_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He shows that (...) a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)

What does it mean to write "This is not a pipe" across a bluntly literal painting of a pipe? René Magritte's famous canvas provides the starting point for a delightful homage by the French philosopher-historian Michel Foucault. Much better known for his incisive and mordant explorations of power and social exclusion, Foucault here assumes a more playful stance. By exploring the nuances and ambiguities of Magritte's visual critique of language, he finds the painter less removed than previously thought from the (...) pioneers of modern abstraction—"confronting them and within a common system, a figure at once opposed and complementary." Foucault's brief but extraordinarily rich essay offers a startling, highly provocative view of a painter whose influence and popularity continue to grow unchecked. _This is Not a Pipe_ also throws a new, piquantly dancing light on Foucault himself. (shrink)

: Peirce's fallibilism is shown to be the "linchpin" of his mature philosophy. In passing, objections regarding a seemingly serious paradox, a textual discrepancy, and the plausibility of an alternative approach to Peirce are answered. Peirce's fallibilism is indeed a puzzling thesis, particularly in that it appears to violate familiar finitist, practical, "here and now" (pragmatist) constraints. But that's precisely where Peirce's ingenuity takes its most interesting form. The solution provided shows the paradox and aporias of Peirce's account to be (...) no more than apparent, the textual infelicity of what would otherwise be a contradiction to be part of Peirce's rhetorical strategy (in combating the effects of James' misreading of his theory of truth), the doctrine of the continuum to be already entailed by Peirce's fallibilism, and the ultimate reconciliation between the infinite limit of inquiry and its finite phases to be essential to Peirce's theory of science cast in terms of what may be described as a Hegelianized reading of Kantian Hope—in effect, a reading of abduction as an original pragmatist version of what may be saved in the sparest way within the post-Kantian tradition. (shrink)

Three strategic claims are explored sympathetically: (i) aesthetic appreciation centers on what is directly discriminable but it cannot, Relative to art, Be restricted to what is thus discriminable; (ii) a work of art may be aesthetically appreciated for properties that it cannot actually be shown to have; (iii) forgeries may, "qua" forgeries, Exhibit aesthetically valuable properties, Including directly discriminable properties. These issues are pursued critically in the context of the views of goodman, Rudner, Iseminger, Dickie, Lyas, And danto--And of specimen (...) cases drawn from the various arts. (shrink)

Peirce's fallibilism is shown to be the "linchpin" of his mature philosophy. In passing, objections regarding a seemingly serious paradox, a textual discrepancy, and the plausibility of an alternative approach to Peirce are answered. Peirce's fallibilism is indeed a puzzling thesis, particularly in that it appears to violate familiar finitist, practical, "here and now" constraints. But that's precisely where Peirce's ingenuity takes its most interesting form. The solution provided shows the paradox and aporias of Peirce's account to be no more (...) than apparent, the textual infelicity of what would otherwise be a contradiction to be part of Peirce's rhetorical strategy, the doctrine of the continuum to be already entailed by Peirce's fallibilism, and the ultimate reconciliation between the infinite limit of inquiry and its finite phases to be essential to Peirce's theory of science cast in terms of what may be described as a Hegelianized reading of Kantian Hope—in effect, a reading of abduction as an original pragmatist version of what may be saved in the sparest way within the post-Kantian tradition. (shrink)

Examines to what extent Heidegger accepted the Nazi philosophy, assesses his anti-Semitism, and looks at the links between philosophy and politics.

