This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to (...) this shortage, I note that, while certainly not identical, Hugo and Hegel share an aesthetic family resemblance in how they hold similar ideas on architecture’s symbolic function, cognitive content, and, ultimately, how the artform’s ability to remain a standing paragon of meaning was razed by successive modes of cultural communication. Consequently, the essay works to show some congruent aesthetic affinities between these two great figures, but which appears to be overlooked in the literature. (shrink)

The study subjected to scrutiny the context of Rizal’s novel Noli Me Tangere and Hugo’s novel, Notre Dame de Paris in the search for confluence through the two novels’ use of rhetorical devices and imagery. It utilized Kolb’s Experiential Method, Phenomenology, and Interdisciplinary Approach. Primarily, a connection between Hugo and Rizal is established since no studies relating the two writers existed. Gathered evidences proved the historical and biographical connections: the phenomenology of both writers’ existence in the same (...) Romantic milieu, and of Rizal’s diary and bibliographic entries on Hugo. Thereafter, a focus on the two novels’ literary elements by character, setting, point of view, and conflict, as well as theme, confirmed textual confluence. Moreover, Hugolian symbols and rhetorical devices in Noli Me Tangere are conclusive in the establishment of confluence. Furthermore, evaluation of the Notre Dame de Paris as a historical novel, a poetic novel, a novel of ideas, and a dramatic novel are evident in Rizal’s Noli Me Tangere. Finally, a sharp phenomenology of confluence between Victor Hugo’s Notre Dame de Paris and Jose Rizal’s Noli Me Tangere is concluded. Further studies on the novel Noli Me Tangere are recommended to take into account the influence of Victor Hugo. Keywords - Hugo, Rizal, France, Philippines, novel, phenomenology, imagery, criticism. (shrink)

This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...) a transitory mode of mind, a vehicle, which aims to raise spirit to the higher cognition of philosophy. When the unfolding absolute concept becomes too complex for articulation in the material, art must end, as spirit’s message can be expressed only through the non-material form of philosophy. This study focuses on the ambivalence found in Hegel’s writings regarding his account of historical completion. Though Hegel sees in the Absolute a metaphysical solution to the unity of subject and object, the practical aspects of the unity appear to falter when philosophy becomes the dominant mode of expression at the close of a historical cycle. In Lectures on the History of Philosophy, Hegel links his notion of the Absolute, albeit with modification, to Aristotle’s nous. As described in De Anima, this entails a progression in which active and possible intellect rise to the level of the eternal, while passive intellect, the imaginative element, passes on with the body. Because the architecture of Aristotle’s nous, which is not in line with his defense of poetry, is integrated into the blueprint of Hegel’s absolute, an unresolved tension emerges in the spirit of art. A divergence of aims is forced to the surface through Hegel’s application of a template for achievement of theoretical knowledge, with an end in the universal, to a form of practical knowing which has an end in the particular. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward the Materiality of Aesthetic ExperiencePeter de Bolla (bio)Over the last twenty years or so it has become a commonplace in discussions of "aesthetics" or of "art" in the most general sense to note that the term "aesthetics" was only very recently invented by Alexander Baumgarten in 1735, where it appears in his Meditationes philosophicae de nonnullis ad poema pertinentibus [see Menke 40; Dickie; Eagleton]. But the force of (...) this observation in regard to the relative youth of the concept is rarely, if ever, commented upon. As many philosophers and critics have pointed out, Baumgarten's use of the term was not primarily angled at what today might be unproblematically called "artworks"—say, paintings in the European grand master tradition—since his new kind of investigation was to be a "science of sensual recognition," that is, a general inquiry into how we come to know the world from the evidence of our senses. But, as is also frequently remarked, early on in the tradition of speculation now associated with "aesthetics as the study of art" the mutual attraction (to put it in the most anodyne terms) of "art" and "aesthetics" seems to have been extremely strong. As Jonathan Ree remarks, "the real begetter of the philosophical doctrine connecting the arts with the empirical senses—what we might call the aesthetic theory of the arts—was Gotthold Ephraim Lessing" [58]. From this point on (for heuristic purposes it may be identified with the date of publication of Lessing's Laokoon in 1766), artworks, which heretofore had not required a specific branch of inquiry in order for them to make sense or be conceptually grounded as art, are almost universally assumed to require "aesthetic" contemplation or appreciation.1 It is curious, then, that before 1766 such a mode of experiencing artworks had not been felt to be lacking.One might understand this observation both historically and philosophically, and both approaches, it seems to me, are needed. In the case of the first, a number of material effects conspired across mid-eighteenth-century Europe to produce what was in essence the modern art market. These include the legal establishment of copyright, first in England in 1709 but only by the end of the century in France and Germany; the foundation of various institutions whose primary purpose was the promotion and establishment of the fine arts: academies of painting, sculpture, or letters either with or without royal patronage; the public exhibition of paintings (from 1737 in France and 1761 in England); the opening of royal collections to public view (during the second half of the century in London, Paris, Munich, Vienna and Rome); the development of public concerts of secular music (in small scale from the 1670s in England but only becoming fully integrated in fashionable social life by mid-century); the construction of purpose-built concert venues (the Gewandthaus in Leipzig, a former cloth merchant's hall, was remodeled in 1781 in order to accommodate a resident orchestra, in effect becoming the first dedicated concert hall in Europe); the foundation of literary periodicals and review media; the emergence of social spaces and rituals encompassing polite discussion of [End Page 19] literature (coffeehouses, the construction of dedicated library rooms in domestic settings); and the promotion of architecture to a fine art through various societies, competitions, and the public display of architectural drawings in exhibition contexts (the Royal Academy yearly show included both drawings and models). These and other material conditions helped define the fine arts and construct a market in and for them.2 By the 1770s the category of the "fine arts" was well established in Britain, Germany, and France: Charles Batteux's Les beaux arts reduit a un meme principe, first published in France in 1746, was quickly translated into English as The Polite Arts; or, a Dissertation on Poetry,Painting, Musick, Architecture, and Eloquence in 1749 and into German in 1751. By 1771 a four-volume General Theory of the Fine Arts had been published for the German public by J. G. Sulzer.All of this points to the fact that the concept of the "artwork" is subject to both historical and material pressures. Prior to the mid-eighteenth... (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. In March 2009, Agamben was invited to speak in Paris’ Notre-Dame Cathedral in the presence of the Bishop of Paris and a number of other high-ranking church officials. His resulting speech, a stunningly lucid and provocative look (...) at the history and state of the Church and its role in society, is presented here. _The Church and the Kingdom_ is at once a pointed attack on the institutional structure of the Catholic Church and a theoretical excursus on the concepts of messianic time and economy. Presenting an exegesis of certain key passages in the New Testament, Agamben examines the philology and philosophy at the root of the Church and of its earthly reign. With its examinations of the foundational texts of the Church, which are also the foundational texts of our modern idea of economy, _The Church and the Kingdom_ reveals significant connections and parallel ideologies which are imperative to understanding the current global situation. This edition of Agamben’s text is accompanied by photographs by artist Alice Attie. Made from folded and twisted reproductions of paintings culled from Christian iconography, these works of art evoke the restless challenge that well-characterizes Agamben’s four decades of philosophy and critique. This book will be welcomed by Agamben’s many readers across the disciplines. (shrink)

