Bergson is rightly considered the philosopher of duration. Has this theory, however, been sufficiently elucidated? Is there a domain, aside from life itself, to which the characteristics of duration can be meaningfully ascribed? Why, in his thesis from 1907, does Bergson write of a "real" duration? His subsequent work Duration and Simultaneity: With Reference to Einstein's Theory (1922) is the only volume written by Bergson in the period separating Creative Evolution (1907) and The Two Sources of Morality and Religion (1932). (...) Duration and Simultaneity represents a polemical, unique, mature and relatively neglected work, one that allows us however to respond to these questions - provided that we read it as a work of philosophy and metaphysics. This book was awarded the 2020 Polydore de Paepe Prize of the Royal Academy of Science, Letters and Fine Arts of Belgium. (shrink)

This essay argues that bullshit art is a meaningful concept that differs from bullshitting about art, although the two may occur in tandem. I defend what I call the social pretense theory of bullshit art. On this view, calling a work of art ‘bullshit’ highlights a discrepancy between the prestige accorded a work of art and its nonsense character. This category of aesthetic criticism plays a unique role that cannot be identified with kitsch but bears only a contingent connection to (...) it. (shrink)

As visual art becomes more international, ways of writing about art become more uniform. This essay proposes that two disciplines concerned with contemporary visual art, art criticism and art theory, are on the verge of being effectively homogeneous around the world. They share concepts, artists, artworks, institutions, and bibliographic references. For comparison, I consider two other fields that may also be increasingly uniform: studio art instruction and the novel. The last, in particular, is the subject of a large literature; (...) critics and historians debate whether contemporary global novels are becoming more self-similar if not more predictable. The literature on the novel allows me to conclude that it is likely writing on art is following the same tendency. (shrink)

Why does the language of art commentary often seem so theoretically sophisticated while jargonistically empty? Introducing the puzzle of a computer generated artistic biography, this essay uses the sociological aesthetics of German theorist Arnold Gehlen to answer this question and account for the ‘algorithmic example.’ Since art commentary deals with the translation of images into words, the first section discusses the tradition of ekphrasis and isolates three developments – professionalization, marketization, abstraction – in its conditions of production. Emphasizing the ‘crisis (...) of ekphrasis,’ set off by non-representational art, the essay continues with its key witness Arnold Gehlen. Adumbrating his approach of ‘philosophical anthropology,’ the article connects (t)his wider circle of thought to his aesthetic theory with the idea of modern and contemporary art’s “Kommentarbedürftigkeit” (need of commentary) in the center. The conclusion uses this concept, combines it with a linguistic argument concerning International Art English, and thus offers a critical explanation for and a pessimistic diagnosis of the language of art commentary today. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or (...) French. (shrink)

The different responses in Great Britain and the United States to Martin Wight as a thinker of international relations reveal something about the contrasting academic cultures of the two countries. Wight was pre-eminently an arts man, regarding history and philosophy as essential prerequisites for understanding the world. Above all he was concerned with the moral dimension in politics, whether domestic or international. His pacifism in the Second World War, curiously linked to his profound sense of realism, reflected deep (...) religious convictions' indeed theology, and particularly eschatology, underlay much of his thinking. His career centers upon first Chatham House and Nuffield College, Oxford, then the London School of Economics and Political Science, and finally the University of Sussex. His lectures at the LSE on international theory achieved legendary fame, but he did not publish much in his lifetime. The appearance since 1977 of four notable posthumous works has enhanced his already high reputation, as has the increasing scholarly interest in the English School, of which he is now seen as a founding father. Ian Hall's book is a brilliant piece of analysis in which Wight's theological world view which was not obtrusive in his teaching and writing is investigated with a sureness that is probably rare among scholars in the international relations field. (shrink)

The Monumental is an interdisciplinary collection of original, cutting-edge contributions by international researchers pursuing the epistemology and ontology of monuments over time and geography. The contributors are specialists in geography, architectural theory and history, prehistoric, Greek and Roman archaeology, modern art, Byzantine studies, landscape theory and heritage reception. Against the global climate of flux and uncertainty in the present turbulent world, the durability of monuments as "urban permanences" emerges as one of the few remaining spatial and mental anchorages. As (...) such it is needed, maintained, enhanced, imitated, landscaped and even invented. In particular, the monumental as a spatial and aesthetic phenomenon of perpetual importance has recently acquired major new meanings. It now emerges as a key political, spatial, aesthetic, symbolic, architectural and archaeological manifestation or entity, open to constantly new, even contradictory forms and expressions. This collection addresses the urgent need for relevant research. It breaks new ground by posing fresh questions on the ontology, temporality, purpose, politics, scale, place, contestations and aesthetics of and around the monumental, from prehistoric time to the present, as well as in both Eastern and Western geographies. Monuments are explored as bearers of the urban majestic, extraordinary and sublime. The Monumental poses questions about changing perceptions, the evocative power of representation, identity construction, ideology and symbolism, the vital necessity for a communicative and active public space around monuments, imitation processes across geographical space-time, as well as the powers that construct, deconstruct or identify the monumental but also the anti-monumental as such. Geographies of reference are the European space, the United States and Asia. Wide-ranging theorizations alternate with in-depth analyses of paradigmatic cases. Conventional as well as alternative forms of the monumental in the present shifting world are also pursued. The Monumental is of great value and interest to scholars, students and professionals in the fields of architectural theory, history and design, archaeology, art theory and history, Byzantine studies, restoration, urban design and planning, human, urban and cultural geography, cultural studies, social anthropology, Asian studies, as well as those in wider subdisciplines. (shrink)

In his work on aesthetics, John Dewey provocatively (and enigmatically) called art the "most universal and freest form of communication," and tied his reading of aesthetic experience to such an employment. I will explore how art, a seemingly obscure and indirect means of communication, can be used as the most effective and moving means of communication in certain circumstances. Dewey's theory of art will be shown to hold that art can be purposively employed to communicatively evoke a certain experience through (...) an auditor's experience of an art object. Such a use is shown to be an extension of Dewey's conceptions of scientific method and the role of experience in criticism and communication, and is discussed in light of examples drawn from contemporary film, sculpture, and classical Japanese poetry. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or (...) French. (shrink)

