This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the (...) attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

This paper discusses what constitutes good teaching, taking as its cue the ‘aesthetic’ concept treated in everyday aesthetics and ‘internal good’ accounted by McIntyre. Teaching is viewed as practice, not merely as a basic action, due to its epistemological nature as everyday work. What everyday aesthetics teaches us is that even in the practice of teaching, sensory experiences such as comfort, familiarity, discomfort, ordinariness, etc. can be viewed as aesthetic experience. This kind of aesthetic experience constitute intuition supporting (...) ’good teaching’ that confirmed by examining Dreyfus et al. This ‘good teaching’ sensitivity is not specific to the individual practitioner, but is considered to be an ‘in-practice value (internal good?)’ (McIntyre) shared by the community of practice. From the aesthetic perspective, this value could be called ‘aesthetic value in practice’. In the teaching community of practice, ‘good teaching’ is both ‘beautiful teaching’ and ‘ethically good’ teaching. Teaching should be seen as a relational practice, and for this reason, The Ethico-Aesthetics of Teaching should be constructed. (shrink)

Starting from a conception of dialogue as “fusion of horizons” inspired by Gadamerian hermeneutics this article aims to give a philosophical foundation to the argument for a dialogue of civilisations within a broad set of theoretical debates that have taken place in the fields of philosophy, political theory, and international relations. Such a discussion contributes to the international political theory of dialogue of civilisations as an argument for the construction of a multicultural peaceful international society against (...) the background of our troubled contemporary global politics. (shrink)

Born out of a major international dialogue held at the Fondazione Giorgio Cini in Venice, Italy, this collection of essays presents innovative and provocative arguments about the claims of universal knowledge schemes and the different aesthetic and material forms in which such claims have been made and executed. Contributors take a close look at everything from religious pilgrimages, museums, and maps of the world, to search engines and automated GPS. Current obsessions in information technology, communications theory, and digital culture (...) often concern the value and possibility of a grand accumulation of universally accessible forms of knowledge: total libraries, open data bases, ubiquitous computing, and 'smart' technologies. These obsessions have important social and philosophical origins, and they raise profound questions about the very nature of knowledge and its organization. This volume's contributors draw on the histories of maps and of encyclopedias, worldviews and visionary collections, to make sense of the crucial relation between the way the world is known and how it might be displayed and transformed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Proceedings of the 1998 International Buddhist-Christian Theological EncounterBarbara Fields Bernstein and Brian MuldoonThe 1998 International Buddhist-Christian Theological Encounter, the continuation of the Cobb-Abe group, met in Indianapolis, Indiana, from May 1 to 3, 1998. Following the reading of a statement from Prof. Masao Abe in which he stated his regret at not being able to attend this important gathering and his hope that the encounter would begin (...) to address the global crises facing humankind today, John Cobb provided a brief history of the encounter for the new participants.First Paper: “Buddhism and Ecological Ethics,” by Chatsumarn KabilsinghProf. Kabilsingh began the morning discussion by focusing on the Buddhist doctrine of dependent origination, which reveals the interconnectedness of all life, as the starting place for fashioning a response to the environmental crisis. Suggesting that the inner and outer worlds are necessarily related (“As the king is, so are the sun and the moon”), she recommended adopting certain monastic practices to create a more harmonious relationship with nature. This provoked a discussion about the need for concrete action in addressing the behaviors not so much of individuals as of institutions. Institutions are uniquely human, embodying human imperfection even as they shape who we are. Noting that both traditions tended to focus on individual awakening or redemption, the question was asked how the principles of individual enlightenment or salvation could be applied to a community or institution. Further, there needs to be some practical balance between the two traditions’ extreme views of civilization, one of which places it in the heart of the forest (the East) and the other that finds it in the marbled city (the West). This balance, which must restore the tree of life to the heart of the city, will require a new model of institutions as living organisms rather than lifeless monoliths or random encounters. The balance of the morning’s discussion addressed the relationship between community and institutions and the “eschatological hope” of both Christianity and Buddhism. Chatsumarn concluded the session by highlighting the principle of interrelationship as the common ground between Christianity and Buddhism. [End Page 193]Second Paper: “Self and Nature in Christianity (and Buddhism),” by Sallie McfagueMcFague’s paper generated a spirited discussion about a series of paired concepts: Self-other, individual-community, sacramental-prophetic, absolute-relative, commonality-distinctiveness, vertical-horizontal, thinking-feeling, and scientific-aesthetic. The observation that ethics must be based on empirical data led to an exploration of the relationship of the relative (concrete reality that can be described) and the absolute (that which cannot be described, but may or may not be expressed through that which is particular) levels of truth. Interdependence, in the Buddhist model, includes an appreciation of the particularity of each thing while also recognizing the sameness of all. Speakers agreed that we must think both relatively and absolutely (although a new way of applying language to these concepts is needed). Meaningful environmental ethics must be grounded in the sacramental, in scientific particularity as perceived through the heart of the aesthete in intimate relationship with the natural world. But how could we move from these theoretical reflections into a closer encounter with that world? Stephanie Kaza would provide the needed vehicle in her comprehensive overview of the environmental crisis in the next session.Third Paper: “Overcoming the Grip of Consumerism,” by Stephanie KazaIt is fair to say that Kaza’s paper catalyzed provocative directions for thought during the three-day encounter, both because it provided the factual data from which an ethical discussion might proceed and because it focused the conversation on the role of consumerism in the environmental crisis. Prof. Kaza provided a telling comparison of consumerism and liberation practice as paths to self-realization and fulfillment, showing how the twelve links of dependent origination are integral to both paths. Breaking the grip of consumerism requires breaking any one of these links, like an addiction. This generated a spirited discussion about the relationship between enlightenment—whether “sudden” or otherwise—and consumerism and the relationship between consumerism and the more fundamental human tendency toward the acceptance of suffering over practices that promote liberation. While education was obviously critical for a... (shrink)