This is the second of two volumes of the only English edition of Hegel's Aesthetics, in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world (...) through to the end of the eighteenth century, probing the meaning and significance of major works. Part III deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory. (shrink)

This is the first of two volumes of the only English edition of Hegel's Aesthetics, in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world (...) through to the end of the eighteenth century, probing the meaning and significance of major works. Part III deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory. (shrink)

Pendant plusieurs années, Geoffroy de Lagasnerie s’est rendu à la cour d’assises de Paris. Il a vu être jugés et condamnés des individus accusés de braquage, d’attentat, d’assassinat, de coups mortels, de viol. A partir de cette expérience, il propose une réflexion sur l’Etat pénal, le pouvoir et la violence. Nos manières de rendre la Justice s’inscrivent dans un système général et a priori paradoxal : pour juger, les procès construisent une narration individualisante des acteurs et des causes de (...) leurs actes ; mais, pour réprimer, ils transforment chaque action interindividuelle en agression contre la «société» ou contre l’Etat. Comment comprendre ce système du jugement et de la répression et ce jeu des catégories pénales? La Loi est souvent présentée comme instaurant le règne de la raison contre les réactions passionnelles. Ne produit-elle pas en réalité des effets de dépossession et du traumatisme? A quelles conditions une sociologie critique pourrait-elle nous donner les moyens d’imaginer un droit moins violent, un Etat moins souverain et une justice plus démocratique? En mêlant récits et analyses théoriques, Geoffroy de Lagasnerie montre que l’institution judiciaire ne forme pas seulement une réponse à la délinquance. La scène du tribunal, où un individu est forcé de comparaître devant des juges, est un miroir grossissant de notre appartenance à l’Etat. Si bien que, au bout du compte, cet ouvrage offre une exploration de notre condition de sujet politique. Geoffroy de Lagasnerie, philosophe et sociologue, est professeur à l’Ecole nationale supérieure d’arts de Paris-Cergy. Il est l’auteur notamment de L’Art de la révolte. Snowden, Assange, Manning (Fayard, 2015), La Dernière Leçon de Michel Foucault (Fayard, 2012), Logique de la création (Fayard, 2011). (shrink)

C'est ce second volet qui est ici, pour la première fois, présentée dans son intégralité. F. Louzeau analyse les trois dialectiques fondamentales qui articulent les figures concrètes de la liberté dans la société et l'histoire : la dialectique du maître et de l'esclave, qui éclaire la faille du marxisme, définit les éléments du « social » et discerne les contradictions internes des mythes totalitaires son interférence avec la dialectique de l'homme et de la femme, d'où sont issues les trois relations (...) de paternité-maternité-fraternité, qui fondent la structure de toute société humaine et la dialectique paulinienne du païen et du juif, source et principe d'exacte interprétation des deux précédentes. Pages de début Remerciements Préface Introduction Première partie. De la dialectique maître-esclave Chapitre I. Un outil nécessaire et efficace pour comprendre la société et l'histoire Chapitre II. Qu'est-ce qu'une « conception du monde »? Chapitre III. L'origine commune du Communisme et du Nazisme Chapitre IV. La faille existentielle du marxisme Chapitre V. Qu'est-ce que le « social »? Chapitre VI. Contradictions internes du Communisme et du Nazisme Chapitre VII. Acquis et insuffisances de la dialectique du maître et de l'esclave Deuxième partie. De la dialectique homme-femme et de son interférence avec la précédente Chapitre VIII. Comment dépasser la dialectique du maître et de l'esclave? Chapitre IX. Épure de la dialectique de l'homme et de la femme Chapitre X. Objections Chapitre XI. Interférence et dialectique des relations familiales Chapitre XII. Paternité, Maternité, Fraternité Chapitre XIII. De la famille au peuple, du peuple à la Nation Chapitre XIV. Acquis et limites des dialectiques conjugale et familiale Troisième partie. Du bon usage des dialectiques maître-esclave et homme-femme à la lumière du rapport païen-juif Chapitre XV. Société et histoire Chapitre XVI. Fraternité universelle Chapitre XVII. Paradoxe et Mystère du peuple juif Chapitre XVIII. La dialectique du païen et du juif, source et mesure des dialectiques maître-esclave et homme-femme Chapitre XIX. Ontologie historique et dialectique Chapitre XX. Souplesse et exigence d'une perspective systématique Chapitre XXI. De son trésor tirer de l'ancien et du neuf Conclusion Annexe 1. Abréviation des principaux livres, articles et manuscrits de G. Fessard Annexe 2. Bibliographie de Gaston Fessard Annexe 3. Livres, articles et recensions concernant Gaston Fessard Annexe 4. Autres livres et articles Annexe 5. M. Sales, « Gaston Fessard. Un philosophe chrétien engagé dans l'histoire de son temps », in Hegel, le Christianisme et l'Histoire, Paris, puf, 1990, p. 17-21 Annexe 6. Index des noms propres de L'Anthropologie sociale du P. Gaston Fessard Gaston Fessard, Collaboration et Résistance au Pouvoir du Prince-Esclave Genèse et portée du manuscrit Avertissement « Argument » Avant-propos Chapitre I. Défaite Chapitre II. Révolution Chapitre III. Défaite et Révolution Chapitre IV. Devant la « Collaboration » Chapitre V. La politique de la nation vaincue Chapitre VI. Application des principes au concret Conclusion. De la direction de conscience dans la situation actuelle I. Quelques textes de Mein Kampf II. Le cardinal Mercier et les droits du pouvoir occupant III. Jeanne d'Arc et notre temps IV. Pourquoi la France est-elle entrée en guerre en 1939? V. Pourquoi le directeur de conscience doit protester contre mensonge et injustice VI. Les devoirs chrétiens du temps présent Index des noms propres de Collaboration et Résistance au Pouvoir du Prince-Esclave Pages de fin. (shrink)

