This paper is a talk that the late Richard Wollheim gave at Loughborough University in September 1998. It is published here with the permission of Loughborough University and Wollheim's literary executors. The paper begins by reflecting on modes of artistic evaluation, distinguishing evaluations of interest from evaluations of quality. The former, the subject of the paper, are relativized to works of art within particular art forms, and concern ‘the extent to which the methods and the resources of the particular art (...) to which the work belongs have been fruitfully exploited’. The essentialist view of art implicit in this account is recognized and defended, the view that there are necessary truths about each art form explained in terms of the medium used. An examination of drawing is offered, its techniques and achievements explored, with the principal focus on the ways that the media of drawing are utilized in the service of representing an object. The methods of delineation and form-drawing are highlighted: ‘form-drawing, like delineation, has to be understood through the co-operation between artist and spectator, and, in both cases, it is ultimately the hand of the artist that has to respond to the eye of the spectator’. (shrink)

In Wollheim's paradox of democracy, democracy appears to involve its adherents (at least sometimes, and it always presupposes the possibility) in holding two incompatible beliefs about what ought to be done, and if democracy does this then democracy is a sadly confused idea. I want to suggest a solution to this apparent paradox. I shall try to show that voter V's statement that A ought to be done and his statement that B ought to be done are not inconsistent because (...) they are assertions about different things, though their verbal expression is similar. I shall do this by presenting reasons for saying that V is answering two different questions: he has different factors to consider on each occasion. (shrink)

