Style

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address. We argue that our (...) proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential view. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

У статті з’ясовано проблему контекстної логіко-інтелектуальної експресивності та входження її до сфери категорії регулятивності. Із цією метою експресивність проаналізовано у двох її виявах – інгерентному та адгерентному. Доведено, що адгерентні експресивні засоби – стилістичні прийоми – беруть активну участь у регулюванні читацької діяльності. Продемонстровано інклюзивні відношення між експресемами та регулятемами, окреслено ядерно-периферійний ресурс регулятивних засобів.

In recent discussions of two important issues in the philosophy of perception, viz. the problems of perceptual presence and perceptual constancy, Merleau-Ponty’s ideas have been garnering attention thanks to the work of Sean Kelly and Alva Noë. Although both Kelly’s normative approach and Noë’s enactive approach highlight important aspects of Merleau-Ponty’s view, I argue that neither does full justice to it because they overlook the central role that style plays in his solution to these problems. I show that a closer (...) look at the Phenomenology and several other texts from this period reveals that, on Merleau-Ponty’s account, we are able to perceive the absent features of objects as present, constant properties, and constant objects because we recognize that the objects we perceive have a unique style that persists through and unifies all their appearances. (shrink)

What today divides analytical from Continental philosophy? This paper argues that the present divide is not what it once was. Today, the divide concerns the styles in which philosophers deal with intellectual problems: solving them, pressing them, resolving them, or dissolving them. Using ‘the boundary problem’, or ‘the democratic paradox’, as an example, we argue for two theses. First, the difference between most analytical and most Continental philosophers today is that Continental philosophers find intelligible two styles of dealing with problems (...) that most analytical philosophers find unintelligible: pressing them and resolving them. Second, when it comes to a genuine divide in which not understanding the other side’s basic philosophical purposes combines with disagreement on fundamental questions of doctrine, the only such divide today is that between those analytical philosophers who tend to solve problems and those Continental philosophers who tend to press problems. It is among these subgroups that there is a real philosophical divide today. So the analytical–Continental divide is more a matter of style than of substance; but as we try to show, differences in style shape differences over substance. (shrink)

A number of objections to the style matrix that Arthur Danto introduced in “The Artworld” seem to have quelled most discussion of it. So telling have these arguments been that Danto himself later recanted the idea entirely. This situation is somewhat unfortunate. It may be that Danto's own interpretation of the style matrix is not tenable, but I believe we can articulate an alternative reading of it that escapes the aforementioned objections. While the interpretation I suggest cannot provide all that (...) Danto initially imagined for his style matrix, it does maintain much that was theoretically beneficial in it. (shrink)

Near the end of the Republic, Plato challenges defenders of poetry to explain how it “not only gives pleasure but is beneficial . . . to human life.”1 We sometimes hear a heightened version of this demand. Partisans not just of poetry but also of literature in general are asked to establish that the arts they celebrate possess a distinctive or unique value. In other words, they must show that poetry and literature are irreplaceable and that we would lose some (...) great good were they banished from the scene.2 As with Plato’s original challenge, the more radical version is often met on cognitive grounds. It is said that poetry and literature can convey knowledge and insight that could not otherwise be conveyed. They .. (shrink)

Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its arguments, and its (...) internal consistency. I argue that aesthetic value does have such an impact, at least sometimes and to some degree. The aesthetic merits of some works help to preserve their consistency, and the aesthetic defects of other works render them self-contradictory. (shrink)

On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...) Mendelssohn about the relationship between form and content in works of art. I maintain that Kierkegaard follows early German Romantic thinkers in applying these aesthetic concerns to philosophical writing. By way of conclusion, I discuss the implications of Kierkegaard’s position for contemporary scholarship. (shrink)

This article addresses two puzzles, one about the nature of satire and its kinship with moral philosophy and the other about the possibility of practicing philosophy through works of art. While it has long been noted that moral satire and applied ethics share subject matter in common, there has been little attention to the prominence of argument by analogy in satire. This essay shows that satire has a kinship with moral philosophy close enough that it is possible to practice philosophy (...) through satire and thus possible to practice philosophy through works of narrative fiction. (shrink)

This paper compares the views of styles of science of Alistair Crombie and Ian Hacking with the notion of styles of art, as developed by Alois Riegl at the end of the 19th Century. Important similarities are noted, notably in the conceptualization of the autonomy of styles. Riegl developed in particular the notion of Kunstwollen , which encompasses an implied relation to the world, in both a cognitive and an ethical sense, and a relation to the public of art. The (...) latter aspect will be examined as the “role of the spectator”. Finally, a number of Riegl’s view on art are tentatively applied to styles of science. (shrink)