The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of (...) a defence of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dewey and the Aesthetic Unconscious: The Vital Depths of Experience by Bethany HenningPentti MäättänenBethany Henning Dewey and the Aesthetic Unconscious: The Vital Depths of Experience London: Lexington Books, 2022. 182 pp. incl. indexBethany Henning examines Dewey's conception of aesthetic experience by looking for connections to several trends and traditions. Henning relates pragmatism to Freudian psychoanalysis, feminism, wisdom from esoteric sources, erotic drive, and religion. "In the American thought (...) that we have surveyed thus far, the aesthetic, the religious, and the ethical stand as completions and realizations of one another" (p. 25). This variety of viewpoints is no doubt interesting and potentially fruitful, but there is a danger that the result may remain somewhat sporadic.One of the traditional problems and tasks in philosophy is to explain how the world is experienced as an organized, bounded whole. How are the various sensations and ideas of them related to each other? On what ground can we experience these relations between ideas? Henning refers to William James and says that these relations are directly experienced, we feel them (p. 46). According to Henning there is a unique force responsible for this, and it "can only be a kind of noncognitive, preverbal awareness, and for Dewey, it can only be the qualitative immediacy that is known to us only in aesthetic experience" (p. 25). How can we experience these relations? Here Henning appeals to Jonathan Edwards (1703–1758) who provided his own view of habits, which account for "the relations between ideas by relating them through their spatiotemporal contiguity, causality, or through resemblances" (p. 21; italics in the original). This is how the American mind was firmly set on a theoretical path that distinguishes it from "the European conception" (ibid.).This is a surprising claim, indeed. Here is what David Hume has to say about the connexion or association of ideas: "The qualities, from [End Page 369] which this association arises, and by which the mind is after this manner convey'd from one idea to another, are three, viz. RESEMBLANCE, CONTIGUITY in time or place, and CAUSE and EFFECT."1 It is quite inconceivable how this simple relabeling of Hume's principles of association as habits might have any effect on any theoretical path, especially on the emergence of pragmatism. Edwards wrote decades before Charles Peirce entered the scene. Edwards' habit is just a new name for old European ideas. It is obvious that Hume's principles of association, which deal with internal mental processes, have not much to do with Peircean habits of action, which are about overt bodily action in the world where we meet also hard facts involving brute force, muscular effort, and resistance.The starting point of Henning's analysis is immediate qualitative experience, affective sensual awareness, which also prefigures and is the ground of signification (p. 107). Qualitative immediacy is felt, had, and undergone. There is a need to experience the world as meaningful, to move from that world as had and undergone to the world as known. Knowledge about this immediate experience becomes possible with the emergence of mind, when "situations, in their qualitative tone, are also socially significant so that interactions are aided by the mediation of symbols" (p. 88). We can give names to qualitatively different feelings. This knowledge is different from qualitative immediacy in that it is discursive, cognitive, and syntactical (p. 38). But how does this kind of knowledge emerge? What is the origin of names and symbols? What is the notion of meaning applied here? According to Henning, meaning "must be felt, had and undergone, in a way that is primarily qualitative rather than primarily cognitive" (p. 107). There is also "erotic need for meaningful connection" (p. 113). Further, Henning appeals to Julia Kristeva's semiotic theory, but Peirce's semiotics is not mentioned. An explicit definition of meaning would be in place here, especially as Peirce and Dewey have one to offer.According to Peirce, "what a thing means is simply what habits it involves" (CP 5.400).2 Note that there are no restrictions on this. If it is a linguistic expression, then we have Ludwig Wittgenstein's language games... (shrink)

The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of (...) a defence of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay. (shrink)

The topics covered in this volume, originally published in 1973, include the need for a more adequate concept or definition of education, the issue of whether indoctrination is compatible with education, particularly with moral education, and the processes of judging the merits of different approaches to aesthetic education. Two contributors present complementary analyses of the relations between freedom as a characteristic of institutions and the process of learning to be a free man. There is discussion of the neglected subject (...) of rights and duties in education, with special emphasis on the question of a universal right to education. The volume concludes with papers on the relevance of philosophy to the practical judgments of educators and to education as a field of study. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 119-131 [Access article in PDF] New Stages: Challenges for Teaching the Aesthetics of Drama Online Michael Anderson Introduction The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom drama.2 At the (...) heart of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3 Aesthetics and Drama Education Drama education has had an uneasy and often contentious relationship with discussions around aesthetics. Often the drama education community has split along two lines—those who value process and those who value product.4 Work by drama educators such as Judith McLean has demonstrated the centrality of the understanding of the aesthetic and the importance of putting an aesthetic understanding at the center of teaching and learning in drama.5 Her development of an Aesthetic Framework provides teachers with an approach for understanding the position of aesthetics within drama teaching and learning that bypasses the fruitless dichotomies [End Page 119] of process versus product. As most now agree, the drama classroom has a place for both process and product.6 In both, we can find important aesthetic features of drama education. The Challenge of Emerging Technologies and Drama Education Having weathered the dichotomies of the past, there are now fresh challenges to the understanding of drama and aesthetics. The prevalence of and pressure for integration of new technologies in the drama classroom are also challenging drama educators to incorporate technology within the drama aesthetic. The ubiquity of technology that relates to drama education is facing teachers with serious challenges to engage with a dramatic aesthetic in classrooms. Perhaps the most stunning challenge is the exposure and experience twenty-first-century children have to rapidly changing technologies. As Morris explains, students are exposed to more drama in settings other than classrooms and theatres: For most Australian children, experience of drama is less likely to be through live performance than through screen-based media such as television, film, videos, video games, CD-ROM, DVD-ROM and interactive web-based games. And their experience of live performance is most likely to be shaped by the use of technology for design elements such as set, lighting and sound.7This is a compelling and imminent challenge. If drama educators cannot or will not find ways to work with technology, students will find other places to express their creativity outside the drama classroom. Added to the pressure from students who have grown up with these technologies, there is increasing pressure from curriculum developers and school systems to integrate technology into teaching. Aesthetics, Technology, and Curriculum: An Evolving Relationship All authorities and educational policy bodies in Australia are mandating integration of Information and Communications Technology (ICT) into drama curriculum. Recently, the New South Wales (NSW) Board of Studies mandated ICT as an area of "cross curriculum content," necessitating its inclusion in all Years 7-10 syllabi (which include all of the arts).8 For instance, the Year 7-10 drama syllabus states "... teachers should allow students the opportunity to explore different information communication technologies in their class work."9Recent studies have demonstrated mixed rates of participation and enthusiasm for the introduction of ICT in Australia and internationally. In the Australian study, half the respondents surveyed were not using ICT of any kind in their drama education.10 A... (shrink)

