Aesthetics, hermeneutics, criticism -- Social Werktreue and the subjectivization of aesthetics -- From musike to metaphysics -- Formalist aesthetics and musical hermeneutics -- Deconstructing the disciplinary divide -- The question of metaphor -- Mimesis and the hermeneutics of music -- Political critique and the politics of music criticism -- Toward a hermeneutics of music criticism.

Introduction: What is criticism? (a preliminary dialogue) -- The critic as artist and vice versa -- The eye of the beholder -- Self-criticism (a further dialogue) -- Lost in the museum -- The trouble with critics -- Practical criticism (another dialogue) -- How to be wrong -- The critical condition -- The end of criticism (a final dialogue) -- Afterword.

Two books have been particularly influential in contemporary philosophy of science: Karl R. Popper's Logic of Scientific Discovery, and Thomas S. Kuhn's Structure of Scientific Revolutions. Both agree upon the importance of revolutions in science, but differ about the role of criticism in science's revolutionary growth. This volume arose out of a symposium on Kuhn's work, with Popper in the chair, at an international colloquium held in London in 1965. The book begins with Kuhn's statement of his position followed (...) by seven essays offering criticism and analysis, and finally by Kuhn's reply. The book will interest senior undergraduates and graduate students of the philosophy and history of science, as well as professional philosophers, philosophically inclined scientists, and some psychologists and sociologists. (shrink)

This book offers a distinctive interpretation of Hegel's Phenomenology of Spirit. It suggests that Hegel's approach in the 1807 Phenomenology is akin to Socratic 'midwifery'. The book starts from the midwife figure in Plato's dialogue Theaetetus. There Socrates elicits from Theaetetus his views on the nature of knowledge, without imposing on him his own ideas thereof. Similarly, in the 1807 Phenomenology Hegel elicits a series of shapes of consciousness and spirit, and uncovers the implications of each one of them. In (...) the same way as Socrates subjected in his interlocutor's views to an internal criticism to see whether they were valid or not, Hegel subjects the various 'shapes of consciousness' to an immanent critique, in the course of which each oneof them proves to be inadequate on its own terms. Like the Platonic dialogue Theaetetus, Hegel's Phenomenology does not end in a positive doctrine. So the Phenomenology of Spirit introduces us to philosophical science in a negative sense, that is, by showing what philosophical science is not. In this way it prepares the ground for science proper, namely, Hegel's Science of Logic. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room (...) for a nuanced distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

What is the relationship between literary criticism and ethics? Does criticism have an ethical task? How can criticism be ethical after literary theory? Ethical Criticism seeks to answer these questions by examining the historical development of the ethics of criticism and the vigorous contemporary backlash against what is known as 'theory'. The book appraises current arguments about the ethics of criticism and, finding them wanting, turns to the philosophy of Emmanuel Levinas. Described as 'the (...) greatest moral philosopher of the twentieth century', Levinas' thought has had a profound influence on a number of significant contemporary thinkers. By paying close attention to his major writings, Robert Eaglestone argues cogently and persuasively for a new understanding of the ethical task of criticism and theory. (shrink)

Moral agency is limited, imperfect, and structurally constrained. This is evident in the many ways we all unwittingly participate in widespread injustice through our everyday actions, which I call ‘structural wrongs’. To do justice to these facts, I argue that we should distinguish between summative and formative moral criticism. While summative criticism functions to conclusively assess an agent's performance relative to some benchmark, formative criticism aims only to improve performance in an ongoing way. I show that the (...) negative sanctions associated with summative responses are only justifiably imposed under certain conditions when persons exercise their agency wrongly — conditions that do not always hold for structural wrongs. Yet even in such cases we can still use formative responses, which are warranted whenever agents fall short of moral ideals. Expanding our repertoire of moral criticism to include both summative and formative responses enables us to better appreciate both the powers and limitations of our agency, and the complexity of moral life. (shrink)