The objective of this paper is to explore Mario Perniola’s perspective on art between the years 1966 and 1972. During this six-year period Perniola elaborates – mainly influenced by his closeness to revolutionary and protest movements such as the Situationist International and Ludd – a political and militant theory based on the dialectic overcoming of art. The year 1972, with the last issue of the journal Agar-Agar, marks the beginning of a theoretical rearrangement regarding art theory for the Italian (...) philosopher. Whereas several scholars have recently focused on the later phase of Perniola’s thought on art, this paper wishes to draw the attention on a less investigated area of his researches. Specifically, I will develop his claims on the identity of art and revolution and his idea of an “artistic alienation” which originated in Western society. (shrink)

Reframing Consciousness is a collection of sixty-three papers that were presented at the Second International CAiiA Research Conference, ‘Consciousness Reframed: Art and Consciousness in the Post-biological Era', at the University of Wales College, Newport, in August 1998. CAiiA stands for the Center for Advanced Inquiry in the Interactive Arts. Many of the presenters in this book are among the foremost people in their fields and several are current or former PhD candidates of the CAiiA programme. Roy Ascott, the editor (...) of the book, is also the founder-director of the programme. Ascott has worked with interactive media and its implications for several decades, and the fact that he is frequently referenced throughout the book suggests that he has had a strong influence on many of its contributors. Considering the fact that decades ago he was dealing with ideas that are currently considered cutting-edge, this seems reasonable. (shrink)

Reforms surrounding the teacher’s role in fostering students’ social competences, especially those associated with empathy, have moved to the forefront of global higher education policy discourse. In this context, reform in higher education teaching has been focused on shifting teachers’ practices away from traditional lecture-style teaching—historically associated with higher education teaching—towards student-centred pedagogical approaches, largely because of how the latter facilitate students’ social learning, including the development of students’ abilities connected to empathy, such as intercultural understanding. These developments towards learner-oriented (...) higher education teaching may offer promising opportunities; however, a central problem within these current policy recommendations is that the connection between cultivating empathy and cultivating imagination is not explicitly foregrounded. Against this background, I turn to Dewey’s notion of imagination to show how imagination is indispensable to all learning, and therefore has a role to play in teaching. In this article, I show how imagination is not only deeply connected to empathy, but also critical for gaining intercultural understanding and is a condition for the possibility that, as human beings, we can learn with and from others. On this basis, I argue that Dewey’s notion of imagination provides significant insight on how to rethink what is needed to create inclusive classrooms in higher education, especially under conditions of cultural, linguistic and religious diversity. First, I consider Dewey’s concept of learning and the indispensable role of imagination in learning. Second, drawing on the work of Martha Nussbaum, I examine how teaching through the narrative arts in higher education cultivates the imagination and helps us engage the lives of others. I use an example from my own teaching to illustrate how the narrative arts can foster dialogue across difference through the development of what I call ‘third voice’—a different or other ‘position’ that productively mediates reflective interaction between participants, including teacher and learners. In closing, I consider the implications of my discussion for present and future higher education policy on the evaluation of ‘quality teaching’. (shrink)

The project 'Facing Forward' started with a collaboration between five institutions: the Stedelijk Museum Amsterdam, the Amsterdam School for Cultural Analysis at the University of Amsterdam, De Appel arts centre, W139, the Stedelijk Museum Bureau Amsterdam and the art magazine Metroplis M. Having previously organized the lecture series and publications 'Right About Now: Art & Theory in the 1990s' (2005/2006) and 'Now is the Time: Art & Theory in the 21st Century' (2008/2009), the organizing committee decided to take the final (...) step in this timeline and turn its attention to the far horizon. Informed by a shared interest in the role that history, speculation, and utopianism play in the field of contemporary art and design (as well as the larger context of global, socio-economic and political developments), a selection of seven themes emerged from the conversations of the initial organizers. These would eventually shape the seven lecture and discussions events - collected in this volume of essays - publicized under the banner Art & Theory From a Future Perspective. A great number of internationally renowned speakers were invited to reflect on the proposed themes during often sold-out events, which were presented at the Oude Lutherse Kerk in Amsterdam in 2011/2012. Yet, however compelling our desire as organizers to go beyond the framework of contemporary events and the current interest, well-nigh obsession, with history, it is obviously an illusion to think that we can escape the past by means of a turn towards the future."--Page 8. (shrink)

Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who (...) have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects—and with it critical distance— and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, _Dialectical Passions_ recasts emancipatory reflection in aesthetics, art, and architecture. (shrink)

Is traditional virtue epistemology a kind of idealised epistemology? Is that a bad thing? Some supporters of the virtue epistemology of liberatory virtues seem to answer these questions affirmatively. H. Battaly also argues that to avoid idealization virtue epistemologists should adopt a kind of normative contextualism according to which one and the same character trait is a virtue in some contexts, and a vice (or at least not a virtue) in other contexts. In this paper, I defend traditional virtue epistemology (...) against some, but not all, of these charges. I argue that the examples that motivate its critics are best explained by invoking particularism about actions rather than normative contextualism about character traits. I also show that a particularist virtue epistemology of inquiry provides an account of the difference that social circumstances and power relations make to epistemically virtuous (and vicious) conduct that is superior to those that can be offered by resorting to normative contextualism. (shrink)

