recent piece of lore which is not only thought to be compatible with, but is sometimes held to be integral to, an enlightened scientific outlook, namely that beasts are mere complex stimulus—response mechanisms. The latter is a vexatious obstacle to progress but despite that the state of scientific and philosophical knowledge is now enormously more propitious for a re-appraisal of the moral status of beasts. Two moral philosophers, Peter Singer and Stephen Clark, have recently published books in which such a re-appraisal is attempted. Here I try to compare and assess some of the main features of their very different approaches. (shrink)

ABSTRACTAlthough formative of modern value theory, the moral beauty view—which states that moral virtue is beautiful and moral vice is ugly—is now mostly neglected by philosophers. The two contemporary defences of the view mostly capitalize on its intuitive attractiveness, but to little avail: such considerations hardly convince sceptics of what is nowadays a rather unpopular view. Historically, the view was supported by thought experiments; and although these greatly increase its plausibility, they also raise empirical questions, which they leave unanswered. (...) Here, I offer a novel defence of the moral beauty view, capitalizing on empirical evidence and arguing via an inference to the best explanation. (shrink)

The harmonious free play of the imagination and understanding is at the heart of Kant’s account of beauty in the Critique of the Power of Judgement, but interpreters have long struggled to determine what Kant means when he claims the faculties are in a state of free play. In this article, I develop an interpretation of the free play of the faculties in terms of the freedom of attention. By appealing to the different way that we attend to (...) objects in aesthetic experience, we can explain how the faculties are free, even when the subject already possesses a concept of the object and is bound to the determinate form of the object in perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 90-106 [Access article in PDF] Schopenhauer, Nietzsche, and the Aesthetically Sublime Bart Vandenabeele Much has been written on the relationship between Arthur Schopenhauer and Friedrich Nietzsche. Much remains to be said, however, concerning their respective theories of the sublime. First, I shall argue against the traditional, dialectical view of Schopenhauer's theory of the sublime that stresses the crucial role the sublime plays (...) in bridging the wide gap between aesthetics and ethics. Although this traditional interpretation is definitely influenced by Nietzsche, I do not maintain it is exclusively Nietzschean as such. Second, I would like to offer some points of contention concerning their accounts of the feeling of the sublime. I will try and show that, although Nietzsche's account of the Apollonian and the Dionysian is highly influenced by Schopenhauer's analysis of the sublime feeling, his analysis of Dionysian intoxication cannot be taken to simply develop out of Schopenhauer's philosophy. Moreover, by way of (a not so innocent) example, it is shown that Nietzsche's philosophy of music — although highly influenced by Schopenhauer's — cannot as easily be reconciled with Schopenhauer'stheory as is commonly believed, due to their differing accounts of the nature of the feeling of the sublime. Schopenhauer on the Feeling of the Sublime: Pleasure and Pain When one tries to describe the exact relationship between the aesthetic feelings of the beautiful and the sublime in the philosophy of "Nietzsche's educator," many interpretation problems arise. 2 The main problem can be compared to a similar issue in Kant: if one agrees with Kant that the theory of the sublime is "a mere appendix to our aesthetic judging," then it is possible to restrict the Kantian critique of the aesthetic appreciation to the Analytic of the judgment of taste 2 — that is, if one neglects the subtle displacements and gaps in Kant's text. In this way, as one can read in its introduction, the [End Page 90] Critique of Judgement serves as the sought-after "bridge" between the theoretical and the practical, spanning the gulf previously created between the knowledge of objects according to the conditions of possible experience and the realization of freedom under the unconditional of moral law. Moreover, if one notices that Schopenhauer too, in his aesthetics, stresses the fact that "in the main" the feeling of the sublime "is identical with the feeling of the beautiful" and "is distinguished from that of the beautiful only by the addition, namely the exaltation beyond the known hostile relation of the contemplated object to the will in general,then the option for a similar unifying and pacifying reading seems evident. 3 I shall argue that things are far more complicated and that such a "dialectical" interpretation is far from evident.In the appendix to his The World as Will and Representation, Schopenhauer had stressed — long before Jean-François Lyotard — the enormous importance of Kant's analysis of the sublime, when he wrote that "the theory of the sublime" is "by far the most excellent thing in the Critique of Aesthetic Judgment" (WWR, I, 532). That theory, Schopenhauer says, is even "incomparably more successful than that of the beautiful" and "gives not only, as that does, the general method of investigation, but also a part of the right way to it, so much so that, although it does not provide the real solution to the problem, it nevertheless touches on it very closely" (WWR, I, 532).According to Schopenhauer, the main difference between the sublime and the beautiful is that, while in the case of the latter, pure knowledge has gained the upper hand without a struggle...and not even a recollection of the will remains [with the sublime] that state of pure knowing is obtained first of all by a conscious and violent tearing away from the relations of the same object to the will which are recognized as unfavorable, by a free exaltation, accompanied by consciousness, beyond the will and the knowledge related to it (WWR, I, 202). The objects can be hostile to the human... (shrink)