칸트는 『아름다움과 숭고의 감정에 관한 고찰』과 『실천적 관점에서의 인간학』에서 자연의 본성상 여성은 남성의 성적 충동에 맞추어 아름답게 꾸미고 장식하며, 남성은 이러한 여성의 아름다움과 패션을 바라보는 존재로서 정작 자신의 패션에 대해서는 신경을 쓰지 않는다고 주장한다. 여성은 ‘보여지고’, 남성은 이를 ‘바라보는’ 존재라는 이러한 이분법은 여성주의 몸연구에서 가장 비판하는 지점이다. 그런데 『고찰』의 아름다움에 대한 칸트의 남녀 생물학적 이분법은 『판단력비판』의 미학적 인식론과 필연적 관계를 맺고 있다. 칸트는 『판단력』에서 무관심적 취미판단의 인간적, 미적 쾌의 선험적 인식론을 제시하면서, 이와 대비되는 동물적 쾌의 영역으로서 육체적인 것, 쾌락적인 것, (...) 욕망적인 것을 관심적인 것으로 규정한다. 이 때 취미판단의 주체는 보편적 인간자아라고 하나 사실상 남성적 자아이다. 그리고 관심적 영역으로서 여성의 섹슈얼리티, 아름다움, 패션은 『고찰』에서 다뤄지고 있다. 이상의 『고찰』과 『판단력』을 패션관점에서 종합해보면, 칸트의 사유 안에서 무관심적 취미판단의 주체(남성)는 ‘시각적’ ‘보는’ 주체로, 여성의 섹슈얼리티와 아름다움은 ‘보여지는’ ‘대상’으로서 관심적 영역으로 타자화(주변화)된다. 성sex의 범주는 언제나 여성적이고, 남성적인 것은 보편적인 것이기에 남성은 ‘보되 보이지 않는’ 존재가 된 것이다. BR 그런데 근대남성패션은 사실상 여성 이상으로 남성들이 화려한 성적 과시와 섹슈얼리티에 탐닉하며 ‘보여지는’ 대상이었음을 알려준다. 이러한 남성적 보여짐패션은 칸트의 무관심/관심, 남성/여성, 보다/보이다의 이분법과 여성과 패션, 섹슈얼리티의 타자화를 일거에 무너뜨린다. 패션의 인식론은 ‘보되 보이지 않는’ 주체를 허용하지 않기 때문이다. 인간은 ‘보며 보여지는’ 존재, 시각적 촉각적 존재이기 때문이다. 여성주의 관점에서 패션의 인식론은 바로 이러한 인간의 이중적 자기인식을 환기하며 기존의 인식론에 기여할 수 있을 것이다. (shrink)

Imre Lakatos; II—Criticism and the Methodology of Scientific Research Programmes, Proceedings of the Aristotelian Society, Volume 69, Issue 1, 1 June 1969, Page.

In this paper, I argue that the standard interpretation of Russell as a causal eliminativist is partial and misleading. Instead, I defend the thesis that his criticism of causality was actually part of the more ambitious project of transposing the common- sense concept of “cause” in the categories that articulate the representations of modern science. I also show that Russell endorsed such a project all along his philosophical career, despite the numerous changes of mind that characterized the development of (...) this thought. (shrink)

Imre Lakatos; II—Criticism and the Methodology of Scientific Research Programmes, Proceedings of the Aristotelian Society, Volume 69, Issue 1, 1 June 1969, Page.

Medicine is increasingly subject to various forms of criticism. This paper focuses on dominant forms of criticism and offers a better account of their normative character. It is argued that together, these forms of criticism are comprehensive, raising questions about both medical science and medical practice. Furthermore, it is shown that these forms of criticism mainly rely on standards of evaluation that are assumed to be internal to medicine and converge on a broader question about the (...) aim of medicine. Further work making medicine’s internal norms explicit and determining the aim of medicine would not only help to clarify to what extent the criticism is justified, but also assist an informed deliberation about the future of medicine. To illustrate some of the general difficulties associated with such a task, the paper concludes by critically engaging Edmund Pellegrino’s account of the aim of medicine as well as the Hastings Center’s consensus report. (shrink)

Drawing on his knowledge of the worlds of art, criticism, and philosophy, Noèel Carroll argues that appraisal and evaluation of art are an indispensable part of the conversation of life.

