In Aesthetic Legacies, Lucian Krukowski traces the influence of three nineteenth-century theories of art through twentieth-century modernism and into the postmodernist present. Following the theories of Kant, Schopenhauer, and Hegel, Krukowski first discusses how each philosopher locates the aesthetic within the framework of the philosophical system. He then identifies each theory through a dominant theme and traces the transformations of these themes into later thought and practice. The Kantian legacy originates in the theme of beauty and continues (...) through an examination of aesthetic taste into the modernist concern with artistic form. Schopenhauer's legacy moves from the dynamics of will into the themes of creative expression and artistic intentionality. Hegel's identification of art as a symbol of spirit's evolution is traced through the themes of artistic progress and cultural criticism. Krukowski interprets late modernism as a period in which the continuing transformation of aesthetic themes is arrested and congeals into dogma. This precipitates the reaction we now call postmodernism. The author first examines postmodernism through its various rejections of modernist dogma and, in the book's concluding section, evokes the alternative ideologies and practices that characterize present-day art. (shrink)

INTRODUCTION This book is on the relationship between certain theories or " concepts" about art and particular periods ...

The divisions that mark my subject are three. The first is that point where the world begins--where it appears from out of the mystery of non-being. The second lies somewhere between its progeny and its future--the times between beginnings and ends where we, the beneficiaries of our being-here, come together to sing a celebration of the wonder that it happened at all, and then intone the fear of its ending. The third division is a speculation on ends--our own and the (...) ending of the world. I use these divisions to locate a something that comes from nothing onto a historical tradition that imposes a value on the progression of that something, and so requires a judgment on all that has passed. I first discuss these through religious attempts to invest life and history with purpose--for they form the major explanatory traditions of Western culture and are a thematic source of much of its greatest art. I continue with an art-critical approach where themes of process and purpose are located in artworks through their stylistic histories and ambitions. I indicate how present art, when open to reconstitute such themes, could change the nature of today's efforts to give art polemical purposes, and so provide new reasons for its making. I conclude with some stories, unevenly biographical, partly fictional, which I offer as parables for the developed themes and their transformations. This last aim is to elucidate a view of art as providing specific symbols for a cosmology of beginning, living, and ending. (shrink)

Krukowski, a painter/philosopher, tries to understand postmodern art and then speculates about what post-postmodern art will be. He gives a valuable account of the roots of modernism in 19th C philosophy and of its slide into skepticism about art serving any epistemic function. Postmodern aesthetics though is just an inconsistent mix of modernist ideas and their opposites. Postmodern artists believed themselves creative only by coming up with a work, or an idea, unconnected to modernism. Post-postmodernists will likely do the (...) same to postmodernism since they too are constrained to deny any purpose or progress in art. In that case, Krukowski thinks, art will remain local and marginal, or end altogether. (In the sequel most artists now ignore the philosophical conundrum and get on with producing works, sometimes playful, sometimes deep, sometimes beautiful. This 21st C eclecticism is a welcome respite from the theory wars.). (shrink)

Although David Mitrany’s international thought is not usually associated with the concept of the international anarchy, I argue that his analysis actually compares two forms of anarchical order. The first form is the order associated with the relations between states, while the second is his functional alternative to this order. The functional approach is anarchical in the sense that it remains an order without an orderer. In first analysing the dynamics and failings of the inter-state order, and then suggesting pragmatic (...) process-orientated solutions to those failings, I argue that Mitrany follows a similar approach to his classical realist contemporaries. (shrink)

De nos jours, la cote de l'imaginaire est en hausse. Sensibles au mouvement des idees, les historiens se sont mis a la tache. Leurs contributions dans ce domaine ne se denombrent plus. Mais chaque historien affine sa problematique particuliere. Les ponts sont rares entre les epoques et les cultures, et encore plus rares entre les axes differents de recherche. Il existe des imaginaires historiques plutot qu'une veritable histoire de l'imaginaire.Une telle histoire - batie essentiellement sur les structures de l'imaginaire - (...) serait-elle possible? Lucian Boia le croit et essaie de le prouver. Son but est d'identifier certains principes susceptibles d'offrir un minimum de coherence a un domaine pour le moment eclate. Tout en tenant compte d'un large eventail de contributions, ce travail repose en grande partie sur les propres recherches de l'auteur. Il y est question de l'imaginaire scientifique, de l'espace, des humanites autres, des visions apocalyptiques, des millenarismes, des mythes fondateurs, ces mythologies totalitaires. C'est la premiere fois qu'un historien tente de rassembler dans un panorama cette diversite deroutante de manifestations en vue de definir les structures et la dynamique propres a l'imaginaire et de saisir ainsi sa logique particuliere.L'histoire de l'imaginaire: une des histoires de demain? (shrink)