C'est ce second volet qui est ici, pour la première fois, présentée dans son intégralité. F. Louzeau analyse les trois dialectiques fondamentales qui articulent les figures concrètes de la liberté dans la société et l'histoire : la dialectique du maître et de l'esclave, qui éclaire la faille du marxisme, définit les éléments du « social » et discerne les contradictions internes des mythes totalitaires son interférence avec la dialectique de l'homme et de la femme, d'où sont issues les trois relations (...) de paternité-maternité-fraternité, qui fondent la structure de toute société humaine et la dialectique paulinienne du païen et du juif, source et principe d'exacte interprétation des deux précédentes. Pages de début Remerciements Préface Introduction Première partie. De la dialectique maître-esclave Chapitre I. Un outil nécessaire et efficace pour comprendre la société et l'histoire Chapitre II. Qu'est-ce qu'une « conception du monde »? Chapitre III. L'origine commune du Communisme et du Nazisme Chapitre IV. La faille existentielle du marxisme Chapitre V. Qu'est-ce que le « social »? Chapitre VI. Contradictions internes du Communisme et du Nazisme Chapitre VII. Acquis et insuffisances de la dialectique du maître et de l'esclave Deuxième partie. De la dialectique homme-femme et de son interférence avec la précédente Chapitre VIII. Comment dépasser la dialectique du maître et de l'esclave? Chapitre IX. Épure de la dialectique de l'homme et de la femme Chapitre X. Objections Chapitre XI. Interférence et dialectique des relations familiales Chapitre XII. Paternité, Maternité, Fraternité Chapitre XIII. De la famille au peuple, du peuple à la Nation Chapitre XIV. Acquis et limites des dialectiques conjugale et familiale Troisième partie. Du bon usage des dialectiques maître-esclave et homme-femme à la lumière du rapport païen-juif Chapitre XV. Société et histoire Chapitre XVI. Fraternité universelle Chapitre XVII. Paradoxe et Mystère du peuple juif Chapitre XVIII. La dialectique du païen et du juif, source et mesure des dialectiques maître-esclave et homme-femme Chapitre XIX. Ontologie historique et dialectique Chapitre XX. Souplesse et exigence d'une perspective systématique Chapitre XXI. De son trésor tirer de l'ancien et du neuf Conclusion Annexe 1. Abréviation des principaux livres, articles et manuscrits de G. Fessard Annexe 2. Bibliographie de Gaston Fessard Annexe 3. Livres, articles et recensions concernant Gaston Fessard Annexe 4. Autres livres et articles Annexe 5. M. Sales, « Gaston Fessard. Un philosophe chrétien engagé dans l'histoire de son temps », in Hegel, le Christianisme et l'Histoire, Paris, puf, 1990, p. 17-21 Annexe 6. Index des noms propres de L'Anthropologie sociale du P. Gaston Fessard Gaston Fessard, Collaboration et Résistance au Pouvoir du Prince-Esclave Genèse et portée du manuscrit Avertissement « Argument » Avant-propos Chapitre I. Défaite Chapitre II. Révolution Chapitre III. Défaite et Révolution Chapitre IV. Devant la « Collaboration » Chapitre V. La politique de la nation vaincue Chapitre VI. Application des principes au concret Conclusion. De la direction de conscience dans la situation actuelle I. Quelques textes de Mein Kampf II. Le cardinal Mercier et les droits du pouvoir occupant III. Jeanne d'Arc et notre temps IV. Pourquoi la France est-elle entrée en guerre en 1939? V. Pourquoi le directeur de conscience doit protester contre mensonge et injustice VI. Les devoirs chrétiens du temps présent Index des noms propres de Collaboration et Résistance au Pouvoir du Prince-Esclave Pages de fin. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; (...) an impetus theory of projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (shrink)

The Education of the Eye examines the origins of visual culture in eighteenth-century Britain. It claims that at the moment when works of visual art were first displayed and contemplated as aesthetic objects two competing descriptions of the viewer or spectator promoted two very different accounts of culture. The first was constructed on knowledge, on what one already knew, while the second was grounded in the eye itself. Though the first was most likely to lead to a socially and politically (...) elite form for visual culture, the second, it was held, would almost certainly end up in the chaos of the mob. But there was another route through these conflicting accounts of the visual that preserved the education of the eye while at the same time allowing the eye freedom to enter into the realm of culture. This third route, that of the sentimental look, is explored in a series of contexts: the gallery, the pleasure garden, the landscape park, and the country house. The Education of the Eye sets out to reclaim visual culture for the democracy of the eye and to explain how aesthetic contemplation may, once more, be open to all who have eyes to look. The book will interest historians of eighteenth-century British culture and historians of architecture, art, and landscape, as well as readers generally curious about the origins of our current visual culture. (shrink)