BackgroundPromoting the social value of global health research undertaken in resource poor settings has become a key concern in global research ethics. The consideration for benefit sharing, which concerns the elucidation of what if anything, is owed to participants, their communities and host nations that take part in such research, and the obligations of researchers involved, is one of the main strategies used for promoting social value of research. In the last decade however, there has been intense debate within academic (...) bioethics literature seeking to define the benefits, the beneficiaries, and the scope of obligations for providing these benefits. Although this debate may be indicative of willingness at the international level to engage with the responsibilities of researchers involved in global health research, it remains unclear which forms of benefits or beneficiaries should be considered. International and local research ethics guidelines are reviewed here to delineate the guidance they provide.MethodsWe reviewed documents selected from the international compilation of research ethics guidelines by the Office for Human Research Protections under the US Department of Health and Human Services.ResultsAccess to interventions being researched, the provision of unavailable health care, capacity building for individuals and institutions, support to health care systems and access to medical and public health interventions proven effective, are the commonly recommended forms of benefits. The beneficiaries are volunteers, disease or illness affected communities and the population in general. Interestingly however, there is a divide between "global opinion" and the views of particular countries within resource poor settings as made explicit by differences in emphasis regarding the potential benefits and the beneficiaries.ConclusionAlthough in theory benefit sharing is widely accepted as one of the means for promoting the social value of international collaborative health research, there is less agreement amongst major guidelines on the specific responsibilities of researchers over what is ethical in promoting the social value of research. Lack of consensus might have practical implications for efforts aimed at enhancing the social value of global health research undertaken in resource poor settings. Further developments in global research ethics require more reflection, paying attention to the practical realities of implementing the ethical principles in real world context. (shrink)

Throughout Iran and various countries, the recent calls of the “Zan, Zendegi, Azadi” (in Persian), “Jin, Jiyan, Azadi” (in Kurdish), or “Woman, Life, Freedom” (in English) movement call for change to acknowledge the importance of women. While these feminist protests and demonstrations have been met with brutality, systematic oppression, and internet blackouts within Iran, they have captured significant social media attention and coverage outside the country, especially among the Iranian diaspora and various international organizations. This article, grounded in (...) feminist urban theories of the Global South, analyzes the digital feminist placemaking movement in Iran. As the first counter‐revolution led by women, the movement utilizes digital art, graffiti, and protest movements to embody women’s solidarity groups and sympathy rallies. Our analysis employs various digital research methods, including social media scrutiny and the study of protest illustrations. Analyzing the digital feminist placemaking in Iran will enable us to compare the commonalities, differences, challenges, and opportunities between the minorities and majorities in the world’s countries. The outcomes of this research can help international organizations such as Amnesty International and the United Nations Agency for Gender Equality and Women’s Empowerment (UN Women), as well as policymakers, institutions, academics, and NGOs, to highlight the various ways in which broader public participation could be encouraged in the process of digital feminist insurgent placemaking. (shrink)

This book demonstrates that art is implicit in the process of administration of international justice. The diverse nature of recent global threats as well as an overwhelming pull towards isolationism and nationalism challenge the dominant deterrence paradigm of international governance created in the aftermath of World War II. An alternative model is to focus on cooperation, and not deterrence, as a guiding operational principle. This study focuses on the theoretical component linking justice with aesthetics as well as on (...) the practical manifestation of this connection evident, inter alia, in the rhetoric of international courts, their architectural design, and their commemorative practices expressed by the practice of symbolic reparations adopted by some of the courts. The underlying premise of the book is that international justice requires new vocabulary and new approaches, which can be derived from the study of aesthetics. It is held that exploring the aesthetical dimension of international justice contributes to the discussion on the foundations of its authority and the grounds for compliance with it. The work engages deeply with the theory of aesthetics developed by Immanuel Kant and Abinavagupta, a Kashmiri critic, philosopher and scholar writing in the early 11th century. The book will be of interest to academics and researchers working in the areas of Legal Philosophy, International Criminal Justice, International Law and International Relations. (shrink)

Theory in Contemporary Art since 1985 is a groundbreaking anthology that captures the essence and the edge of the contemporary art scene. Provides the first truly comprehensive and international anthology of theory in contemporary art of the last two decades. Brings together a broad selection of important contributions to the fields of contemporary art, theory, and culture from established and emergent art voices, including scholars, curators, critics, and artists from around the globe. Focuses on key theoretical and aesthetic issues (...) in contemporary art, such as cultural/multicultural theory, identity politics, AIDS, post-colonialism, globalization, and spectatorship. Includes editorial material and 44 illustrations. (shrink)

Dans Art et Scolastique, Maritain ne pense pas seulement l’art comme une technique, mais comme une vertu intellectuelle. Pour mieux saisir l’originalité de cette thèse, il faut la resituer dans le moment artistique et philosophique des années 1920. Maritain n’était pas hostile à la modernité artistique : la gageure d’ Art et Scolastique consiste à penser l’art du présent grâce aux concepts thomasiens pour construire une théorie néothomiste originale du bel art. Mais peut-on rigoureusement penser la création artistique avec les (...) outils conceptuels de Thomas d’Aquin? En mettant au jour les tensions internes à Art et Scolastique, on met en lumière la vivacité et l’inventivité de la philosophie maritainienne de l’art. (shrink)

Max Weber’s contribution to cultural sociology has received insufficient attention, due to the unfinished character of his work and its reception. This paper investigates aspects of his contribution in relation to the field of art, broadly conceived, and in terms of the uses of his ideas by historians of art and design, such as T. J. Clark. Weber’s social theory considers art from two perspectives: the relative autonomy of cultural and artistic forms and modes of expression, and the social construction (...) of works of art and culture. From the latter point of view technics and the technical become important factors in a double sense: The technologies of modern civilization external to art shape the “spirit” of art and its contents, and development in art proceeds as an effort to solve technical problems internal to the art form itself. Examples from painting, architecture and music illustrate the relationships. It is these perspectives that characterize the Weberian approach to art and invite further investigation as contributions to cultural sociology and social theory. (shrink)