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This collection uses economic analysis to study some of the most pressing issues in corporate law. The last decade has brought certain corporate transactions and arrangements to the forefront of public attention and public debate. At the same time, a new mode of corporate law analysis has been developed - one that uses the tools of economics to identify the consequences and desirable features of corporate law rules. By bringing together work at the frontier of this method of analysis, the (...) volume provides a good picture of the power, current state, and future direction of the economic analysis of corporate law. Written by some of the most prominent contributors to the field, many of the chapters focus directly on the corporate control transactions that have recently attracted the most interest and controversy - corporate takeovers, buy-outs, recapitalizations, and reorganizations. (shrink)

"Previously unpublished images from glass-plate negatives taken by Walter Schneider capture the years of transition from agrarian to industrial society in America and beyond.

The Hermotimus is Lucian’s longest piece of writing, surpassing even the two books of the True Tales, and at the same time his most successful effort to recreate the style and atmosphere of a Platonic dialogue, filled with a new—and for Lucian uncharacteristically serious—content, namely a sustained attack on “dogmatic” philosophical schools (the “haireseis” of its subtitle) and, inversely, a ringing endorsement of the tenets of Pyrrhonian Scepticism.... (review at BMCR).

Developments in both China and Russia are a challenge to political science, and more particularly to theories of political culture. Both countries are engaged in profound processes of transition involving the abandonment of totalitarianism and the adoption of market-based economies. It is, however, far from clear what form their political systems will eventually take. They are currently following strikingly different paths. Are the differences a reflection of their distinctive cultures? Or, are the differences more structural, a manifestation of their respective (...) stages of economic and social development? Or, are they merely the consequences of the idiosyncratic choices and policy decisions of the two leaderships? (shrink)

From a classical phenomenological point of view, to reason is to have a conscious intentional experience. A conscious experience can be described as a predicative reconstruction of whatever reason might be concerned with while the intentional aspect can be deduced from the effort of disclosing specialized propositional insights into whatever reasoning is concerned with. Husserl argued that the task of phenomenology is to pave the way toward a science of consciousness in which reason as key feature of conscious life will (...) be properly treated. However, contemporary phenomenology adopted an entirely different perspective on this matter. Conscious experiences are now described from a perspective reminiscent to traditional empiricism while the search for universal objectivity is abandoned in favor of contextual truths. The current situation raises several questions how did we get here, does making sense entail emotions, does the emotivist reconsideration of consciousness solve the problem of objectivity, should a future science of consciousness stress the role of emotions as a solution to subjectivism and yet to be considered a phenomenological science of consciousness. In this paper, I only begin to tackle these problems. (shrink)

There is an interesting historical detour in the dissemination of one of the seventeenth century’s most praised discoveries: the reception of Harvey’s account of the circulation of the blood is closely intertwined, especially in the Low Countries, with Descartes’ account of the origin of the heartbeat. Descartes was one of the first figures to support the circulation of the blood and to give credit to Harvey for it, although he presumably arrived at the same conclusion independently through his own anatomical (...) experiments. He did so while vocally rejecting Harvey’s views on the muscular nature of the heart and his explanation of cardiac motion, to promote his own mechanistic solutions instead. Although Descartes’ .. (shrink)

Responding to the co-production of screen seriality and human subjectivity within contemporary machine cultures and economies of excess, this article examines televisual affect and proposes concepts that address the languages, components and processes of particular televisual subjectivities. Discussions focus on science fiction fantasy series Farscape – a space odyssey fascinated with biotechnological evolution and mutative consciousness. This article aims to invigorate and extend the critical analysis of contemporary televisual affect, taking up questions and methodologies from Félix Guattari’s machinic ontology and (...) Georges Bataille’s formulation of a sacrificial economy to address the conditions of consumption–production relevant to television today. (shrink)

As Roger Ariew shows, one of the most fascinating challenges for the authors trying to create a Cartesian complete course on philosophy was coming up with a Cartesian Logic based on the existing texts of the master. Were the few simple rules from the Discourse on Method the "logic" of Descartes? Were the Rules for the Direction of the Mind "logic"? How can we even have a logic without syllogism? When looking at the authors studied by Ariew one finds that (...) the best that they could come up was adding some Cartesian elements on what remains basically a traditional Aristotelian Logic. It seems that there was no Cartesian Logic after all.I want to show here that Cartesian Logic is something else, not exactly... (shrink)