In different ways, Watsuji, Nishida, and Merleau-Ponty describe a self that extends beyond the skin through a sort of dialectic of internal/external space of perception and action, which has implications for understanding the relationship between art and nature in artistic creation. Through an exposition of Watsuji’s conception of human being in relation to a climatic milieu, Nishida’s theory of the expressive body as the site of the world’s own self-transformations, and certain claims made by Merleau-Ponty in his essays on painting, (...) this article provides a way of understanding how material media may become expressive when they are taken up by artists. (shrink)

This book investigates the ontological state of relations in a unique way. Starting with the notion of system, it shows that the system can be understood as a relational structure, and that relations can be assessed within themselves, with no need to transform relations in elements. “Relations” are understood in contrast to “relational property”: without a relation there is no identity, therefore no existence. What allows us to do that without hypostatizing the relation, and without immediately (...) taking it simply as a causal relation, can be better grasped, possibly, in reference to a few entities that make best display of their systemic nature, for example images, works of art, and virtual bodies. This book shows how virtual bodies are ontological hybrids representing a type of entity that has never appeared in the world before. This entity becomes a phenomenon in interactivity and evades the dichotomy between “external” and “internal”; it is neither a cognitive product of the consciousness, nor an image of the mind. The user is well aware of experiencing anotherreality, also in the sense of a paradoxical reduplication of perceptual synthesis. The virtual body-environment is therefore simultaneously external and internal, with virtual bodies-environments to be seen as artificial windows to an intermediary world. In this intermediary world, the space itself is the result of interactivity; the world takes place in the sense or feeling of immersion experienced by the user; and the body, perceived as “other”, takes upon itself the sense of its reality, of its effectiveness, as an imaginary and pathic incision, as a production of desire and emotion, to the point that the feeling of reality conveyed by a virtual environment will rely significantly on how this environment produces emotions in the users. (shrink)

The article is devoted to aesthetic nature of the philosophy of dance as a rapidly developing area of studying. The aesthetic issues of choreographies in the cognitive context have not been properly studied. The mathematical component of the classical ballet, which is shown through the internal patterns of the expressiveness of the different types of dance movements in the system of artistic thinking, is analyzed in a wide range of the philosophical problems of art of dancing. The substantial triad of (...) structure of dance is considered at the level of philosophical research. In it, along with static and dynamic forms of dance, the third component, which reflects physicality, related to the ‘sense of movement‘ or the perception of information through body movements is added to the binary structure of dance. (shrink)

The Twenty-seventh Congress of the CPSU has set the course to guide the present development of our society and determine its short- and long-term prospects. The Congress took place at a watershed in the development of the country and the contemporary world as a whole. It generalized the accumulated domestic and international experience in socialist construction, formulated a strategy to achieve the triumph of the ideals of communism, peace, and progress, made a creative contribution to the development of Marxist-Leninist (...) theory, and formulated a complex of problems to be resolved by social scientists and philosophers.Prior to the Congress, the journal published a series of articles analyzing advances made by Soviet scholars over the previous five years in the main avenues of phibsophy-dialectical and historical materialism, socio-philosophical problems in the development of socialism, philosophical problems in the natural sciences, the problems of scientijk-technological and social progress, culture and the cultural heritage, the development of the individual and communist education, ethics and esthetics, the history of philosophy, and the ideological struggle in the modern world.Today, the guidepost defining the primary content of the work ofphilosophers must be those programmatic theses of the Twenty-seventh CPSU Congress that point to the need for a broader orientation of the social sciences toward the concrete needs ofpractical life, for quick reactions to the shifts currently occurring in our life, for the careful analysis of new phenomena, and, by virtue of this, for the attainment of impressive theoretical andpractical results. The basis for this is a creative application of materialist dialectics, particularly in striving for a deeper analysis of the problems of socialism, social progress, and the maintenance of peace. This gives rise to the need for ficndamental advances in philosophical theory. Of primary importance is the acceleration of the countrys socioeconomic development, which requires investigation into the economic, social, political, cultural, and other aspects of the acceleration of social progress and the elevation in it of the role of the masses and the human factor.The new CPSU Program concentrates the attention of social scientists on the study and comprehensive analysis of global development, the creation of a new society in the USSR and in other socialist countries, the dialectics of the productive forces and production relations, the material and intellectual spheres under socialism, patterns in the establishment of the communist formation, and the paths and means toward the gradual approach to its highest phase. The scientijic analysis of the objective contradictions in socialist society, the elaboration of well-founded recommendations on their resolution, of reliable economic and social prognoses, is an urgent task of the social sciences at the contemporary stage of development.In initiating a new rubric, we by tradition would like to share with readers our plans in this area. In this issue we enumerate the basic problems for the discussion and preparation of articles in light of the materials of the Twenty-seventh Congress. The journal plans to conduct a discussion of these problems and, with the help of its wide range of authors, to publish a series of articles.The editors will embark under this new rubric with an article from the vice-president of the USSR Academy of Sciences, Academician P. N. Fedoseev, entitled "Dialectics in the Contemporary World.". (shrink)

