First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book -- thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

EDITORIAL NOTE.—Arnold Hauser died in February 1978 shortly after returning to his native Hungary; he had lived nearly half of his 85 years in a kind of self-imposed exile. He is considered, by those who know his work, to be perhaps the greatest sociologist of art, though his last years were spent in comparative neglect and obscurity. We present here as a testament to the importance of both the critic and the discipline he helped shape a section from (...) the translation of his Sociology of Art . Hauser's work draws on the influences of his teachers, Simmel, Bergson, Lukács, Mannheim, Sombart, and Troeltsch. He developed in his immense Social History of Art the groundwork for a sociological analysis of art ranging from prehistoric cave painting to film. In his later works—The Philosophy of Art History , Mannerism: The Crisis of the Renaissance and the Origins of Modern Art , and The Sociology of Art—he continued to redefine his brilliant defense of art for society's sake. The theory of l'art pour l'art wants nothing to do with this contradiction and denies not only the moral and social usefulness of art but its every possible practical function as well. "Nobody would write poetry," says Eugenio Montale, "if the problem of literature consisted in making oneself understood." It has been doubted whether the capacity of making oneself understood, the unambiguous communication of feelings and experiences, even lies within the power of art. What Eduardo Hanslick asserts about music in Von musikalischen Schönen, namely, that its relation to everything which is nonmusical, everything which has emotional content, is vague and noncommittal, is to some extent true for all arts. Just as music expresses something which cannot be translated into any other form, so literature expresses something which is eminently literary, linguistic, something locked into words and syntactic structures. In the same way the untranslatable content of a painting, a pictorial idea, a vision, can only be seized and held onto in optical forms. The composer thinks in tones, the painter in lines and colors, the poet in words, tropes, and rhythms. Indubitable as this is, it is not the whole truth; side by side with the content which can only be expressed adequately in a particular form, there is an intrinsic value which can be translated into any form. Kenneth Northcott, translator of this essay, is professor of older German literature and of comparative literature at the University of Chicago. He is currently engaged in the translation of The Sociology of Art and in the study of late medieval satire in Germany and the works of Harold Pinter, in whose plays he also delights to act. (shrink)

_Philosophy and Rhetoric, _one of Penn State Press’s longest-running journals, was conceived at a time of immense philosophical upheaval: rhetoric as a field of study—first dismissed by Descartes—was being reexamined after decades of neglect. Now, nearly forty years later, _Philosophy and Rhetoric _continues to hold pride of place in this reinvigorated discipline. The brainchild of Penn State professors Carroll Arnold and Henry Johnstone, _Philosophy and Rhetoric_ boasts work from dozens of international luminaries from a broad spectrum of specializations. To (...) commemorate the fortieth year of publication, current series editor Gerard Hauser assembled a volume of the journal’s most noteworthy articles, beginning with Henry Johnstone’s gem of an essay underscoring the essential relationship between the art of rhetoric and philosophy. Donald Verene elaborates that initial thesis and suggests that rhetoric and philosophy are not distinct entities in conversation, but instead that rhetoric provides a forum in which philosophy can exist. Jean Goodwin looks at the theory in terms of a teacher/student relationship, and Barbara Biesecker looks at how governments in the war on terror employ rhetoric to manipulate the social consciousness. A concluding article by Carroll Arnold casts rhetoric as a dramatic device essential to establishing personal sovereignty. During its forty years, Hauser writes, the journal “radically altered the relationship between philosophy and rhetoric from irreconcilable antagonists to interlocutors in a shared inquiry into the constitutive powers of discourse.” This series of essays brilliantly traces the arc of that accomplishment. (shrink)

The sociology of art as synthesized by Arnold Hauser is based on a theory of knowledge and articulates the cognitive role of art. In a brief analysis, this paper elaborates on the sources of this epistemological enterprise. The pedigree of Hauser’s main thoughts was oriented towards a Kantian and Marxist framework, respectively. As a Kantian, he tried to take into account the philosophical consequences of two (or even more) different sources of cognition that are equal in value, (...) correlative and necessarily cooperating. Giving exclusive priority to only one of these leads to classical philosophical errors such as psychologism and intellectualism. As a Marxist, Hauser was anti-dogmatic and anti-deterministic, because he adopted an interpretive-hermeneutical meaning of Marxism and considered it an aid against distorting tendencies in our thinking. His basic insight that the different sources of value-equal and cooperating cognitive layers are in an everyday-life perspective intertwined, so that a kind of reservatio mentalis is needed to methodically separate them for the sake of better understanding, makes him a distant relative of classical phenomenology. This web of epistemological investigations is what I call the multilayer theory of knowledge. (shrink)

