The body, touch and its sensations are present, sometimes viewed in contradictory ways, both expressed, visualized, and rejected, in early modern art and literature. In seven essays moving from the 16th to the mid-18th century, and from Italy and Spain to France and Sweden, this volume explores strategies used by early modern women poets, philosophers, and artists in order to create subversive expressions of the body, gender and the senses. Showing how body and soul, the carnal and the (...) divine, the senses and the mind, could be represented as intertwined and dependent on each other in various ways, it gives due attention to European women writers and artists that in unconventional ways responded to the period's two main intellectual and philosophical attitudes - Epicurean and Stoic - towards the body and its senses. These attitudes not only intersect in the period's discussions of virtue and other moral phenomena, but are central to critical assessment of the relations between emotions, perception, and reason. By following this topic from a gender perspective, the book highlights other forms of subjectivity than the ones usually related to the early modern period's dominating subjectivation of female bodies, thinking and desires. (shrink)

The release of Emmanuel Levinas’s Prison Notebooks (Carnets de captivité) as a part of the first tome of his collected works has further illuminated the extent of the philosopher’s preoccupation with art, especially literature. Levinas’s own literary efforts have been well documented, but less attention has been paid to the relationship between the Prison Notebooks and Levinas’s early philosophy of art. In this article, I suggest that much of what Levinas has to say apropos art in his early philosophy (...) can be traced back to meditations undertaken in captivity. I will unearth the influence of the Prison Notebooks in three articles from the 1940ʹs “L’autre dans Proust,” “La réalité et son ombre,” and “La transcendance des mots.” I argue that in Levinas’s early philosophy of art follows two distinct “paths”: the path of eros and the path of sensation. On one hand, Levinas questions how and if literature can do justice to the question of alterity, whereas on the other he seeks to make sense of the relationship between art and sensibility. I argue that in his notebooks Levinas offers an account of the meaning of sensations that forms the basis of his early aesthetics. Thus, the study of the Prison Notebooks is important as it allows us to see how Levinas’s early philosophy of art, including his seminal “La réalité et son ombre,” functions as a continuation of a philosophical project already begun during his time in captivity. (shrink)

Senses and Sensation: Critical and Primary Sources offers a comprehensive collection of key writings essential to anyone wishing to gain a critical understanding of sensory studies. Drawing upon historical and contemporary texts from a wide range of sources, this set is inspired by the sensory turn in the humanities, social sciences and fine arts which has challenged the monopoly that psychology formerly held over the study of senses and sensation. It also builds upon the revolution in (...) psychology and the neurosciences which has led to an increased emphasis on the interaction and integration of the senses, in place of the one-sense-at-a-time approach. The four volumes include 99 essays from the humanities, social sciences, fine arts, biology, psychology and the neurosciences. Ordered by discipline, the volumes cover geography and anthropology, history and sociology, biology, psychology and neuroscience, and art and design. Each volume is separately introduced and the essays structured into coherent sections on specific themes. This work is a major scholarly resource for those working and studying in the multidisciplinary field of sensory studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the (...) condition for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

Just like the self, sensations and emotions expressed in literature are elusive issues. Necessarily separated from living reality and yet, in a sense, a mirror of it, linguistic coding of bodily feeling and emotional feeling became subject of avid interest among scholars of historical emotion research and the history of mentality in intra- and intercultural perspectives. This volume combines eleven essays with critical discussions concerning the bidirectional network of sense perception and emotion. Exploring the theme from different angles - (...) psychological, medical, and literary - From Skin to Heart highlights the intimate interrelationship between bodily sensations, states of mind, and the emotions from pain, illness, and self-destruction to love-sickness and self-sacrifice in early Chinese poetry and ethics and late imperial lyrics and narrative. The partly descriptive, partly analytical essays are contributions of a new wave of Continental and American sinology that, inspired by cultural studies, discourse analysis, and rhetorical analysis, offers fresh views on body and psyche as locked into and emerging from Chinese primary sources. An appendix provides additional examples of the rich linguistic material referring to phenomena of sense perception and the affective sphere and their interdependence. (shrink)

John Keats remains one of the most familiar and beloved of English poets, but has received surprisingly little critical attention in recent years. This study is a fresh contribution to Keats criticism and Romantic scholarship, positioning Keats as a figure of philosophical interest who warrants renewed attention. Exploring Keats's own Romantic accounts of feeling and thinking, this study draws a connection between poetry and the phenomenological branches of modern philosophy. The study takes Keats's poetic evocation of touching hands, wandering feet, (...) beating hearts and breathing bodies as a descriptive elaboration of consciousness and a phenomenological account of experience. The philosophical terms of analysis adopted here challenge the orthodoxies of Keats scholarship, traditionally characterised by the careful historicisation of a limited canon. The philosophical framework of analysis enhances the readings put forward, while Keats's poems, in turn, serve to give fuller expression of those ideas themselves. Using Keats as a particular case, this book also demonstrates the ways in which theory and philosophy supplement literary scholarship. (shrink)