There was a deep continuity in Wollheim’s thought from his book on F. H. Bradley onward. His notion of the concept of art as deeply interiorized was inextricable from his sense of the psychological unity of the mind and the historical continuity of artistic tradition, seen on analogy with an inherited language. His study of pictorial representation pivoted on the innate psychological capacity of ‘seeing-in’, perceiving the represented subject in a surface from which it was seen as distinct but to (...) which it could be related. The expressiveness of depiction he explained through a psychoanalytic concept of projection in which we come to see a piece of the external world as corresponding to an inward state of mind. He reserved the use of the term ‘imagination’ for the artist’s elaboration of ‘seeing-in’. This he exemplified in accounts of painting by Manet, Friedrich, Titian, and Ingres among others. His critical stance has a close affinity with certain essays by Pater. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 301-305 [Access article in PDF] The Beauty of Psychotherapy R. D. Hinshelwood Keywords awe, psychotherapy, representation, self-esteem The Enlightenment was devoted to clear uncontaminated reason; its success has given us the terrific achievements of science and technology. However, it has bequeathed problems too. Untrammeled reason has led to the devaluing and exclusion of emotions. Emotions are irrational—self-deception, akrasia, and so on. They were (...) a problem for the eighteenth-century philosopher Kant and right through to the modern therapist Aaron Beck. Callender rightly looks around the edges of rationalist thought to see what can be said about the emotional and subjective side of mankind. He argues that there is more to the human mind than cognition. Something has been left out. What can be found to fill the gap?Callender has searched for the missing link that might complete our view of human nature. And he came back with aesthetics. Meaning The Enlightenment failing is writ large for therapists who are confronted with people who feel things. So we need to ask what place the emotions have in understanding the nature of man? It is not a hypothetical question, but a very practical one for a therapist. Emotions, Callender says, and most people would agree with him, are what gives meaning to life, a sense of purpose in living, even an ill-defined or delusional purpose.He presents Kant's description of aesthetics. Aesthetic judgements have a number of features, the most enigmatic and perhaps profound is a "purposiveness without purpose." A work of art, say a portrait, may have a purpose insofar as it represents a person for his aggrandizement or for his descendents through many generations, but the aesthetic quality does not come from that purpose. The aesthetic purpose involves a different set of judgements. They are about the painting as a piece of art in itself. If it is possible to compare this kind of aesthetic judgement with a judgement of a person's life, then I find myself reminded of Wollheim's definition of a person: The simplest way of putting the matter, which is not to be taken as a metaphysical claim, is this: There are persons, they exist; persons lead lives; and as a result, in consequence—in consequence that is, of the way they do it—there are lives, of which those who lead them may, for instance, be proud, or feel ashamed. So there is a thing, and there is a process, and there is a product. (Wollheim 1984, 2) Although many things do not lead lives, we do. And our lives have a process and a product. Like an aesthetic product, our lives have a sense of emotional meaning, without it having a clear purpose.Aesthetic judgements are therefore of a particular and somewhat peculiar kind. They judges talent for producing "that for which no determinate [End Page 301] rules can be given," as the paper quotes Kant. Other kinds of judgements do have determinate rules. First are empirical judgements for getting practical things done; and moral judgements for assessing ethical good from bad. Aesthetic beauty does not have clear rules, although many systems of rules have been proposed starting with the rules of perspective as they were laid out by renaissance painters, through to systems of color, such as that proposed by Paul Klee, once color was correlated with electromagnetic wavelengths. However, artists have always kept one jump ahead and evaded imprisonment in codified rules. So too it is with leading a life, perhaps. The really creative life is not lead according to rules. The art of life is to live meaningfully without simply running along tramlines. Although moral conduct and the practicalities of life remain significant, perhaps leading a life implies simply a "flare for living." Representation Of these three kinds of judgements that a mind makes, two do have sets of rules. Only one based on rationality, empirical evidence, and reason. Reason judges what can be done and achieved in the real physical world. It is about pragmatics and the usefulness of action. Moral judgements, about what... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Question of Style in Philosophy and the ArtsJeffrey R. Di LeoThe Question of Style in Philosophy and the Arts, edited by Caroline van Eck, James McAllister and Renée van de Vall; xi & 245 pp. Cambridge: Cambridge University Press, 1995, $49.95.The question, “Should philosophers concern themselves with questions of style?” motivates this rich collection of twelve essays on the interrelatedness of content and its formal representation in (...) both philosophical writing and the arts. Alongside issues such as aestheticized forms of philosophizing and the relationship between method and style, there are articles on Heinrich von Kleist’s Marionettentheater, the graphic works of William Hogarth, Alexis de Tocqueville’s use of metaphor and paradox, the use of ellipses in Johannes Kepler’s astronomical theories, and eclecticism in eighteenth-century English architecture.Style has been an explicit concern for historians and theorists of the arts long before it came to the fore in philosophy. The editors think philosophers can learn a lot not only about the concept of style but also about philosophical style by looking into the practices of musicians, architects, and painters and by thinking about how styles are formed, transformed, and understood in the arts. By comparing the arts and philosophy, we can move toward something lacking in contemporary discussions, namely stylistic categories specific to philosophy. Richard Wollheim’s essay, for example, offers many categories appropriate to painting that could be relevant to philosophical writing.A provocative point traced here is that until the end of the eighteenth century, “style” had little to do with the meaning of a work of art—the term merely denoted an artwork’s place in the hierarchy of art. Before 1800, there was hardly a question of choice among styles: contributions to a practice were regarded not as belonging to one style or another, but as falling within or being alien to a practice. Only in the early nineteenth century did style become a key element in the meaning of a work, when it took the place previously occupied by nature, antiquity, or absolute standards of reason. With the traditional bearers of meaning gone, one could no longer look to content for meaning, and artists turned to style to create meaningful art—style being that aspect of writing, painting, or building traditionally associated with ornament, that could be varied without changing the content. Gradually, the “variable” element in art became the prime bearer of meaning.The claim here is that an analogous transition from stylistic monism to pluralism occurred in philosophy about a century after it did in art. This shift away from the monistic geometrical and mathematical standards of philosophical reasoning established in the late sixteenth century was brought about by philosophers such as Nietzsche and Wittgenstein. Lambert Weising suggests that, with Wittgenstein, there is a substitution of style for truth—a point which seems equally true of others, notably Nietzsche. A consequence of this new [End Page 187] pluralism is a loosening of what can be called philosophical reasoning, and an increasing receptiveness to and acceptance of a diversity of philosophical styles. Questions of style do tend to arise in connections with philosophers of the literary sort—Plato or Kierkegaard. Now philosophers have much less difficulty regarding as philosophical a work such as Pascal’s Pensées, which has traditionally been treated more as literature than as philosophy.One of the challenges of this collection is to refute the view of those who deny that the content of their philosophical writing depends at all on style. This would give support to a thesis defended by Martha Nussbaum in this journal in 1983: “No stylistic choice can be presumed to be neutral—not even the choice to write in a flat or neutral style” (p. 146). Beryl Lang, who has addressed this question in other books and articles, argues that style is relevant to all philosophical writing, even that professed to be “style-less.” Lang correctly shows that philosophers’ general disregard for expressiveness, and their belief that the proper philosophical method will lead all who follow it to the same results, has itself become a feature of philosophical writing. So “style-less” writing is a philosophical... (shrink)

Valéry, P. The idea of art.--Sartre, J.-P. The work of art.--Ingarden, R. Artistic and aesthetic values.--Merleau-Ponty, M. Eye and mind.--Moore, G. E. Wittgenstein's lectures in 1930-33.--Findlay, J. N. The perspicuous and the poignant.--Hungerland, I. C. Once again, aesthetic and non-aesthetic.--Wollheim, R. On drawing an object.--Elliott, R. K. Aesthetic theory and the experience of art.--Savile, A. The place of invention in the concept of art.--Bibliography (p. [178]-184).