"Charles Marville is widely acknowledged as one of the most talented photographers of the nineteenth century. Accompanying a major retrospective exhibition at the National Gallery of Art in honor of Marville's bicentennial, Charles Marville: Photographer of Paris surveys the artist's entire career. This beautiful book, which begins with the city scenes and architectural views Marville made throughout France and Germany in the 1850s, also explores his portraits and landscapes s before turning to his photographs of Paris made both (...) before and after the city's dramatic modernization in the 1850s and 1860s. Commissioned to record the city in transition, Marville created one of the earliest and most powerful photographic series documenting urban transformation on a grand scale. Despite the importance of his work, Marville has long been an enigma in the history of photography, in part because many of the documents about his life were thought to have been lost in a fire that destroyed Paris's city hall in 1871. Based on meticulous research, this volume reveals many new insights into Marville's personal and professional biography, including the central fact that he was born Charles-Franðcois Bossu. He shed this name and adoptedthe pseudonym Marville when he began his career as an illustrator in the 1830s. With five essays by respected scholars, this book offers the first comprehensive examination of Marville's life and career and delivers the much-awaited public recognition his photographs so richly deserve"--. (shrink)

In seinen Vorlesungen über die Ästhetik aus den 1820er Jahren stellt Hegel die berühmte These auf, dass Kunst als eine Form des Absoluten ihr finales und fortgeschrittenstes Stadium in der Selbstauflösung der Romantik erreicht habe. Anschließend an Hegel schlägt der Kunstkritiker und Philosoph Arthur C. Danto am Ende des 20. Jahrhunderts in einer Reihe von Aufsätzen vor, dass die Konzeptkunst seiner Zeit mit der These vom Ende der Kunst übereinstimmt. Kunst ist demnach abhängig von Theorie und nicht mehr von historischer (...) Relevanz. Um über die Bedeutung von Hegels These für uns heute nachzudenken, benutzt der vorliegende Essay das notorische Video, das der sogenannte Islamische Staat (ISIS) 2015 produziert hat. Es zeigt, wie diese militante Gruppe gewaltsam jahrhundertealte Skulpturen im Museum von Mosul zerstört. Obwohl weder die im Video gezeigten Skulpturen noch das Video selbst von uns als Kunstwerke angesehen werden, wurden diese Werke in der Vergangenheit als Kunst entworfen, und paradoxerweise überleben sie nur als Videoaufnahme ihre materielle Zerstörung, sodass sie für uns als Erscheinung gegenwärtig bleiben. Einerseits bestätigt der Inhalt des Videos Hegels Behauptung, dass die Kunst »für uns ein Vergangenes ist«; andererseits verweist es auf eine neue Form des Ausdrucks jenseits der These vom Ende der Kunst. (shrink)

Este artículo se refiere a una línea de interpretación de la Fenomenología del Espíritu de Hegel que tiene en Alexandre Kojève a su exponente más conocido e influyente. En ella se privilegian los aspectos antropológico-existenciales e histórico-políticos por sobre los aspectos lógico-sistemáticos de la obra. La exposición se divide en dos partes. La primera está dedicada a la lectura de Hegel realizada por Kojève en su célebre curso dictado entre 1933-1939 en la École Practique des Hautes Études de París, y (...) la segunda se ocupa de su aporte a cinco filósofos directamente influidos por su interpretación. Finalmente concluye con una breve evaluación de estas lecturas. (shrink)

Cette contribution s’intéresse à la position problématique des arts mécaniques dans les systèmes médiévaux du savoir. Remplaçant la position secondaire assignée aux arts mécaniques du début du Moyen Âge, les solutions proposées par Hugues de Saint-Victor et Gundissalinus eurent une influence forte durant le XIIIe s. Alors que l’intégration des arts mécaniques dans le système de connaissance de Saint-Victor trahit leurs positions encore accessoires vis-à-vis de la considération des arts libéraux, Gundissalinus propose deux principales nouveautés. D’un côté il place les (...) arts mécaniques aux côtés de l’alchimie et des arts de prédiction et de magie. D’un autre côté cependant, utilisant la théorie avancée par Avicenne, il subordonne ces « sciences naturelles » à la philosophie naturelle elle-même, établissant ainsi une architecture du savoir plus vaste et plus organisée hiérarchiquement. Notre contribution examine les implications découlant de ces développements ainsi que leur réception à Paris durant le XIIIe s., soulignant la pertinence des solutions proposées par Gundissalinus dans les discussions qui ont suivi, concernant la structure de la connaissance humaine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 34.2 (2006) 3-13 [Access article in PDF] Biographical Illusion and Methodological Reality Leland De La Durantaye Pierre Bourdieu. Esquisse Pour Une Auto-Analyse. Paris: Raisons d'Agir, 2004. 1 Like his student and friend Nietzsche, Jacob Burckhardt often stressed the necessity for a scholar to work in solitude. Like Nietzsche, he also possessed a gift for acidic analogy and likened the world of academia to a group of dogs (...) sniffing one another.Few observers of the academic interactions of his time had such sharp senses as Pierre Bourdieu, and few have been as torn between solitary reflection and communal exchange. Trained by France's most elite academic institutions (such as the celebrated Parisian lycée Louis-le-Grand and the even more celebrated École Normale Supérieure), Bourdieu was grateful for the opportunities that this training afforded him. And he felt that this gratitude could best be repaid by submitting those elite academic institutions and their insular world to an unsparing critique, to unveiling the distance that separated their stated ideals from their real effects.Like Bergson and Jaurès, like Sartre and Aron, like Foucault and Derrida, Bourdieu studied that which was most difficult and most prestigious where it was most difficult and prestigious: philosophy at the École Normale Supérieure. Like those famous fellow alumni, he was a brilliant student, and like them, he longed to distinguish his personal vision from those around him. This led him to do something surprising, something that, despite their separate and significant dissatisfactions with the philosophy of their day, neither Bergson nor Sartre, neither Foucault nor Derrida ever did: he abandoned philosophy. He left what he saw as the intellectual royal road for the most pedestrian of paths—that of sociology.As he often reminded his readers, sociology was in a sorry state when he entered it. Both in academic appraisal and the popular imagination, it was considered dry and provincial. It was thought to have no true intellectual adventure in it—nothing of the ethnologist tramping through the rain forests of the Amazon, nothing of the lone philosopher working through the night on an opus to end metaphysics. It was laborious and abstract; it dealt in statistical generalities. Bourdieu repeatedly described sociology as "the pariah of disciplines."1 He had, however, a special mission for it in mind. [End Page 3]In Bourdieu's posthumous memoir Esquisse pour une auto-analyse, published in February 2004—two years after his death—by the small publishing house he helped found, Raisons d'Agir, he notes how, "a bit as a joke," he had often defined himself as "the leader of a liberation movement aiming to free the social sciences from philosophy's imperialism" [94].2 From early on in his career, he had wished to revolt against the "empire of the total philosopher"—an empire reigned over by, more than any other, Jean-Paul Sartre [cf. 25].3 Looking back upon this decisive period of his development, Bourdieu goes so far as to state that the shaping of his identity was done "against everything which the Sartrian enterprise represented for me" [37]. In historical accounts, Sartre is often given as counterfigure his friend and fellow normalien Raymond Aron. In his Esquisse, Bourdieu proposes a different, and less conventional, counterfigure for the imperial philosopher: the brilliant Austrian satirist and cultural critic Karl Kraus. Bourdieu notes the particular affection he had always felt for Kraus and attributes it to the latter's singular capacity for "critical reflectivenesss" [37]. Subtly, and appropriately, Bourdieu follows this remark with something that occurs nowhere else in his memoir: an epigram (the composing of which Kraus excelled in). Bourdieu writes: "there are a great many intellectuals who question the world, but there are very few intellectuals who question the intellectual world" [37]. The remark could not more compactly and precisely reflect what Bourdieu had aspired all his life to do: to excel in the art and science of questioning the intellectual world. 2 Leo Spitzer liked to cite Friedrich Gundolf's dictum "Methode ist Erlebnis" (method is lived experience). Nearing the end of his career... (shrink)