One of Prof. Walzer's most fascinating contributions to the field of political theory is his introduction of the concept of `complex equality'.In Spheres of Justice, he defines this concept as follows: “In formal terms, complex equality means that no citizen's standing in one sphere or with regard to one social good can be undercut by his standing in some other sphere, with regard to some other good. Thus, citizen X may be chosen over citizen Y for political office, and then (...) the two of them will be unequal in the sphere of politics. But they will not be unequal generally so long as X's office gives him no advantage over Y in any other sphere – superior medical care, access to better schools for his children, entrepreneurial opportunities, and so on” .To achieve a situation of complex equality, Prof. Walzer proposes a system of blocked exchanges: it should be avoided that goods obtained in one sphere are exchanged to obtain goods in another sphere. For instance, the money person X has acquired in the economic sphere should not be used to `buy' power and influence in the political sphere.Prof. Walzer states that this system of complex equality will lead to a more egalitarian distribution of social goods. Maybe in each sphere distinct inequalities will persist, but given the plurality of spheres, eventually every person will acquire goods in one sphere or another. This line of reasoning reminds us to some extent of the traditional pluralist argument as it was formulated by Robert Dahl .Dahl asserts that in contemporary American society, no single group actually dominates political decision-making, since the power of even very influential groups is limited to a few policy arenas. Even underprivileged groups have enough access to proper channels to let their voice get heard in political decision-making. (shrink)

Over the past decade, many philosophers have argued that to respect the moral equality of their citizens, states should be neutral toward certain forms of diversity among their populations. Areas in which the state neutrality has been advocated include, but are not limited to, citizens’ different religions; languages; and sexual orientations. However, there remains an important area where its normative (ir)relevance has not been discussed: That of neurodiversity. After identifying several ways in which contemporary states disfavor the interests of (...) neurodivergent groups relative to the neurotypical majority, including those of autistic people; dyslectic people; and people with ADHD, the most promising would be-justifications for such unequal treatment are considered. They maintain respectively that states only have to be neutral toward differences that feature in people’s conceptions of the good life; that addressing the discussed neuro-inequalities is too costly, whether financially or otherwise; that doing so raises intolerable risks of a public backlash; and that a commitment to neuro-neutrality leads to overinclusion. None are found to be convincing across the board, which leads me to conclude that states should become significantly more neuro-neutral than they are today. (shrink)

Explores the extraordinary states of expanded consciousness that arise during comas, both positive and negative.