Abstract:Philosophers and art critics have long argued that the language of color misses or even mars the ineffable sensation of color. But a literary perspective shows otherwise. Starting with examples of colors read but not seen, and then discussing how philosophers have addressed (and often muddled) the so-called problem of color, I propose thinking of color terms as techniques for stabilizing and directing color sensations. I then show how William H. Gass and Maggie Nelson develop a version of this (...) idea in their respective books about blue, which are really books about the relationship between writing and quality. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Does inner sense, like outer sense, provide inner sensations or, in other words, a sensory manifold of its own? Advocates of the disparity thesis on inner and outer sense claim that it does not. This interpretation, which is dominant in the preexisting literature, leads to several inconsistencies when applied to Kant’s doctrine of inner experience. Yet, while so, the parity thesis, which is the contrasting view, is also unable to provide a convincing interpretation of inner sensations. In this paper, (...) I argue that this deadlock can be traced back to an inadequate understanding of inner sense shared by both sides. Drawing upon an analysis of the notion of obscure representations, I offer an alternative interpretation of inner sense with a special regard to self-affection, apprehension, and attention. From this basis, I will infer that outer sense delivers sensory content that is initially and intrinsically unaccompanied by phenomenal consciousness; inner sense contributes by endowing such content with phenomenal consciousness. Therefore, phenomenal qualities can be regarded as the sensory manifold of inner sense. This alternative interpretation solves the long-standing dispute concerning inner sensations and would further illuminate Kant’s notion of inner experience. (shrink)

Introduction In "search of instances where the American imagination demands the real thing, and, to attain it, must fabricate the absolute fake," Umberto ...

RésuméLe but de cet article est de mettre en évidence les différences entre Descartes et Reid au sujet du rôle que chacun assigne aux sensations dans le processus perceptuel. Dans Perceptual Acquaintance, John Yolton ne trouve quepeu de choses dans les conceptions de Reid qui ne soient pas déjà de quelque façon présentes chez Descartes. Je soutiens au contraire que la théorie des sensations-comme-signes de Reid constitue un développement considérable par rapport à celle de Descartes ou à quoi que ce (...) soit que l'on trouve chez lui, non seulement parce qu'elle est évidemment plus claire et plus cohérente, mais aussi parce qu'elle introduit l'idée d'un élément a priori dans notre expérience perceptuelle et lui attribue un rôle indispensable. Cet élément crucial est tout à fait absent de la conception cartésienne. (shrink)

_Making Sense of Tantric Buddhism_ fundamentally rethinks the nature of the transgressive theories and practices of the Buddhist Tantric traditions, challenging the notion that the Tantras were "marginal" or primitive and situating them instead--both ideologically and institutionally--within larger trends in mainstream Buddhist and Indian culture. Critically surveying prior scholarship, Wedemeyer exposes the fallacies of attributing Tantric transgression to either the passions of lusty monks, primitive tribal rites, or slavish imitation of Saiva traditions. Through comparative analysis of modern historical narratives--that depict (...) Tantrism as a degenerate form of Buddhism, a primal religious undercurrent, or medieval ritualism--he likewise demonstrates these to be stock patterns in the European historical imagination. Through close analysis of primary sources, Wedemeyer reveals the lived world of Tantric Buddhism as largely continuous with the Indian religious mainstream and deploys contemporary methods of semiotic and structural analysis to make sense of its seemingly repellent and immoral injunctions. Innovative, semiological readings of the influential _Guhyasamaja Tantra_ underscore the text's overriding concern with purity, pollution, and transcendent insight--issues shared by all Indic religions--and a large-scale, quantitative study of Tantric literature shows its radical antinomianism to be a highly managed ritual observance restricted to a sacerdotal elite. These insights into Tantric scripture and ritual clarify the continuities between South Asian Tantrism and broader currents in Indian religion, illustrating how thoroughly these "radical" communities were integrated into the intellectual, institutional, and social structures of South Asian Buddhism. (shrink)

