One virtue among the several vices in recent philosophy of art, whether in Anglo-American or continental terms however various, is careful work on the interactions among theory, history, and practice. Thus, philosophers as diverse as Nelson Goodman, Arthur Danto, Richard Wollheim, and Francis Sparshott, on the one hand and Hans-Georg Gadamer, Paul Ricoeur, Gilles Deleuze, and François Lyotard, on the other, continue to elaborate their sustained reflections on art in the context of repeated and closely detailed case studies within the (...) individual arts of literature, painting, dance, cinema, and so on. My purpose here is not to survey the complex character of this widespread resurgence of interest in a less general and more finely grained approach to recurring problems in the philosophy of art. Rather, I would like to put on exhibit two case studies of this striking new work. And my initial interest is to call attention to its central, repeated, and yet problematic reliance on what I will argue is an insufficiently critical grasp of the seminal notion in modern aesthetics of interpretation. I shall take my examples here from two currents only in contemporary philosophical reflection on the arts, analytic aesthetics in the recent work of Arthur Danto and hermeneutic aesthetics in that of Hans-Georg Gadamer. In each case I will try to suggest briefly without attempting to demonstrate in detail that the interpretive practices of these representative and distinguished contemporary philosophers of art seriously undermine their theoretical views about interpretation. Specifically I will argue that the recurring tension in each account between theory and practice derives largely if not exclusively from very different and yet similarly uncritical accounts of both historical and systematic uses of interpretation. Finally, in my conclusion, with the help of some reflections on aesthetics in the late Heidegger, I will try to confront both Danto’s and Gadamer’s view briefly in order to generate a series of still unresolved issues about interpretation that call for further reflection. (shrink)

This paper focuses on four brief points only: first, the general character of today’s understandings of globalization; then, one substantive danger that arises from this general understanding of globalization; third, by contrast, the universal character of just one of the most important traditional understandings of cosmopolitanism; and, finally, on what might bring together a certain globalization and a certain cosmopolitanism into something more than either just a so-called European or African “anthropocentric ethics.” The key conceptual resource highlighted is that of (...) friendship. (shrink)

Dire précisément ce que signifient littéralement certaines expressions est souvent important. La compréhension satisfaisante de nombreuses expressions normatives en effet, qu’elles soient juridiques, morales, religieuses, poétiques ou autres, suppose de comprendre ce qu’elles signifient à la fois littéralement et non littéralement. Malgré des recherches pourtant sérieuses et durables sur la nature du « sens littéral », depuis les anciennes théories religieuses jusqu’aux théories linguistiques et philosophiques contemporaines, une explication généralement satisfaisante des significations supposées littérales des phrases normatives peut s’avérer étonnamment (...) insaisissable. À partir des échanges serrés entre Donald Davidson, Michael Dummett et Ian Hacking, j’aborde un cas de compréhension du littéral dans un discours normatif artistiquement représenté qui est tout aussi difficile à éclaircir. À la différence de Davidson, toutefois, je ne me concentrerai pas sur les aspects qui sont les conditions de vérité des significations littérales supposées des contenus propositionnels de phrases bien assurées et présentées de manière littéraire. J’aimerais plutôt attirer une attention renouvelée sur plusieurs aspects problématiques des significations présumées littérales, spécialement dans des phrases interrogatives présentées sous un jour littéraire lors de conversations normatives lourdes d’un poids éthique.Saying just what some expressions mean literally is often important. For understanding satisfactorily many normative expressions, whether legal moral religious poetic or whatever, requires understanding what these normative expressions mean both literally and non-literally. Despite however serious, protracted investigations of the nature of “the literal sense” from ancient religious theories to contemporary linguistic and philosophical theories, a generally satisfactory account of what the supposed literal meanings of normative sentences might come to remains surprisingly elusive. Taking my cue from Donald Davidson’s closely argued exchanges with Michael Dummett and Ian Hacking, I take up a puzzling instance of understanding the literal in artistically represented normative discourse. Unlike Davidson, however, I will focus not on the truth-conditional aspects of the supposed literal meanings of the propositional contents of literarily represented assertive sentences. Rather, I would like to call renewed attention to several puzzling communicative aspects of supposed literal meanings, especially in literarily represented interrogative sentences in ethically charged normative conversations. (shrink)

Il y a des oeuvres d'art poétiques, et en particulier quelques poèmes modernistes, qui nous offrent des représentations du sublime dans un de ses aspects les plus problématiques. Cet aspect comporte la simultanéité des éléments à la fois subjectifs et objectifs. Mais comment peut-on comprendre le sublime sous ce double masque ? Comment se fait-il que le sublime puis- se être à la/ois objectif et subjectif? Dans cet article je propose d'articuler ces deux aspects du sublime en ayant recours aux (...) réflexions tardives de Kant dans son Opus postumum sur le Selbstsetzungs- lehre, sur ce que j'appellerai « une auto-position fictive ».Some poetic works of art, and in particular some modernist poems, present us literary representa- tions of the sublime in one of its most searching, and still problematic, aspects. This aspect of the sublime, unlike many others, involves the simultaneity of both subjective and objective elements. But how are we to understand the sublime in such a double guise ? How can the sublime be simultaneously both objective and subjective ? My suggestion here is that we can best articulate both the objective and subjective aspects by making use of Kant's late reflections in the Opus Postumum on the Selbstsetzungslehre, that is, on what I will call a fictional self-positing. (shrink)

