In Danto's view, Andy Warhol's Brillo Box was not only a radical attack on traditional definitions of the art work; it brought the history of Western art to a close. In this collection of interconnected essays, he grapples with this and many more of the most challenging issues in art today, from the problems of contemporary pluralism to the dilemmas of censorship and state support for artists.

Are Andy Warhol’s Brillo Boxes works of art? This article investigates the concept of art in regard to this question in six steps. (1) First, the radical challenge of art in modernity is explained. (2) Second, the concept of art in the history of philosophy is explored. (3) What follows is a discussion of three suggestions on how to understand the concept of art. (4) In the fourth step the question of the concept of art is framed more abstractly (...) and a discussion regarding its relationship between the contingent and necessary elements is offered. (5) As a result of this investigation some elements of the concept of art are suggested. (6) The final step is an answer to the initial question regarding whether or not Andy Warhol’s Brillo Boxes are works of art. (shrink)

«In un luogo molto lontano, in un tempo non troppo lontano, un artista dalla chioma bianca ha esposto in una galleria un oggetto particolare di nome Brillo Box. Brillo Box era un oggetto diverso da tutti gli altri. Non era una semplice scatola di spugnette abrasive come quelle che ci sono al supermercato. Infatti non era di cartone, bensì di legno, e aveva dimensioni differenti. Ma il punto non era, ovviamente, questo. Il punto era che Brillo Box (...) doveva essere visto come un’opera d’arte, anch... (shrink)

L'idea che le avanguardie e il classicismo si pongano rispettivamente agli antipodi della storia dell’arte è un’opinione comunemente accettata. Tuttavia, ad una analisi più approfondita, essa risulta inconsistente e superficiale. Le caratteristiche fondamentali dell'opera artistica contemporanea sono normalmente riconosciute nel “dogma della indifferenza estetica” - ossia nella decisione di abbandonare il canone della bellezza ideale – e nella centralità del concetto a scapito della perfezione formale e tecnica. Eppure, queste categorie si rivelano familiari anche al mondo classico, per nulla estraneo (...) all’interesse verso il brutto e il grottesco, e all’arte antica, radicalmente concettuale (si pensi alle piramidi o a Stonehenge). Se da un lato il classicismo si avvicina quindi al moderno, dall'altro il moderno, nella sua serialità sacrale, nella sua trasfigurazione dell'oggetto comune in oggetto artistico e nella sua consacrazione del Museo, si accosta a un classicismo di cui pare impossibile liberarsi fino in fondo. (shrink)

That’s my whole philosophy of art in a nutshell, finding the deep difference between art and craft, artworks and mere thing, when members from either class look exactly similar. What serves the purposes of ontology also serves the purpose of criticism. When you have found a similarity, avert your eyes and look for the explanation of how different artistic expression can look like affines of one another. Provo a iniziare con un indovinello: quale filosofo potrebbe avere nel salotto di casa, (...) a... (shrink)

From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition (...) that stretch from modern often sensational works, back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. She also guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art. (shrink)

1 Il Brillo Box Alla Galleria Stable di New York, nel 1964, è stata esposta per la prima volta l’opera di Andy Warhol, Brillo Box. Secondo Arthur Danto, la ragione per la quale non si tratta di una semplice scatola di spugnette abrasive (al di là del fatto che quella di Warhol è di dimensioni differenti, non è di cartone, bensì di legno, e poi, ovviamente, non contiene il prodotto pubblicizzato all’esterno) è che tale oggetto deve essere letto (...) (per non dire “visto”) alla luce di una determina... (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

This paper addresses Arthur Danto’s claim that contemporary artworks, such as Andy Warhol’s Brillo Box, do not differ perceptually from ordinary objects, and that in order to see contemporary artworks as art the viewer has to move from mere experience to a meaning expressed by the work. I propose to supplement Danto’s thesis. I argue that, while some contemporary artworks may indeed be perceptually indistinguishable from ordinary objects, these works are distinguishable not only by means of meaning but also (...) by means of a non-perceptual aesthetic experience. I then discuss two theories that might provide a model of such an aesthetic experience. First, I focus on James Shelley’s theory of non-perceptual aesthetic experience conceived as a representation of non-perceptual aesthetic properties. Second, I discuss Jérôme Dokic’s adverbialist theory, which sees aesthetic experience as a combination of non-aesthetic attitudes. I argue that the adverbialist model is the most promising candidate for solving our problem. The model must be extended, however, if it is to account for pragmatic attitudes in response to artworks. (shrink)

This chapter contains sections titled: Hegel, Hegelianism, and Historicism The Old Chisholm Trail: Historical Facts, Bits of Knowledge Artworks, The Artworld, and The Brillo Box Revolution The End of Art: Not the End at All Individualism Triumphant Danto and Nietzsche: A Hegelian Synthesis.

