19 found
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  1.  14
    Adorno's theory of philosophical and aesthetic truth.Owen Hulatt - 2016 - New York: Columbia University Press.
    Models of experience -- The interpenetration of concepts and society -- Negativism and truth -- Texture, performativity, and truth -- Aesthetic truth content and oblique second reflection -- Beethoven, proust, and applying adorno's aesthetic theory.
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  2.  28
    The Problem of Modernism and Critical Refusal: Bradley and Lamarque on Form/Content Unity.Owen Hulatt - 2016 - Journal of Aesthetics and Art Criticism 74 (1):47-59.
    In this article I revisit A. C. Bradley's account of form/content unity through the lens of both Peter Kivy's and Peter Lamarque's recent work on Bradley's lecture “Poetry for Poetry's Sake.” I argue that Lamarque gives a superior account of Bradley's argument. However, Lamarque claims that form/content unity should be understood as an imposition applied by the reader to poetry. Working with the counterexample of modernist poetry, I throw doubt on both this claim and some associated presuppositions found in Lamarque's (...)
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  3.  45
    Normative Impulsivity: Adorno on Ethics and the Body.Owen Hulatt - 2014 - International Journal of Philosophical Studies 22 (5):676-695.
    Adorno’s commitment to anti-foundationalism generates a concern over how his ethically normative appraisals of social phenomena can be founded. Drawing on both Kohlmann and Bernstein’s account, I produce a new reading which contends somatic impulses are capable of bearing intrinsically normative epistemic and moral content. This entails a new way of understanding Adorno’s contention that Auschwitz produced a new categorical imperative. Working with Bernstein’s account, I claim that Auschwitz makes manifest the hostility of the instrumentalization of reason to the somatic (...)
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  4.  63
    Reason, Mimesis, and Self-Preservation in Adorno.Owen Hulatt - 2016 - Journal of the History of Philosophy 54 (1):135-151.
    adorno’s philosophy bristles with terms that, shorn from any settled stipulative definition, present a challenge to the reader.2 Adorno’s difficult concept of “non-identity” is perhaps the most notorious, but it is “mimesis” that more than any other resists easy comprehension. Despite this, or because of it, mimesis has received sustained and enthusiastic attention. Jameson goes so far as it say that mimesis is for Adorno a “foundational concept, never defined nor argued but always alluded to, by name, as though it (...)
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  5.  35
    ‘Pure Showing’ and Anti-Humanist Musical Profundity.Owen Hulatt - 2017 - British Journal of Aesthetics 57 (2):195-210.
    In this paper I argue that Peter Kivy’s contention that music is incapable of profundity is correct only in a limited sense. So long as we associate profundity with depth of subject matter, even the revisions proposed by Stephen Davies and Julian Dodd are incapable of delivering an account of musical profundity which has the correct scope. Theories of profundity based on criteria of exemplification and non-denotational expression of content remain vulnerable to Kivy’s well-chosen counter-examples of non-profound artworks which meet (...)
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  6.  55
    Hegel, Danto, Adorno, and the end and after of art.Owen Hulatt - 2016 - British Journal for the History of Philosophy 24 (4):742-763.
    ABSTRACTIn this paper, I consider Adorno's claim that art is at, or is coming to, an ‘end’. I consider Adorno's account in relation to the work of Arthur Danto and G. W. F. Hegel. I employ Danto's account, together with two distinct interpretive glosses of Hegel's account, as heuristic devices in order to clarify both Adorno's own arguments, and the context within which they are being advanced. I argue that while Danto and Hegel see art as coming to an end (...)
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  7.  24
    Musical Silences—Opaque and Capacious.Owen Hulatt - 2023 - British Journal of Aesthetics 63 (4):523-536.
    I will argue that there are (at least) two species of musical silence, which cannot be distinguished by attending to how these silences sound. I term these two kinds of musical silence ‘capacious’ and ‘opaque’. Both capacious and opaque musical silences might occur in the midst of the ongoing production of sound or might exist in the complete absence of sound. Both kinds of silence can, in certain conditions, be sonically identical, but both are always received by the listening ear (...)
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  8.  18
    Interpretation and Circularity — Justificatory Issues in Adorno's Epistemology and Social Criticism, and a Gadamerian Response.Owen Hulatt - 2015 - Constellations 22 (3):369-380.
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  9.  37
    Critical Theory as a Legacy of Post-Kantianism.James A. Clarke & Owen Hulatt - 2014 - British Journal for the History of Philosophy 22 (6):1047-1068.