_Making Sense of Tantric Buddhism_ fundamentally rethinks the nature of the transgressive theories and practices of the Buddhist Tantric traditions, challenging the notion that the Tantras were "marginal" or primitive and situating them instead -- both ideologically and institutionally -- within larger trends in mainstream Buddhist and Indian culture. Critically surveying prior scholarship, Wedemeyer exposes the fallacies of attributing Tantric transgression to either the passions of lusty monks, primitive tribal rites, or slavish imitation of Saiva traditions. Through comparative analysis of (...) modern historical narratives -- that depict Tantrism as a degenerate form of Buddhism, a primal religious undercurrent, or medieval ritualism -- he likewise demonstrates these to be stock patterns in the European historical imagination. Through close analysis of primary sources, Wedemeyer reveals the lived world of Tantric Buddhism as largely continuous with the Indian religious mainstream and deploys contemporary methods of semiotic and structural analysis to make sense of its seemingly repellent and immoral injunctions. Innovative, semiological readings of the influential _Guhyasamaja Tantra_ underscore the text's overriding concern with purity, pollution, and transcendent insight -- issues shared by all Indic religions -- and a large-scale, quantitative study of Tantric literature shows its radical antinomianism to be a highly managed ritual observance restricted to a sacerdotal elite. These insights into Tantric scripture and ritual clarify the continuities between South Asian Tantrism and broader currents in Indian religion, illustrating how thoroughly these "radical" communities were integrated into the intellectual, institutional, and social structures of South Asian Buddhism. (shrink)

A path-breaking collection launching a new series of books on the senses in antiquity. Synaesthesia and the Ancient Senses presents a radical reappraisal of antiquity's textures, flavours, and aromas, sounds and sights. It offers both a fresh look at society in the ancient world and an opportunity to deepen the reading of classical literature. The book will appeal to readers in classical society and literature, philosophy and cultural history. All Greek and Latin is translated and technical (...) matters are explained for the non-specialist. The introduction sets the ancient senses within the history of aesthetics and the subsequent essays explore the senses throughout the classical period and on to the modern reception of classical literature. (shrink)

This book presents a critical analysis of sense-making practices through an exploration of acoustic, creative, and artistic spaces. It studies how local cultures of sight, hearing, smell, taste, and touch are impacted by global discourses and media, such as television, popular music, digital media, and literature. The authors look at sense-making practices and spatial discourses through an interconnected discussion on thought and experience that seeks to present a multidimensional cartography of the global, the local, and the glocal, to closely (...) analyze the phenomenon of globalization. The volume is an investigation of the possibilities of alternate, sustainable modes of being and existing in a world which requires a unified, ethical, biopolitical worldview that challenges the disparity of its fragments while speculating on their synesthetic conditionality. A unique contribution, the book will be of interest to scholars and researchers of English literature, media studies, cultural studies, literary cultures, post-colonial studies, globalization studies, philosophy, critical theory, sociology, and social anthropology. (shrink)

William Hunter's anatomical inquiry employed all of his senses, but how did his personal experiences with the cadaver become generalized scientific knowledge teachable to students and understandable by fellow practitioners? Moving beyond a historiographical focus on Hunter's images and extending Lorraine Daston's (2008) concept of an ‘ontology of scientific observation’ to include non-visual senses, I argue that Hunter's work aimed to create a stabilized object of the cadaver that he and his students could perceive in common. Crucial to (...) this stabilization was the sense of touch and its interaction with other senses, creating intersensory knowledge of the cadaver. Through a close reading of his neglected posthumous publication An Anatomical Description of the Human Gravid Uterus (1794), I demonstrate that Hunter wrote extensively about touch and other sensory experiences, using comparative metaphors and other linguistic strategies to engender clear ideas of the cadaver in the mind of the reader. That these ideas could be consistent between practitioners was guaranteed by God, but required practitioners to appropriately reflect on their sensory experiences with cadavers. Hunter's experimental practice encompassed both simple and complex methods, all aimed at increasing the range of sensorial experiences he had with the gravid uterus. His preservations of these experiences in text, image and preparation could then be used to support further anatomical investigations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain why (...) we chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

Views of what role convention plays in the creation and appreciation of art works gravitate towards two extremes. One view holds that works of art can be apprehended and appreciated as well as created with no reference to convention. The other claims that conventions fully determine how works of art are apprehended and are therefore necessary conditions for the creation of works of art as well as constitutive of appreciation. The former is a version of the Romantic view of art (...) as something that appeals spontaneously to man's most profound emotions, to man's sentient nature, without making use of or needing mediating conventions. The conventionalist view denies that it is possible to respond spontaneously to art. All apprehension and appreciation of art are structured by conventions, and the reader/audience cannot go beyond these conventions because they constitute the experience of the work of art. This paper explains the sense in which the constitutive view may be best understood. (shrink)

Husserl's theory of perception is remarkable in several respects. For one thing, Husserl rigorously distinguishes the parts and properties of the act of consciousness - its content -from the parts and properties of the object perceived. Second, Husserl's repeated insistence that perceptual consciousness places its subject in touch with the perceived object itself, rather than some representation that does duty for it, vindicates the commonsensical and phenomenologically grounded belief that when a thing appears to us, it is precisely that thing, (...) rather than some other thing (its 'appearance'), that we perceive. Third, his distinction between empty and intuitive acts, and his descriptions of their complex interplay in perceptual consciousness, provides a way of making sense of the fact that an object can be perceived even when some of its parts and properties are not. Finally, his theory of perceptual acts as constituents of higher-order acts of fulfilment provides one of the few detailed accounts in the philosophical literature of how a perceptual experience can transform a mere thought into knowledge, despite the fact that the relation between perception and belief is not a logical or inferential one. Because Husserl's theory of perception is a serious candidate for truth, it is also a serious candidate for philosophical criticism. As such, in what follows I will treat it as a live force to be reckoned with rather than a historical curiosity. (shrink)