The article aims to provide a point of view for understanding the conceptual genesis of ‘post-history’, the key idea of Danto’s theory of contemporary art. To do this, reference is made to an essay from Beyond the Brillo Box which analyzes the various forms the past has assumed in the Western tradition, from the point of view of the influence exerted from narrative structures on artists and their practices. Danto’s argument will be clarified through the notion of ‘regime of (...) historicity’ (Hartog). Based on this, the article discusses three different paradigms of the historicity of art: each is the expression of a specific experienced mediation between the temporal dimensions of the past, present and future. First of all: the relationship of imitative recovery of the past, corresponding to the pre-modern scheme of history understood as exemplary and repeatable. Later, the article focuses the link of transformation/negation of the artistic past, both corresponding to the modern, linear and vectoral view of history. Finally, it will emerge the spatialized exploration of the past, that is, a neutral relationship with it no longer marked by the principle of authority: Danto’s post-history points out a situation in which the historical past of art is an available repertory of styles to be used. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and SelectionBrian BoydArt Instinct: Beauty, Pleasure, and Human Evolution, by Denis Dutton; 279 pp. New York: Bloomsbury Press, 2009, $25.00. Oxford: Oxford University Press, £16.99.In the interests of full disclosure: Denis Dutton, the author of The Art Instinct: Beauty, Pleasure, and Human Evolution, not only edits this journal but has also published here a number of my essays. We share enthusiasms and aversions, but we also now and (...) again disagree. And we both enjoy spirited discussion, which is why I asked him if I might review his book for this journal. Now can we begin?Ellen Dissanayake, the first to take a modern evolutionary approach to art, in her What Is Art For? (1988), doubts that sexual selection can explain much about art. After all, she notes, men can compete about anything, even about who can pee the highest.1 Denis Dutton, the first philosopher to take a sustained evolutionary approach to the arts, suggests that much in art arises from sexual selection—and he spends a good deal of time discussing and dismissing the kind of philosophy of art that orients itself around the urinal that Marcel Duchamp christened Fountain.Dutton begins by reporting recent research into the universality of human landscape preferences. Although these preferences explain little about art in the round, they vividly demonstrate the link between human emotions and preferences across cultures now and human survival [End Page 204] needs thousands of generations ago. In chapter 2, Dutton shows that although recent philosophers of art have not sought to ground art in human nature, that has been an aim of their predecessors from Aristotle to Hume and Kant.But Dutton really starts with the intuitions that art seems a fundamentally similar pursuit around the world, and that artworks like Duchamp's Fountain or Andy Warhol's Brillo Boxes should not be central to our thinking about art, even if they have been central for prominent philosophers of art like George Dickie and Arthur Danto. Dutton stresses that we can appreciate art across cultures. He did so himself when he lived in India while in the Peace Corps, and, an accomplished pianist, learned the sitar from a student of Ravi Shankar, or later, when he lived by the Sepik River in northern Papua New Guinea to ascertain whether "local criteria for beautiful art agree with what Western aficionados and connoisseurs of Sepik art call beautiful. My conclusion was unequivocal: Sepik standards of beauty closely match the opinions of Western experts, including curators and collectors who enjoy a wide experience with Sepik museum collections but who have never set foot in the country" (p. 11).As this passage makes clear, Dutton is not your average armchair academic analytical aesthetician—thank goodness. Unlike the typical professional philosopher of art, he does not hide behind the porcupine quills of philosophese, good for defense and a certain kind of bristly display but utterly rebarbative. Like that other maverick philosopher, Daniel Dennett, he instead engages with work, the world, and readers outside his discipline.Dutton argues convincingly for the need to focus first on indisputable examples of art rather than on problematic cases, just as discussions of murder should not begin with assisted suicide, abortion or capital punishment (p. 50). One of his best chapters offers a cluster concept of art, a dozen features shared by the most unequivocal art. Doubtful cases will satisfy fewer than the full checklist, but there is no fixed threshold, no necessary and sufficient number of criteria. And no criterion by itself distinguishes art from non-art. Indeed one of the most fascinating aspects of his cluster concept is that, for each criterion, he parenthetically notes examples elsewhere in human life that would satisfy that criterion but that nobody would consider art. Skill and virtuosity, for instance, he insists on as features of the indisputably artful, but he adds also: "High skill is a source of pleasure and admiration in every area of human activity beyond art, perhaps most notably today in sports. [End Page 205] Almost every regularized human activity can be turned competitive in order to emphasize the development and admiration of its technical, skill aspect. Guinness World Records... (shrink)