The present paper seeks, from the political realism of Hinkelammert and the politics of the liberation of Dussel, to identify the initial limits that delineate the framework of political action. The political action framework delimits the space of empirical possibility. For it, the definition of politics is adopted as “art of the possible”, explicitly accepted by Hinkelammert and developed implicitly by Dussel. Three limits are identified that outline the framework of political action: 1) the natural environment as a condition of (...) existence of living corporality, 2) the satisfaction of physical needs as a condition to preserve living corporality, 3) intersubjective experiences as a condition to maintain the human life. Propose these limits allows to establish the bases of the utopia of the political realism of Hinkelammert and of the politics of the liberation of Dussel. (shrink)

This volume collects the papers given at the meeting of the Hegel Society of America held in November, 1972, at the University of Notre Dame. As the editors point out in their Foreword, these papers fall under two general headings, “ Hegel’s conception of the history of philosophy in general, and his relation to individual thinkers both before and after him.” The value of these essays lies not only in their being carefully informative regarding these two themes, although (...) they are this. But there also emerge from reflection upon these essays philosophical problems important to anyone doing philosophy in the Hegelian manner. The following brief review of the essays will depart from the order of the text by considering the second essay first. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Knowing the EastPatti M. MarxsenKnowing the East. By Paul Claudel. Translated by James Lawler. Princeton, NJ: Princeton University Press, 2004. 136 pp.Fifty years after his death, Paul Claudel (1868–1955) is remembered for many things. Not only was he a major twentieth-century poet and playwright, he was an astute observer of Dutch, Spanish, and Japanese art. Not only was he the brother of sculptor Camille Claudel, he was a (...) diplomat who lived for nearly twenty years in Asia, including a stint as the French ambassador to Japan (1921–1927). When he was elected as a member of the Académie Française in 1946 at nearly 80 years of age he quipped, "For an academic, that is puberty." He died at 87, having lived large in two centuries and on three continents.Following an adolescence marked with indifference toward religion, Claudel experienced a profound conversion to Catholicism during a Christmas night service at Notre Dame Cathedral in Paris at the age of 18. With Christianity at the center of his universe and under the influence of Symbolist poets Rimbaud and Mallarmé, he developed a response to the world that was at once poetic and spiritual. Through his poetry, plays, and essays, he insisted on a fundamental unity between matter and spirit, a harmonious and vast universe into which the human mind could enter. And, at least for him, the point of entry was the portal of the Church. He struggled at times, but never lost sight of his faith. For all this, he is often credited with the revival of French Catholicism in the wake of WWI. After all, if Paul Claudel could take religion seriously and find meaning in it, pourquoi pas the rest of us?The facts of his extraordinary biography form a peculiar background to the recent translation by James Lawler of Claudel's collection of prose poems titled Knowing [End Page 229] the East. First published in 1946 as Connaissance de l'est, these sixty-one texts were written between 1895 and 1905 during Claudel's first visits to China and Japan as a young vice-consul stationed in Shanghai. He was twenty-six and still finding his poetic voice. And though his stance in the world is decidedly Christian, the content of this intriguing work reveals an inner dialogue with Buddhist ideas of interconnection, harmony, the ongoing quest for a higher life condition, and the overwhelming impact of nature in the lives of mere humans.In "Pagoda," Claudel describes a seven-story Chinese pagoda as it "amplifies and multiplies the roof, exaggerates the horned corners that rise with an elegant surge, and turns their curves upward to the sky." This form that "does away with walls" and concentrates on the uplifting roof creates a space where "Buddha, Prince of Peace, dwells inside with all the gods." In this architecture he reads a structuring of physical and spiritual space, a kind of never ending upward movement divided into "the seven mystical heavens." The culminating effect is the heavenly achievement of the unknowable. And so, after going as far as he can go into the world of the spirit, he ends this prose poem with an abrupt return to temporal reality. "I have no more to say of the Pagoda. I do not know its name."Elsewhere, in "The Wanderer," he turns his sense of awe toward nature. "Every tree has its personality, every small beast its role, every voice its part in the symphony," he writes. "As one understands music, so I understand nature, like a detailed narrative of proper names; as my walk and the day advance, so does the elaboration of the doctrine." The "doctrine," it seems, is the idea of dependent origination, the interrelation of all life that springs from a single source. In the last line, he states, "I understand the world's harmony. When will I grasp its melody?"In "The Temple of Consciousness" Claudel climbs "the black rock's vertical wall, and only at this late afternoon hour do I know myself to be on the right track." Below, he observes golden rice fields. Ahead there is an "old stairway overlaid with hoary moss... (shrink)

IT is well known that the art of logic (logica or diale(c)tica) knew a remarkable flourishing period during the twelfth century. In the first half of the century its main centres in Paris were: the School of Notre DameI, of St. Victor2, of the Petit Pont3 and of Mont Ste Geneviève4. The present paper aims to offer some new evidence from the manuscripts on the teaching of logic as given in the School of Mont Ste.