Vere Gordon Childe’s theory of craft specialisation was an important influence on Arnold Hauser’s book The Social History of Art, published in 1951. Childe’s Marxist interpretation of prehistory enabled Hauser to establish a material foundation for the occupation of the artist in Western art history. However, Hauser’s effort to construct a progressive basis for artistic labour was complicated by art’s ancient connections to religion and superstition. While the artist’s social position and class loyalties were ambiguous in (...) Childe’s accounts of early civilisations, Hauser consigned artists to the lower echelons of society. This relegation did not imply that Hauser had a low regard for artistic skills. Quite the opposite, the artist’s inferior social status enabled Hauser to distance artists from the ruling class, and consequently, to separate artistic handiwork from the dominant ideology that works of art manifested. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well (...) as of the shifting political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

To date, critical engagement with Arnold Hauser’s sociology of art has been confined to the field of art history. This perspective has ignored Hauser’s interest in literary history, which I argue is essential to his project. Hauser’s dialectical model, composed of conflicting realist and formalist tendencies, extends to the literary sphere. In The Social History of Art, these two traditions are epitomised by the Russian social novel and German idealism. Anti-enlightenment tendencies in German intellectual culture provide (...) Hauser with evidence of idealism’s propensity for escapism and reaction. Conversely, he extols the Russian social novel as the naturalistic art form par excellence. Because the intelligentsia is central to Hauser’s understanding of the formation of literary culture, this paper provides an outline of his sociology of intellectuals. Through a comparison of the German and Russian literary intelligentsia, this paper shows that Hauser’s analysis of literature is often more complex than his sociological interpretations of the visual arts. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well (...) as of the shifting political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical (...) materialism and his sociological interpretation of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook. (shrink)

The coherence objection to the doctrine of the Incarnation maintains that it is impossible for one individual to have both the attributes of God and the attributes of a human being. This article examines Thomas Aquinas’s answer to this objection. I challenge the dominant, mereological interpretation of Aquinas’s position and, in light of this challenge, develop and defend a new alternative interpretation of Aquinas’s response to this important objection to Christian doctrine.

Essentialists claim that at least some individuals or kinds have essences. This raises an important but little-discussed question: how do we come to know what the essence of something is? This paper examines Aristotle’s answer to this question. One influential interpretation (viz., the Explanationist Interpretation) is carefully expounded, criticized, and then refined. Particular attention is given to what Aristotle says about this issue in DA I.1, APo II.2, and APo II.8. It is argued that the epistemological claim put forward in (...) DA I.1 differs from that put forward in APo II.2 and II.8, contrary to what has been claimed by Explanationists, and that each of these distinct epistemological claims rests on a distinct non-epistemological thesis about essence. Consequently, an ‘Enriched Explanationist Interpretation’ is developed which takes into account both of the aforementioned elements in Aristotle’s epistemology of essence. The paper concludes by highlighting an insight the preceding exegetical discussion offers to contemporary essentialists seeking to explain how we come to know what something’s essence is. (shrink)

Thomistic Hylomorphists claim that we human persons have rational or intellective souls which can continue to exist separately from our bodies after we die. Much of the recent scholarly discussion of Thomistic Hylomorphism has centered on this thesis and the question of whether human persons can survive death along with their souls or whether only their souls can survive in this separated, disembodied, post-mortem state. As a result, two rival versions of Thomistic Hyomorphism have been formulated: Survivalism and Corruptionism. This (...) chapter makes a new contribution to the debate between Survivalists and Corruptionists by identifying a heretofore undiscussed problem for Corruptionist Thomistic Hylomorphism. In particular, it is argued that if Corruptionists were right that human persons cannot survive their deaths along with their souls, this would undermine the grounds on which all Thomistic Hylomorphists, including Corruptionists, rely to justify their belief that our souls can continue to exist after our deaths. Given this, it is argued that Thomistic Hylomorphists have grounds for thinking that our souls can continue to exist after our deaths only if they allow, as Survivalists do and Corruptionists do not, that we human persons can continue to exist after our deaths, with souls but no bodies. (shrink)

According to the doctrine of the Incarnation, one person, Christ, has both the attributes proper to a human being and the attributes proper to God. This claim has given rise to the coherence objection, i.e., the objection that it is impossible for one individual to have both sets of attributes. Several authors have offered responses which rely on the idea that Christ has the relevant human properties in virtue of having a concrete human nature which has those properties. I show (...) why such responses should be rejected and, in light of that, propose an alternative response to the coherence objection. (shrink)