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question "But is it art?"; the difference between the end of art and "the death of painting"; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons (...) it resembles; the logic of imitation-and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History (1997). (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. (...) The strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

In this essay, I examine Arthur C. Danto s highly influential thesis that Andy Warhols Brillo Box ends art by obviating the need for art object to differ sensually from ordinary object. Coining the term Co-aesthesis, I demonstrate that it is only by improperly applying Extensionalism that anyone is able to make the claim that the Brillo Box is substantively equivalent to a Brillo Box in the first place: if we just work harder to coordinate the various (...) visual, tactile and contextual data striking our sensorium, we can arrive at a very different spot than the place from which we witness art ending — especially when we consider the revelations about multi-dimensionality in the realm of physics. To help make my point, I use Italian philosopher Tiziana Andina’s recent book Arthur Danto: Philosopher of Pop and her interpretation that, after Danto, a sensual Aesthetics parts company from a conceptual and sensually inert Philosophy of Art. (shrink)

Arthur Danto's quarter century as art critic for The Nation was crucial, as photography had, by the 1980s and '90s, become very much in vogue in the New York artworld that was his beat. Readers familiar with the corpus of Danto's writing might infer from the discussion that his interest in photography is peripheral to his larger investigation into the ontology of artworks. Consideration of the distinction between stills and natural drawings, or of Kantian ethical concerns, appears foreign to his (...) well‐known consideration of Warhol's 1964 Brillo Box. Danto's consideration of photography reveals that art does essentially involve craft, but it is a craft involving sensitivity to, and dexterity in relation to, aspects of a realm of human interaction, rather than necessarily to materials. Further research may be directed toward refining this new craft and, especially, toward the development of pedagogical techniques suitable to it. (shrink)

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question “But is it art?”; the difference between the end of art and “the death of painting”; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons (...) it resembles; the logic of imitation—and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History. (shrink)

This article compares two philosophers who have a different theoretical origin: respectively, Arthur C. Danto and Jean-François Lyotard. Both of them are interested in the revolutionary character of Andy Warhol’s art. Danto as well as Lyotard argues that Warhol conceives the work of art as a machine: according to the former, it is a philosophical machine; according to the latter, it is a consumerist machine. Nonetheless, the two hypotheses converge on judging Warhol’s art as a turn in the history of (...) art and its relationship to the world. According to Danto, who follows Hegel here, Warhol at the same time interprets and transcends the 1960s and their Zeitgeist. But paradoxically, Warhol’s historical gesture, epitomized by his work Brillo Box, initiates the age of the “end of art”. According to Lyotard, on the contrary, Warhol represents the end of the critical power of modern art, to which the sublime alone can remediate. The two perspectives converge in the idea that the investigation of repetition is the very center of Warhol’s art. Art has now become the pivot of the Western capitalism and consumerist society. Warhol actually explores the different forms and modes of repetition (commodities, icons, symbols) and, in this way, anticipates the confrontation of contemporary art with the “finite infinite” represented by the media world. (shrink)

he first institutional theory of art is outlined in a 1964 essay by Arthur Danto, “The Artworld,” which ruminates on the paradox that Andy Warhol’s Brillo Boxes is art though any of its perceptually indistinguishable twins—any stack of Brillo boxes in a grocery store—is not. Danto’s offers this solution to the paradox: “To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Ultimately, though, it (...) is “art theory” that makes Warhol’s stack of silk screened plywood boxes into art. (shrink)