In contemporary philosophical debates in the United States "redefining pragmatism" has become the conventional way to flag significant philosophical contests and to launch large conceptual and programmatic changes. This book analyzes the contributions of such developments in light of the classic formulations of Charles S. Peirce and John Dewey and the interaction between pragmatism and analytic philosophy. American pragmatism was revived quite unexpectedly in the 1970s by Richard Rorty's philosophical heterodoxy and his running dispute with Hilary Putnam, who, like Rorty, (...) is a professed Deweyan. Reinventing Pragmatism examines the force of the new pragmatisms, from the emergence of Rorty's and Putnam's basic disagreements of the 1970s until the turn of the century. Joseph Margolis considers the revival of a movement generally thought to have ended by the 1950s as both a surprise and a turn of great importance. The quarrel between Rorty and Putnam obliged American philosophers, and eventually Eurocentric philosophy as a whole, to reconsider the direction of American and European philosophy, for instance in terms of competing accounts of realism and naturalism. (shrink)

EJPAP – This is going to be an informal conversation about the history of American philosophy, about yourself in the history of American Philosophy. Basically, we have four parts of the interview. When and how you encountered pragmatism and what interested you in it, if you think there is an American tradition of philosophy, and then about yourself in this tradition. And then your view about the prospect of the future, your prophecies. It is part of your profile to have (...) a clear view of the fu... (shrink)

The Unraveling of Scientism, a companion to Joseph Margolis's Reinventing Pragmatism, follows the thread of American analytic philosophy through the second half ...

: The March 2003 American preemptive strike on Iraq and related events pose entirely new conceptual questions about the notion of a valid war. A “war on terrorism” goes well beyond any usual version of the “just‐war” concept, which is itself notoriously difficult, if not impossible, to apply in current international circumstances. The implications of the emerging forms of war are examined and are found to bear in an unexpected way on justifying war, “just war,” and justice in distributional and (...) related respects. (shrink)

Joseph Margolis, known for his considerable contributions to the philosophy of art and aesthetics, pragmatism, and American philosophy, has focused primarily on the troublesome concepts of culture, history, language, agency, art, interpretation, and the human person or self. For Margolis, the signal problem has always been the same: how can we distinguish between physical nature and human culture? How do these realms relate? _The Cultural Space of the Arts and the Infelicities of Reductionism_ identifies a conceptual tendency that can (...) be drawn from the work of the twentieth century's best-known analytic philosophers of art: Arthur Danto, Richard Wollheim, Kendall Walton, Nelson Goodman, Monroe Beardsley, Noël Carroll, and Jerrold Levinson, among others. This trend threatens to impoverish our grasp and appreciation of the arts by failing to do justice to the culturally informed nature of the arts themselves. Through his analysis, Margolis sets out to retrieve an adequate picture of the essential differences between physical nature and human culture—particularly through language, history, meaning, significance, the emergence of the human self or person, and the essential features of human life—all to explain how such difference bears on our perception of paintings and literature. Clearly argued and provocatively engaging, Margolis's work reestablishes what is essential to a productive encounter with art. (shrink)

There is a considerable effort in current theorizing about psychological phenomena to eliminate minds and selves as a vestige of folk theories. The pertinent strategies are quite varied and may focus on experience, cognition, interests, responsibility, behavior and the scientific explanation of these phenomena or what they purport to identify. The minimal function of the notion of self is to assign experience to a suitable entity and to fix such ascription in a possessive as well as a predicative way. It (...) is usually argued that Hume formulated an empiricist account of experience that obviated the need for reference to selves; and recent arguments mustered by Derek Parfit claim to show how to preserve experience, interest, responsibility usually assigned selves and persons without invoking any such entities. The argument here advanced demonstrates that Hume actually concedes the minimal use of the notion of self, that there appear to be no convincing grounds for eliminating it, that there are critical uses for the notion that render it ineliminable, that admission is neutral regarding the nature of selves, and that Parfit''s arguments in particular fail. There appear, therefore, to be no empiricist or materialist grounds for the eliminative move. A large recent literature that favors various eliminative strategies is canvassed and shown to be inadequate to its task and unlikely (for principled reasons) to be able to achieve its eliminative objective. (shrink)

_A Companion to Pragmatism,_ comprised of 38 newly commissioned essays, provides comprehensive coverage of one of the most vibrant and exciting fields of philosophy today. Unique in depth and coverage of classical figures and their philosophies as well as pragmatism as a living force in philosophy. Chapters include discussions on philosophers such as John Dewey, Jürgen Habermas and Hilary Putnam.