La théorie de l'intentionnalité de Brentano a des sources thomistes et cette provenance lui confère un penchant réaliste, en ce sens qu'elle n'exclut aucunement une relation entre les objets intentionnels et les objets physiques existant dans le monde. Par contre, la façon dont Husserl a interprété la théorie de Brentano révèle un penchant vers l'idéalisme puisque, d'après son explication, il ne peut y avoir aucune relation nécessaire entre cette catégorie d'objets intentionnels, que nous appelons des perceptions, et les objets physiques (...) existant dans le monde.Brentano's theory of intentionality is of scholastic origin, which confers on the theory a "realist" tendency, in the sense that the theory does not exclude relations between intentional objects and physical objects. By contrast, Husserl's way of interpreting Brentano shows an idealist strain, but in the sense that there can be no necessary relations between perceptions and physical objects. The major difficulty is that the theory is too general and the central concept too ambiguous. (shrink)

La méditation la plus importante d'Heidegger sur le langage s'intitule « Le chemin vers le langage » ; c'est le dernier chapitre d’Unterwegs zur Sprache. Si nous considérons la possibilité que le dernier Heidegger a quelque chose à apporter aux problèmes philosophiques du langage, nous devons déterminer exactement ce que Heidegger pense dans cette méditation. C'est pourquoi ma communication se bornera à une lecture détaillée et très restreinte de ce texte. La tâche plus intéressante mais, compte tenu de l'état des (...) études sur Heidegger, moins prioritaire, c'est-à-dire l'évaluation des propos heideggeriens, et leur incorporation dans une optique plus large sur la philosophie du langage, m'occupera à une autre occasion. Je prendrai comme points d'appui l'introduction prolongée de la méditation heideggerienne et sa conclusion. Dans un troisième et plus court moment, je mettrai ensemble les résultats de ces deux premières analyses pour faire le point sur les éléments de base du dernier Heidegger sur le langage. Partout, mon intention serait d'ouvrir la possibilité d'une discussion dont les éléments essentiels seraient en fin délimités.Heidegger's most important meditation on language is " The Way to Language," the final chapter of Unterwegs zur Sprache. If we are to decide whether Heidegger has anything of substance to contribute to present concerns with philosophical problems of language, we need to determine what he is saying. This paper is concerned with the latter point. My central concern here will be to formulate as carefully as I can just what Heidegger seems to be saying about language. The more interesting task of evaluating claims, and this icorporation into a larger view of the philosophy of language, will concern me on another occasion. Althought Heideggeir's meditation falls into three sections, I sha'H confine my analysis to his extended introduction and conclusion. For the priority here is clearly on the side of understanding Heidegger's starting point, aims, and procedures. After examining closely then Heidegger's programatic statements in his introduction and conclusion I shall combine the first with the second to formulate both Heidegger's central claims in this essay and their assumptions. (shrink)

IN a collection of essays devoted to Jean Baufret, Heidegger has published the long awaited text of his 1962 Freiburg lecture, ‘Time and Being’: ‘To think the question of “Being” [“Sein”] properly requires that our reflection follow the direction that makes itself manifest in what allows the presencing of Being [Anwesenlassen]. In what lets Being become present this direction [Weisung] shows evidence for the end of a concealment [Entbergung]. Out of this revelation speaks a granting, an it is granted [Es (...) Gibt]’. (shrink)

Talk of fictions is usually problematic. One reason is our habitual difficulty in distinguishing clearly between discourse about fiction and fictional discourse. And part of our problem is understanding more clearly what such various discourse refers to. In this paper I would like to examine critically a recent influential account of "fictional discourse" with a view towards offering several proposals for reconstructing that account.

AT the conclusion of his 1962 letter to William Richardson, Heidegger speaks about language and the thinking of Being. ‘In proportion to the intrinsically manifold matter of Being and Time all words which give this matter utterance…are always ambiguous. Only a manifold thought succeeds in uttering the heart of this matter in a way that corresponds with it. This manifold thought requires, however, not a new language but a transformed relationship to the essence of the old one’.

Talk of fictions is usually problematic. One reason is our habitual difficulty in distinguishing clearly between discourse about fiction and fictional discourse. And part of our problem is understanding more clearly what such various discourse refers to. In this paper I would like to examine critically a recent influential account of "fictional discourse" with a view towards offering several proposals for reconstructing that account.

Uitti traces here the gradual dissociation of linguistics from both literary theory and the history of literature with the intention of pointing out theoretical aspects of this development and of attracting interested workers in other disciplines. His aim is ‘… to examine the interaction of several methods, the clarification of various materials, and the status of both methods and materials …’. This examination is pursued in three chapters.