The paper considers the philosophical relationship between the form and the shape through the meaning of conceptualist art, which Arthur Coleman Danto emphasizes in his aesthetic theory. Even though modern art from the beginning of the 20th century signalled the break between the form and the shape, it has fully come to life in the postmodern sense. It will be shown that conceptual artists have understood how it is possible to keep the shape of a thing without changing its form, (...) with the idea displacing it from a predetermined function. For conceptual, postmodern art, it will be decisive to keep the shape while changing the form in which such a work of art is created, changing the character of things that were not a work of art until then. According to Hartmann’s aesthetic theory, this creates a unique aesthetic object that does not rest on the work of art itself but its perception. Danto exemplified such a path with Duchamp’s Fountain and Warhol’s Brillo Box, which witnessed a change of the form while retaining the shape, establishing postmodern aesthetics as essentially conceptual. (shrink)

Art historians interpret artworks, tell the history of art and compare diverse artistic traditions. This chapter presents one key portion of Krauss's theorizing, Arthur Danto's definition of art, and compares and contrasts their accounts. Responding to radically original contemporary art, Krauss offered a challenging philosophical argument about the nature of art. Danto offers a completely general account, one that identifies the essence of all art. His written commentaries on Warhol tell what is embodied in Brillo Box, which is a (...) commentary on the meaning of visual art in a commodity culture. Danto believes that essentialism is the only satisfactory basis for philosophy. Sometimes appealing to essentialism involves a conservative ideal that at bottom nothing ever changes. Modernism, Antimodernism, Postmodernism, a textbook that discusses a variety of philosophical writers. In the nineteenth century, Kant's and Hegel's philosophies played a crucial role in the formative development of art history writing. (shrink)

L’opera del giovane scrittore, poeta, critico d’arte e filosofo americano Michael Angelo Tata si presenta, fin dall’inizio, come un testo ambizioso. Come sottolinea l’autore stesso, l’obiettivo del libro è di andare oltre le tesi del filosofo Arthur C. Danto riguardanti Andy Warhol e la sua arte(p. 1). Ironia della sorte, l’autore di Beyond Brillo Box viene chiamato in causa in uno scritto che potrebbe benissimo intitolarsi Beyond Arthur Danto. Ma nello specifico quali aspetti della teoria de...

The present essay represents for the author an occasion to retrace his philosophy of art, referring in particular to the themes related to contemporary art. Starting from the historical importance which the photographic experiments of Eadweard Muybridge had for painting (and not only), Arthur Danto once again comes to wonder about the famous Brillo Box of Andy Warhol, demonstrating how, in the face of different avant-guard artistic movements of the early Sixties (specially in the usa), it is indeed philosophy (...) that questions itself, reconsidering its own concept of the eternity of art and the way in which works of art must be interpreted. (shrink)

In 1964, when Danto first encountered Warhol's Brillo Box, Jasper Johns made a painting titled According to What. Danto's new book After the End of Art also provokes this question because in his restatement of Hegel's verdict on art's historical role he drops an essential part of the implied definition of art: the issue of adequacy between content and presentation. Why dispense with this crucial point of quality judgment? My critique falls into three parts. The first part shows how (...) the whole historical argument rests upon a shift of criteria. According to Hegel art reached its highest point of achievement in classical antiquity when adequate embodiment seemed indispensable to the presence of the spirit. It subsequently lost this exclusive rank-first through Christianity, then through modern philosophy-when a new spiritual self-awareness emerged which no longer seemed to need external manifestation. Although Danto disputes the concept of absolute self-possession as the metaphysical vanishing point of Hegel's construction, he nevertheless subscribes to its apparent evidence in late twentieth-century art and culture. In the second part I discuss the characteristic distortions of Hegelian-type historicism and confront them with both the obvious misrepresentation of the works of art themselves and the different code of conduct in practical art history. This leads to a rather disenchanting conclusion: according to an old, deeply ingrained philosophical prejudice there is no problem about quality in art, because the true yardstick and fulfillment of art is philosophy itself. The final part tries to unpick this tangle by showing that there was in fact, contemporaneous with Hegel, a remarkably different interpretation of the self-same auspices of modern art which comes much closer to its actual achievements, and this without denying the basic philosophical predicament of which Danto has reminded us. (shrink)

A Czech-language review of two of Arthur Danto's collections of art criticism -- BEYOND THE BRILLO BOX and EMBODIED MEANINGS.