Bambrough, R. Essay on man.--Quinton, A. Has man an essence?--Warnock, G. J. Kant and anthropology.--Honderich, T. On inequality and violence, and the differences we make between them.--Cherry, C. Agreement, objectivity and the sentiment of humanity in morals.--Gregory, I. Psycho-analysis, human nature and human conduct.--Gosling, J. The natural supremacy of conscience.--Scruton, R. Reason and happiness.--Wollheim, R. Needs, desires, and moral turpitude.--Hollis, M. My role and its duties.--Watkins, J. Three views concerning human freedom.--Letwin, S. R. Nature, history, and morality.--Passmore, J. Attitudes to (...) nature.--Benson, J. Hog in sloth, fox in stealth: man and beast in moral thinking.--Hare, R. Contrasting methods of environmental planning.--Self, P. Techniques and values in policy decisions. (shrink)

The current state of knowledge in psychology, cognitive neuroscience and behavioral ecology allows a fairly robust characterization of at least some, so-called ?basic emotions? - short-lived emotional responses with homologues in other vertebrates. Philosophers, however are understandably more focused on the complex emotion episodes that figure in folk-psychological narratives about mental life, episodes such as the evolving jealousy and anger of a person in an unraveling sexual relationship. One of the most pressing issues for the philosophy of emotion is the (...) relationship between basic emotions and these complex emotion episodes. In this paper, I add to the list of existing, not necessarily incompatible, proposals concerning the relationship between basic emotions and complex emotions. I analyze the writings of ?transactional? psychologists of emotion, particularly those who see their work as a contribution to behavioral ecology, and offer a view of the basic emotion that focuses as much on their interpersonal functions as on their intrapersonal functions. Locating basic emotions and their evolutionary development in a context of processes of social interaction, I suggest, provides a way to integrate our knowledge of basic emotions into an understanding of the larger emotional episodes that have more obvious implications for philosophical disciplines such as moral psychology. (shrink)

The ontological question challanges the nature of the existence of works of art. The text presents basic questions that meaningfuly put questions about the ontological nature of art. It also examines the hypothesis of the physical object and R. Wollheim's arguments against this hypothesis. The essence of the article is the reconstruction of P. Lamarque's approach, which in his book, Art & Object, distinguishes these two elements as key to explain how works of art exist. The object is considered to (...) be a medium, but from the point of view of pure objects, artwork does not exist. Lamarque argues that art occurs where there is also cultural and institutional understanding of objects as works of art. (shrink)

Nous défendons la thèse selon laquelle les images sont phénoménalement transparentes : nous ne voyons (quasiment) jamais leur surface mais seulement ce que les images dépeignent, ce qui implique que notre expérience des images est fondamentalement une illusion. Cette thèse s’oppose à celle de R. Wollheim, qui fait aujourd’hui figure de position standard, selon laquelle nous percevons la surface et le depictum. Une même expérience perceptive, selon nous, ne peut avoir deux objets ou deux aspects. En ce sens, nous sommes (...) plus proche de la position de E.H. Gombrich : nous percevons soit la surface, soit le depictum, mais jamais les deux. Nous cherchons toutefois à la radicaliser en soutenant qu’il est finalement très rare de percevoir la surface de l’image. (shrink)

Book Information On the Emotions. By R. Wollheim. Yale University Press. New Haven/London. 1999. Pp. xiii + 269. Hardback, US$25.00.

R F Dearden; Theory and Practice in Education, Journal of Philosophy of Education, Volume 14, Issue 1, 30 May 2006, Pages 17–29, https://doi.org/10.1111/j.1467-.

This book contributes to the philosophy of mind by finding a middle ground for analysis in the work of art, understood not merely as a thing but as a concrete manifestation of an individual mind. In the other direction aesthetic theory is sharpened by applying the categories of mind in explaining the structure found in a work of art. The book is made up of essays on such differing topics as drawing an object, the mind’s image of itself, expression, the (...) art lesson, illusion, symbolism, and discussions of the thinkers T. S. Eliot, F. H. Bradley, and R. G. Collingwood. And the various topics are treated as separate issues, though each exemplifies Wollheim’s thesis that there is not one basic problem to be explained in art or in the philosophy of mind. (shrink)

This provocative collection of essays written by the influential Greek scholar E. R. Dodds between 1929 and 1971. represents the wide range of his literary and philosophical interests. Insightful and learned, the essays combine profound scholarship with the lucid humanity of a teacher awareof the special value of Greek studies in the modern world.

Розкрито сутність поняття «рейтинг». Доведено значущість рейтингової оцінки для суб’єктів фінансового ринку, зокрема для страхових компаній, потенційних страхувальників, інвесторів та кредиторів.

R S Downie; Professions and Professionalism, Journal of Philosophy of Education, Volume 24, Issue 2, 30 May 2006, Pages 147–159, https://doi.org/10.1111/j.1467-.