In appreciating paintings, what we experience is either a result of their medium or object, regardless of whether the object is an actual thing, a fictional thing, an internal emotion, an abstract idea, or something else. However, the conceptions of ‘betweenness’ in traditional Chinese aesthetics and ‘twofoldness’ in contemporary Western aesthetics tell us that our experience of paintings might not be simply from the object or the medium itself but rather from a relation between the two. This study (...) considers the intercultural value of the above concepts while examining how our aesthetic pleasure might derive from awareness of the object, the medium, and the play of our mind and body. (shrink)

In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the (...) clarifying experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art. (shrink)

This article begins with discussions of rationalist, a priori and empiricist, a posteriori thinking in philosophy. It then argues that classically, sociology is rationalist or a priori. Sociology — Weber, Simmel, Durkheim and Marx — moves from Kant's epistemological a priori to the social a priori. It moves from the question of how knowledge is possible to the question of how society is possible. This question of the possibility of society becomes quickly one of social control and social order in (...) functionalism and Parsons. The article argues instead for an aposteriorist, de facto empiricist sociology that breaks with this ultimately normative question. This aposteriorist sociology would instead investigate social processes in their very factuality, their open-endedness, complexity, and path dependency. A priorism in sociology, I would argue, is dominant in both positivism and phenomenology. The article opposes to phenomenology's transcendentaI rationalism a `transcendental empiricism' that is illustrated with Edmund Burke's English and aposteriori aesthetics of the sublime. Sociology today needs to be relevant to study of `emerging' nations like China. The article argues for an aposteriorist, empiricist sociology here, and looks at debates on property law in today's China. Here we look at rationalist and a priori notions of clear, distinct and divisible property in Continental reception of Roman law. We counterpose to this English, empiricist (a posteriori) Common Law notions of property as a bundle of rights, in which property is not clear and distinct but vague like a boundary object. We look at how this is instantiated in China. With François Jullien, we contrast a Chinese, effectively empiricist, aposteriorist notion of the universal to Western rationalist and a priori universalism. We look at the implications for international geopolitics and a possible Chinese route to democracy. With Jullien, we counterpose an aposteriorist Chinese notion of `activity' to the Western a priori notions of `action' found in Weber and Parsons. The Chinese `activity' is more processual, more relational, less goal-oriented, more path-dependent than our Western notion of `action'. The article argues that in the twenty-first century when national social control is partly displaced by global uncertainty, and when the ascendancy of the West is coming increasingly under question, that such an empiricist, aposteriorist sociology is suitable. (shrink)

This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a (...) uniquely synthetic definition of art. It captures the artwork’s relations between form and content, art’s independent ontology and autonomy, art’s internal completeness, criticism, immunity to recruitment, the uniqueness of each medium, and musicality, as well as the logical-theoretical affiliation of art for art’s sake to epistemology, ethics and philosophy of language.<BR> Those are used by Michalle Gal to formulate a definition of art in terms of a theory of Deep Formalism, setting aestheticism, which aspires to preserve the artistic medium, as a critique of the current linguistic-conceptual aesthetics that developed after the linguistic turn of aesthetics. (shrink)

Introduction: Middle-Earth, The lord of the rings, and international relations -- Order, justice, and Middle-Earth -- Thinking about international relations and Middle-Earth -- Middle-Earth and three great debates in international relations -- Middle-Earth, levels of analysis, and war -- Middle-Earth and feminist theory -- Middle-Earth and feminist analysis of conflict -- Middle-Earth as a source of inspiration and enrichment -- Conclusion: international relations and our many worlds.

This introduction to the special issue on "Aesthetics of Science" reviews recent philosophical research on aesthetic aspects of science. Topics represented in this research include the aesthetic properties of scientific images, theories, and experiments; the relation of science and art; the role of aesthetic criteria in scientific practice and their effect on the development of science; aesthetic aspects of mathematics; the contrast between a classic and a Romantic aesthetic; and the relation between emotion, cognition, and rationality.

