This is the first comprehensive overview of the influence of Platonism on the English literary tradition, showing how English writers, including Chaucer, Shakespeare, Milton, Blake, Wordsworth, Yeats, Pound and Iris Murdoch, used Platonic themes and images within their own imaginative work.

This paper challenges the first Gettier counterexample to the tripartite account of knowledge. Noting that 'the man who will get the job' is a description and invoking Donnellan's distinction between their 'referential' and 'attributive' uses, I argue that Smith does not actually believe that the man who will get the job has ten coins in his pocket. Smith's ignorance about who will get the job shows that the belief cannot be understood referentially, his ignorance of the coins in his pocket (...) shows that it cannot be understood attributively. An explanation for why Smith appeared to have justified true belief is given by distinguishing between 'belief' and 'belief in truth'. Smith believes the sentence 'the man who will get the job has ten coins in his pocket' to be true (he mistakenly believes that Jones will get the job, of whom he knows that he has ten coins in his pocket) (hence his 'belief'), the sentence is true (hence 'truth'), and he has sufficient reason to assent to it (hence his 'justification'). But he does not believe the proposition expressed. Hence he does not know it either. (shrink)

The general understanding of pictorial representation as constructed through the viewpoint of the artist outside the picture space is mediated through our present-day familiarity with geometric perspective and photography. This presumes the existence of an external viewpoint. This understanding of painting has become common sense. In this way a 'historical product' has been taken as an 'a-historical essence' of our understanding. Even now, many theories on painting seem to remain caught in such a essentialist thinking. In this paper (...) I discuss the problem of essentialist thinking, basing my views on the philosophy of Kiyoshi Miki, one of the important philosophers of the 'Kyoto School', and then reexamine the belief in the existence of viewpoints outside of painting. (shrink)

The aim of this paper is to present those realistic tendencies in Bulgarian painting from the 1920s and 1930s, that echoe contemporary West European ones, like the New Objectivity in Germany. Among others, it will be shown how Bulgarian artist’s paintings are inspired by the folklore primitive from the past and reflect the assiduity of cultural administration to renew the idea of a modern artistic school of art with a defined national character.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 120-124 [Access article in PDF] Pictures & Tears. a History of People Who Have Cried in Front of Paintings, by James Elkins. London: Routledge, 2001, xiii + 272pp., $26. In "Tears, Idle Tears" from The Princess, Alfred, Lord Tennyson wonders at the tears forming in his eyes as he gazes out across the fields one fall day. The idyllic countryside, far from (...) providing solace, triggers within him a debilitating sadness, an all-encompassing melancholia, manifested by the tears originating from a deep despair; the autumn fields remind Tennyson's narrative persona of all the days that have passed by him.If Tennyson's eyes had fallen not on autumn fields but on a painting of them then the opening lines to "Tears, Idle Tears" might have served as the perfect epigraphic frame to James Elkins's important study of the tears we do and do not shed when looking at art.One of several recent books by the increasingly influential professor at Chicago's School of the Art Institute, Pictures & Tears probes that aspect of our consciousness that has the capacity [End Page 120] to move us to tears when looking at paintings.Shedding tears in front of paintings? Within contemporary culture it seems rather unlikely for someone to respond to a painting by fighting off, or giving in, to tears. Reactions to paintings in previous periods and societies were wholly different from ours, Elkins argues. Paintings not only incited the passions but were blamed for the onset of numerous, serious medical conditions. Though rare today, cases continue to be reported. The Italian psychiatrist Graziella Magherini even coined a term for it in 1989, "Stendhal syndrome," referring to the novelist whose viewing of art in Florence was accompanied by the onset of a form of nervous exhaustion.While the subtitle of Elkins's book suggests a history of crying in front of pictures, leading us to the nearly tearless present, and thus, presumably, to answers about why we no longer cry in front of paintings, A History of People Who Have Cried in Front of Paintings is somewhat misleading. In the truest sense Pictures & Tears is neither a history of crying in front of pictures nor individual histories of those who have. The book does not follow a linear historical narrative of the tears that pictures have evoked over the centuries. Rather, Elkins's chapters constitute a tableau, the accumulation of fragments, with alternating chapters exploring, first, a particular work of art and the tears it has evoked and, second, ruminations on why that might be the case.At the heart of Elkins's argument is a concern over why we no longer seem willing, or indeed able, to have emotional responses to paintings. Besides the occasional grand response to works of art, particularly those vested withsignificant religious meaning, few admit to intimate connections with paintings. Elkins wants to know why.To answer these questions, Elkins turned to colleagues as well as to people he had never met. His research for the book included letters to fellow scholars and peers, and open calls in newspapers and journals, requesting stories from anyone moved to tears on encountering a painting. He received more than four hundred responses, many of which are included in a substantial appendix. The responses themselves make for an intriguing read and from them Elkins builds a two-pronged argument: we now live in an age that is marked by "stoic intellectualism" (p. 163), yet we still have the capacity to feel an intimate connection to paintings. Art in recent years has demanded greater intellectual engagement, lessintimate involvement. There may be exhibitions that fuel fear, distrust, anger, or rage but these are alienating to the works themselves, although these feelings can certainly be as intense as the more intimate connection that Elkins equates with falling in love.What is it about viewing paintings, as opposed to film or theater, he asks, which prevents full emotional expression? Is it the accoutrements used to view gallery paintings — the exhibition catalogs... (shrink)

