The beginning of the 21st century has seen the renewed use of aesthetics as a critical and interpretive method within various discursive spheres. Particularly, and unsurprisingly, this move has been most pronounced in the discursive systems of philosophy and the artworld. It is to this more specific re-discovery that the authors in this journal address their arguments.

Much of Michel Foucault's work involves complex and detailed studies of madness, the clinic, the prison, the human sciences, sexuality, etc. In addition to these studies, however, three major themes may be identified on his intellectual journey. These are the analysis of epistemes, or historical regions of discourse; the investigation of “regimes of truth”; and the study of “techniques of the self”. Foucault's problematic is linked to his general claim that explanation and language do not stand on a single ground (...) or origin which sustains them. Foucault proposes to investigate particular networks of discourses, where both regular and irregular patterns may be identified. His proposed method is both epistemological and archaeological. Genealogy develops the historical perspectivism opened up by archaeology and further supports Foucault's view that the presuppositions and norms governing particular cultures and periods are maintained by a mixture of ideologies and strategic factors of various kinds. (shrink)

Gadamer's discussion of play occurs as part of his effort to develop a philosophical hermeneutics, or a theory of interpretation, that attempts to reconcile two apparently opposed concepts, namely, universality and historicity. Heidegger's “hermeneutic of facticity”, or the existential structure of understanding, as developed in Being and Time, has an important influence on Gadamer's efforts to develop an historical and universal account of interpretation. It leads Gadamer to criticize traditional views of “aesthetic” and “historical” consciousness because of their failure to (...) adequately account for the “unique, originary experiences” of human beings, such as play, which are basic both to our inherence in the world and our self‐experience. Gadamer holds that the universality of the hermeneutical experience can be approached from any starting point. Play, human action in general, speech and writing, language use, etc., are intentional phenomena and have intentional properties. (shrink)

One of the important aspects of recent aesthetics is its focus on cross-disciplinary approaches. This implies that, although claims to generality and objectivity continue to be made, no single practice, science, or approach is able to provide absolute evidential support for arguments and claims. Aesthetics as a critical enterprise, therefore, is open to a plurality of explanations. As a result, art becomes more than another object of scientific or philosophical inquiry. It becomes a model for philosophical practice that can complement (...) or compete with dominant scientific paradigms. However, such aesthetic practice must respond to at least two grounds for skepticism: that a turn to aesthetics involves withdrawal from either critical and rigorous thinking or from social action and life. By discussing three core themes relevant for recent debates across the fields of philosophy, art history/theory and art pratice we would like to show how these concerns, while serious, can be taken up by aesthetics. These themes are: 1. the issue of validity (motivated by inquiries into the peculiar validity of aesthetic judgments); 2. the issue of subjectivity (motivated by the stipulated ‘special link’ between aesthetics and the human subject); and the political dimension of aesthetics (highlighted by the political implications of pluralist approaches to aesthetics, such as the need for negotiation and appeal). (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides (...) a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

This article discusses the representation of law in Toni Morrison’s Beloved in the context of legal philosophy. Beloved’s contribution to the legal humanities has been described in terms of the contrast Morrison dramatizes between two visions of law: the violence of human chattel slavery embodied by the titular ghost, Beloved, and the communal act of solidarity that exorcizes her from her mother’s house. Yet this characterization neglects the associations Morrison draws in Beloved and in her metacommentary between the ghost and (...) other juridical forms, including personality and property. This article proposes an interpretation of Beloved that reads the ghost as a metaphor for the modern, metaphysicalized sense of the legal person for whom self-possession has become a prerequisite for action. Through a reading of Beloved that considers the final version of the novel against an unpublished earlier ending revealed by Morrison’s papers, I argue that Beloved challenges the reducibility of modern personhood to reflexive ownership. (shrink)

"Why should we care about having true beliefs? And why do demonstrably false beliefs persist and spread despite consequences for the people who hold them? Philosophers of science Cailin O’Connor and James Weatherall argue that social factors, rather than individual psychology, are what’s essential to understanding the spread and persistence of false belief. It might seem that there’s an obvious reason that true beliefs matter: false beliefs will hurt you. But if that’s right, then why is it irrelevant to (...) many people whether they believe true things or not? In an age riven by "fake news," "alternative facts," and disputes over the validity of everything from climate change to the size of inauguration crowds, the authors argue that social factors, not individual psychology, are what’s essential to understanding the persistence of false belief and that we must know how those social forces work in order to fight misinformation effectively."–Publisher’s description. (shrink)

In this new book, Alessandra Tanesini demonstrates that feminist thought has a lot to offer to the study of Wittgenstein's philosophical work, and that -at the same time-that work can inspire feminist reflection in new directions. In Wittgenstein, Tanesini offers a highly original interpretation of several themes in Wittgenstein's philosophy. She argues that when we look at his work through feminist eyes we discover that he is not primarily concerned with providing solutions to technical problems in the philosophy of mind, (...) mathematics, and language. Instead, his remarks on these topics are intended to offer insights about human finitude, the loneliness of the modern autonomous self, and our relations to other human beings. Thus, the modern conception of the individual emerges as the critical target of Wittgenstein's philosophical work, both early and late. This conception has also been one of the dominant concerns of contemporary feminist philosophy. In this book, Wittgenstein's insights are deployed to further feminist debates on issues such as identity, difference, the masculine character of the modern self. (shrink)

In this classic, exciting, and thoughtful text, Metaphysics , Peter van Inwagen examines three profound questions: What are the most general features of the world? Why is there a world? and What is the place of human beings in the world? Metaphysics introduces to readers the curious notion that is metaphysics, how it is conceived both historically and currently. The author's work can serve either as a textbook in a university course on metaphysics or as an introduction to metaphysical thinking (...) for the interested reader. This second edition, revised though not fundamentally changed, includes the basis of the first edition with a new chapter on the nature of time. (shrink)

Although vast and complex, the universe is orderly in many ways, and conditions at its beginning were right for the eventual evolution of life on this planet. But with life there is death, and with sentient life there is great pain and suffering, often with no apparent justification or purpose. Taking these things together, is it reasonable to conclude that the universe was brought about by God? Moreover, does the magnitude of seemingly pointless suffering square with the idea that God (...) exists, or is it good reason to think there is no God? These questions come up for many people, not just religious believers, and are examined in this engaging and thought-provoking book. Starting out with no pre-disposition to theism, atheism, or agnosticism, God, Evil, and Design takes up these questions in order to see where an impartial investigation leads. To achieve impartiality, the reader is invited to simulate ignorance insofar as his or her own religious preference is concerned. With this approach, God, Evil, and Design provides both a fresh look at important and controversial issues in philosophy and an excellent introduction to the contemporary debates surrounding them. Lively and non-technical, this book will be accessible to anyone with an interest in these topics. (shrink)