Amid the ongoing debate over the proper interpretation of Aristotle's theory of sense perception in the "De Anima," Steven Everson has recently presented a well-documented and ambitious treatment of the issue, arguing in favor of Richard Sorabji's controversial position that sense organs literally take on the qualities of their proper objects. Against the interpretation of M. F. Burnyeat, Everson and others make a compelling case the Aristotelian account of sensation requires some physical process to occur in sense organs. A (...) detailed examination of the interpretation by Everson and Sorabji of Aristotle's theory, however, shows that their reading cannot be the correct one, since it involves many textual and philosophical difficulties. Their interpretation, for instance, would require abandoning Aristotle's requirement that only a transparent substance is suitable matter for an eye. Likewise, their understanding of the Aristotle's doctrine of sensation as the reception of form without matter in "DA 2.12" cannot be reconciled with other texts of his from "On Generation and Corruption." An analysis of these texts, as well as "DA 2.7" and "De Sensu 6" on the roles of light and the transparent medium in vision, show that, for Aristotle, the physical processes which sense organs undergo are not standard qualitative changes (i.e. alterations), but activities or the actualizations of potencies in the material constituents of living animal bodies. (shrink)

Are the ideas of democracy and isonomy an absolute achievement of civilization, or just a tuning moment in a complex system of metamorphosis? Is this something universal or an aesthetic approach? Could our concept of art, in its deepest sense, be responsible for democracy? Or, could our concept of democracy exist because of art? This paper is a reflection on these questions. Normally, a scientific text should give answers but would this principle be universal? Inside our planetary metamorphosis all values (...) are changing as always but now at high speed. High speed gives us both the sensation of confusion, which was typical in other historical moments, as when Carmina Burana was elaborated in the Middle Ages, and the possibility to take a step back and have, in the eye of the cyclone, dynamic elements showing us change in process. In this paper, democracy and isonomy are taken as the content of a path towards civilization, in a new environment. (shrink)

One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema (...) offers a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world. (shrink)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical object (...) and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

Sehen, Horen, Riechen, Schmecken, Tasten: Die Autorin fragt nach Entstehung, Begrundung und Folgen dieser tradierten Ordnung der Sinne. Sie fragt auch nach den abweichenden Varianten, die von der antiken Idee des Korpers als ganzheitliches Sensorium uber die hoheren Sinne des Mittelalters bis zu den sinnlichen Vermogen der Aufklarung, wie Einbildungskraft und Dichtungsvermogen, reichen. Im 18. Jahrhundert verstarkte sich zusammen mit der anthropologischen Aufwertung der Sinnlichkeit der Impuls zur Uberschreitung der Funfzahl der Sinne und zur Umordnung der uberkommenen Hierarchie. An Textbeispielen (...) von Platon, Ovid und Goethe untersucht die Autorin uberdies Zusammenhange, aber auch Widerspruche, die zwischen der europaischen Liebeskultur und der Bewertung von Auge und Ohr als hohere, von Geschmack, Geruch und Tasten als niedere Sinne bestehen. (shrink)