Analyzing Montaigne's triptych painting, “Of the Education of Children,” reveals a series of ever-morphing, Dorian Gray–like canvases that depict metaphor mutations through which Montaigne defined education by distinguishing between schooling a child into a learned man and educating him into an able, active, and gentle person. Montaigne used metaphor and metaphor clusters to image key points in his educational philosophy, advanced his argument by intertwining, transmuting, and inverting metaphors, and thereby drew and vividly painted his philosophy of how to (...) educate a person from cradle to coffin. Because the etymology and pronunciation of “essay” (from the French essai) support Montaigne's imaging and exploiting of this genre's creative potential, Virginia Worley begins by considering the term's etymology before positioning her analysis of Montaigne's work within metaphor research. She then examines the metaphors Montaigne used to paint the triptych word painting that embodies his philosophy of education: the meaning and value of educating in and for the art of living well. (shrink)

The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the 'period eye' offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, (...) where such representations of history could be experienced as a collective 'dream-work', in Freud's sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the 'Lyon School'. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud's 'condensation' and 'displacement' the concepts of 'Resurrection' and 'Restoration', I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema. (shrink)

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward (...) the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

A main issue in Swedish school debate is the question of how to teach the student a common value system based on democracy and western humanism. The debate is rather intense, to say the least. Not only is the premise that there exists one value system that we share a target for critique, but there is also the question of what value education is or could be. There is, as well, quite a body of research on children's moral development, (...) where many take as their departure the work of Kohlberg. However, there has been little or no attention on how the individual learner conceptualizes and makes meaning out of ethical issues. That is, descriptions of processes. In this paper we will present what we take to be urgent questions that need to be investigated against the background of prior research and practical work at Södra teatern in Stockholm, Sweden. For eight years in a row, Södra teatern has had as a main project to lead a practice on the subject of philosophy with children. Several groups of youths in the age of nine to eighteen have regularly met to discuss philosophical thoughts and problems, which in a democratic manner are settled for discussion by the participants. Today this philosophical practice has spread to the north of Sweden. In Backman's final exam within the teacher education she has explored the development of children's (7‐8 years old) ability to argue for different ethical positions, both verbally and in writing and painting. This practice has been inspired by the tradition at Södra teatern, but customized to fit a regular school class in Luleå, with very little experience of philosophical discussion. In the very short period of five weeks Backman has been able to see quite significant changes in the children's ability to argue for their ethical positions. The study was initiated by examining some argumentative abilities of the pupils, for instance the ability of expressing an argument for an ethical position in writing. In the final part of the study, the same ability was examined in very similar circumstances, and the augment of expressed arguments in writing was significant. Another consideration that was raised as a consequence of the study regards the pupil's conceptualizing of ethical issues. In some conversations about the notion of justice it became clear that children interpreted the term very differently. This is not very surprising but important to pay further attention to. As mentioned earlier, there has been very little attention on how individual children conceptualize ethical issues. In this paper we argue that more interest should be put on investigating these issues in more depth, and we will do this by an outlining of a research application. (shrink)

Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic (...) and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century. (shrink)

When painter Fritz Janschka arrived from Vienna to teach at Byrn Mawr College in October, 1949, he entered a culture seemingly as alien to his art as one can imagine. Janschka is one of the co­founders of the Vienna School of Fantastic Realism, a group of painters who studied at the Academy of Fine Arts in Vienna shortly after World War Two. The fantastic realists cultivated a precisely controlled craft informed by traditional methods and modernist sensibilities, incorporating collectively the (...) entire range of Western painting, past and present, in their attempts to come to grips with a shattered world. New York Abstract Expressionism and Viennese Fantastic Realism, two mid-twentieth century art movements, represent diametrically opposed ways of painting, yet both schools sprang out of surrealism. The Fantastic Realists were widely known in Europe and hardly known in America. Given the dominant abstractionist tendencies of post-World War Two art this is understandable. For these reasons Janschka’s openness to the techniques of the New York School in the early 1950s forms an unlikely meeting point of seemingly irreconcilable positions, one suggestive of possibilities for the meeting of abstraction and figuration, and more broadly, for addressing contemporary dehumanizing abstractionism, which I discuss in this essay. (shrink)

One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to (...) form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century--from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements. (shrink)