It furthers the dialectic when the opponent is clear about what motivates and underlies her critical stance, even if she does not adopt an opposite standpoint, but merely doubts the proponent’s opinion. Thus, there is some kind of burden of criticism. In some situations, there should an obligation for the opponent to offer explanatory counterconsiderations, if requested, whereas in others, there is no real dialectical obligation, but a mere responsibility for the opponent to cooperate by providing her motivations for (...) being critical. In this paper, it will be shown how a set of dialogue rules may encourage an opponent, in this latter type of situation, to provide her counterconsiderations, and to do so at an appropriate level of specificity. Special attention will be paid to the desired level of specificity. For example, the critic may challenge a thesis by saying “Why? Says who?,” without conveying whether she could be convinced by an argument from expert opinion, or from position to know, or from popular opinion. What are fair dialogue rules for dealing with less than fully specific criticism? (shrink)

I tackle the definition of the relation between first and second nature while examining some problems with McDowell's conception. This, in the first place, will bring out the need to extend the notion of second nature to the social dimension, understanding it not just as `inner' second nature — individual mind — but also as `outer' second nature — objective spirit. In the second place the dialectical connection between these two notions of second nature will point the way to a (...) critical use of the concept itself, which will link up with a theory of reification. Furthermore, I shall endeavor to fit my reflection into the problematic constellation of critical theory: my analysis in fact rests on the question whether, within a critical theory, the philosophy of nature can be recaptured today, in such a way as to give meaning to the very notion of socio-philosophical criticism of reality. (shrink)

A growing body of literature critical of ethics review boards has drawn attention to the processes used to determine the ethical merit of research. Citing criticism on the bureaucratic nature of ethics review processes, this literature provides a useful provocation for (re)considering how the ethics review might be enacted. Much of this criticism focuses on how ethics review boards _deliberate,_ with particular attention given to the lack of transparency and opportunities for researcher recourse that characterise ethics review processes. (...) Centered specifically on the conduct of ethics review boards convened within university settings, this paper draws on these inherent criticisms to consider the ways that ethics review boards might enact more communicative and deliberative practices. Outlining a set of principles against which ethics review boards might establish strategies for engaging with researchers and research communities, this paper draws attention to how _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ for the ethics review might be enacted in the day-to-day practice of the university human ethics review board. This paper develops these themes via a conceptual lens derived from Habermas’ (The theory of communicative action. Volume 1: Reason and the rationalization of society, 1984 ) articulation of ‘communicative action’ and Fraser’s (Social Text, 25(26), 56–80, 1990 ) consideration of ‘strong publics’ to cast consideration of the role that human ethics review boards might play in supporting university research cultures. _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ provide useful conceptual prompts for considering how ethics review boards might undertake their work. (shrink)

Until very recently, feminist criticism has not had a theoretical basis; it has been an empirical orphan in the theoretical storm. In 1975, I was persuaded that no theoretical manifesto could adequately account for the varied methodologies and ideologies which called themselves feminist reading or writing.1 By the next year, Annette Kolodny had added her observation that feminist literary criticism appeared "more like a set of interchangeable strategies than any coherent school or shared goal orientation."2 Since then, the (...) expressed goals have not been notably unified. Black critics protest the "massive silence" of feminist criticism about black and Third-World women writers and call for a black feminist aesthetic that would deal with both racial and sexual politics. Marxist feminists wish to focus on class along with gender as a crucial determinant of literary production. Literary historians want to uncover a lost tradition. Critics trained in deconstructionist methodologies with to "synthesize a literary criticism that is both textual and feminist." Freudian and Lacanian critics want to theorize about women's relationship to language and signification.· 1. See my "Literary Criticism," Signs 1 : 435-60.· 2. Annette Kolodny, "Literary Criticism," Signs 2 : 420.Elaine Showalter is professor of English at Rutgers University. The author of A Literature of Their Own: British Women Novelists from Bronte to Lessing, she is currently completing The English Malady, a study of madness, literature, and society in England. (shrink)

Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events (...) and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation. (shrink)

The critical theory of the Frankfurt School starts with an explanatory-diagnostic analysis of the social pathologies of the present followed by anticipatory-utopian reflection on possible treatments for these disorders. This approach draws extensively on parallels to medicine. I argue that the ideas of social pathology and crisis that pervade the methodological writings of the Frankfurt School help to explain critical theory’s contention that the object of critique identifies itself when social institutions cease to function smoothly. However, in reflecting on the (...) role that reason and self-awareness play in the second stage of social criticism, I contend that this model is actually better conceptualized through the lens of the psychoanalyst rather than the physician. Although the first generation’s explicit commitment to psychoanalysis has dissipated in recent critical theory, faith in a rationalized ‘talking cure’ leading to greater self-awareness of existing pathologies remains at the core of the Frankfurt School. (shrink)

The idea and practice of art, which started to change in the modern period, continued its metamorphosis in the post-modern period. Contemporary art, which was handled by many philosophers and thinkers, was called trans-aesthetic by Jean Baudrillard. According to Baudrillard, art has lost its meaning by penetrating every aspect of life in the post-modern age. In other words, art has become the transfer of images that mean nothing by becoming trans-aesthetic. At this stage, no object can be said to be (...) beautiful or ugly. (shrink)

In this paper, we develop a general normative framework for criticisability, blamelessness and blameworthiness in action. We then turn to the debate on norms of assertion. We show that an application of this framework enables champions of the so-called knowledge rule of assertion to offer a theoretically motivated response to a number of putative counterexamples in terms of blamelessness. Finally, we argue that, on closer inspection, the putative counterexamples serve to confirm the knowledge rule and disconfirm rival views.