Literature is recognised as having significantly influenced the development of modern psychoanalytic thought. In recent years psychoanalysis has drawn increasingly on the literary and artistic traditions of western culture and moved away from its original medical–scientific context. Originally published in 1991 _The Chamber of Maiden Thought _ is an original and revealing exploration of the seminal role of literature in forming the modern psychoanalytic model of the mind. The crux of the 'post-Kleinian' psychoanalytic view of personality development lies in the (...) internal relations between the self and the mind's 'objects'. Meg Harris Williams and Margot Waddell show that these relations have their origins in the drama of identifications which we can see played out metaphorically and figuratively in literature, which presents the self-creative process in aesthetic terms. They argue that psychoanalysis is a true child of literature rather than merely the interpreter or explainer of literature, illustrating this with some examples from clinical experience, but drawing above all on close scrutiny of the dynamic mental processes presented in the work of Shakespeare, Milton, the Romantic poets, Emily Bronte and George Eliot. _The Chamber of Maiden Thought_ will encourage psychoanalytic workers to respond to the influence of literature in exploring symbolic mental processes. By bringing psychoanalysis into creative conjunction with the arts, it enables practitioners to tap a cultural potential whose insights into the human mind are of immense value. (shrink)

Literature is recognised as having significantly influenced the development of modern psychoanalytic thought. In recent years psychoanalysis has drawn increasingly on the literary and artistic traditions of western culture and moved away from its original medical–scientific context. Originally published in 1991 _The Chamber of Maiden Thought _ is an original and revealing exploration of the seminal role of literature in forming the modern psychoanalytic model of the mind. The crux of the 'post-Kleinian' psychoanalytic view of personality development lies in the (...) internal relations between the self and the mind's 'objects'. Meg Harris Williams and Margot Waddell show that these relations have their origins in the drama of identifications which we can see played out metaphorically and figuratively in literature, which presents the self-creative process in aesthetic terms. They argue that psychoanalysis is a true child of literature rather than merely the interpreter or explainer of literature, illustrating this with some examples from clinical experience, but drawing above all on close scrutiny of the dynamic mental processes presented in the work of Shakespeare, Milton, the Romantic poets, Emily Bronte and George Eliot. _The Chamber of Maiden Thought_ will encourage psychoanalytic workers to respond to the influence of literature in exploring symbolic mental processes. By bringing psychoanalysis into creative conjunction with the arts, it enables practitioners to tap a cultural potential whose insights into the human mind are of immense value. (shrink)

The Routledge Handbook of Philosophy of the City is an outstanding reference source to this exciting subject and the first collection of its kind. Comprising 40 chapters by a team of international contributors, the Handbook is divided into clear sections addressing the following central topics: -/- • Historical Philosophical Engagements with Cities -/- • Modern and Contemporary Philosophical Theories of the City -/- • Urban Aesthetics -/- • Urban Politics -/- • Citizenship -/- • Urban Environments and the (...) Creation/Destruction of Place. -/- The concluding section, Urban Engagements, contains interviews with philosophers discussing their engagement with students and the wider public on issues and initiatives including experiential learning, civic and community engagement, disability rights and access, environmental degradation, professional diversity, social justice, and globalization. -/- Essential reading for students and researchers in environmental philosophy, aesthetics, and political philosophy, The Routledge Handbook of Philosophy of the City is also a useful resource for those in related fields, such as geography, urban studies, sociology, and political science. (shrink)

The central premise of this book is that biblical Hebrew narrative, in terms of its structure, tends to operate under similar mechanical constraints to those of a stage-play; wherein space is central, characters are fluid, and objects within the narrative tend to take on a deep internal significance. The smaller episodic narrative units within the Hebrew aesthetic tend to grant primacy to space, both ideologically and at the mechanical level of the text itself. However space, as a determinate structural category, (...) has been all but overlooked in the field of biblical studies to date; reflecting perhaps our own inability, as modern readers, to see beyond the dominant cinematic aesthetic of our times. The book is divided into two major sections, each beginning with a more theoretical approach to the function of narrative space, and ending with a practical application of the previous discussion; using Genesis 28:10-22 (the Bethel narrative) and the book of Ruth respectively, as test cases.Where does the notion of free will come from? How and when did it develop, and what did that development involve? In Michael Frede's radically new account of the history of this idea, the notion of a free will emerged from powerful assumptions about the relation between divine providence, correctness of individual choice, and self-enslavement due to incorrect choice. Anchoring his discussion in Stoicism, Frede begins with Aristotle--who, he argues, had no notion of a free will--and ends with Augustine. Frede shows that Augustine, far from originating the idea (as is often claimed), derived most of his thinking about it from the Stoicism developed by Epictetus. (shrink)

The sociology of symbolic power, as put forth by Pierre Bourdieu, treats the relations between behavior and socio-cultural structure. Bourdieu comprehends culture as a form of capital that follows certain laws of accumulation, exchange, and operation, and emphasizes that its symbolic form plays an important role in establishing and maintaining power structures.1 Bourdieu’s concept of cultural capital comprises a variety of resources such as language capabilities, general cultural consciousness, aesthetic symbols, educational information, and level of education.2 His analysis of (...) cultural capital reveals three different processes of its formation.3 First, education fosters its formation, internalizing it through the.. (shrink)