The experience of peer rejection in the classroom, an environment in which students spend a large part of their time, is accompanied by a sense of social pain which can have a profound effect on self-perception and attitude toward the overall school environment. These attitudes can be subsequently reflected in the student’s behavior at school and in his/her school success. The research aims to identify differences in the perception of school life among rejected and popular upper-primary (...) school students. For this purpose, the sociometric nomination method and a questionnaire measuring the student’s perception of the school environment were used. From a total of 1,625 students from 20 schools, 312 students with the status of popular and rejected were included in the research. The multivariate analysis of covariance results revealed no significant differences between the two contrasting groups in terms of the perception of school life. The results of the research indicated a different perception of the school environment within the groups of rejected and popular students rather than differences between the groups. Both the rejected and popular students report contradictory attitudes toward school life. Half of the students indicated that they feel lonely at school and have no confidence in teachers, considering the school a place where they do not like to learn, where they are troubled and where they do not like to talk to their classmates. Perhaps counterintuitively, a larger number of popular students stated that they feel lonely than did the rejected students from the class. Although the results do not paint a very positive picture of perceptions of the school environment, this should be seen as an opportunity to develop active class work with a greater emphasis on strengthening collective trust in the school. (shrink)

Chi biasima la pittura, biasima la natura . . . . Stephen Newton is a 53 year old professional artist with a doctorate from the Centre for Psychotherapeutic Studies at the University of Sheffield. He is therefore one of a niche academic fraternity working the disputed borderlands between empirical cognitive science, psychoanalysis as a school of neurophilosophy, psychoanalysis as a clinical professionalism, and the philosophy of art. This is his first high profile book, and it stands proudly in a (...) series which goes back to Freud's 'Leonardo' and which includes Ehrenzweig's 'The Psychoanalysis of Artistic Vision and Hearing' , Kuhn's 'Psychoanalytic Theory of Art' , Gedo's 'The Artist and the Emotional World' , Glover's 'Psychoanalytic Aesthetics' , and a host of anthropological input from the likes of Andr? Leroi-Gourhan, Michel Lorblanchet, Georges Sauvet, Jean Clottes, and Howard Morphy. The book's seven chapters fall into two neat sections, namely an early theoretical statement on the psychodynamics of artistic creation, followed by an erudite application and extension of that theory. (shrink)

This is not a work of mine. For some reason, I am unable to remove it from my page. It is a list of Dr. Reiner Schürmann's lecture notes for courses that he taught at the New School for Social Research (aka The New School).

Modern history has looked on the United States of America as a country with a very distinct and proud national heritage and identity, though this was not always so. When founded in 1776, America was a nation that had not yet developed the identity and customs that would soon come to define the country nationally and internationally. The articulation of this distinct identity fell to the artist class and, in particular, first and second generation American painters. Painters such as Thomas (...) Eakins, Thomas Cole, and the Hudson River School of artists pulled from their natural surroundings to create art that would foster pride in the values of peace, liberty, and freedom. Without these early painters, the United States would not have the strong identity that is so well known today. (shrink)

Modern history has looked on the United States of America as a country with a very distinct and proud national heritage and identity, though this was not always so. When founded in 1776, America was a nation that had not yet developed the identity and customs that would soon come to define the country nationally and internationally. The articulation of this distinct identity fell to the artist class and, in particular, first and second generation American painters. Painters such as Thomas (...) Eakins, Thomas Cole, and the Hudson River School of artists pulled from their natural surroundings to create art that would foster pride in the values of peace, liberty, and freedom. Without these early painters, the United States would not have the strong identity that is so well known today. (shrink)

Congress's national-security legislation will often require clear and specific congressional authorization before the executive can undertake certain actions. The War Powers Resolution, for example, prohibits any law from authorizing military hostilities unless it "specifically authorizes" them. And the Foreign Intelligence Surveillance Act of 1978 required laws to amend FISA or repeal its "exclusive means" provision before they could authorize warrantless electronic surveillance. But efforts to legislate clear-statement regimes in national-security law have failed to induce compliance. The Clinton Administration inferred congressional (...) "authorization" for the 1999 Kosovo War from an appropriations statute that failed to specifically authorize the conflict. And the Bush Administration inferred congressional "authorization" for the NSA surveillance program from ambiguous language in the post-September 11th Authorization to Use Military Force. In both situations, executive-branch lawyers employed expansive theories of implied repeal and constitutional avoidance to evade the codified clear-statement requirements, and Congress and the courts acquiesced to the President's actions. Recent proposals to strengthen the clear-statement requirements in Congress's national-security framework legislation are unlikely to be effective without institutional mechanisms, such as points of order, that can deter future legislators from enacting vague or ambiguous legislation from which the executive might claim implicit congressional "authorization," and that can induce Congress to confront Presidents that act without specific congressional authorization. Simply enacting more narrow or explicit clear-statement requirements, or adding funding restrictions to Congress's framework legislation, fails to counter the aggressive interpretive doctrines that executives of both political parties have used to concoct congressional "authorization" from vague or ambiguous statutory language. (shrink)

"Alexander's commentary on Book 1 concerns the definition of Aristotelian syllogistic argument; its resistance to the rival Stoic theory of inference; and the character of inductive inference and of rhetorical argument. Alexander distinguishes inseparable accidents, such as the whiteness of snow, from defining differentiae, such as its being frozen, and considers how these differences fit into the schemes of categories. He speaks of dialectic as a stochastic discipline in which success is to be judged not by victory but by skill (...) in argument. Alexander also investigates the subject of ambiguity, which had been richly developed since Aristotle by the rival Stoic school."--BOOK JACKET. (shrink)

There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as (...) the conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place. (shrink)