BackgroundThe concept of benefit sharing to enhance the social value of global health research in resource poor settings is now a key strategy for addressing moral issues of relevance to individuals, communities and host countries in resource poor settings when they participate in international collaborative health research.The influence of benefit sharing framework on the conduct of collaborative health research is for instance evidenced by the number of publications and research ethics guidelines that require prior engagement between stakeholders to determine (...) the social value of research to the host communities. While such efforts as the production of international guidance on how to promote the social value of research through such strategies as benefit sharing have been made, the extent to which these ideas and guidelines have been absorbed by those engaged in global health research especially in resource poor settings remains unclear. We examine this awareness among stakeholders involved in health related research in Kenya.MethodsWe conducted in-depth interviews with key informants drawn from within the broader health research system in Kenya including researchers from the mainstream health research institutions, networks and universities, teaching hospitals, policy makers, institutional review boards, civil society organisations and community representative groups.ResultsOur study suggests that although people have a sense of justice and the moral aspects of research, this was not articulated in terms used in the literature and the guidelines on the ethics of global health research.ConclusionThis study demonstrates that while in theory several efforts can be made to address the moral issues of concern to research participants and their communities in resource poor settings, quick fixes such as benefit sharing are not going to be straightforward. We suggest a need to pay closer attention to the processes through which ethical principles are enacted in practice and distil lessons on how best to involve individuals and communities in promoting ethical conduct of global health research in resource poor settings. (shrink)

International law evolved to end and prevent armed conflict as much as for any other reason. Yet, the law against war appears weaker today than ever in its long history, evidenced by raging armed conflicts in which people are killed, injured, and forcibly displaced. The environment is devastated, and the planet impoverished. These consequences can be traced to the dominant ideology of realism. In 1946, Hersch Lauterpacht challenged that ideology by contrasting it with the idea of international law, (...) composed of natural law, positive law, and process theory. The Art of Law in the International Community revives his vision, rebuilding the understanding of why international law binds, what its norms require, and how courts are the ideal substitutes for war. The secret to the renewal of international law lies in revitalizing the moral foundation of natural law through drawing on aesthetic philosophy and the arts. (shrink)

This article explores distinctively visual presentations and performances of alterity from the perspective of art theory and practice. It gives particular attention to Marcel Duchamp's notion and practice of the infra-mince. The ‘infra-thin’ is not usually related to postcolonial questions. However, numerous evocations of alterity in contemporary art, this article argues, resonate with Duchamp's infra-thin — not only in their practices but also in the ways in which they present the relationship between different cultures and views of ‘difference’. Focusing on (...) artwork responding to the ‘Arab Springs’ as a striking instance of wider aesthetics of resistance, this article shows how such art can be seen to adapt the infra-thin for the purposes of a multidirectional critique. (shrink)

International relations (IR) is both a science and an art, i.e. the unity of object and subject. Traditional international relations theories (IRT) have probed the laws of IR, in an attempt to become the universal science. IRT have developed into a class doctrine that defends the legitimacy of the western international system as a result of proceeding from the reality of IR, while neglecting its evolving process, and overlooking the meaning of art and the presence of multi- (...) class='Hi'>international systems. In other words, IRT have turned into what Karl Marx might have deemed as the vulgar international relations theories (VIRT). For this reason, we declare the end of international relations theories. This phenomenon can only be negated by the so-called Chinese School, which will set the sustainable and harmonious relations among nations, between state and non-state actors, and within states and non-state actors (in one word ) in five life-forces of economy, politics, military, culture, and religion. Consequently, this will bring about a real regression of nationality and compatible development of various international systems. (shrink)

Adults (more than 18 years old) are likely to reproduce the habits that they acquired during childhood and adolescence (from 6 to 16 years old). For that reason, teachers and parents have the responsibility to promote an active and healthy lifestyle in children and adolescents. Even though every school subject should promote healthy activities, Physical Education (PE) is the most important subject to foster well-being habits associated to healthy lifestyle during sport practice and other kinds of active tasks. Indeed, there (...) are many factors that influence the acquisition of healthy habits that should be taken into account when programs and activities are implemented in both educational and extracurricular context. In this sense, psychological and social factors are of utmost importance to achieve optimal experiences for an active and healthy lifestyle. However, due to the myriad of studies analyzing different factors in different contexts, there could be confusion when programs and pedagogical strategies are applied in educational or extracurricular contexts. The objective of this investigation is to analyze the state of art of the psychosocial factors which influence the engagement in physical activities and sport practice. The keywords used in this review were mainly: ‘Self-Determination Theory’, ‘motivation’, ‘Psychological need satisfaction, ‘physical activity and sport engagement’, ‘Elementary Education’, ‘Secondary Education’, ‘Physical Education’. The articles were selected according to the following criteria: (a) peer-reviewed original research published in international journals indexed in JCR or SJR, (b) published in English or Spanish, (c) about psychosocial factors which influence the physical activity and sport engagement, (b) in educational or extracurricular context. Research articles selected were found through nine databases. It was observed that physical activities and sport practice engagement are closely related to psychological factors. In particularly, intrinsic motivation was able to determine the active participation in any activity, including physical activity and sport practice during the implementation of Small-Sided Games and other kinds of pedagogical strategies (e.g., Pedagogical Models). Motivation was also closely related to flow state. Finally, these variables should be considered in order to organize effective programs to promote an active and healthy lifestyle in Physical Education classes. (shrink)

In this article, we examine how cognitive metaphor theories might contribute to the theory and practice of poetry translation. We focus on translations from Chinese to English by Xu Yuanchong, both...

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...) evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)

The International Encyclopedia of Communication Theory and Philosophy is the definitive single-source reference work on the subject, with state-of-the-art and in-depth scholarly reflection on key issues from leading international experts. It is available both online and in print. A state-of-the-art and in-depth scholarly reflection on the key issues raised by communication, covering the history, systematics, and practical potential of communication theory Articles by leading experts offer an unprecedented level of accuracy and balance Provides comprehensive, clear entries which are (...) both cross-national and cross-disciplinary in nature The Encyclopedia presents a truly international perspective with authors and positions representing not just Europe and North America, but also Latin America and Asia Published both online and in print Part of The Wiley Blackwell-ICA International Encyclopedias of Communication series, published in conjunction with the International Communication Association. (shrink)

