Aesthetics, both in its theoretical and empirical forms, has seen a renewed interest in the sublime, an aesthetic category dear to traditional philosophers, but quite neglected by contemporary philosophy. Our aim is to offer a novel perspective on the experience of the sublime. More precisely, our hypothesis is that the latter arises from ‘a radical limit-experience’, which is a metacognitve awareness of the limits of our cognitive capacities as we are confronted with something indefinitely greater or more powerful than us. (...) This hypothesis better explains the negative feelings involved in the experience of the sublime and accounts for its demarcation from other experiences (for example, terrible beauty). Experiences of the sublime have an overall positive valence, though. We will explore different ways in which a subject can try to overcome the negative evaluation involved in radical limit-experiences, and suggest that only one of them is appropriate to experiences of the sublime. (shrink)

In this chapter, I put aside typical arguments from experienced evil to the belief that God does not exist. Instead, in the first section, my focus is on how experiences of evil provide epistemic support for atheism by analogy with the ways philosophers have claimed experiences allegedly of God provide support for theistic belief. In the second section, I will sketch other ways in which atheism gets support when a person experiences evil, ways not analogous to how philosophers have thought (...) of theistic experience but yet not arguments from experience of evil. (shrink)

Résumé L’interprétation serait un point qui divise les arts. À l’encontre de cette idée, l’auteur pose un principe d’équivalence entre les arts qui n’est plus fondé sur des questions de définition des « pratiques artistiques » mais sur leur mode de diffusion. Le concert, le spectacle, le cinéma, l’édition d’un livre trouvent alors leur contrepartie dans le monde des arts plastiques avec l’exposition. L’exposition est en outre le point de rencontre de différentes formes d’interprétation : celle de l’artiste, celles de (...) ses médiateurs, celles des spectateurs. (shrink)

Résumé Claude Régy revient sur son expérience du théâtre de langue étrangère et de sa traduction, à partir de ses diverses expériences avec des linguistes tels Henri Meschonnic dont la traduction de certains livres de la Bible lui a inspiré deux spectacles. Il interroge ce faisant les questions de la lecture, du sens et de la performativité de la langue, de l’art du comédien... et du spectateur.

Our utterances are typically if not always "situated," in the sense that they are true or false relative to unarticulated parameters of the extra-linguistic context. The problem is to explain how these parameters are determined, given that nothing in the uttered sentences indicates them. It is tempting to claim that they must be determined at the level of thought or intention. However, as many philosophers have observed, thoughts themselves are no less situated than utterances. Unarticulated parameters need not be mentally (...) represented. In this paper, I try to make precise the notion of representation at stake here. In one sense of 'representation', something is represented if it is inferentially relevant. In another, less demanding sense, something is represented if it is relevant to the construction of a context-sensitive, ad hoc concept. Ad hoc concepts act as "proxies" for cognitively more demanding representations. They "imitate" the latter's epistemic and pragmatic roles while being inferentially less sophisticated. Thus, there are two senses in which a thought can be said to be situated: (1) its truth-value is relative to a non-represented contextual parameter, (2) its truth-value is not itself relative, but it involves a context-sensitive, ad hoc concept. (shrink)

J. Dokic s'interroge sur le concept de perception : en quoi consiste-t-elle? comment fonctionne-t-elle?, etc. Cette analyse est suivie de deux textes commentés, l'un de George Berkeley "Les idées du haut et du bas", et "Le contenu non conceptuel" de John McDowell.

This is an excellent book on Santayana. It establishes Lovely as a Santayana scholar, ranking him with the likes of Lachs, Levinson, and Woodward. He has a thorough command of both the primary sources and secondary literature. Since many American naturalists writing on religion have either a liberal Protestant or a liberal Jewish background, Santayana’s Roman Catholic background provides a needed balance. Santayana, like many great American philosophers, helps point the way to a truly postmodern appreciation of religion. The first (...) chapter considers Santayana’s paradoxical relationship to Catholicism. His outlook was nontheistic yet included a Catholic cultural sensibility, theological .. (shrink)

This book explores moral questions that go beyond the issues commonly considered in the ethics of action.

This essay argues that Freud’s case of Little Hans, while complicated by Hans’ father’s dual role in the analysis and in the Oedipal drama itself, provides valuable insight into the nature of psychoanalytic evidence and argument. The case provides direct, if sometimes ambiguous, evidence concerning primal phantasies and infantile sexuality--issues of universality, the role of experience, and the nature of phantasy are explored. Four strands of Freud’s analysis of Little Hans’ horse phobia are also explored. While the toxicological theory of (...) anxiety is problematical and was subsequently abandoned by Freud himself, the other strands have great explanatory power and offer advantages over behaviorist and other alternative accounts. A kind of theoretical rigor in the concepts employed is argued to be among those advantages. The inevitably theory-laden character of observation is emphasized throughout, and it is argued that psychoanalysis provides a far more powerful theory than certain critiques would allow. (shrink)