Approaching the study of literature as a unique form of the philosophy of language and mind--as a study of how we produce nonsense and imagine it as sense--this ...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The World According to Kant: Appearances and Things in Themselves in Critical Idealism by Anja JauernigPatricia KitcherAnja Jauernig. The World According to Kant: Appearances and Things in Themselves in Critical Idealism. Oxford: Oxford University Press, 2021. Pp. 400. Hardback, $105.00.After Peter Strawson's withering criticisms of the "Metaphysics of Transcendental Idealism" in The Bounds of Sense (London: Methuen, 1966), many Kant scholars devoted their labors to explaining and expanding (...) his project of transcendental epistemology. Recently, however, the tide has turned, and major Kant scholars have tried to fathom the intricacies of his metaphysical doctrines. With its new, systematic, and boldly idealistic interpretation of transcendental idealism, Anja Jauernig's The World According to Kant is an important contribution to this literature.Jauernig casts her reading of Kantian metaphysics in relation to two traditional accounts: the two-world interpretation that seemed obvious to Kant's first readers, and the two-aspect interpretation offered by Gerald Prauss (Kant und das Problem der Dinge an sich [Bonn: Bouvier Verlag, 1974]) and Henry Allison (Kant's Transcendental Idealism: An Interpretation and Defense [New Haven, CT: Yale University Press, 1983]). On the second reading, there are not two sets of objects, one phenomenal and one noumenal, but just one set that can be regarded in two different ways. Jauernig effectively demolishes the original two-aspect reading, noting that it has the consequence that contradictory properties (being F and not being F) are attributed to the same thing (164). The serious competitor to her interpretation is a more recent reading that makes an analogy with secondary qualities. Rae Langton introduces this strategy in Kantian Humility (Oxford: Oxford University Press, 1998), and Lucy Allais offers a new version of it in Manifest Reality (Oxford: Oxford University Press, 2015). On Allais's version, the properties of empirical objects are real, but unusual. As the redness of a rose depends not just on the existence of the rose, but also on the existence of perceivers with retinal cones, the properties of empirical objects depend on cognitive subjects as well on as things in themselves. Jauernig takes Allais's secondary quality analogy and a closely [End Page 160] related view of Tobias Rosefeldt's as her principal foils and marshals many texts to support her new view. To my mind, however, some of the cited texts seem ambiguous, for example, "our sensible representation is in no way a representation of things in themselves, but merely of the manner in which they appear to us" (Ak. 4:287, cited on 256n22). The second part of the citation seems to imply that sensible representations are how things in themselves are "manifest" to us, as Allais would put it.Jauernig would focus on the first part of the citation: a sensible representation in no way represents the thing in itself. In her view, empirical objects or appearances are fully mind-dependent: each of their "ontological ingredients" (elements that make up an object) is mind-dependent. Since empirical objects are fully mind-dependent and things in themselves are mind-independent, they have no "ontological overlap" (32). Phenomena and noumena are therefore numerically distinct things (32). Appearances or empirical objects are "empirically real" (as opposed to illusory), not merely because they agree with the formal conditions of reality, but because cognition begins with the receipt of sensations through the affection of human sensibility by things in themselves. (Here Jauernig's appearances that are grounded in real things but have properties that are "fully" mind-dependent seem similar to Allais's appearances.) Because objects of empirical cognition involve sensations caused by things in themselves, they should be understood as existents, even though they are not part of "fundamental ontology," whose denizens are mind-independent. Appearances exist or perhaps "in-exist" only as "intentional objects" of representations (33). On Kant's theory, as on Leibniz's, there are different levels of reality (39–40).Jauernig energetically engages challenges confronting her strongly idealistic reading. If empirical objects are fully mind-dependent, how do they differ from illusions and fictions? Since Kant anchors empirical reality to empirical intuition, the question becomes, how are appearances or empirical objects the referents of empirical intuitions? Appearances are... (shrink)

In its classical conception, game theory aspires to be a determinate decision theory for games, understood as elements of a structurally specified domain. Its aim is to determine for each game in the domain a complete solution to each player's decision problem, a solution valid for all real-world instantiations, regardless of context. "Permissiveness" would constrain the theory to designate as admissible for a player any conjecture consistent with the function's designation of admissible strategies for the other players. Given permissiveness and (...) other appropriate constraints, solution sets must contain only Nash equilibria and at least one pure-strategy equilibrium, and there is no solution to games in which no symmetry invariant set of pure-strategy equilibria forms a Cartesian product. These results imply that the classical program is unrealizable. Moreover, the program is implicitly committed to permissiveness, through its common-knowledge assumptions and its commitment to equilibrium. The resulting incoherence deeply undermines the classical conception in a way that consolidates a long series of contextualist criticisms. (shrink)

Sense and Sensitivity explores the semantics and pragmatics of focus in natural language discourse, advancing a new account of focus sensitivity which posits a three-way distinction between different effects of focus. Makes a valuable contribution to the ongoing research in the field of focus sensitivity Discusses the features of QFC, an original theory of focus implying a new typology of focus-sensitive expressions Presents novel cross-linguistic data on focus and focus sensitivity Concludes with a case study of exclusives (like “only”), arguing (...) that the entire existing literature (reviewed in detail) has missed crucial generalizations, and that the focus sensitivity of these expressions must be understood in terms of their meaning and discourse function. (shrink)

Recent years have witnessed an increasing number of attempts to reconstruct Marxian theory in forms that can be assessed by reference to currently received standards in various disciplines. The work has even been said to establish a new paradigm: “analytical Marxism.” One doesn't have to endorse this claim to recognize a good deal of merit in the work. Through creative application of state-of-the-art methods to traditional Marxian issues, researchers have promoted productive cross-fertilization with non-Marxian programs and have revealed many problems (...) that must be resolved for fruitful development of Marxian theory. Marx's work can be relevant to today's problems only if it is examined from vantage points provided by subsequent scientific and philosophical achievements. Moreover, critical engagement with the best science of the day has been an essential part of the Marxian theoretical project from the beginning. (shrink)