This article is an attempt at understanding the use that Abhinavagupta, the Kashmiri Śaiva philosopher and scholar of poetics, makes of a few concepts and theories stemming from the tradition of Vedic ritual exegesis. Its starting point is the detailed analysis of a key passage in Abhinavagupta’s commentary on the “aphorism on rasa” of the Nāṭyaśāstra, where the learned commentator draws an analogy between the operation of the non-prescriptive portions of the Veda in the ritual and the “generalisation” taking place, (...) according to him, in the appreciation of a work of art. Arguing against the tendency of modern historiography to explain this analogy exclusively in terms of Kumārila’s theory of effectuation in its two modalities, the article endeavours to show how Abhinavagupta relies on a variety of other textual sources he knew extensively and presumably first-hand. Some of them belong to the great Mīmāṃsaka tradition ; others, to different trends of medieval Brahmanism claiming exegetical heritage, as in the case of Jayanta Bhaṭṭa’s Nyāyamañjarī The nature of Abhinavagupta’s debt to Bhaṭṭa Nāyaka and his concept of bhāvanā is also reconsidered in light of these new findings. This investigation finally leads to identify, in the Abhinavabhāratī, an original theory of scriptural narratives and their efficacy, irreducible to any of its exegetical sources. According to this theory, mythological passages of the Veda directly prompt action, through the same capacity of abstraction or “de-temporalisation” that is at work in our appraisal of literature and theatre. (shrink)

BackgroundFor a long time, in sports, researchers have tried to understand an expert by comparing them with novices, raising the doubts if the visual search characteristics distinguish experts from novices. Therefore, the aim of the present study was to review and conduct a meta-analysis to evaluate the differences in visual search behavior between experts and novices in team sports athletes.MethodsThis systematic review with meta-analysis followed the PRISMA 2020 and Cochrane's guidelines. Healthy team athletes were included, which engaged in regular practice, (...) from any sex or competitive level, specifically classified a priori as expert or novice in the original research. We considered only research published in peer-reviewed journals, with no limitations regarding date or language. It was considered healthy team sport athletes engaged in regular practice. The scenarios could be in situ or film-based. The databases of EBSCO, PubMed, Scopus, SPORTDiscus, and Web of Science were used to perform the searches. The risk of bias was calculated through the RoBANS tool.ResultsFrom a total of 6,257 records, of which 985 were duplicates, titles and abstracts of 5,272 were screened, and 45 required full-text analysis. Of those, 23 were excluded due to not fulfilling the eligibility criteria regarding participants. In the end, 22 studies were selected, however, as two studies were part of the same trial and were analyzed conjointly.DiscussionExperts showed to be older and with more years of practice. The ability to distinguish experts from novices was not so clear regarding the variables analyzed. This could be due to the strategies chosen in each study, which were specific to each scenario, and when grouping all together, it was lost information within non-representative averages. The distinction between experts and novices was not clear, showing a lot of heterogeneity in the included studies. The expert classification itself may have been the conditioning aspect for these results, retaining the doubt and the need for more studies in the field.Systematic review registrationThe protocol was pre-registered in OSF. (shrink)