This thesis starts from the point of departure of asking why Aesthetic Theory is difficult to read. In answering this question it is argued that the difficulty of the work is a function of the unusual claims Adorno makes about the relation between art and philosophy, and that the presentation of these arguments exemplifies these claims. This complimentary relation between form and content has implications for the way Adorno can be understood as engaging the idea of mimesis. Aesthetic Theory should (...) be understood as a theory of mimesis in modern art and as a mimetic work itself. Given this idea, the question of the readability of the work emerges as inseparable from the explicit claims Adorno makes for mimesis. If the work ultimately cannot be understood because Adorno does not define his concepts, or it is unexplainable for any other reason, then mimesis will be shown to be untenable. The issue of the readability of Aesthetic Theory is explored in the Introduction through a discussion of issues arising from the recent history of Adorno's reception. Particular attention is paid to the differences between critics who have emphasised the significance of the particular claims Adorno makes against those who emphasise his method. Chapter I rejects this distinction while it argues that the character of Adorno's writing is uneven, that is to say, Aesthetic Theory cannot usefully be read in a uniform way. Chapter I considers different aspects of this lack of uniformity and argues that the identity of Aesthetic Theory as 'philosophy' is often tenuous as it moves in and out of other modes of argument. Chapters 2 and 3 look at different aspects of the identity of Aesthetic Theory as philosophy. Chapter 2 explains the strategic significance of the work as a continuation of a tradition of philosophy from Hegel onwards. This tradition, it is argued, has explicitly understood the problem of philosophy as recognising itself as experience while it attempts to describe experience. Chapter 3 extends this theme into a consideration of philosophical form. If philosophy is understood as a mode of experience then its form as well as its content is significant. Through a consideration of Heidegger and Derrida, Chapter 3 examines the uniqueness of the philosophical form of Aesthetic Theory. Having made this distinction. Chapter 4 reads Aesthetic Theory as philosophical form, describing aspects of it as mimetic. Chapters 5 and 6 then give detailed readings of parts of Aesthetic Theory which are particularly relevant for an understanding of Adorno's theory of the mimetic potential of modern art. The concluding chapter argues that the internal consistency of Aesthetic Theory in its practice and definition of the crisis of mimesis in modernism has significant implications for the practice of art history and criticism of twentieth-century art. (shrink)

Discussions of global ethics—about the types of ethical claim made on individuals and groups, not only states, by individuals and groups around the world—have had to move beyond the categories inherited in the International Relations discipline. Many important positions are not captured by a framework developed for discussion of inter-state relations. The blindspots seem to reflect an outmoded expectation that (i) giving low normative weight to national boundaries correlates strongly with (ii) giving more normative weight to people (...) beyond one's national boundaries, and vice versa; in other words that these two dimensions in practice reduce to one. The paper develops an enriched categorisation. We need to recognise the separate importance of the two dimensions, and thus distinguish various types of ‘cosmopolitan’ position, including many varieties of libertarian position which give neither national boundaries nor pan-human obligations much (if any) importance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetic Potential of Global Issues CurriculumWilliam Gaudelli (bio) and Randall Hewitt (bio)IntroductionGlobal issues rarely suggest conversations about aesthetics, as they conjure thinking about massive problems such as global warming, famine, and war rather than beautiful thoughts such as grace, love, and compassion. Students may engage in study of global issues in any number of venues, perhaps through a world geography class, within world literature, or as part (...) of a course in Earth science. They would likely be exposed to readings, Web sites, and videos about the nature and extent of problems. Teachers might engage them in small and large group discussions of problems, and, ideally, there would be some consideration of what they might do as citizens. Such processes, their outcomes, and subsequent civic directions are generally not regarded as aesthetic acts, however. One is likely to consider the aesthetic value of a piece of art, a song or poem, movie or performance, but to speak of activities like teaching global issues being aesthetic seems discordant.Yet, this is not so within John Dewey's notion of aesthetics. He argues that aesthetics can exist outside of museums and beyond theaters, potentially in social discourse. Activities like public talk, while not as inherently pleasing as listening to music, have the potential to be experienced as aesthetic:Hence an experience of thinking has its own esthetic quality. It differs from those experiences that are acknowledged to be esthetic, but only [End Page 83] in its materials … [T]he experience itself has a satisfying emotional quality because it possesses integral integration and fulfillment reached through ordered and organized movement … In short, esthetic cannot be sharply marked off from intellectual experience since the latter must bear an esthetic stamp to be itself complete.1Dewey's contention that all types of activity, from repairing an automobile to discussing species extinction, can point toward transcendence has not achieved widespread recognition among philosophers, nor has its utility been demonstrated in curriculum.2 Aesthetics and art are still largely confined to the museum, hermetically sealed off from everyday experiences in a Schillerian "ideal kingdom."3 To suggest curriculum, schools, and pedagogy as potential landscapes for artwork far removed from the museum is to render oneself a heretic in many quarters of educational discourse.Yet, there is a despondency and desperation about schools, and thereby curriculum, that too often fail to teach for and about something more than narrow, capitalist-driven, techno-rationalist ends. Constructivist orientations in teaching, for example, have contributed to shifting the manner of teaching but have done relatively little to reframe the ends of learning. Metaphorically, constructivism is a spoon of sugar to help swallow the bitter pill that is learning for and as work. What is lacking in this conceptualization, according to Parker Palmer, Nel Noddings, and Aostre Johnson, is an aesthetic and spiritual rationale for learning that honors the sanctity of students beyond their academic capacities, values the processes of learning as much as its outcomes, and seeks a space for learning that is transcendent.4What we seek in this article with Dewey, then, is an antidote for the malaise that has befallen curriculum, one that is rooted in an aesthetic way of thinking instantiated in a most unlikely candidate: teaching about global issues. We begin by briefly outlining some of Dewey's thinking related to aesthetics, particularly as it germinated in his career and biography. We then turn to the work of contemporary scholars in education who have similarly found value in Dewey's notion of aesthetics. Finally, we draw an illustration from a recent study of student focus groups engaged in reading global media. This student conversation about the potential cataclysm of global warming demonstrates the surprising capacity of such bleak policy discussions to generate aesthetic moments. The significance of this work lies in its potential to contribute to a broadened curriculum discourse that aims toward living an aesthetically resonant life in classrooms and wider social environs while augmenting and enhancing the rationalistic focus of contemporary schools and, indeed, the study of global issues.Deweyan Aesthetics and BiographyWe begin by weaving Dewey's biography with his notion of aesthetics as an internal process of... (shrink)

International Relations and the Philosophy of History examines the concept of civilization in relation to international systems through an extensive use of the literature in the philosophy of history. A. Nuri Yurdusev demonstrates the relevance of a civilizational approach to the study of contemporary international relations by looking at the multi-civilizational nature of the modern international system, the competing claims of national and civilizational identities and the rise of civilizational consciousness after the Cold War.