In recent years, calls have been made to address the relative dearth of qualitative sociological investigation into the sensory dimensions of embodiment, including within physical cultures. This article contributes to a small, innovative and developing literature utilizing sociological phenomenology to examine sensuous embodiment. Drawing upon data from three research projects, here we explore some of the ‘sensuousities’ of ‘intense embodiment’ experiences as a distance-running-woman and a boxing-woman, respectively. Our analysis addresses the relatively unexplored haptic senses, particularly the ‘touch’ (...) of heat. Heat has been argued to constitute a specific sensory mode, a trans-boundary sense. Our findings suggest that ‘lived’ heat, in our own physical-cultural experiences, has highly proprioceptive elements and is experienced as both a form of touch and as a distinct perceptual mode, dependent upon context. Our analysis coheres around two key themes that emerged as salient: (1) warming up, and (2) thermoregulation, which in lived experience were encountered as strongly interwoven. (shrink)

Marx criticized political economy for propounding an inverted, mystical view of economic reality. But he went beyond asserting the falsity and apologetic character of the doctrine to characterize it as reflecting a social practice of inversion or mystification — an inverted social world — in which individuals incorporate their own actions into a process whose dynamic lies beyond their control. Caught up in this process, individuals confront aspects of their own agency in the alien or reified form of a given, (...) determining reality. Marx leaves unclear exactly how the process exerts and maintains its hold on agents, the nature of the reasons they might have for wanting to free themselves of it, and under what conditions they could do so. However, it is possible to abstract somewhat from Marx's specific concerns and to model a self-reproducing practice of reification that works through the informational environment of decision. Though of wider interest, this more general conception can shed light on the nature and critique of Marx's inverted world. It draws on conceptual resources from decision theory, game theory and general equilibrium theory. (shrink)

From the winds of Mars to a baby's first laugh, a prolific philosopher-composer reflects on the profound imperative of sound in everyday life. Experiencing Sound presents its subject, the one sense we can never stop using, as fundamental to all experience-sensation, perception, and understanding. Lawrence Kramer turns on its head the widespread notion that vision takes pride of place among the senses and demonstrates how paying attention to sound can transform how we make meaning out of experience. Through (...) a series of brief, lyrical forays, Experiencing Sound shows that sound is the object of a primary need and an essential component in the sensation of being alive and the perception of time. It is something that we may suffer-or be made to suffer-as well as enjoy. Like its predecessor, The Hum of the World, this book ranges widely across music, philosophy, literature, art, media, and history, from classical antiquity to the present, as it invites us to experience sound anew. (shrink)

The notion of the author’s intention is logically tied to the interpretation we give to her work as the notion of the agent’s intention is logically tied to the interpretation we give to her action. When we find a discrepancy between what the author or agent says and the meaning we find in her work or the sense we make of what she does, this does not show that the intention is irrelevant in determining this meaning or sense. As Frank (...) Cioffi has argued, we are rather favouring one criterion of intention over another. Taking a close look at the early criticism surrounding The Turn of the Screw I draw attention to this phenomenon—much discussed by Wittgenstein—of favouring one criterion of intention over another. Because Wittgenstein’s views, though mentioned frequently, are still ill-understood, I go on to tease out the philosophical assumptions that lurk in the background of disputes about the relevance of intention for interpretation. (shrink)

Sensation is recognized by epistemology as one of the sources of knowledge, alongside memory, testimony, reason, induction and introspection, but this has not always been the case. It is a defining feature of modern epistemology that the senses provide valuable information about the world that cannot be reached through reason alone. However, because the senses can have an intensity and uniqueness that is difficult to describe, it is sometimes not entirely clear what they offer as knowledge, or (...) even whether epistemology has a secure and adequate grasp of them. This chapter explains some of the key theories of sensation in the history of epistemology, from ancient Greece to the present day, and shows how competing views of the relation between philosophy and science inform contemporary ideas about the senses. (shrink)

Husserl's idea of a self-enclosed region of pure consciousness, a transcendental subjectivity that is at once absolute being and a sense-giving synthesis of experience, has enjoyed few, if any, enthusiastic defenders. In a recent book on Husserl, David Bell struggles in vain to find anything of worth in Husserl's "transcendental ontology. ''1 To be sure, Bell is reading Husserl with Fregean eyes; yet much dissatisfaction can be found among continental thinkers as well. Jacques Derrida, for example, argues that the self-presence (...) requisite for conceiving of transcendental subjectivity as both origin and absolute being is in the end undermined by the results of phenomenological analysis itself, especially the reflections on the nature of time. Jan Pato~ka, the Czech philosopher, railed against what he saw to be Husserl's "prejudice" of subjectivism in the demand for a world-constituting activity on the part of subjectivity. One can find similar objections in the work of Roman Ingarden and Jean-Paul Sartre - that is, in the work of those who, one could say, benefited the most from Husserl's phenomenology. 2 So many have said so much, and in a multitude of convincing ways, that perhaps someone interested in Husserl can finally be content to focus on those aspects and achievements that are more or less independent of the claim that phenomenology is a "transcendental idealism," a rigorous science the region of investigation of which is an "absolutely functioning transcendental subjectivity.". (shrink)