Following the pattern set by the early German Romantics, Kierkegaard conveys many of his insights through literature rather than academic prose. What makes him a valuable member of this tradition is the theory he develops to support it, his so-called “theory of indirect communication.” The most exciting aspect of this theory concerns the alleged importance of indirect communication: Kierkegaard claims that there are some projects only it can accomplish. This paper provides a critical account of two arguments Kierkegaard offers in (...) defense of this claim. The first argument is that he needs to use indirect communication in order to discourage people from losing themselves in the “crowd”. The second argument is that he needs to use it in order to help people out of a “monstrous illusion”. It is shown that while both arguments justify Kierkegaard’s decision to use indirect communication, neither one supports the original claim about its indispensability. (shrink)

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.

This dissertation concerns Kierkegaard’s theory of indirect communication. A central aspect of this theory is what I call the “indispensability thesis”: there are some projects only indirect communication can accomplish. The purpose of the dissertation is to disclose and assess the rationale behind the indispensability thesis. -/- A pair of questions guides the project. First, to what does ‘indirect communication’ refer? Two acceptable responses exist: (1) Kierkegaard’s version of Socrates’ midwifery method and (2) Kierkegaard’s use of artful literary devices. Second, (...) for what end does Kierkegaard use indirect communication? There are two acceptable responses here as well: (1) helping others become religious and (2) making others aware of the nature of existence. -/- These responses are interrelated. First, Kierkegaard’s notion of religion places restrictions on the means he can use to get readers to become religious. These restrictions ultimately entail that the only viable form of religious pedagogy is the midwifery method. Second, Kierkegaard engages in the midwifery method in part by making readers aware of the nature of existence (especially religious existence). But given the problems plaguing his readers, he thinks a straightforward approach to this project will likely fail. An approach that used artful literary devices such as deception and humor would be more successful. Third, Kierkegaard believes that there is one aspect of religious existence (viz. subjectivity) that people can come to know only first-hand. As such, he cannot directly impart knowledge of subjectivity to his readers. He argues that this means he must use the midwifery method. And he thinks the most productive way to do so is to provide readers with the kind of fictional narratives found in his early pseudonymous writings. Thus artful rhetorical devices play a role here as well. -/- All of Kierkegaard’s arguments for the indispensability thesis turn on debatable assumptions. But the arguments concerning artful rhetorical devices have the additional defect of being merely probabilistic in nature. They lack the strength to support the indispensability thesis even if we grant the relevant background assumptions. Therefore, to the degree that the indispensability thesis has merit, it lies with the arguments concerning the midwifery method. (shrink)

_The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.

"Every culture needs to appropriate the universal truth of human suffering," says Fernando Escalante, ". . . to give its own meaning to this suffering, so that human existence is bearable." Originally published in Spanish as La mirada de Dios: Estudios sobre la cultura del sufrimiento, this book is a remarkable study of the evolution of the culture of suffering and the different elements that constitute it, beginning with a reading of Rousseau and ending with the appearance of the Shoah (...) in the Western consciousness--"The memory endures, and this constitutes a fundamental transition for the Western conscience: we have witnessed." Drawing on writings from the Greeks to Cervantes, Voltaire to Nietzsche, and Freud to William James, Escalante combines his considerable knowledge of politics and political theory with a vast array of literary examples to arrive at an intellectual understanding of the history and meaning of suffering. His investigation encompasses the rise of popular politics, the role of messianism in modern nationalism, and the contemporary implications of the Shoah. This book will appeal to a wide audience: students of political theory, humanism, and philosophy, as well as the general reader interested in a glimpse into the mind of a highly original Latin American thinker. (shrink)

Distant Suffering examines the moral and political implications for a spectator of the distant suffering of others as presented through the media. What are the morally acceptable responses to the sight of suffering on television, for example, when the viewer cannot act directly to affect the circumstances in which the suffering takes place? Luc Boltanski argues that spectators can actively involve themselves and others by speaking about what they have seen and how they were affected by it. Developing ideas in (...) Adam Smith's moral theory, he examines three rhetorical 'topics' available for the expression of the spectator's response to suffering: the topics of denunciation and of sentiment and the aesthetic topic. The book concludes with a discussion of a 'crisis of pity' in relation to modern forms of humanitarianism. A possible way out of this crisis is suggested which involves an emphasis and focus on present suffering. (shrink)

The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry among (...) which a choice is open. The essays in this book examine the circumstances, features, and consequences of this historical transition, exploring in particular new aspects and instances of the inter-relatedness of content and its formal representation in both the arts and philosophy. (shrink)

This book conducts a timely inquiry into contemporary conscience and politics.

