In lieu of an abstract, here is a brief excerpt of the content:George J. Leonard EMERSON, WHITMAN, AND CONCEPTUAL ART The widespread abandoning of the art object at the end of the 1960s was taken as something radically, even frighteningly, new, by critics and artists alike. Objects, concept artist Joseph Kosuth was asserting by 1969, are "irrelevant" to art. Though an artist might choose, as in the past, to "employ" objects, "all art is finally conceptual." In fact it was (...) now time that the object, nothing more than the "physical residue" of the artist's mental activity, was dispensed with.1 "We / open our eyes and ears seeing life / each day excellent as it is," John Cage chanted: "This / realization no longer needs art...."2 Aestheticians as disparate as Murray Krieger and Harold Rosenberg reacted to this "transfiguration of the commonplace," as Arthur Danto has called it. Danto has gained a wide scholarly audience for his ideas about the 1960s as "the end of art," or at least as the beginning of "post-historical art."3 We know from such works as Renato Poggioli's TL· T^ry oftL· Avant-Garde that, in this century, particular movements have routinely declared themselves to be art's climax.4 Critics like Jacques Barzun and artists like Amedee Ozenfant had been saying for years that art was exhausted. Yet conceptualism's attack on the object struck most critics as something both alarming and new: Irving Sandler wrote in a special edition of the College Art Association's Art Journal devoted to the problem that it demolished "every notion of what art should be,"5 and Murray Krieger feared that this "leap beyond Pop Art" would "complete the obliteration of the realm of art, its objects, its museums...."6 But the conceptualist attacks on the art object were, in fact, not new. One can find attacks as scathing in Emerson and Whitman; so scathing, that criticism has rarely taken them seriously. The attacks the concep297 298Philosophy and Literature tualists mounted in the 1960s were only the culmination ofan intellectual tendency which appeared throughout the West one hundred and sixty years before. It has long been a scholarly commonplace that after 1800 an "intellectual tendency"—as M. H. Abrams finallytermed it—extolling the possibilities of this world emerged in all parts of Western culture. When itappears in literature we nowusually call it, withAbrams, Natural Supernaturalism; or, with Harold Bloom, the "visionary company." Man, Wordsworth decreed, can and must learn to find "Paradise" in "the common day."7 Surprisingly litde work has been done on what happened when this intellectual tendency, Natural Supernaturalism, confronted the art object. Emerson and Whitman can stand for many who were necessarily ill at ease with the idea of art objects as elite objects superior to the common things it was their mission to extol. Wordsworth works before these two; Ruskin develops similar ideas into greater complexity; but since Emerson writes clear expository prose and avoids fanciful terminology, he makes a good place to enter this dark wood. Let us begin with some straightfor-ward, overdue interdisciplinary history, reading Emerson on the art object, noticing similar passages in Whitman, and noting where Emerson has reworked Hegel for his own ends. For Emerson objects are but thought's "inert effect," as for the concept artist Kosuth they would be but the "physical residue" of the artist's activity. Emerson and Kosuth, opposite Shakespeare, do not applaud the art process as the giving to an airy nothing a local habitation and a name; rather they disdain the stuff as petrifactions, as dead mud footprints left by living thoughts diat have raced away.8 In his essay "Circles," Emerson derides our admiration for a work of architecture, directing us to the "litde waving hand" that built it, for "that which builds is better than that which is built." By the same logic, the invisible thoughts which truly wrought the object were even better than the hand and "nimbler."9 When such passages are discussed at all, they are usually considered Platonic,10 but, in his essay "Art," Emerson envisions a use for art objects Plato would have blinked at. For the time being, art objects have a particular "office" to fill. That office, Emerson wrote in... (shrink)

A difference of opinion exists among some philosophers who have recently inquired whether Marx thinks that capitalism is distributively unjust. What has to be determined is whether in Marx's view the wage worker suffers an injustice in not receiving most or all of the surplus value he creates. Allen Wood argues that this is not Marx's view, and George Brenkert agrees, for quite similar reasons; but Ziyad Husami and Gary Young, on the other hand, argue in reply to (...) Wood, and on overlapping grounds, for the opposite interpretation; Wood, in turn, has defended himself against Husami. (shrink)

This article elaborates the continuing significance of Ricoeur’s development of utopia. Ricoeur develops two not necessarily exclusive aspects of the utopia in its positive sense. First, it acts as an imaginative variation on existing reality, and second, it can act to ‘shatter’ and hence recast existing reality. While Ricoeur himself did not tend to distinguish rigorously between these two senses of the utopia, the article seeks to provide that delineation. Imaginative variation opens the sphere of human possibility but remains hypothetical, (...) while the utopia as that which shatters can introduce a new reality into social existence. In the utopia that shatters, the social imagination can be constitutive of social life. The article situates Ricoeur’s discussion of utopia in his Lectures on Ideology and Utopia in relation to other relevant texts in his corpus, principally The Rule of Metaphor and the forthcoming Lectures on Imagination. The argument locates Ricoeur’s treatment of utopia within the broader field of his work on the symbolic structure of action and social imagination. (shrink)

In the approximation that every inertial observer experiences a homogeneous, uniform flow of time and sees a space that is Euclidean, the arena of physics is Minkowskian and one speed is the same in all intertial frames. If a given intertial observer finds an infinitesimal source or particle traveling faster than this fundamental speed near a given event, the source must appear in some inertial frame spread over neighboring positions at a given time as a spacelike structure. If this structure (...) persists over a period of proper time, it can be interpreted as a wave group. If it is conserved, it can be interpreted as a line or tube of force. (shrink)