We contribute to the literature on intentions to report wrongdoing by examining whether Chinese internal auditors make consistent judgments when an ethical dilemma is presented in English and when the same dilemma is presented in Chinese. We invoke cultural frame switching theory, and our findings, which are based on a randomized experiment using between-subjects and within-subject mixed design, support the hypothesis that Chinese internal auditors are more likely to report wrongdoing when the ethical dilemma is presented in English (...) than when it is presented in Chinese. Our results, which demonstrate that internal auditors make inconsistent ethical judgments in English and Chinese, point to language-triggered cognitive bias resulting from cultural mindsets. We suggest practical interventions and language strategies to improve audit quality. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Word of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all lliterary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

This innovative study focuses on the Kantian theory of international relations, a subject which has frequently been either ignored or misunderstood. Kant was criticized by contemporaries who asserted that his political ideas were idealistic and impractical. He countered this accusation by evolving a political philosophy which formed a link between the theoretical doctrine of pure law and the actualities of the real world. The author argues that Kant’s theory of international relations can be read as an attempt to (...) bring reason and history together. Kant tries to apply the a priori principles of reason to history in general, and to the political conditions of the late eighteenth century in particular, and this volume examines the way in which he attempts to mediate between theory and practice. In this stimulating and lucid work, Cavallar provides one of the first comprehensive examinations in English of Kant’s theory of international right. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Brief Mention: Shameless Interests: The Decent Scholarship of Indecency*Kenneth J. ReckfordGood intentions go astray. I had meant simply to celebrate the ease and naturalness with which classical scholars treat obscene subject-matter nowadays, but there were difficulties, which may prove instructive.I had felt oddly grateful, after reading and reviewing Dover’s 1993 Frogs, for how he explained (and of course, printed) the old scatological jokes that Merry (1905) had omitted, and (...) which Adam Parry copied onto the blackboard for our fascinated Greek 106a class in fall, 1951. How strange they seem now, all those expurgated editions, those unhelpful commentaries, those mystery-keeping professors. Like Byron, we all had comic encounters with the “grosser parts”:They only add them all in an appendix,Which saves, in fact, the trouble of an index...Perhaps we worked harder than Byron. I remember, early on, struggling with Cat. 56 (which even Housman misinterpreted in his notorious 1931 “Praefanda,” for Catullus does not look on, masturbating, but plunges in, making a threesome); and I struggled with Martial. I may even, at sixteen, have been the last of the Victorians, learning about sexual by-paths from Latin poetic grammar and syntax. (Loebs were forbidden under pain of death: but had I consulted Ker’s Martial, I would have found the offending passages translated into Italian, not English: “On the theory,” Rolfe Humphries once said, “that God doesn’t understand Italian.”) We laughed; it was good fun. Yet our half-prurient inquisitiveness was mixed with genuine philological research; we resented roadblocks to learning; and years later, when Fordyce’s Catullus appeared with twenty-two “dirty poems” left out, we felt absolutely betrayed.So I give thanks for unexpurgated texts and helpful commentaries (such as Dover’s Clouds and Frogs, and Henderson’s Lysistrata, and Ferguson’s Juvenal); for good translations, too, like Charles Martin’s The Poems of Catullus (Johns Hopkins, 1990), which combines plain speaking with a certain subtle elegance. I honor the pioneers: Arrowsmith and Parker, and Sullivan; Henderson’s Maculate Muse (1975) and Dover’s Greek Homosexuality (1978; earlier writings too); Adams’ Latin Sexual [End Page 311] Vocabulary (1982) and Richlin’s Garden of Priapus (1983).* Here were basic materials for further study and interpretation. Definitions and distinctions came first: between primary obscenities and euphemisms; between different generic conventions and expected attitudes (as in oratory, comedy, epigram). In art, too, the blacking-out of erect penises on Greek vases has been removed; wall-paintings from Pompeian brothels have been made accessible, even without a bribe; budding scholars of both sexes discourse learnedly on such subjects as “Male Discharge Imagery on Greek Vase-Painting” (at a 1995 colloquium); and now Martin Kilmer’s Greek Erotica (1994) has brought new precision to the study of, e.g., intercrural intercourse between “courting” men and youths, and heterosexual intercourse a tergo (where an oil flask may suggest anal penetration, as against vaginal). The details, the illustrations and descriptions, are increasingly accurate. Gradually, too, old-time scholarly taboos have been breached, so we can handle “dirty” words and pictures without fear of degradation. We are most grateful that obscenities are no longer kept in quarantine, or treated as the exclusive hunting preserve of a “gentleman’s club” (writing in Latin, of course), so that, taking our cue from Catullus and Martial, whose “poems are dirty but our lives were pure,” we may pursue the decent scholarship of indecency.Let me, though, introduce two caveats for philologists. First, that the poetic indecencies of Aristophanes, Catullus, Martial, and Juvenal remain “untranslatable”: not from embarrassment now, but from linguistic impotence. Take Catullus’ mentula, that ugly, dangling noun, so much more evocative than “prick” or “cock”; or take irrumabo and irrumator, those powerful, almost onomatopoeic four-syllable words. “Fuck in the [End Page 312] mouth” (early Richlin) explains but loses the tone. Martin does better with Cat. 16:I’ll fuck the pair of you as you prefer it,oral Aurelius, anal Furius...a touch of wit, accessible to non-Latinists. (Will Shackleton Bailey’s new Loeb of Martial send American students scurrying to their dictionaries to look up “sodomized”?)My second caveat is more nostalgic. In our innocent (or... (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or (...) French. (shrink)