Style is a complex and problematic term in the critical vocabulary of several disciplines. The eleven authors represented in this volume draw on art history, philosophy, literary theory, and musicology to take on the task of defining "style" precisely, not only within their fields but with cross-disciplinary emphasis. First published in 1979, these essays resulted from lectures given at the Summer Institute in Aesthetics held in Boulder, Colorado, in 1977. Despite the intervening effect of deconstruction, which is barely mentioned, they (...) continue to open significant avenues of discussion. This is primarily due to the diversity of views, which is enhanced by the arrangement of the book into three sections. (shrink)

ILLUSTRATIONS Chapter 2 1. Roy Lichtenstein, Little Big Painting 83 2. Luis Buriuel, Viridiana (Last Supper scene) 86 3. ...

At first glance style and philosophy bear an accidental or external relationship to each other. We might refer to Kant’s work, for example, as being stylistically bad, but philosophically seminal and interesting. That is, Kant’s writing could be criticized as being a poor instance of a given species of style. One would not criticize Kant’s style on the basis that it isn’t poetic enough, but rather on the basis that within the species of philosophical treatise writing, it fails to exhibit (...) the requisite clarity, compactness, and the like, which the best instances of that species ought to exhibit. And while one might lament the fact that Kant’s writing style isn’t one of the best instances of that species, one would not count this lament as a final or telling objection against Kant’s philosophy, i.e., against the content of his works. Of course the “content” of Kant’s writing could be objected to on the basis of its arguments’ validity, or of the truth of its premises, or of its formulation of the problem to be overcome. Such objections are normally not thought to concern the style, but rather the philosophy in question. The distinction here is frequently referred to as the “form-content” distinction. Thus, to paraphrase, at first glance form and content seem to bear an external relationship to each other in philosophy. (shrink)

Every philosophical belief has its presuppositions; no philosopher can operate without them. Some of mine are these: that the expression of a thought and the thought expressed are distinguishable but inseparable; that one’s thought about something and one’s feeling about that something are distinguishable but inseparable; that we humans have a nature but that it consists of psycho-physical dispositions, or capacities, of such vaguely defined sorts and limits that, from a spectator’s point of view, I eschew a priori pronouncements about (...) what human beings can or cannot do and await developments, and that, as an agent, I act in the spirit of Sartre’s self-creating chooser. In short, and skipping the refinements—failures of philosophical nerve—a person, a human being, a philosopher is what he does. (shrink)

It is a tacit assumption among most contemporary American and British philosophers that the question of style in philosophy is, at most, an issue of peripheral importance. Although it is generally agreed that a well developed sense of style may make a philosopher’s work more accessible and thus be a factor in its acceptance by a wider audience, and although it seems self-evident to many that the apparent inaccessibility of much of continental philosophy is due in part to stylistic vagaries (...) to which it is particularly prone, few would accord to style an importance beyond this. Certainly style is not an integral part of a philosophical position. It is always possible in principle, so the dominant view today suggests, to separate the position being expressed from the style the author employs in expressing it. The position itself is equated with the body of propositions that the philosopher is asserting; the style in which these are expressed either has no bearing on the truth value of the propositions and is consequently irrelevant or else it can be incorporated into either the propositions themselves or the structure of the argument, in which case it is no longer primarily a stylistic consideration. In either case, a philosopher’s style is ultimately not integral to the position which he advances. (shrink)

Gillo Dorfles offers a veritable "catalogue raisonne of reigning bad taste" in the visual arts. His purpose is not simply to entertain but rather to demonstrate the contagious and corrosive nature of a phenomenon that threatens to debilitate the creative energies of the very society that spawned it. He and the other contributors examine the use of kitsch in politics, religion, advertising, film, architecture and design, "pornokitsch," and the modern trappings that surround birth, family life and death. To document the (...) vulgar and the sentimental, the unintentionally hilarious and the simply hideous is an undertaking that will, inevitably, include something to offend everyone. 311 pages; 276 color and b&w reproductions; 6.75 x 9.25 inches. (shrink)