This volume of fourteen essays commemorating the 350th anniversary of the publication of Descartes’s Meditations represents several current trends in Descartes scholarship. Among the essays there are close textual analyses, discussions of the scholastic Aristotelian influence on Descartes, and an emphasis on metaphysical topics rather than the epistemological ones that dominated the Anglo-American literature twenty years ago. The volume bears the mark of being a collection of conference papers in its breadth of topics and methodological styles, but it serves (...) well as a measure of the times for the history of philosophy, as I will explain below. (shrink)

Educational neutrality states that decisions about school curricula and instruction should be made independently of particular comprehensive doctrines. Many political philosophers of education reject this view in favor of some non-neutral alternative. Contrary to what one might expect, some prominent liberal neutralists have also rejected this view in parts of their work. This paper has two purposes. The first part of the paper concerns the relationship between liberal neutrality and educational neutrality. I examine arguments by Rawls and Nagel and argue (...) that some of the same arguments they use to justify liberal neutrality also justify educational neutrality; thus, if we accept these arguments for liberal neutrality, we should also accept educational neutrality. The second part of the paper defends educational neutrality against objections that it is impossible and objections that it is undesirable. (shrink)

The purpose of this article is to review spirituality at work literature and to explore how spirituality improves employees' performances and organizational effectiveness. The article reviews about 140 articles on workplace spirituality to review their findings on how spirituality supports organizational performance. Three different perspectives are introduced on how spirituality benefits employees and supports organizational performance based on the extant literature: (a) Spirituality enhances employee well-being and quality of life; (b) Spirituality provides employees a sense of purpose and (...) meaning at work; (c) Spirituality provides employees a sense of interconnectedness and community. The article introduces potential benefits and caveats of bringing spirituality into the workplace; providing recommendations and suggestions for practitioners to incorporate spirituality positively in organizations. (shrink)

ABSTRACTThis article examines the life and works of Robert Blakey, author of the first English-language history of political thought. Studies of Blakey have typically concentrated on one aspect of his life, whether as an authority on field sports or as an historian of philosophy. However, some of Blakey’s lesser-known ventures, particularly his early Radical politics, his hagiographies, and his attempts to write a biography of Charlemagne, heavily influenced his more famous works. Similarly, Blakey’s upbringing in a Calvinist tradition, rooted in (...) the Scottish School of Common Sense philosophy helps makes sense of his philosophical and theological commitments, yet has been largely ignored. This article provides a sketch of Blakey’s life, tying these disparate strands together, and explaining their influence upon, and relevance to, the first history of political philosophy. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

Pour Merleau-Ponty et Nancy, le sujet et son monde co-naissent ensemble dans le mouvement paradoxal du sentir. Dans cette perspective, le sentir serait alors un point de départ privilégié afin de déconstruire les théories classiques de la subjectivité et pour construire une nouvelle compréhension décentrée du sujet. Même si ces deux philosophes divergent sur la question du sujet, il est possible de les rapprocher sur la question du sentir et en particulier à propos de l’expérience de l’écoute. De cette façon, (...) nous ferons ressortir un ton radical chez le premier Merleau-Ponty et un timbre (ou une tonalité) phénoménologique chez Nancy. Pour ce faire, nous démontrons que l’écoute révèle la subjectivité comme activité de « coexistence » (et non pas de « coïncidence »), comme « co-naissance » (et non pas connaissance), et comme « trajectoire » (et non pas présence statique). En d’autres termes, c’est par la voie de l’écoute qu’on retrouve une théorie radicale de la subjectivité déjà présente dans la Phénoménologie de la perception, ainsi qu’une tonalité phénoménologique chez Nancy. For Merleau-Ponty and for Nancy, the subject and his or her world are born together (co-naissent) in the paradoxical movement of sensing. From this perspective, sensing is thus a privileged point of departure for the deconstruction of classical theories of subjectivity and for the construction of a new notion of a decentered subjectivity. Even though it may appear that these two thinkers diverge precisely with regard to the definition of the subject to be theorized, by bringing them together on the topic of sensing (and “listening” in particular), we are able to bring out a radical tone in Merleau-Ponty’s early work as well as a phenomenological timbre in Nancy’s thought. In this paper I demonstrate that listening reveals how subjectivity is an activity of “co-existence” rather than “co-incidence,” of “co-birth” (co-naissance) rather than “knowledge” (connaissance), and is a trajectory rather than a static presence. In other words, by listening to listening we rediscover a radical theory of subjectivity already at work in Phenomenology of Perception and a phenomenological tonality in the work of Nancy. Per Merleau-Ponty e Nancy, il soggetto e il suo mondo co-nascono nel movimento paradossale del sentire. In questa prospettiva, il sentire sarebbe allora un punto di partenza privilegiato per decostruire le teorie classiche della soggettività e costruire una nuova comprensione decentrata del soggetto. Anche se i due filosofi divergono sulla questione del soggetto, è possibile avvicinarli circa la questione del sentire e in particolare a proposito dell’esperienza dell’ascolto. In questo modo, cercheremo di far emergere un tono radicale nel primo Merleau-Ponty e un timbro (o una tonalità) fenomenologica in Nancy. Per farlo, mostreremo come l’ascolto riveli la soggettività come attività di “coesistenza” (e non di “coincidenza”), come “co-nascenza” (e non conoscenza), e come “traiettoria” (e non presenza statica). In altri termini, è attraverso l’ascolto che ritroviamo una teoria radicale della soggettività già presente in Fenomenologia della percezione, così come una tonalità fenomenologica in Nancy. (shrink)

