This metaphysical essay opposes all theories which place man's ultimate significance within a totality. The priority of a rupture of the totality is asserted in such phenomena as desire, enjoyment, will, reason, and communication. The reasoning and problems chosen are too often dependent upon a special existential-phenomenological vocabulary.--E. W.
The different distribution of "sexual strength" throughout the female and male life-span, and the resulting social backlogs of unsatisfaction in older women and young men, are cited as natural conditions having as final upshots the inferior social status ascribed to women and the permanent tendency toward war. To break the constellation of sexual adaptations which aggravates the tendencies toward war, the author suggests the introduction of "more generosity" into sex, i.e., the discarding of absolutist sex ideology.--E. W.
"The art object has its own immanent validity," says Hester. By this rather obscure phrase he seeks to dramatize his claim that, modern linguistics and logical positivism notwithstanding, "the poet... succeeds in making the relation between his physical language and its meaning nonconventional." Ostensibly, Hester's book is a discussion and refutation of the claim that meaning is a matter of conventional usage. Poetic metaphor, unlike the literal or technical language he claims Wittgenstein is thinking of, is a "fusion of sense, (...) sensa, and imagery," with sense equivalent to literal meaning through conventional use, sensa equivalent to sound and its onomatopoetic similitudes, and imagery being the "associations" that the writer or reader experiences during the metaphorical "experience-act." Hester holds that poetic metaphors, and their "cousins," scientific models, are "image laden, ambiguous, implicatively full..." but that, unlike the free association inkblots used by the psychologist, they clearly delineate the realm of relevant, meaningful image-association. He believes that Wittgenstein would have accepted metaphor as one of his "language games," but still insists that this language game is useful for communicating meanings, despite the fact that one cannot ostensively identify the conventions of usage for the bounded associations. The book is thus a veritable Pandora's Box of classic problems in the philosophies of mind, language, and aesthetics, and in fact it is the overambitiousness of the work which causes it again and again to leave important problems unresolved.—E. H. W. (shrink)
The title of this work is a somewhat saucy overstatement of its thesis—that perceivers seek in works of art experiences of "discontinuity" and "disorientation," as a kind of "rehearsal" for "real life" situations in which they must negotiate intellectual tensions, resulting from a disparity between what they expect and what actually happens. Art-perceiving, the author asserts, is a "biological, adaptive" mechanism characteristic of the human organism. Peckham, like most thoughtful readers of art history, is irritated by the preposterous assertions that (...) man's perceptions are a mad, disorderly blizzard of phenomena, and the artist alone can bring "order" to the mess. Of course, it is obvious that neither of these notions is very sensible, but the unfortunate truth about the lay psychology of most criticism is that Dr. Peckham's assertions in this connection will probably be regarded as controversial in many departments of literature and fine arts. The author is at his best when barbedly [[sic]] criticizing his colleagues; he is at less than his best, however, when he assumes the mantle of philosophical psychology in order to bring authority to his arguments. Intent upon finding confirmation in both the fashionable and passe schools of behavioral science and philosophy, he masses gluts of aphorisms from Gestalt psychology, Husserl, Heidegger, Susanne Langer, and Paul Ziff (the last pair being very indiscreetly aligned to form notions which are no less intuitive than those of the various art-historians he is admonishing. In the area of psychology, Peckham ignores all of the current approaches, and in the area of philosophy he refers to linguistic analysis or philosophy of science as though each were substantively and methodologically unified, and possessed clear-cut views about the universe. Peckham's central thesis, moreover, leaves one unable to distinguish a work of creative physics from a novel.—E. H. W. (shrink)
ABSTRACTThis article addresses the ways in which art and philosophy have been discursively used to conceptualize critical political changes and frame narratives of liberation by including and excluding primitive consciousness simultaneously. More concretely, it analyzes the contribution of art and philosophy to the understanding of history and post-history through different representations of black bodies, black desires, and black agencies in the novels She by Rider Haggard and The Quest of the Silver Fleece by W. E. B. Du Bois. At stake (...) is the question of the archeology of the past as a living memory in the post-historical time. This past is politically relevant especially if its cognitive fossils negate the idea of exhausted primitive consciousness in the modern world and give meanings to incongruous bedfellows such as civilization and slavery, neoliberalism and poverty, democracy and Nazism, globalization, terrorism and racism, liberalism and homophobia. Arguably, the triumph of scientifi... (shrink)
Dr Rouner has produced a highly readable and, if one may judge by those whom he had check his facts, W E Hocking and his son Richard Hocking, also a very reliable book. The book is a largely reworked Columbia University doctoral dissertation, originally done under the direction of W Pauck, J H Randall, claimed by the author to be ‘the foremost English-speaking historian of modern Western philosophy’, and M S Bates.
Between 1957 and 1961, W. E. B. Du Bois wrote a lengthy work of historical fiction, a trilogy collectively titled The Black Flame. Through the lenses of four American families, the narrative offers an illuminating glimpse into the American, political drama of the late 19th and early 20th centuries, focusing on the degree to which “the negro problem” featured in important decisions and events. Reiterating ideas found in his other works—like Black Reconstruction —the narrative foregrounds the gravity of the “Negro (...) Problem” in the formation and constitution of American culture and political institutions.While this paper will examine a few of the specific arguments that emerge from The Black... (shrink)
Philosophy, according to a prominent conception of its nature and method, consists primarily of conceptual or linguistic analysis. Because the relations between concepts are logical, and because the propositions which express them are necessary, philosophy is taken to be an a priori activity.
While psychoanalysis credits the entrenchment of systems of subordination to the necessity of socialization and the transmission of dominant values from parent to child, by claiming social symbolics independent of the dominant hegemony, W.E.B. Du Bois calls for resistant forms of identification. Psychoanalyticaccounts of social power relations often assume that the dominant social group produces the only operative social symbolic and that this symbolic is also identical with the nation, but Du Bois’s attention to the slave song allows him to (...) trace the burial of a black American symbolic rather than a traumatic inculcation of the dominant white symbolic. (shrink)
The black social gospel emerged from the trauma of Reconstruction to ask what a “new abolition” would require in American society. It became an important tradition of religious thought and resistance, helping to create an alternative public sphere of excluded voices and providing the intellectual underpinnings of the civil rights movement. This tradition has been seriously overlooked, despite its immense legacy. In this groundbreaking work, Gary Dorrien describes the early history of the black social gospel from its nineteenth-century founding to (...) its close association in the twentieth century with W. E. B. Du Bois. He offers a new perspective on modern Christianity and the civil rights era by delineating the tradition of social justice theology and activism that led to Martin Luther King Jr. (shrink)
In this book, Mocombe illustrates ways that Barack Obama is the embodiment of the social identity as the liberal black Protestant heterosexual male. This is an identity best represented in the work of W.E.B. Du Bois.
O presente artigo pretende refletir, a partir de contribuições de Theodor W. Adorno, sobre aspectos da formação objetiva do sujeito. Isso é feito por meio da apropriação de conceitos como autoconservação, autocrítica e crítica imanente. Tomamos como exemplo parte do projeto de à la recherche du temps perdu de Marcel Proust, nomeadamente, Un amour de Swann . A análise do processo de formação de Swann permite observar nexos e tensões que o sujeito elabora com o mundo objetivo. A ação do (...) Swann incorpora na sua relação co m o mundo objetivo os processos próprios da Obra de Arte autêntica para empreender a crítica necessária ao contexto social em que está inserido. Crítica esta, também, voltada a si próprio. (shrink)