The concepts of philosophy and imaginative literature have unclear boundaries and blurred edges; they can hardly be defined essentially in any fruitful manner. But we can talk of indicators of a text being philosophical or literary. The concepts of philosophy and literature are contestable. Further, there are no clear‐cut signs of cognitive progress in philosophy and literature. It is also far from certain that there are any philosophical or literary truths. Actually, works of philosophy and literature deal more in possibilities (...) than in actualities. In addition, fictional narratives play an important role in both philosophical and literary texts. Moreover, philosophy and literature share a tendency to thematize themselves, reflect on themselves. If, however, argumentation were to disappear entirely from all philosophical texts, while every literary text is dominated by argumentative discourse, then the concepts of literature and philosophy would become almost devoid of content. Despite this, there is no gap between philosophy and imaginative literature. (shrink)

In this article, I focus on the way one can avow emotions and beliefs in poetry, with an emphasis on emotional expression. I want to show how the so-called Neo-Expressivism concerning self-attributions and avowals can help us understand the nature of emotional expression in poetry. The emphasis is on the way people use poems as vehicles for avowals of emotion and the way that emotions can shine through poems even though the poets did not intend to show those emotions. In (...) order to show that this is possible I shall give a short defense of a moderate, Wittgensteinian intentionalism and interpretative pluralism with respect to the understanding of literary works. What is an avowal? The Israeli philosopher... (shrink)

The article is a response to criticism of my two recent articles on Richard Shusterman’s view of popular culture by Shusterman and Małecki. The former maintains that I have misrepresented his view on Europe, the USA and popular culture. But I point out that he talks as if there is no popular culture in Europe due to Europe’s aristocratic traditions, and that the USA is a hotbed of popular culture thanks to its egalitarian traditions, and that Europe can be treated (...) as a country comparable to the USA. He also says that I falsely think he is talking about popular culture while he is really talking about popular art. But I show that it is meaningless to talk about popular art without talking about popular culture and that as a pragmatist Shusterman should have understood that. I show that Małecki grossly misrepresents my article, maintaining that I am against all forms of popular art and against everything Shusterman says about popular art. I show that this is blatantly wrong. (shrink)

This book introduces and explores Rational Poetic Experimentalism (RPE). According to RPE, it makes sense to regard reason as poetic. Regarding reason this way is the result of experimenting with philosophical ideas. Such experimentation might lead to philosophical truths which might seem very difficult to discover.

When Richard Shusterman burst on the academic scene some decades ago he quickly became the golden boy of aesthetics. Now in his late sixties he is hardly a boy anymore, but possibly a golden oldie. Nevertheless, he is still prone to boyish pranks as can be seen in parts of his new book, The Adventures of the Man in Gold. Paths between Art and Life.