In the scientific communities most criticisms are constructive, while they are destructive in the humanistic circles. Indeed, scientists circulate their drafts among colleagues and students, hoping to elicit their comments and suggestions before submitting their work to publication. In contrast, philosophers and political thinkers attack their rivals, without sparing arguments ad hominem or even insults. The reason for this difference is that scientists are after the truth, whereas most humanists fight for more or less noble causes, from swelling their own (...) curricula to joining crusades for or against rationality, realism, justice, or what have you. (shrink)

In this paper, making reference to Robert Brandom's philosophical proposal - and against the background of Brandom's debate with Jürgen Habermas - I shall endeavor, first, to define the relation between recognition and normativity and then between recognition and criticism; in the final part of the paper I shall suggest a perspective that approaches recognition in terms of capacities. On this basis I attempt to see the critical attitude as something that is founded more on individual potentials than on (...) formal criteria and that is essentially connected with a power of redescription: a dialectical anthropology of recognition is thus the most promising base to account for that which substantiates our critical powers. (shrink)

If we have no transparent access to our self, what kind of self-criticism is possible? Neither modernists nor postmodernists yet this pragmatic issue correct.

In this work, Collingridge offers a general philosophy of criticism. Many philosophers influenced by the ideas of Karl Popper have hoped to see an expansion from his view of the operation of criticism within science to a more general account of criticism, and, until now, moves in this direction have had only limited success. This book extends Popper's account of the role of criticism in science to many other areas of inquiry.

Criticism in philosophy goes in accordance with general skeptical scientific attitude toward results of a research. The latter are to be achieved, presupposed, given as data and become to be verified or falsified, questioned by critique, analyzing etc. Criticism is improved mean to avoid persuasion and relativism, but (as selected sample versions of philosophical criticism will illustrate, in particular critical legacy of I. Kant, H. Putnam and L. Wittgenstein, especially via resolute interpretation of his views by J. (...) Conant) all three methodological attitudes are mutually correlated, sometimes even viciously. Relativism appears to be less vicious, because it could be treated as performative: relativism is relative. Attention to performativity of relativism can provide for its contextual validity and relativity. (shrink)

In "Criticism and the History of Science" Karl Popper's falsificationist conception of science is developed and defended against criticisms raised by Thomas ...

Logical Criticism of Buddhist Doctrines is a ‘thematic compilation’ by Avi Sion. It collects in one volume the essays that he has written on this subject over a period of some 15 years after the publication of his first book on Buddhism, Buddhist Illogic. It comprises expositions and empirical and logical critiques of many (though not all) Buddhist doctrines, such as impermanence, interdependence, emptiness, the denial of self or soul. It includes his most recent essay, regarding the five skandhas (...) doctrine. (shrink)

The book follows on the heels of the acclaimed Criticism of Heaven, being the second volume of a five volume series called Criticism of Heaven and Earth.

This paper proposes a critical analysis of that interpretation of the Nāgārjunian doctrine of the two truths as summarized—by both Mark Siderits and Jay L. Garfield—in the formula: “the ultimate truth is that there is no ultimate truth”. This ‘semantic reading’ of Nāgārjuna’s theory, despite its importance as a criticism of the ‘metaphysical interpretations’, would in itself be defective and improbable. Indeed, firstly, semantic interpretation presents a formal defect: it fails to clearly and explicitly express that which it contains (...) logically; the previously mentioned formula must necessarily be completed by: “the conventional truth is that nothing is conventional truth”. Secondly, after having recognized what Siderits’ and Garfield’s analyses contain implicitly, other logical and philological defects in their position emerge: the existence of the ‘conventional’ would appear—despite the efforts of semantic interpreters to demonstrate quite the contrary—definitively inconceivable without the presupposition of something ‘real’; moreover, the number of verses in Nāgārjuna that are in opposition to the semantic interpretation (even if we grant semantic interpreters that these verses do not justify a metaphysical reconstruction of Nagarjuna’s doctrine) would seem too great and significant to be ignored. (shrink)