How might philosophically based counseling avoid becoming just one more form of private therapy, to be set alongside all the others now sold to individual consumers? Although several practitioners of philosophical counseling have sought to distinguish their approach from psychotherapeutic models, Foucault’s critique of the dominant modern model of ethical reflection might be used to argue for their essential continuity with one another, based on their common acceptance of the primacy of the imperatives of knowledge. Foucault turned in his late (...) writings to ancient Greek models of ethics as ‘care of the self ’, delineating a self-relation prior to knowledge. This paper argues for the interest and importance for philosophical counseling of the idea of ethics as ‘care of the self ’ in articulating a model of ethical reflection distinct from both rationalist and irrationalist tendencies in modern thought and focussed on self-mastery conceived as addressing our relation to otherness rather than as authenticity or autonomy. Moreover, the ‘aesthetics of existence’ that Foucault prescribes to the present has a significant and affirmative relationship to po­litical life; this distinguishes it from the private and individualistic project, dismissed by Foucault as ‘the Californian cult of the self ’, for which philosophical counseling can all too readily be mistaken. (shrink)

Starting from the 2009 Istanbul Biennial, with its Brechtian curatorial theme, this essay considers the Left’s varying responses to art’s so-called ‘political turn’. Discussion ranges from the local and regional context of the Biennial’s function as part of Turkey’s bid to join the EU, through to a longer theoretical perspective on the critical debates over ‘art and life’, artistic autonomy and heteronomy, and the revival in avant-gardism. The authors propose that the standard accounts of the intimate connection between the commodity (...) and art have become politically counterproductive. They suggest that Marxist analysis needs to develop a more complexly-articulated philosophical reflection on the relation between economy, politics, and art ‐ and between political and aesthetic praxes ‐ if it is to advance its longstanding contributions to considerations of ‘aesthetics and politics’. (shrink)

The World In Your Head: A Gestalt View of the Mechanism of Conscious Experience represents a bold assault on one of the greatest unsolved mysteries in science: the nature of consciousness and the human mind. Rather than examining the brain and nervous system to see what they tell us about the mind, this book begins with an examination of conscious experience to see what it can tell us about the brain. Through this analysis, the first and most obvious observation is (...) that consciousness appears as a volumetric spatial void, containing colored objects and surfaces. This reveals that the representation in the brain takes the form of an explicit volumetric spatial model of external reality. Therefore, the world we see around us is not the real world itself, but merely a miniature virtual-reality replica of that world in an internal representation. In fact, the phenomena of dreams and hallucinations clearly demonstrate the capacity of the brain to construct complete virtual worlds even in the absence of sensory input. Perception is somewhat like a guided hallucination, based on sensory stimulation. This insight allows us to examine the world of visual experience not as scientists exploring the external world, but as perceptual scientists examining a rich and complex internal representation. This unique approach to investigating mental function has implications in a wide variety of related fields, including the nature of language and abstract thought, and motor control and behavior. It also has implications to the world of music, art, and dance, showing how the patterns of regularity and periodicity in space and time--apparent in those aesthetic domains--reflect the periodic basis set of the underlying harmonic resonance representation in the brain. (shrink)

The aim of this paper is to articulate and analyse the complexity of the concept of work in Hannah Arendt’s philosophy. Work is usually interpreted as antithetical to political action. This claim merits specification: only the instrumental, utilitarian strand of homo faber poses real danger to authentic politics. By contrast, the artistic or cultural mode of homo faber is not only compatible with Arendt’s understanding of politics, but in fact indispensable for any form of political longevity. Enduring political existence is (...) impossible without the constant support of artists, poets, historiographers and monument-builders who reify and memorialize the key meanings of political communities. This claim is substantiated by applying the phenomenological concept of sedimentation and drawing the political implications of this application. However, similarly to Edmund Husserl, Arendt identified a dual, problematic nature of sedimentation that underscores the importance of natality and thinking in artistic practice. (shrink)

This volume is devoted to exploring a subject which, on the surface, might appear to be just a trending topic. In fact, it is much more than a trend. It relates to an ancient, permanent issue which directly connects with people's life and basic needs: the recognition and protection of individuals' dignity, in particular the inherent worthiness of the most vulnerable human beings. The content of this book is described well enough by its title: 'Human Dignity of the Vulnerable in (...) the Age of Rights'. Certainly, we do not claim that only the human dignity of vulnerable people should be recognized and protected. We rather argue that, since vulnerability is part of the human condition, human vulnerability is not at odds with human dignity. To put it simply, human dignity is compatible with vulnerability. A concept of human dignity which discards or denies the dignity of the vulnerable and weak is at odds with the real human condition. Even those individuals who might seem more skilled and talented are fragile, vulnerable and limited. We need to realize that human condition is not limitless. It is crucial to re-discover a sense of moderation regarding ourselves, a sense of reality concerning our own nature. Some lines of thought take the opposite view. It is sometimes argued that humankind is - or is called to be - powerful, and that the time will come when there will be no vulnerability, no fragility, no limits at all. Human beings will become like God (or what believers might think God to be). This perspective rejects human vulnerability as in intrinsic evil. Those who are frail or weak, who are not autonomous or not able to care for themselves, do not possess dignity. In this volume it is claimed that vulnerability is an inherent part of human condition, and because human dignity belongs to all individuals, laws are called to recognize and protect the rights of all of them, particularly of those who might appear to be more vulnerable and fragile. (shrink)

Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...