In a series of publications spanning over two decades, William Hasker has argued both that (1) human beings have souls and (2) these souls are not directly created by God but instead are produced by (or “emergent from”) a physical process of some sort or other. By contrast, an alternative view of the human person, endorsed by the contemporary Catholic Church, maintains that (1) human beings have souls but that (2*) each human soul is directly created by God rather than (...) produced by any kind of physical process. Hasker argues that given what we know from evolutionary biology, (2*) is a much less plausible position for believers in souls to take than (2) is. If Hasker is right, then there is a serious tension between the Church’s teaching about the human person and evolutionary biology. In this article, I challenge Hasker’s reasoning. I argue that those who hold the Catholic view that each human soul is directly created by God face no more difficulty reconciling their view with evolutionary biology than those who maintain, as Hasker does, that human souls are instead produced by some kind of physical process. (shrink)

This book focuses on yoga’s transcultural dissemination in the twentieth and twenty-first centuries. In the course of this process, the term “yoga” has been associated with various distinctive blends of mental and physical exercises performed in order to achieve some sort of improvement, whether understood in terms of esotericism, fitness, self-actualization, body aesthetics, or health care. The essays in this volume explore some of the turning points in yoga’s historico-spatial evolution and their relevance to its current appeal. The authors focus (...) on central motivations, sites, and agents in the spread of posture-based yoga as well as on its successive (re-)interpretation and diversification, addressing questions such as: Why has yoga taken its various forms? How do time and place influence its meanings, social roles, and associated experiences? How does the transfer into new settings affect the ways in which yogic practice has been conceptualized as a system, and on what basis is it still identified as (Indian) yoga? The initial section of the volume concentrates on the re-evaluation of yoga in Indian and Western settings in the first half of the twentieth century. The following chapters link global discourses to particular local settings and explore meaning production at the micro-social level, taking Germany as the focal site. The final part of the book focuses on yoga advertising and consumption across national, social, and discursive boundaries, taking a closer look at transnational and deterritorialized yoga markets, as well as at various classes of mobile yoga practitioners. (shrink)

This article develops an argument in defense of the claim that Aquinas holds that there are some kinds of activities which can be performed only by persons. In particular, it is argued that Aquinas holds that only persons can engage in the activities proper to a rational nature, e.g., the activities of intellect and will. Next, the article turns to discuss two implications of this thesis concerning Aquinas’s concept of a person. First, the thesis can be used to resolve a (...) prominent scholarly debate concerning Aquinas’s views on the possibility of human persons surviving their bodily deaths. Second, it also points to a problem with a leading interpretation of Aquinas’ account of the Christian doctrine of the Incarnation. Finally, the article concludes by discussing how a correct interpretation of Aquinas’s views on these matters is related to a broader scholarly debate concerning the history of the Western concept of a person. (shrink)

This book contains essays presented at a symposium on evidence and data presented by the America Philosophical Society. The essays discuss the role of evidence in interpreting anthropological fieldwork; human psychology; the mechanisms of artificial intelligence; and claims about the past. The natural sciences, social sciences and the humanities are all represented.