Most contemporary political theories of sovereignty – from Giorgio Agamben to Achille Mbembe – have argued that the emergency powers claimed by the Bush administration under the auspices of the War on Terror epitomized what Carl Schmitt calls a state of exception. If so, I argue, perhaps it is time for new visions of sovereignty to emerge, ones attendant to the eccentricities of the present conjuncture. Occupy Wall Street and the Arab Spring are but two obvious examples of counterpublics (...) that seem to have presented new modalities of sovereign life worth reflecting upon. Hardly states of exception, these are scenes of sovereignty that are more fraught and precarious, more democratic. I argue that the theories of sovereignty of George Bataille and Frantz Fanon may hold clues for coming to terms with these new sovereign scenes. Though often under-emphasized in the scholarly literature on Bataille and Fanon, for both thinkers sovereignty is a condition of existence, an expression of a surreal mode of esthetic experience and poetic beauty. I argue that drawing attention to the comparison of the political thought of Bataille and Fanon, and especially to the value of surrealism for contemporary political theory generally, holds promise for those of us interested in challenging the Schmittian consensus. At stake is a refreshed understanding of sovereignty, not as norm or exception, but as a condition of political life lived by everyday subjects caught in a surreal state in-between. (shrink)

Dear Professor Heller . . . Your paper had started out superbly. It was a great aesthetic and cognitive pleasure to follow you as you guided us through the intellectual history of the main idea of Kleist's essay, from Plato through the biblical Fall of Man, to Schiller, and Kierkegaard, and Kafka. Indeed the perceptive listener's experience was so satisfying that his disappointment was doubled when he came to realize that all this erudition and beauty had been displayed only (...) in order to serve as a contrast-providing background for the sharp delineation of a reductionistic explanation which you consider to be characteristic of psychoanalysis: the interpretation of the disturbance of man's naive, unselfconscious pre-Fall state as nothing more than a portrayal of sexual impotence—the reduction of a deep existential preoccupation to a case of phimosis. I am certain that the relief I felt when you then took up Freud's demonological-neurosis paper was not an idiosyncratic response on my part but an experience shared by many open-minded listeners in your psychoanalytic audience. Let us, therefore, disregard the "text" of your sermon and consider the substantial questions that you raised after you turned to Freud; these are to my mind the most central ones that you undertook to examine in your—despite its disappointing aspects—splendid address to us. Put into my own words, your most important question was this: What is the purpose of the psychoanalyst's efforts outside the clinical setting, in particular when his contributions take the form of a pathography? That is, To what end do analysts study the psychopathology of the creators of great works? I, too, have asked myself this question, and since you read my old essay "Beyond the Bounds of the Basic Rule" , you know some of my answers. But important basic questions are hardly ever answered once and for all; and I will, therefore, under the impact of your lecture, respond as if I had heard the question for the first time. Heinz Kohut, M.D., is Professorial Lecturer in Psychiatry at the University of Chicago and a teacher and training analyst at the Chicago Institute for Psychoanalysis. His works include The Restoration of the Self, The Analysis of the Self: A Systematic Approach to the Psychoanalytic Treatment of Narcissistic Personality Disorders—which has appeared in German, French, and Italian translations—, The Restoration of the Self and collection of his essays, Scientific Empathy and Empathic Science. His "A Reply to Margret Schaefer"" was published in the Spring 1978 issue of Critical Inquiry. See also: "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" by Margret Schaefer in Vol. 5, No. 1. (shrink)

Develops a theory of culture based on a metaphysics that elaborates on the Platonic and Confucian traditions. In Metaphysics of Goodness, Robert Cummings Neville extends Alfred North Whitehead’s project of cultural studies, which was based on a new metaphysics that Whitehead developed in Adventures of Ideas. Neville’s focus is value or goodness in many modes. The metaphysics treated in this book derive from the Platonic and Confucian traditions, with significant modifications of Whitehead, Peirce, Dewey, Confucius, Xunzi, and Zhou Dunyi. Part (...) one develops a theory of form based on a metaphysics of harmony. Part two elaborates a theory of art based on a metaphysics of beauty. Part three sketches a theory of personhood based on a metaphysics of obligation. Part four discusses civilization in a systematic way based on a metaphysics of flourishing. Throughout the book, Neville elaborates a theory of interpretation that is inspired by Peirce, Dewey, and Xunzi but is not limited to their ideas. While the reasoning of the book is concise, it employs methodologies from many kinds of philosophy, art criticism, ethics, and cultural studies, and sees philosophy as needing to learn from all these disciplines. “Neville’s work is informed by a lifelong engagement with the most important philosophers in history, including Plato, Aristotle, Whitehead, and Dewey. Here, he offers an important argument that there is beauty not only in how people see the world, but also in the world itself.” — Kevin Schilbrack, Appalachian State University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