Resumen La literatura universal, se encuentra poblada de arquetípicos que comparten una condición de desamparo y marginalidad, siendo la literatura realista de la segunda mitad del siglo XIX la que constata y da cuenta de su condición. En un mismo sentido, también la Biblia presenta un sinnúmero de personajes similares, marcando un punto de inflexión al llamarlo bienaventurados. Así pues, el presente estudio bíblico-literario, se centra en el arquetipo de la “viuda pobre”, sosteniendo dicha ficción literaria es una clave interpretativa (...) de la realidad, a la luz de la teoría literaria de la Estética de la Recepción. El articulo estudia la “viuda pobre” como un imaginario cultural y estableciendo la recepción de dicho imaginario en los cuentos “El Chiflón del diablo” y “El pago” del escritor chileno Baldomero Lillo, demostrando cómo el dialogo entre cultura y Biblia representa un aporte a la comprensión de determinadas ficciones literarias como categorías antropológicas.Universal literature is crowded by archetypical characters who share abandonment and marginalization conditions, being second half 19,h century realistic literature that confirms and exposes those conditions. In that sense, The Holy Bible presents a number of those characters. Resides, it highlights a turning point, hence, The Beatitudes point out: “Blessed are the poor in spirit, for theirs is the kingdom of heaven”. Thus, the following biblical-literary study, centered in the “Poor widow” archetype, aims to the establishment of literary fiction as interpretative key of reality, under Wolfgang Iser Aesthetics Reception's theory as its methodology. The objective aims to postulate “Poor Widow” as a Cultural imaginary, and finally to establish the reception of that imaginary within the stories “El Chiflón del Diablo” and “El Pago” by the chilean writer Baldomero Lillo, demonstrating that the dialog between culture and The Holy Bible represents a contribution to some literary fiction s as anthropological categories. (shrink)

It is fortunate for the community in which she lives that one of the things about which Elinor Dashwood cares a great deal is the social duty of “general civility”—the practice, in Hume’s words, of “gentle usage.” The heroine of Sense and Sensibility is respectful and considerate toward others, whether or not these are dearly loved family members or comparative strangers. According to Karen Stohr, throughout the novel, “Elinor is the exemplar of moderation, propriety and moral rectitude,” and the reader’s (...) assessment is seemingly quite straightforward: we can rest assured that although others may be unscrupulous, self-aggrandizing, and/or self-deceiving, Elinor Dashwood is virtuous from beginning to end.1.. (shrink)

Although Descartes and Malebranche argue that we are immaterial thinking things, they also maintain that each of us stands in a unique experiential relation to a single human body, such that we feel as though this body belongs to us and is part of ourselves. This paper examines Descartes’s and Malebranche’s accounts of this feeling. They hold that our experience of being embodied is grounded in affective bodily sensations that feel good or bad: namely, sensations of pleasure and pain, hunger (...) and thirst, and so on. These bodily sensations ground our experiential identification with the body because they represent the body’s needs and interests as though they were own, such that we experience an important aspect of our well-being as consisting in the preservation of the body. According to these Cartesians, then, we feel embodied in part because we experience ourselves as having a bodily good. (shrink)

In Origins of Objectivity Burge advances a theory of perception according to which perceptions are, themselves, objective representations. The possession of veridicality conditions by perceptual states—roughly, non-propositional analogues of truth-conditions—is central to Burge’s account of how perceptual states differ, empirically and metaphysically, from sensory states. Despite an impressive examination of the relevant empirical literatures, I argue here that Burge has not succeeded in securing a distinction between perception and “mere” sensation.