This essay reconsiders the haphazard arrangement of Donne's first printed collection of poems in relation to an elegy written for Donne by one Thomas Browne, published for the first and only time in that same volume. The earliest recorded response we have to Donne's verse considered as a complete body of work, Browne's elegy thematizes the readerly tendency to interpret this textual body in the light of "subjective" notions of "proper" desire. Through a close reading of Browne's poem, in which (...) I contextualize his key image of the bad reader as a "circumciser" within the theological and medical discourses of the period, I argue that Browne's response to Donne's text is at once instructively prescient -- providing a useful allegory of reading for the contemporary critic -- and also helpful in situating Donne at the cusp of a historical transformation between "medieval" and "early modern" conceptions of the sexual and the spiritual.IThe structural organization of John Donne's first printed book of poetry makes no obvious sense. Published posthumously in 1633, the collection eschews even the basic generic distinctions so familiar to Donne's modern audience: "Songs and Sonnets," "Satires," "Verse Letters," and "Divine Poems" . Several readers over the years have commented upon the disorderly configuration of Donne's 1633 text; and most recently, Leah Marcus has provided a detailed analysis of the collection in Unediting The Renaissance, itself an ambitious attempt to combine the traditional skills of textual bibliography with the insights of poststructuralist theory. Among other things, Marcus asserts that the very layout and internal composition of Donne's first collection constitute graphic evidence for the ultimate impossibility of "fixing" him within any reductively binary scheme. Indeed, for Marcus, the version of Donne projected by the 1633 Poems confirms not only her deconstructivist principles but also her aesthetic taste more generally. In her words, the collection is a striking melange of sacred and secular that refuses to separate John Donne from Jack. Verse epistles . . . jostle up against scurrilous amatory verses and evocations of human decay in a rough gallimaufry of mingled passions that projects a John Donne very like the Donne most of us value, a Donne for whom the sacred and secular are so closely entwined as to be inseparable.This reading would probably not be considered controversial in most quarters, and I too am in agreement with the main points of Marcus's argument, insofar as they go. However, I want to pause for a moment over one of the more undeveloped aspects of Marcus's interpretation, encoded in her use of the phrase "most of us." As the context makes clear, by "most of us" Marcus means a rather small band of nonreligious or liberal, professionalized, twentieth-century readers. Of course, Marcus is perfectly justified in assuming that her audience will be drawn from exactly this narrow demographic , but at the same time it must also be admitted that "most of us" therefore only refers to the tiniest portion of Donne's actual historical readership. Given that Marcus is performing an analysis of Donne's 1633 Poems, then, one obvious question emerges from her account: How might readers in 1633 have responded to the collection's juxtaposition of the religious with the secular? What might its disorganization have signified for them?One possible answer to this question has been suggested by Arthur F. Marotti, perhaps the most influential of Donne's textualist critics. In Manuscript, Print, and the English Renaissance Lyric, Marotti suggests, against Marcus, that Donne's first editors deliberately delay the readerly encounter with Donne's more earthly lyrics by burying them toward the back of the book. In other words, according to Marotti, the appearance of random disorganization that Marcus values is actually an intentional blind -- the result of a conscious attempt to "protect the reputation of Dean Donne from moral taint."However, this ingenious theory is not without flaws. For example, we are required to accept Marotti's contention. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or (...) French. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or (...) French. (shrink)

This issue of Ethical Perspectives is strongly illuminated by two themes: moral impulse and critical citizenship. Of course, these themes are related – without a critical faculty, the moral impulse is not possible, and impulse, conversely, can be seen as leading toward critique. This is no vicious circle, nor mere tautology – rather, they are both moments of the truly autonomous individual, where the autonomy of the individual is not seen as isolation, but rather as an individual responsibility to and (...) within a society. Hence, a moral impulse fuelled by the individual critic is not enough; criticism must be framed within critical citizenship.Since our schizophrenic age fears for desensitivity, a fear best expressed in our age’s various flavours of political correctness, while it actively or at least tacitly posits this very desensitivity in its canonization of a purely formal ‘freedom to,’ a canonization best exhibited in the extreme examples of reality television, these intertwined themes are of extreme importance, and thus deserve close explication and discussion.I will let the pieces below provide this discussion, but permit me at least to set the table. As Michael Hauskeller so clearly argues in these pages, moral disgust is the moral impulse towards formal ethics, in the sense that it is the initial and immediate moral reaction that normatively colours our comportment with the outside world. I may know or think I know that something is wrong, or right, without giving this impulse a reason. This is not the ethical certitude of Bradley, but it is close in that both Bradley and Hauskeller would argue that the initial feeling need not be explained away, but rather deserves due respect. Moral disgust can clearly be misplaced, and clearly it can fail to withstand ethical scrutiny, but as impulse, it shakes us out of mere consciousness and moves us toward some sort of normativity. In this sense, it is always morally relevant.Lisa Bortolotti joins this discussion by arguing that no moral justification exists for reserving rights to humans. The moral impulse must be widened. At first, her approach comes across as opting for the typical agenda of preference-satisfaction utilitarianism: she wishes to extend the realm of rights in the name of safeguarding the power of reason and autonomy of individuals, who, she argues, are not always human. But then she offers something atypical in this debate: the very safeguarding of the power of reason and autonomy also applies to those who are often seen as marginal humans and thus excluded from in other strands of preference utilitarianism.Co-authors T. Brian Mooney and Samantha Minett apply the question of moral disgust to the question of life-science art, a new form of expression that merges biotechnology with the aesthetic. Like most forms of art that have emerged in recent generations, life-science art sees its task in the questioning of assumptions, which, of course, is a break from past ideas of aesthetics. Mooney and Minett turn their attention to this nascent field and ask: are there good grounds to translate our putative moral disgust at the fanciful and aesthetic use of biotechnology, such as pigs with wings and glowing rabbits? Turning first to utilitarianism and then to Thomastic virtue ethics, they argue clearly: yes, there are.Christian Arnsperger then kicks off our second related theme by posing a simple but profound question: why do English speakers refer to anti-globalism, whereas French speakers refer to alter-mondalism ? This French viewpoint would seem to call for critical global citizens who do not shirk from the increasing interconnectivity of our world, but who also do not take its current form as the inevitable development of immutable laws. Instead, such critical citizenry is called to see the current capitalist framework as an ideology, and as such, as liable to change, a change that citizens themselves can effect.Moving from theory to practice, Andrew Fiala rounds off this issue by giving us an example of critical citizenry, which he sees in just war pacifism. He argues that citizens must not capitulate to political or military authority in judging the justness of war, either regarding ad bellum judgements, or in bello actions. Moreover, seemingly just ad bellum decisions also deserve close scrutiny, largely because once the fog of war descends, in bello actions quickly eclipse justice. For this reason, he argues, a critical citizen should anticipate war crimes and thus be strongly reluctant to authorize war – an authorization that, in democratic societies, ultimately lies in the hands of the citizens themselves through the electoral process.Thus, this number quite clearly furthers the mission of Ethical Perspectives, which is to promote the international dialogue between fundamental and applied ethics. Providing articles written on three separate continents and addressing three of the most characteristic aspects of our age on top of a background well painted by their companion theoretical pieces, our authors once again invite you to take stock of where our world finds itself today. And then, to take action. (shrink)