    This paper traces some lines of influence between post-Kantianism and Critical Theory. In the first part of the paper, we discuss Fichte and Hegel; in the second, we discuss Horkheimer, Adorno, and Honneth.
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  10.  10
    Aesthetic Autonomy.Owen Hulatt - 2019 - In Peter Eli Gordon (ed.), A companion to Adorno. Hoboken: Wiley. pp. 349–364.
    In this chapter I consider what the limits of autonomous aesthetic experience are, for Adorno. Autonomous aesthetic experience can, in Adorno's view, lead us to knowledge of facts about the world external to the artwork. It is challenging to reconcile this with his account of the “hermetically sealed” nature of artworks. In response, I argue that aesthetic experience is for Adorno intrinsically truth‐directed, and intrinsically speculative.
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  11.  8
    Aesthetic and artistic autonomy.Owen Hulatt (ed.) - 2013 - New York: Bloomsbury Academic.
    Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question of (...)
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  12.  31
    Adorno, Interpretation, and the Body.Owen Hulatt - 2015 - International Journal of Philosophical Studies 23 (1):42-58.
    Adorno sees experience as intrinsically interpretative. As interpretation requires normative constraints, in order to guide and channel this interpretative engagement, this opens the question of how experience acquires its motivating criteria. If experience is from the first criterially structured, how are these criteria acquired? Moreover, as these criteria are acquired in isolation from experience – as they are the precondition of that experience – are these criteria sensitive to the particularity of the experiences they produce? In order to address these (...)
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  13.  16
    Modal and Epistemic Immodesty: An Incoherence in Adorno's Social Philosophy.Owen Hulatt - 2016 - Constellations 23 (4):482-493.
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  14.  25
    On a Naqadan Vessel—Our Aesthetic Response to and Restoration of Prehistoric Artefacts.Owen Hulatt - 2016 - British Journal of Aesthetics 56 (3):265-279.
    Prehistoric artefacts are capable of great beauty, despite our usually being in ignorance of the kind of cultural and interpretive practices which occasioned them, and which would make clear to us what such artefacts meant. I argue that often our aesthetic response to these artefacts—where we have no firm knowledge of their cultural context—is bound up with their ability to present a kind of physiognomy of the historical relationship between such objects, the historical processes which produced them and went on (...)
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  15.  19
    Recognition, Mediation and Proleptic Individuals.Owen Hulatt - 2015 - Critical Horizons 16 (4):352-370.
    Axel Honneth has had considerable success in grounding his normative social philosophy on recognitive structures, and the capacity of experiences of disrespect to stimulate “struggles for recognition.” These struggles for recognition are held to yield advances in social structure, and to expand the individual's capacity for self-realization. In this paper, I show that this account relies on a supressed dichotomy between the immediate pre-recognitive self, and the mediated self produced intersubjectively. I argue that this dichotomy persists beyond Honneth's explicit use (...)
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  16.  28
    Sub-Abstract Bodies: The Epistemic and Ethical Role of the Body-Mind Relationship in Adorno’s Philosophy.Owen Hulatt - 2015 - International Journal of Philosophical Studies 23 (4):460-478.
    The aim of this paper is threefold. In the first place, I should like to show that Adorno’s philosophy is dependent, to a degree perhaps not always directly recognized in the literature, on a deeply contentious view on the relationship between the mind and the body. In order to show this, I explore and bring out the epistemic and ethical stakes for Adorno’s theory of the relationship between mind and body. Secondly, I move to better articulate precisely what Adorno’s view (...)
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  17.  55
    Structural causality in Spinoza's Ethics.Owen Hulatt - 2018 - European Journal of Philosophy 27 (1):25-39.
    In this paper, I argue that Spinoza's claim at E1P15 that “Whatever is, is in God, and nothing can be or be conceived without God” remains exegetically troubling. Briefly noting some unresolved difficulties with the two dominant interpretations of Spinoza's account of the relationship between finite modes and God (these being the inherence and causal dependence readings), I move to claim that there is a third, neglected reading available which deserves consideration. I argue that, perhaps surprisingly, Althusser's notion of “structural (...)
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  18.  17
    Adorno, by Brian O'Connor. [REVIEW]Owen Hulatt - 2013 - Mind 122 (487):fzt087.
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  19.  31
    The Dialectics of Aesthetic Agency: Revaluating German Aesthetics from Kant to Adorno. [REVIEW]Owen Hulatt - 2013 - British Journal for the History of Philosophy 21 (6):1240-1243.