Hegel has identified what I have preemptively designated a third aesthetic realm--in addition to natural beauty and artistic beauty--one greatly connected with human life . . . art applied to the enhancement of life . . . But the other border of what I shall designate the Third Realm is equally non-exclusionary, especially when we consider what Hegel singles out under the head of beautiful people--the kind of beauty possessed by Helen of Troy, say, which we must suppose a wonder (...) of nature. But Helen's choice of hairstyles, makeup, or garments would have belonged to the Third Realm, since it would have been chosen for enhancement, like the setting of a jewel. (shrink)

Recognized in his day as a man of letters equaling Rousseau and Voltaire in France and rivaling Samuel Johnson, David Hume passed from favor in the Victorian age--his work, it seemed, did not pursue Truth but rather indulged in popularization. Although Hume is once more considered as one of the greatest British philosophers, scholars now tend to focus on his thought rather than his writing. To round out our understanding of Hume, M. A. Box in this book charts the interrelated (...) development of Hume's literary ambitions, theories of style, and compositional practice from his Treatise in 1739 through the Enquiries. In so doing, Box makes the case for Hume's career-long concern with the presentational modes of reaching an audience for his philosophical writings. Hume reacted to the popular failure of his masterpiece, A Treatise of Human Nature, Box suggests, by self-consciously exploring strategies in his subsequent works for agreeably bringing his readership to participate in the act of philosophizing. Combining a sensitive grasp of the ways Restoration period and eighteenth-century writers conceived the relations between rhetoric and philosophy with sound readings of particular texts, Box shows how Hume's literary concerns went beyond matters of style to involve persona, structure, and doctrine. While this book helps explain long-standing ambiguities surrounding Hume, especially by pointing out the tension between his created persona and his own voice, it also serves as an excellent introduction to his philosophy. (shrink)

Recognized in his day as a man of letters equaling Rousseau and Voltaire in France and rivaling Samuel Johnson, David Hume passed from favor in the Victorian age--his work, it seemed, did not pursue Truth but rather indulged in popularization. Although Hume is once more considered as one of the greatest British philosophers, scholars now tend to focus on his thought rather than his writing. To round out our understanding of Hume, M. A. Box in this book charts the interrelated (...) development of Hume's literary ambitions, theories of style, and compositional practice from his Treatise in 1739 through the Enquiries. In so doing, Box makes the case for Hume's career-long concern with the presentational modes of reaching an audience for his philosophical writings. Hume reacted to the popular failure of his masterpiece, A Treatise of Human Nature, Box suggests, by self-consciously exploring strategies in his subsequent works for agreeably bringing his readership to participate in the act of philosophizing. Combining a sensitive grasp of the ways Restoration period and eighteenth-century writers conceived the relations between rhetoric and philosophy with sound readings of particular texts, Box shows how Hume's literary concerns went beyond matters of style to involve persona, structure, and doctrine. While this book helps explain long-standing ambiguities surrounding Hume, especially by pointing out the tension between his created persona and his own voice, it also serves as an excellent introduction to his philosophy. (shrink)

The article focuses on the book "Essays, Moral and Political," by David Hume. In this book Hume quoted, but did not identify, two Hudibrastic couplets. He altered them so as to make them grammatically continuous with his prose, but not so much that a polite reader of his day would fail to recognize them.

The article discusses poet Oliver Goldsmith's remarks, which illustrates philosopher and historian, David Hume's contemporary reputation. Goldsmith lamented, however, that the praise due to literary merit is already occupied by the first writers, who will keep it and get the better even of the superior merit which the moderns may possess. He said David Hume was one of those, who, seeing the first place occupied on the right side, rather than take a second, wants to have a first in what (...) is wrong. (shrink)

Assisted dying is a divisive and controversial topic and it is therefore desirable that a broad range of interests inform any proposed policy changes. The purpose of this study is to collect and synthesize the views of an important stakeholder group—namely people with disabilities —as expressed by disability rights organisations in Great Britain. Parliamentary consultations were reviewed, together with an examination of the contemporary positions of a wide range of DROs. Our analysis revealed that the vast majority do not have (...) a clear public stance; those that do exhibit a significant diversity of opinion. DROs opposing legislation on assisted dying have argued that it would be premature, misguided, inequitable and culturally undesirable. Some specify conditions that would have to be satisfied before they could support legalisation, such as radical improvements in health and social care services and the elimination of discrimination against PwD. DROs supporting assisted dying maintain that a change in the law would promote autonomy, end intense suffering, can be delivered safely and is supported by the DRO’s membership. The discussion considers the reasons why several DROs adopt a neutral stance and the argument is made that, whatever their overarching stance on the issue, DROs need to be involved in the policy debate so that the crucial perspectives of PwD are heard and addressed. This is an important message for countries around the world that permit, or are considering legalising, assisted dying. (shrink)