Professor Gadamer wrote two lengthy final essays that culminate his collection of essays on aesthetic theory in his Collected Works [Gesammelte Werke], volume 8, titled Kunst als Aussage [Art as Assertion]. The first of the two essays is "Wort und Bild: 'So wahr, so seiend!' "[Word and Image:" So true, so full of being! "] and the other is" Zur Phanomenologie von Ritual und Sprache "[On the Phenomenology of Ritual and Language]. Neither of these two late essays has yet been (...) translated into English. The first was composed in 1991 and the other in 1992and they appeared in volume 8 in 1993. At the 1998 meeting of the International Association for Philosophy and Literature, I offered the present paper as an analysis of Gadamer's concept of Bild as given in the essay, "Wort und Bild." I presented my paper in the form of eleven assertions Gadamer makes about artworks that take the form of a visible image. I clarified each of the assertions briefly . Some of the major claims about the artwork that are made by Gadamer in these eleven propositions are: that it hold a certain sovereignty in its very being, it presents itself as contemporaneous with the viewer no matter how old it may be, it "takes place "for the viewer as an event in time, it absorbs the viewer into itself, it is by no means merely a copy of something, it is both beautiful and true and escaper all external measurement, and finally it is" read "in the way that one reads a text. The process of reading has a great deal to say about the way we experience any artwork. These eleven assertions constitute a good introduction to Gadamer's account of the experience of the artwork. (shrink)

This is an international survey of contemporary art, taking a critical look at the work of established artists and exploring broad international trends and movements. The book takes the impact of feminist, structuralist and postmodern theories on the visual arts as a central theme. The dominance of New York as a centre of the art market is discussed and the work of lesser-known artists from around the world is acknowledged. In addition, there are features on contemporary art in (...) France, Britain and Russia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 177 Amsterdam, appears in the series of the International Archives of the History of Ideas, published under the direction of P. Dibon of Nijmegen and R. Popkin of the University of California at San Diego and a distinguished international editorial committee. Other volumes demonstrate the philosophical respectability of the collection: three on Descartes and Cartesianism, one on Berkeley's immaterialism, three on Pierre Bayle, the rest (...) on philosophical topics from the Renaissance to the 19th century. In this gallery, these letters by a not very good French poet---who was yet an acute and rather individualistic judge of men and books, already one of the arbiters of intellectual and artistic life in France--may seem a little out of place. Yet, to many historians of intellectual affairs, the firm establishment of dates and personal relationships is a matter of much importance, and documents such as these, largely devoted as they are to the communication of news about books and writers, the activities of rulers and ambassadors, printers and curious travelers, can be a substantial aid in determining the structure of an historical moment, the succession and interrelationship of events. One is willing to grant that much of what Chapelain wrote to Heinsius is trivial and concerns books and literary news of slight importance, that a delicate irony makes less of some of his comments than they were worth at the time. The triviality itself is a clue to the temper of Paris during the Fronde and in the late years of the regency of Mazarin. Great ideas were not being discussed in public when Pascal was writing his Pensdes; the irony is a mode of defense against involvement, and fashionable at the time. Bray's elaborate introduction is more concerned with the artistic and subjective aspect of the letters than with their contribution to intellectual history. In about a hundred pages, he discusses his author's method of writing, the genre which this kind of letter represents, the artistry it exhibits, from basic structure to stylistic ornamentation, and finally the human and even ethical implications of this collection. His notes are full and informative; identifications are well documented and cross-referencing in the notes and in the index of names make the volume a usable source of information, even though it cannot be recommended as stimulating debate or lively narrative. The topics discussed by Chapelain range over a considerable area, without becoming controversial. There is one exceptional letter in which he instructs Heinsius in adapting his integrity to the role of a diplomat; he must acquire "un peu de dissimulation" to oppose to "l'ing~nuit~ du Parnasse." There are references to civil strife, to foreign affairs, to the rivalry of Dutch and English navies, to the sympathy of the French for the Swedish Lutheran dynasty as opposed to the Catholic ttapsburgs and the ecclesiastical electors of Mainz, Cologne, and Trier. Queen Christina of Sweden plays a continually less attractive part as the letters proceed to their end; and Christiaan Huygens, the Duc de Montausier, Ismael Boulliau, Guez de Balzac, and Gilles M4nage figure more or less regularly in these pages. Of philosophers there is little mention, and of discussion of ideas for their own sake still less. The letters are, like many another collection deriving from the age before the learned and scientific journals, a source of valuable information about certain persons and certain books; they are hardly a serious contribution to the history of ideas. H~covaT BROWN Brown University Pascal. By J. H. Broome. (New York: Barnes & Noble, Inc., 1966. pp. x + 250. $6.00.) The most remarkable feature of this work is that it locates and forcefully interprets philosophical themes common to all of Pascal's widely=diversified writing. In his works on the vacuum, the computer, geometry, hydrostatics, Grace, freedom and the art of persuasion as well as the Pens~es, Broome locates five regular features of Pascal's thought: 1) the three orders (pp. 103-4, inter alia); 2) the deux infinis (p. 146); 3) a theory of knowl- 178 HISTORY OF PHILOSOPHY edge; 4) a dialecticalmethod; and 5) a theory of communication. The former two themes are commonly discussed by students of... (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or (...) French. (shrink)

