As a recent addition to the editorial board for the journal of Philosophy in the Contemporary World, I wanted to revisit a practice from past editions of the journal—interviewing philosophers who engage philosophical practice that reflects the mission of PCW. In this interview, a model for what I hope will continue to be a regular feature, I have a dialogue with the philosopher Burcu Gurkan. Professor Gurkan currently lives and works in Turkey while I live in work in the central (...) US, so what follows is edited from an email exchange.—Taine Duncan. (shrink)

The minutes of Adorno’s aesthetics seminar, held during the summer term of 1932 at the university of Frankfurt, are a rare trace of the early philosophical reception of Walter Benjamin’s opus magnum, The Origin of German Tragic Drama (1928). Showcasing his critical spirit and pedagogy, Adorno and his students attempt a clarification, as well as a problematization, of this dense and difficult text, touching on such problems as the historicity of ideas or the concept of a ‘constellation’. This document is (...) thus both a valuable aid for reading Benjamin’ Trauerspiel-Buch and an important document for understanding the sources of Adorno’s own philosophy. (shrink)

With all of exciting changes happening with the Journal, we thought a joint interview of one another might be a great way to highlight the vision and mission for Philosophy in the Contemporary World moving forward. This edition is our first edition to be printed fully online, a practice we look forward to ensuring accessibility and worldwide access for subscribers. We also wish to acknowledge our appreciation of the patience of all who follow, read, and subscribe to our journal. Infrastructure (...) changes and a reprint have caused us some publication delays. However, we are very excited about the future to come here at the journal! (shrink)

The Society for Philosophy in the Contemporary World maintains a commitment to pluralism in philosophical discourse by encouraging original, unconventional research with regard to contemporary concerns. Often this original and unconventional approach enables urgent and timely discussions to come to the fore. In the special section of this issue, Andrew Fiala’s Tyranny from Plato to Trump (2022) is engaged, not merely as an abstract author-meets-critics discussion, but as a provocative meditation on the present and a call to philosophers to respond (...) to our political moment. (shrink)

This article contains four essays from the Anarres Project, a forum for conversations, ideas, and initiatives that promote a future free of domination, exploitation, oppression, war, and empire. In the spirit of philosophy in the contemporary world, the selection includes recent work on the pandemic and related struggles for justice in the past year. An introduction to the project is included.

Deconstruction is no game of mirrors, revealing the text as a play of surface against surface. Its more radical philosophical effort is to get behind the mirror and question the very nature of reflection. The Tain of the Mirror explores that gritty surface without which no reflection would be possible.

The Táin Bó Cuailnge, centre-piece of the eighth-century Ulster cycle of heroic tales, is Ireland's greatest epic. It tells the story of a great cattle-raid, the invasion of Ulster by the armies of Medb and Ailill, queen and king of Connacht, and their allies, seeking to carry off the great Brown Bull of Cuailnge. The hero of the tale is Cuchulainn, the Hound of Ulster, who resists the invaders single-handed while Ulster's warriors lie sick. Thomas Kinsella presents a complete and (...) living version of the story. His translation is based on the partial texts in two medieval manuscripts, with elements from other versions, and adds a group of related stories which prepare for the action of the Táin. Illustrated with brush drawings by Louis le Brocquy, this edition provides a combination of medieval epic and modern art. (shrink)

C'est par anachronisme que l'on distingue aujourd'hui en Taine l'historien, le psychologue, le critique et l'écrivain. Cet ouvrage entreprend de montrer l'unité de son oeuvre et propose une réflexion sur la nature propre des sciences humaines, dont Taine a contribué à forger l'identité moderne.

ABSTRACT: Taine aspired to place his philosophical project in the synthesis of the two major theoretical tendencies of the nineteenth century: positivism, on the one hand, giving preference to the English tradition, and German metaphysics, mostly Hegelianism, on the other. What does this attempt mean in the field of aesthetics? Taine based his interpretation of the production of art on a series of objective laws, following the naturalist method, as he clearly stated at the École des Beaux-Arts de (...) Paris where he taught for several years from January 1864. (shrink)

Hippolyte Taine a rédigé, en 1870, au moment où son oeuvre changea d’orientation, une monographie relatant l’observation du développement du langage chez son propre enfant. Ce texte, connu de Darwin, est l’une des premières tentatives d’observer le développement, l’évolution, de l’enfant. Le but n’en est pas tant de décrire l’enfant pour lui-même que de polémiquer avec le linguiste Max Müller au sujet de l’origine du langage. L’observation de Taine veut montrer expérimentalement que la théorie évolutionniste rend compte de (...) la genèse du langage chez l’individu et dans l’espèce humaine. Mais l’enjeu réel est de nier qu’il existe une rupture entre l’intelligence de l’homme et celle de l’animal. Max Müller s’en tenait à appliquer la théorie de l’évolution au changement des langues. Taine, lui, veut affirmer la continuité du développement psychologique dans la nature: ce ne sont pas les langues qui évoluent mais l’intelligence ellemême. (shrink)