Can subjective taste regulate social norms or political practices? This book argues that from the late seventeenth century to the present national cultures have sought to regulate the democratic subject through the academic form of arguments about the proper relations of aesthetics to ethics and politics. In so doing it offers a radical reconsideration of the history of modernity, tracing the emergence of criticism as a socio-cultural practice across all the major European nations, and drawing on an extensive range (...) of European literature and philosophy. (shrink)

This essay makes a case for the truth claims of literary criticism by examining the epistemology of close reading. It looks closely at skilled practices of quotation and asks what distinctive kind of knowledge they exhibit and create.

이 논문은 예술작품의 가치, 기법, 상상력 등의 복합적 요소들을 분석하는 비평의 관점, 방법, 구성 등에 대해 살펴보고자 한다. 비평은 작품의 기법이나 가치를 형성하고 있는 사 상적 문화적 배경, 또는 작가가 무심코 행한 예술적 행위도 새로운 측면에서 해석하기 때 문에 또 하나의 창작이라고 말할 수 있다. 이 글에서 말하고자 하는 비평적 분석은 작품 속에 숨겨진 그와 같은 복합성의 요소들을 분석하고 그 열린 구조를 찾아내는 방법이다. 이런 측면에서 이 글은 ‘예술비평은 무엇을 분석하는가’, ‘예술작품을 철학적으로 어떻게 비평할 것인가’ 등에도 주요 초점을 갖고 작품 (...) 및 비평의 의미, 비평의 구성방법과 사례들 을 소개하고자 했다. 그리고 들뢰즈의 예술비평과 그 예시를 통해 작품을 읽고 생각할 수 있는 철학적 비평의 방법을 살펴보고자 했다. 그 결과 우리가 작품을 창의적으로 읽고 이 해한다는 것은 그 복합성을 분석하고 이해할 수 있는 통섭(通涉)의 시선을 필요로 한다는 점을 강조하고자 한다. (shrink)

In this paper I develop and defend a form of argumentative normativity that is not based on fundamental principles. I first argue that research agendas that aim to discover fundamental principles of ‘good’ argumentative discourse share one crucial weak spot, viz. circularity. I then argue that this weak spot can be avoided in a pancritical view of normativity.

This study presents some of the contributions to the process of the constructing Europe since the illustrated ideas of the German philosopher Krause that were promoted and represented by eminent Spanish Krausist legal experts, such as Francisco Giner de los Ríos. His conception of Europe and European civilisation contains theories that, despite being surprising and openly opposed at the time, have today become part of the global heritage of modern day legal philosophy and our social aspirations. We firstly study how (...) the development of the Krausist legal philosophy contributed to the political development of Spain and how this ius-philosophical thinking had a modernising influence on Spanish legal philosophy and science. Secondly, we delve deeper into the basic principles of Krausist legal-sociological theory that have had a major influence on Europeanisation, reviewing its most ardent criticism of the European imperial nationalism doctrine. (shrink)

Now that well-paying jobs in film criticism have largely evaporated, while blogs, message boards, and social media have given new meaning to the saying that "everyone's a critic," urgent questions have emerged about the critic's status and purpose. In Film Criticism in the Digital Age, ten scholars from across the globe, as well as critics and bloggers, come together to consider whether we are witnessing the extinction of serious film criticism or seeing the seeds of its rebirth (...) in a new form. (shrink)

Having accepted the invitation to write a regular column about art from Elizabeth Pochoda, then the literary editor of The Nation magazine, Arthur Danto wrote a lot of criticism. Danto wrests himself free of the history of art criticism when, in writing about recent predecessors, he claims that their critical approaches must be understood as artifacts of their historical time. The lack of an autonomous history of art criticism, one that would make current practice intelligible in terms (...) of its own history, should puzzle us. Many other genres of criticism plainly have histories that shape their current practice in terms both of subject and method. The value of Danto's essay as criticism is exhausted in its relation to the moment of the art world in which it participated. (shrink)

This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of ethical (...) criticism, I argue, offers new reasons to prefer moderate actual intentionalism to hypothetical intentionalism. I conclude by arguing for the necessity of broadening our conception of ethical criticism. (shrink)