Friedrich Albert Lange was a neo-Kantian and a socialist. Scholars have questioned whether there is a connection between these two aspects of Lange’s work. The paper argues that such a connection is apparent once Lange’s philosophy is understood in light of Schiller’s Kantianism. According to Lange, Schiller’s aesthetic redemption consists of two tasks: to create the beautiful image of an ideal reality; and to realize this ideal model in the actual world. Accordingly, I show that Lange’s political analysis points to (...) three different types of social evolution: 1) one corresponding to the natural state of humanity, based on Darwin’s and Malthus’s concept of the struggle for survival; 2) one corresponding to ideal evolution, in which all human beings achieve full development of their talents (first task of the esthetic redemption); 3) one corresponding to the actual realization of this ideal, in which human beings advance step by step thanks to social experimentation and the resulting progress in knowledge (second task of esthetic redemption). (shrink)

Why do physicians who've taken the Hippocratic Oath willingly cut into seemingly healthy patients? How do you measure the success of surgery aimed at making someone happier by altering his or her body? Sander L. Gilman explores such questions in Creating Beauty to Cure the Soul, a cultural history of the connections between beauty of body and happiness of mind. Following these themes through an impressive range of historical moments and players, Gilman traces how aesthetic alterations of the (...) body have been used to "cure" dissatisfied states of mind. In his exploration of the striking parallels between the development of cosmetic surgery and the field of psychiatry, Gilman entertains an array of philosophical and psychological questions that underlie the more practical decisions rountinely made by doctors and potential patients considering these types of surgery. While surveying and incorporating the relevant theories of Sigmund Freud, Alfred Adler, Karl Menninger, Paul Schilder, contemporary feminist critics, and others, Gilman considers the highly unstable nature of cultural notions of health, happiness, and beauty. He reveals how ideas of race and gender structured early understandings of aesthetic surgery in discussions of both the "abnormality" of the Jewish nose and the historical requirement that healthy and virtuous females look "normal," thereby enabling them to achieve invisibility. Reflecting upon historically widespread prejudices, Gilman describes the persecutions, harrassment, attacks, and even murders that continue to result from bodily difference and he encourages readers to question the cultural assumptions that underlie the increasing acceptability of this surgical form of psychotherapy. Synthesizing a vast body of related literature and containing a comprehensive bibliography, Creating Beauty to Cure the Soul will appeal to a broad audience, including those interested in the histories of medicine and psychiatry, and in philosophy, cultural studies, Jewish cultural studies, and race and ethnicity. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors (...) engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