No De libero arbitrio , a fim de provar que Deus existe, santo Agostinho recorre à demonstração da existência de elementos inteligíveis que são universais, imutáveis e superiores a alma. No entanto, o famoso e longo processo de ascensão encontra ainda outras veredas, e no De magistro o futuro bispo de Hipona chega às realidades metafísicas (e, assim, ao próprio Deus) através da análise da linguagem verbal e da comunicação. Partindo das considerações tecidas no próprio tratado, escrito em 389, este (...) artigo pretende analisar como se dá a transcendência da alma no diálogo travado entre santo Agostinho e seu filho Adeodato, e onde se cristalizam as teorias agostinianas do conhecimento e do ensino. Ao fim do trabalho, esperamos tornar manifesta a riqueza do pensamento linguístico do santo – pelo qual podemos vislumbrar suas possíveis contribuições para as mais diversas ramificações da linguística, da filosofia e da teologia – e a sutileza de seu raciocínio. Palavras-chave : Agostinho; Linguagem; Alma; Deus.In his On the Free Will , Saint Augustine, willing to prove the existence of God, demonstrates the existence of intelligible elements which are universal, immutable and superior to the soul. Other paths, however, can fulfill this famous and long ascent, and in De magistro the future Bishop of Hippo attains those metaphysical realities (and God himself) through the analysis of the verbal language. Thus, this article aims at examining, through the considerations made in the text itself, how the transcendence of the soul occurs in this dialogue between Augustine and his son, Deusdedit, in which his theories on knowledge and learning are consolidated. At the end of our work, we hope to make clear how rich Augustine’s thought is – through which we can note his possible contributions to many ramifications of linguistics, philosophy, and theology – and how subtle are his arguments. Keywords: Augustine; Language; Soul; God. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Correspondence of Charles S. Peirce and the Open Court Publishing Company, 1890–1913 ed. by Stetson J. RobinsonCornelis de WaalEdited by Stetson J. RobinsonThe Correspondence of Charles S. Peirce and the Open Court Publishing Company, 1890–1913 Berlin: De Gruyter, 2022. 666pp., incl. indexThe fifth volume in the Peirceana series brings us the extensive correspondence between Peirce and the Open Court Publishing Company (abbreviated to OCP by Robinson). The (...) double-barreled opening shot consists of two letters (one by Francis Russell and one by Open Court’s Editor Paul Carus) aimed at soliciting a contribution from [End Page 109] Peirce for the inaugural issue of a new quarterly journal to be published by the Open Court, called The Monist. Carus had been particularly impressed by Peirce’s Illustrations of the Logic of Science papers, which had appeared over a decade earlier in Popular Science Monthly, and to which Russell had drawn Carus’s attention.1 Peirce quickly responded, suggesting not one but an entire series of articles, the first of which to be titled “The Architecture of Theories.” It proved the beginning of a productive but also turbulent relationship between Peirce and the publishing company. The final letter in the exchange comes again from Carus, written September 10, 1913, about seven months before Peirce died.The Open Court Collection at Southern Illinois University Carbondale, from which much of the correspondence is drawn, is a truly magnificent collection. It contains not only business correspondence and financial records, but also the various stages of the publishing process. It includes the original texts that Peirce sent to the publisher, as well as the often heavily corrected galleys and proofs—material that is used appreciatively by the Peirce Edition Project for its critical edition of Peirce’s Writings. When we combine this record with the Nachlass of a philosopher who lived in a continuously expanding mansion with a penchant for keeping each and every scrap of paper, we get a remarkably full picture of everything that went into the publication of Peirce’s work with the Open Court. In contrast, we know painfully little of what went on at the Century Company, which published the Century Dictionary to which Peirce so heavily contributed, or of James Mark Baldwin’s treatment of Peirce’s submissions when he compiled his Dictionary of Philosophy and Psychology. Neither venture seems to have left any records, apart from what survived within Peirce’s own papers— at least no such records have so far been found. We know a bit more about Peirce’s dealings with The Nation, but again, almost exclusively because of what has been preserved in Peirce’s papers.Robinson’s hefty tome makes the correspondence between Peirce and the Open Court widely available for the first time. The book opens with a short explanation of the editorial method, a helpful chronology, and a brief historical introduction describing Peirce’s relationship with the Open Court. The work also contains fourteen illustrations, mostly of letters. The introduction to the volume is brief and largely piggybacks on a handful of sources, such as the Introduction to Volume 8 of the Writings, rather than that it was inspired by the collection of letters that follows it, or by a closer familiarity with the archival holdings of the Open Court.2 In his introduction, Robinson divides Peirce’s relationship with the publishing company in four periods: A very active 1890–1894, which includes Peirce’s familiar Monist Metaphysical papers, his contributions to the fortnightly The Open Court, and his [End Page 110] attempts at writing an elementary arithmetic. This period ends with a falling out between Peirce and Hegeler. It is followed by a far more subdued 1894–1897, where the relationship with the publisher is largely restored by Russell, and which results in an extensive discussion by Peirce of the third volume of Ernst Schröder’s Vorlesungen über die Algebra der Logik, which appeared in two parts in The Monist. This period too ends with a falling out. The activity picks up again in 1904, resulting in Peirce’s famous pragmatism papers as well as the “Some Amazing Mazes” series of 1908... (shrink)

This article refers to the idea of Constitution, understood as a social contract. It is argued that the emergence of new actors in the Latin American constituent processes has made it possible to appreciate the Constitutions as increasingly complex pacts. It is not only a pact “between individuals” or “between citizens”, but it can also be understood as an agreement between cultures, between human beings and nature, and even between men and women. It ends by noting that, as new groups (...) participate in the constituent processes, the pacts will also become increasingly diverse, so that the concept of Constitution continues to be a concept in construction. (shrink)

Despite Hegel’s effusive praise for art as one of the ways humans express truth, art by his description is both essentially limited and at perpetual risk of ending. This hybrid assessment is apparent first in Hegel’s account of art’s development, which shows art culminating in classical sculpture’s perfect unity but then, unable to depict Christianity’s interiority, evolving into religion, surrendering to division, or dissipating into prose. It is also evident in his ranking of artistic genres from architecture to poetry according (...) to their ability to help humans produce themselves both individually and collectively: the more adequately art depicts human self-understanding, the more it risks ceasing to be art. Nevertheless, art’s myriad endings do not exhaust its potential. Art that makes us alive to the unity and interdependence at the heart of reality continues to express the Idea and so achieves Hegel’s ambitions for its role in human life. (shrink)

How do philosophical discourse and poetic expression relate? The divergent modes of expression of ‘logical thinking’ and ‘thinking through the senses’, i.e. of philosophy and verbal art, are explored by means of philosophical texts and poems on seven topics, viz. the aesthetic experience, language, being, time, identity, knowledge and love. This examination leads the author to conclude that there are ‘family resemblances’ between philosophical discourse and poetic language, rather than clear-cut distinctions. Yet, the poetic expression is marked by its form, (...) its fictitious character and the symbolic treatment of language. The main contrasts between poetry and philosophy and between their respective idioms prove to be the use of the ‘logic of imagination’ versus the ‘logic of the intellect’; of inductive versus deductive thinking and of the presence of the first personal pronoun, the ‘lyrical I’, versus the anonymous third personal pronoun. (shrink)

A theoretical divide exists on the study of the adapted psychological mechanisms underlying human culture. It has been said for instance that we evolved a brain for all seasons and that this is opposed to the framework of the modularity of mind. We approach the nature of these explanatory differences based on what we judge to be a misunderstanding with respect to the evolution of domain-specific modules. We underline the fact that the input-domain of a module and its ecological function (...) should not be conflated. We propose a more generous way of considering how evolutionary functions in mental architecture account for the possibility of general adaptations for cultural cognition. We show that modularity happens to be a good tool to research and decompose mechanisms with plastic functions such as in some forms of social learning. The idea of "modules for all seasons" is so vindicated. Existe una divisoria teórica en el estudio de los mecanismos psicológicos biológicamente adaptados que subyacen a la cultura humana. Se ha dicho, por un lado, que hemos evolucionado un cerebro para todas las estaciones, lo que se opone, por el otro, al marco de la modularidad de la mente. Consideramos la naturaleza de estas diferencias explicativas sobre la base de lo que nos parece un error de comprensión acerca de la evolución de módulos específicos de dominio. Subrayamos el hecho de que el dominio de entrada de un módulo y su función ecológica no deben ser confundidos. Proponemos una manera más generosa de considerar cómo las funciones evolutivas de la arquitectura mental pueden dar cuenta de la posibilidad de adaptaciones generales a la cognición cultural. Mostramos que la modularidad resulta ser un buen instrumento para investigar y descomponer mecanismos con funciones plásticas, como las que encontramos en algunas formas de aprendizaje social. De este modo, se defiende la idea de "módulos para todas las estaciones". (shrink)