"Arguing that debates over legitimacy, political violence, freedom, and justice would benefit greatly from cross-tradition theorizing, this book shows how putting analytic and continental political theory in conversation would help us to overcome these intractable problems"--.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.1 (2000) vii-ix [Access article in PDF] In Memory of Henry I first met Henry W. Johstone Jr. during the spring of 1968. I was a doctoral candidate at the University of Wisconsin and Henry was in Madison as part of a distinguished visitor series hosted by my mentor, Lloyd Bitzer. Lloyd had invited a group of graduate students to his home to meet the guest (...) of honor. I was particularly excited because Henry had accepted my paper on Aristotle's theory of exemplification to appear in the new international journal Philosophy and Rhetoric, which he edited. This was my first publication and I wanted to thank him, which seemed to this novice the appropriate thing to do. I remember that evening for Henry's seeming reserve, which I later learned was a deep shyness that masked his capacity for uncanny directness and a wicked sense of humor, and for his generosity in deflecting my naiveté about the basis for editorial judgments. I also remember it for his deft way of engaging a room of young rhetoricians with questions that conveyed his doubt about their subject (he later changed his mind) without clouding his sincere openness to what we had to say. The following fall, we met again during my interview for a position in the Speech Department at Penn State University. I was offered the position and became Henry's colleague as Book Review Editor of P&R. For the next thirty years, I was blessed to serve as Henry's partner-in-crime in the joys of life that may remain today only among the professoriate. We shared in the editorial work of the journal, in co-teaching our graduate seminar in Philosophy and Rhetoric, in our intellectual passion for the bonds and wars between philosophy and rhetoric, and in the pleasure of choosing the right bottle of wine. But more than that, we shared these common pursuits in contexts of luncheons, dinners, and social occasions that mixed intellectual work with the pleasure of treasured company.My son phoned today to tell me that Henry had died. His passing leaves a void in my life that goes beyond the loss of a friend and colleague. Henry was the person who, through patient selection of manuscripts for me to referee and guidance, taught me how to read journal submissions and offer critiques that might help the author to improve and the journal to prosper. Henry was the person who taught me the value of generosity with junior colleagues by his respectful and serious engagement of my own work. He had a marvelous capacity to entertain any idea seriously, to consider the possibility that even a far-fetched conjecture might have value rather than rejecting it out of hand. He lived the ideas he wrote about as a philosopher, arguing always ad hominem and con amore. Henry was the person who took me in tow as a young Turk and suffered my impatience with the conservative ways of our established institution [End Page vii] by taking me to lunch, engaging me in discussions of ideas, and sharing the delights of intellectual work, and in the process helping me retain my ideals and my focus.Lunch for Henry was more than a noontime meal. It was the way he sustained bonds with those he valued as friends and colleagues. He would call two weeks in advance to arrange a date at the Allen Room of the State College Hotel. He would arrive at my office ten minutes early and we would take a leisurely stroll along the Old Main Mall to the hotel. Our arrival was announced by the host with "Good afternoon Dr. Johnstone," that showed in its formality deep respect and in its tone equally deep affection. Henry always took a cocktail with lunch, inviting his companion to join him, and unless you were specific about the bill beforehand, Henry usually insisted on paying. Settling the bill was never an issue for Henry. He often included a graduate assistant from the journal or an assistant professor in our party and seemed to... (shrink)

A most sensible exposition of Nietzsche's philosophy.

Am 6. Dezember 1915 und am 8. Januar 1916 legte Arnold Sommerfeld der Bayerischen Akademie der Wissenschaften zwei Abhandlungen im Umfang von 75 Druckseiten vor, mit denen er das Bohrsche Atommodell aus dem Jahr 1913 zur Bohr-Sommerfeldschen Atomtheorie erweiterte. In Sommerfelds Gesammelten Schriften findet sich nur die im Juli 1916 von Sommerfeld in den Annalen der Physik eingereichte Publikation darüber. "Meine Spektrallinien sind endlich in der Akademie in’s Unreine gedruckt. In den Annalen werden sie in geläuterter Form erscheinen", so (...) hatte Sommerfeld am 10. Februar 1916 dem Herausgeber der Annalen der Physik diese Publikation angekündigt. Aus wissenschaftshistorischer Sicht sind für die Erweiterung der Bohrschen Atomtheorie jedoch gerade die vor dem Läuterungsprozess publizierten Akademieabhandlungen von besonderem Interesse. Der Reproduktion dieser Akademieabhandlungen wird ein ausführlicher physikhistorischer Essay (ca. 100 Druckseiten) vorangestellt. (shrink)

The demise of behaviorism has made ethologists more willing to ascribe mental states to animals. However, a methodology that can avoid the charge of excessive anthropomorphism is needed. We describe a series of experiments that could help determine whether the behavior of nonhuman animals towards dead conspecifics is concept mediated. These experiments form the basis of a general point. The behavior of some animals is clearly guided by complex mental processes. The techniques developed by comparative psychologists and behavioral ecologists are (...) able to provide us with the tools to critically evaluate hypotheses concerning the continuity between human minds and animal minds. (shrink)

"As a 'rhetoric of the mean' (mesotes ideal), sensibility provides a positive catalog of emotionalization. This is because ethos as an emotional level is viewed as being able, through gentle emotions, to please, placate and achieve sympathy and virtue (Quintilian). Sensibility in literature creates a bridge between an 'art of the soul' that developed into a major subjective and personal factor in the 18th century and a sense of sociability that aimed to integrate the individual into the community. The goal (...) of this study is to provide, through a structural linking of the ethos of virtue and the 'rhetoric of the mean', a reading of literature of sensibility based on rhetoric and cultural history that can explain both its public success 'with the people' and the reasons for why it failed to meet its own claims."--Publisher's website. (shrink)