TAINE ( 1828-1893 ), HISTORIEN ET POLITOLOGUE DU XIXE SIECLE, ASSOCIE HISTOIRE ET POLITIQUE, TRADITION ET NATION, ET RELANCE LE COURANT DE PENSEE CONTRE-REVOLUTIONNAIRE ET TRADITIONALISTE. DISCIPLE DE SPINOZA ET DE HEGEL, IL LAICISE LE TRADTIONALISME EN REJETANT LA REFERENCE A DIEU POUR LE PRIMAT DE LA SCIENCE. COMTISME, POSITIVISME ANGLAIS DE STUART MILL ET BUCKLE, SCIENTISME, NATURALISME ET DARWINISME LE CONDUISENT A ADOPTER UNE METHODE HISTORIQUE DETERMINISTE REPOSANT SUR LES CONCEPTS DE "RACE, MILIEU ET MOMENT". DE CETTE METHODE, (...) TAINE ENTEND FONDER UNE SCIENCE DE LA POLITIQUE NATURELLE, HISTORIQUE ET EXPERIMENTALE. PAR AILLEURS, LA PENSEE POLITIQUE DE TAINE EST DE TYPE DUALISTE, ENTRE TRADITIONALISME ET LIBERALISME. TAINE POSE LA QUESTION DE LA PLACE DE L'INDIVIDU FACE AU POUVOIR. IL SE MONTRE LIBERAL EN PRECONISANT UNE MONARCHIE CONSTITUTIONNELLE ET UN REGIME PARLEMENTAIRE. FACE A L'ETAT, QU'IL SOUHAITE LIMITE, IL DEFENT LES DROITS ET LES LIBERTES DE L'INDIVIDU. IL PROPOSE D'AMENAGER LE SUFFRAGE UNIVERSEL EN LE RENDANT INDIRECT MAIS ACCEPTE CEPENDANT LA FORCE DU NOMBRE. LA PENSEE POLITIQUE DE TAINE APARAIT AINSI TRES ORIGINALE; C'EST CE QUE MONTRE SA POSTERITE PUISQU' ELLE INSPIRE LES PENSEURS NATIONALISTES COMME BARRES MAIS EGALEMENT LES HOMMES DE GAUCHE DE LA IIIE REPUBLIQUE COMME HERRIOT ET BLUM. (shrink)

Gasché proposes to bring forth in Derrida's writings a philosophical dimension that has gone largely unrecognized by "deconstructionist" literary criticism and by a philosophical community that has for the most part been able to see in his text only a scandalous refusal of the traditional techniques of philosophical argumentation. He attempts to demonstrate the systematic character of Derrida's thought and its general scope, and to do so he gives particular attention to the earlier and more properly philosophical writings. This is (...) a gesture that will inevitably meet some resistance from those who admire the more written dimension of Derrida's work. But Gasché is fully justified in arguing that any attempt to assess Derrida's effort to assume in his writing what he attempts to think with a notion such as "différance" must proceed from an understanding of his philosophical project. (shrink)

This essay considers the beginnings of the journal October's critical practice and the significance of a work by Michel Foucault: “Ceci n'est pas une pipe”.1 The theoretical issues/problematics raised by this essay became key to future debates in and around October; the essay becoming something of an emblematic means by which October might be distinguishing from other visual art critical practices. The importance of Foucault's text in relation to October was revealed during correspondences with Rosalind Krauss in August 2001. Foucault's (...) self-referential essay can be seen as crucial not only to Rosalind Krauss's intellectual development, but also to the continuing debate on the nature of text and image in which the journal would be involved. The spiralling interplay of Foucault's narrative, combined with Magritte's picture, might be interpreted as a metaphor for the mediations of post-structural visual criticism itself as its practitioners sought to institute language into the visual sign, a project that attempted to produce a theoretical rationale – and perhaps a justification – for images being treated as if they were texts; thus, paraphrasing Foucault, introducing into the plenitude of the image a certain disorder. Such a weaving together of representation and discourse is interpreted as the formation of a destabilizing dialectic, a dialectic that can be linked to the writings of October as it shifts its rhetorical locations in an attempt to break down the normative pictorial and discursive frames of reference; becoming in essence a dedisciplinary and de-formative critical practice. This essay provides an outline of the determining conditions that led to the development of this “linguistic turn” and an associated reflection on Foucault's text that seeks to direct attention specifically towards its semiotic and discursive implications in relation to the developing oeuvre of criticism exemplified by the magazine. The essay is supported by interviews with Rosalind Krauss and Douglas Crimp conducted by the author in March 2002. (shrink)