Given the history of the twentieth century, it is understandable that many contemporary philosophers—in the wake of Kierkegaard, Marx, and Nietzsche—have turned against Hegel’s seemingly unbridled optimism. As I will argue in this chapter, however, Hegel’s account of modern civilizations is much less optimistic than his account of the past. Hegel’s hesitation as to the capacity of modernity to resolve its immanent conflicts preeminently emerges in his account of the oppositions between poverty and wealth and between the state and its (...) citizens. In this chapter I will focus on passages from the Essay on Natural Law, the Lectures on the Philosophy of History, and the Philosophy of Right that express this hesitation and, hence, complicate the prevailing view of Hegel’s philosophy of world history. (shrink)

Au-delà d’une bataille écologique tenace pour l’abandon du projet d’aéroport, le bocage de Notre-Dame des Landes a constitué un terrain d’expérimentation pour transformer l’occupation militante en droit pérenne d’usage des terres. Les « zadistes » se sont battus pour devenir agriculteurs et exploiter collectivement la terre au service d’une agriculture « écolo et non Monsanto ». Ils ont parié sur le fait de mener une bataille sur le droit face à l’administration et, en échange de fiches de projets, (...) ont obtenu des baux ruraux individuels de neuf ans, comme les paysans résistants et les paysans cumulards, qui exploitaient les terres avant la préemption. Le rêve éveillé est devenu réalité, même si l’un des principes de base initiaux, « la terre en commun », a subi des altérations. (shrink)

Vincent Descombes nous a offert une mise au point historique et conceptuelle qu’on peut tenir pour incontournable sur la question de la naturalisation des Humanités. Ce texte vise à restituer certains éléments de cette contribution trop souvent méconnue et à la prolonger sur la question de la naturalisation de l’esthétique du cinéma, entendue au sens large comme philosophie de l’art cinématographique et comme philosophie de l’expérience esthétique.

Since Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here (...) turn the end of art into an occasion to thematize and to reflect on the very thing that modernism cannot or should not be: tradition. As a discourse, the end of art is one of our modern traditions. (shrink)

This book examines the little understood end-of-art theses of Hegel, Nietzsche, and Danto. The end-of-art claim is often associated with the end of a certain standard of taste or skill. However, at a deeper level, it relates to a transformation in how we philosophically understand our relation to the ‘world’. Hegel, Nietzsche, and Danto each strive philosophically to overcome Cartesian dualism, redrawing the traditional lines between mind and matter. Hegel sees the overcoming of the material in the ideal, Nietzsche levels (...) the two worlds into one, and Danto divides the world into representing and non-representing material. These attempts to overcome dualism necessitate notions of the self that differ significantly from traditional accounts; the redrawn boundaries show that art and philosophy grasp essential but different aspects of human existence. Neither perspective, however, fully grasps the duality. The appearance of art’s end occurs when one aspect is given priority: for Hegel and Danto, it is the essentialist lens of philosophy, and, in Nietzsche’s case, the transformative power of artistic creativity. Thus, the book makes the case that the end-of-art claim is avoided if a theory of art links the internal practice of artistic creation to all of art’s historical forms. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way into (...) his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic, Classical, and Romantic. Part III deals individually with architecture, scuplture, painting, music, and literature. (shrink)

Resumo: Este texto parte da letra A, da sua importância e da sua centralidade na Desconstrução de Derrida. Em função dessa letra iniciática, indício da “ironia muda” da différance como sincategorema do pensamento de Derrida, tentar-se-á acompanhar o modo como se apresenta à Filosofia Contemporânea como uma espécie de sismo, de abalo e de nova propulsão. Sismografias tenta então reconhecer, na postura e no desenvolvimento dessa letra “A”, a forma como o trabalho de Derrida abala pela base o território dos (...) conceitos, convocando a urgência e a responsabilidade da filosofia, da escrita e do pensamento. Nesse sentido, trata-se aqui de acompanhar as linhas de desenvolvimento de uma letra motriz, que pontuou, do início ao fim e em todas as direções, o pensamento de Derrida como idioma, como revolução filosófica, como sismografia.: This text departs from the letter A, in its importance and its centrality in Derrida’s deconstruction. From this initiatic letter, a sign of différance’s “mute irony” as a syncategorem of Derrida’s thought, we will try to follow the way in which it presents itself to Contemporary Philosophy as a kind of earthquake, a quake and a new propulsion. Seismographies tries therefore to recognise, in the posture and development of this letter “A”, the way in which Derrida’s work shakes up at its base the domain of concepts,, summoning up the urgency and responsibility of philosophy, of writing and of thought. In this sense it is intended to follow the lines of development of a leading letter, which marked, from beginning to end and in all directions, Derrida’s thought as an idiom, as a philosophical revolution, as a seismographie. (shrink)

This books contains Wilhelm Friedrich Hegel's preface to the Phenomenology of Spirit, along with his essay, "Who Thinks Abstractly?," translated by Walter Kaufmann, along with Kaufmann's commentary. It was re-issued by the University of Notre Dame Press in 1977. Rear cover blurb: "[Kaufmann's] lengthy commentary is a minor masterpiece of concise and erudite interpretation. This is a welcome departure from the lazy habit of pretending that Hegel was an obscure pedant who left some quite readable lectures on the (...) philosophy of history....To grasp what Hegel was really trying to do, one has to confront his metaphysics, and thanks to Kaufmann this can now be done even by the philosophical novice." - George Lichtheim in New York Review of Books. (shrink)

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