Hedley Bull, in the passage in The Anarchical Society which introduces the ‘three competing traditions of thought’ associated with the articulation of the modern states-system, cited Otto von Gierke as the originator of this influential way of organising international theory. This article examines Gierke's work in order to assess the extent of the influence on the English School that can be ascribed to him. It argues that in fact Gierke's version of the three traditions bears little resemblance to (...) that of Bull, and that by ‘international society’ Gierke was referring to confederal structures of political power. Through an analysis of a significant strand of American revolutionary thought, the paper seeks to demonstrate the potential that further attention to the Gierkean understanding of international society could have for advancing the English School's research programme and building on its achievements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:François H. Lapointe PHILOSOPHY AND LITERATURE: A BIBLIOGRAPHIC SURVEY ThL· survey is limited to articles written in English that have appeared in journals published between 1 January 1974 and 31 December 1976. Abbott, Don. "Marxist Influences on the Rhetorical Theory of Kenneth Burke." Philosophy and Rhetoric 7 (1974): 217-33. Abel, Lionel. "Jacques Derrida: His 'Difference' With Metaphysics." Salmagundi no. 25 (1974): 3-21. Adamowski, T. H. "Character and Consciousness: (...) D. H. Lawrence, Wilhelm Reich, and Jean-Paul Sartre." University of Toronto Quarterly 43 (1974): 31 1-34. Adams, D. J. "Style and Social Ideas in Jacques le fataliste." Studies in Voltaire & the Eighteenth Century 124 (1974): 231-48. Adams, Hazard. "Contemporary Ideas of Literature: Terrible Beauty or Rough Beast?" Contemporary Literature 17 (1976): 349-77. Adorno, Theodor W. "Lyric Poetry and Society." Telos no. 20 (1974): 56-71. Ages, Arnold. "Bonald and the Jews." Revue de l'Université d'Ottawa 44 (1974): 32-43. Allen, Diogenes. "The Experience of Existence: Jean-Paul Sartre and Iris Murdoch." International Philosophical Quarterly 14 (1974): 181-87. Allen, Marcus. "Character Development in the Oreste of Voltaire and Les Mouches of Jean-Paul Sartre." CLA Journal 18 (1974): 1-21. Alter, Jean. "A (Terrorist) System of the Novel." Diacritics 6 (1976): 10-15. Altieri, Charles. "Wittgenstein on Consciousness and Language: A Challenge to Derridean Literary Theory." MLN 91 (1976): 1397-1423. Altieri,Charles. "Wordsworth's 'Preface' as Literary Theory." Criticism 18 (1976): 122-146. [On Wordworth and Wittgenstein.] Ames, Van Meter. "Art for Art's Sake Again?" Journal of Aesthetics and Art Criticism 33 (1975): 303-307. Appleman, Philip. "The Dread Factor: Eliot, Tennyson, and the Shaping of Science." Columbia Forum, N. S. 3 (1974): 32-38. Armstrong, Paul B. " E. M. Forster's Howard's End: The Existential Crisis of the Liberal Imagination." Mosaic 8 (1974): 183-99. Arnold, A. James. "La Condition humaine as Nietzschean Tragedy." Mélanges Malraux Miscellany 6 (1974): 15-24. 366 François H. Lapointe367 Aronson, Ronald. "L'Idiot de la famille: The Ultimate Sartre?" Telos no. 20 (1974): 90-107. Arthos, John. "Du Bartas, Petrarch and the Poetry of Deism." Rice University Studies 60 (1974): 1-17. Artz, Johannes. "Newman as Philosopher." International Philosophical Quarterly 16 (1976): 263-88. Ausmus, Harry J. "Schopenhauer's Philosophy of Language." The Midwest Quarterly 18 (1977): 169-86. Ayala, Francisco. "Ortega y Gasset, Literary Critic." Critical Inquiry 1 (1974): 395-414. Bakalar, H. Nicholas. "The Cartesian Legacy to the Eighteenth-century Grammarians." MLN 91 (1976): 698-721. Barnes, Hazel. "Apotheosis and Deification in Plato, Nietzsche and Huxley." Philosophy and Literature 1 (1976): 3-24. Baron, Dennis E. "Role Structure and the Language of Literature." Journal of Literary Semantics 4 (1975): 43-52. Barooskian, Vahan D. "The Aesthetics of the Russian Revolutionary Theatre 1917-1921." British Journal of Aesthetics 15 (1975): 99-117. Bart, B. F. "Hypercreativity in Stendhal and Balzac." Nineteenth Century French Studies 3 (1974-75): 18-39. Barthes, Roland. "An Introduction to the Structural Analysis of Narrative." New Literary History 6 (1975): 237-72. Bashford, Bruce. "The Rhetorical Method in Literary Criticism." Philosophy and Rhetoric 9 (1976): 133-46. Bass, Alan. "Time and the Witch: Femininity, Metapsychology and the Temporality of the Unconscious." MLN 91 (1976): 871-912. Bassett, Sharon. "Towards a Critique of Romanticism: Wordsworth, Pater and the 'Anima Mundi'." Criticism 17 (1975): 262-75. Batchelor, R. "Literature, Society and the Concept of Revolt." European Studies Review 5 (1975): 395-427. Battin, M. Pabst. "Aristotle's Definition of Tragedy in the Poetics, Part 1." Journal of Aesthetics and Art Criticism 33 (1974): 155-70, and Part II in Ibid. 33 (1975): 293-302. Bauer, George. "Sartre and the 'Sugars' of History." L'Esprit Créateur 15 (1975): 377-86. Baumgarten, Murray. "The Historical Novel: Some Postulates." Clio 4 (1975): 173-82. Beauchamp, Gorman. "Gulliver's Return to the Cave: Plato's Republic and Book IV of Gulliver's Travels." The Michigan Academician 7 (1974): 201-10. Bennett, Jonathan. "The Conscience of Huckleberry Finn." Philosophy 48 (1974): 123-34. Benzon, William. "Cognitive Networks and Literary Semantics." MLN 91 (1976): 952-82. Bergonzi, Bernard. "A Grid of Codes: Views of Structuralism." Encounter 45 (1975): 52-58. Berry, Wanda Warren. "The... (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC, has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.