This book offers a critical account of the fundamental elements of Leibniz's philosophy, as they manifest themselves in his metaphysics and philosophy of language. Emphasis is placed upon his hitherto neglected doctrine of nominalism, which states that only concrete individuals exist and that there are no such things as abstract entities – no numbers, geometrical figures or other mathematical objects, nor any abstractions such as space, time, heat, light, justice, goodness, or beauty. Using this doctrine as a basis, the (...) book considers the core of Leibniz's metaphysics and philosophy of language, including the well‐known principles of Contradiction, Sufficient Reason, Continuity and Individuation, and the concepts of Possible World, Individual Substance, Truth, and Necessity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:164 BOOK REVIEWS "was presented with wine in the name of the whole University." That evening, one of the feasters recalled that this was the man who had written the foremost theological defense of the Royal Supremacy: the following morning, when Gardiner asked for vessels and vestments to say Mass before proceeding on his way, they were refused him, as to an excommunicate or a schismatic. This incident is (...) significant for a number of reasons: it shows that, whatever anyone else might have thought, Gardiner certainly thought he was a Catholic. The ambiguity of that label, and how far exactly it extended, is also quite evident. Some explanation of the difficulty and some consistency of usage in the text of the biography would have been welcome. The text itself appears to have a number of editorial flaws: p. 201 begins in the middle of a paragraph, and the opening lines are omitted. In the second paragraph of p. 176, numbers are transposed so that what is printed as 1534 should read 1543 (in the context, a significant difference). The book is, on the whole, a contribution to scholarship that is long overdue. That a man who was so powerful (not to say feared) during his own lifetime should wallow in oblivion is confusing. Redworth 's biography, for all its incompleteness, is of great value in piecing together the life of this leader, both political and ecclesiastical, who sought to fashion the emerging English Church and nation into a recognizably Catholic form. Dominican House of Studie$ Washington, D.C. W. BECKET SOULE, 0.P. Art and the Word of God (Arte e la Parola di Dio): A Study of Angelico Rinaldo Zarlenga, O.P. Edited by VINCENT I. ZARLENGA, O.P. (text in English and Italian). River Forest, Illinois: Fra Angelico Art Foundation, 1990. Pp. xiv + 109. The religious order of the Dominicans (Order of Preachers) was founded in the thirteenth century by St. Dominic with the specific purpose of preaching the Gospel or " ministry of the Word." With the Franciscan Order it shared in the creative, artistic impulse that produced the medieval cathedrals. It is often said that the great Summa Theologiae of St. Thomas Aquinas, for all its intellectual rigor, is also a work of art comparable to the gothic masterpiece of Chartres cathedral. Dominicans and Franciscans thought that the Gospel should find expression not only in words, but in poetry, music, architecture, and BOOK REVIEWS 165 the plastic arts. Among the artists who were members of the Dominican Order are the recently beatified Fra Angelico (BL Giovanni da Fiesole ), Bartolommeo della Porta, an important influence on Raphael and other High Renaissance painters, Juan Mayno the gifted Spanish contemporary of El Greco, Pere Couturier, the advocate of modern church art and friend of Matisse, and the American sculptor, Thomas McGlynn. Carrying on this Dominican tradition, Angelico Rinaldo Zarlenga (1919-1986), a native of Italy, worked in the United States from 1949 until his death. The present work, edited by his brother Vincent, also a member of the Order, makes available a chronological catalogue of his paintings, sculptures, and designs in glass, with many illustrations in full color, along with a biography and critical appreciations by others, including Cardinals Joseph Bernadin and Mario Luigi Ciappi. It is an important contribution to the history of Catholic religious art in the United States. The noted German theologian Hans Urs von Balthasar built his whole theology not on the goodness and truth of God, but on His beauty, or in biblical terms, God's "glory." According to St. Thomas Aquinas, " beauty " is the " radiance of truth," that is, it is truth as truth is related well to our knowing powers. Like the fit between the key and the lock, beauty is the fit between known and the knower. That is why a landscape on a cloudy day looks dull and uninteresting, but when the sun comes out it appears strikingly beautiful. The sun's illumination has made the dim objects vividly visible, radiant to our eyes. This is what the artist does for us. He does not clothe the facts of reality with an adventitious beauty, but he illumines those facts so that... (shrink)

In the Phaedo – a dialogue investigating the immortality of the soul – Socrates compares himself to the swans of Apollo who sing “most beautifully” before they die. Working principally from the Phaedo, the aim of this article is to determine the relation between the song of the swan and the song of the philosopher. First, we examine the use of language in human song as a way to consider the other side of logos: logos not only as word but (...) logos as ratio – i.e., as a relation between temporally-ordered terms. This ratio we then examine as the sense of before-and-afterness that Aristotle explores, in Physics IV, as the “number of movement” that is time; for, through the counting of this “number of movement”, we begin to understand how swans and philosophers share a temporal orientation toward what transcends the present moment. This temporal orientation, I argue, pertains to sempiternity, an ageless or undying [ἀθάνατος] movement of the soul. Thus, I conclude that philosophy as “the highest kind of music” – like the song of the swans of Apollo – concerns itself with the undying state of the soul and, hence, with ethos. (shrink)