In this article, Strandberg analyses the development of Swedish cultural policy during the last decades. In contradistinction to the first policy proposition from 1974, which emphasised the importance of counteracting the negative impact of the market, the cultural policies that have been in place for the last twenty to thirty years consider the forces of the market to be conducive to the freedom of culture and the arts. This has entailed a paradigm shift in Swedish culture that has opened up (...) the field of cultural policy for the so-called creative industries, equated culture with creativity, and collapsed the distinction between culture and creative forms of entrepreneurship. When analysing this, Strandberg relates the modern history of Swedish cultural policy to the wider international development that has given rise to the paradigm of the creative industries and discusses how the equation of culture with creativity has made the autonomy of culture and the arts more and more difficult to uphold. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...) fantasy, and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

This provocative and original book challenges the commonplace that contemporary international interactions are best understood as struggles for power. Eschewing jargon and theoretical abstraction, Mervyn Frost argues that global politics and global civil society must be understood in ethical terms. International actors are always faced with the ethical question: So, what ought we to do in circumstances like these? Illustrating the centrality of ethics to our understanding of global politics and global civil society with detailed case studies, Frost (...) shows how international actors constitute one another in global social practices that are underpinned by specific ethical commitments. Case Studies examined include: The War on Iraq The 'Global War on Terror' Iran Human Rights Globalization and Migration The use of Private Military Companies. Global Ethics forces readers to confront their own necessary ethical engagement as citizens and rights holders in global society. Failure to understand international relations in ethical terms will lead to misguided action. This book should be read by all scholars and students of international relations as well as the general reader seeking an accessible account of the importance of ethical decisions in world affairs. (shrink)

The category of anarchy is conventionally associated with the emergence of an autonomous discipline of International Relations. Recently, Donnelly has argued that anarchy has never been central to IR. His criticism targets not just concepts of anarchy but theories of anarchy and thereby expresses an anti-theory ethos tacitly accepted in the discipline. As a form of conceptual atomism, this ethos is hostile to structuralist and normative theories. This article aims to reinstate theoretical holism against conceptual atomism and to (...) defend the enduring relevance of theories of international anarchy for IR. This is done by revisiting two classic, structuralist accounts of international anarchy articulated in Kenneth Waltz’s Theory of International Politics and Hedley Bull’s Anarchical Society. It will be shown that both represent coherent theoretical ‘wholes’ which reveal a more complex relationship between anarchy and hierar... (shrink)

This paper is based on the Isaac and Tamara Deutscher Memorial-Prize Lecture given at SOAS in London, on 27 November 2009. It claims that Marxism remains built around a critique of political economy but lacks a parallel critique of international relations. IR naturalises the organisation of inter-state relations along lines comparable to the naturalisation of the capitalist economy by economics. The paper argues that the disciplinary organisation of Western academia is part of the class-discipline in society at (...) large. It was triggered by the abstraction of economics from the field of the broader social sciences. IR, in turn, was codified in the slipstream of Woodrow Wilson’s response to the Russian Revolution that followed on from the US-intervention in World-War I. The discipline was built around a founding myth of global liberalism and national self-determination. It served, among other things, to disqualify the claims of the theory of imperialism on disciplinary grounds, and its initial connections with Western hegemony, capital, and the national-security state remain in place today. Distinguishing modes of foreign relations, and specifying the occupation of space, protection, and exchange for tribal and empire/nomad foreign relations, as well as sovereign equality and global governance, on the other hand make it possible to understand the rise and continuing hegemony of the West in its own right, rather than as a superstructure of the transnationalisation of capital. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:"The Veil of Maya": Schopenhauer's System and Early Indian ThoughtStephan Atzert"The Veil of Maya": Schopenhauer's System and Early Indian Thought. By Douglas Berger. Binghamton: Global Academic Publishing, 2004. Pp. 319.Arthur Schopenhauer's (1788-1860) philosophy combines a number of inquiries into epistemology, metaphysics, ethics, aesthetics, and psychology. Schopenhauer read widely in several languages and incorporated many influences, including his reading of Anquetil Dupperon's Latin translation of selected Upanishads. From (...) a contemporary perspective it is fair to say that Schopenhauer does not offer a systematic philosophy, internally consistent in all its parts, but rather a philosophical approach that is descriptive and sensitive to a wide range of issues. Despite definite exceptions, the strength of Schopenhauer's writing lies in his attempt to be descriptive about the human experience, in combination with a willingness to incorporate its possibilities, and therefore his writings provided, and still do provide, points of departure for a wide variety of investigations.Schopenhauer became especially popular with artists, due to the fact that he proposed a metaphysical theory of art that offered artists possibilities for self-flattering. Aside from the role he played for Nietzsche, this is perhaps the only area in which Schopenhauer's impact is well understood. By contrast, Schopenhauer's decisive role in the development of Freud's psychoanalytic theory has only begun to be appreciated in the past few years. And although there exists a significant tradition of relating Advaita Vedānta and Buddhism to Schopenhauer's philosophy-the approaches of Paul Deussen, Helmuth von Glasenapp, and Wilhelm Halbfass marking conceptual shifts in this tradition-truly comprehensive perspectives are emerging only now. The fascinating exploration of Schopenhauer's exposure to relevant indological texts, commentaries, and scholars is still far from complete, as only a comparatively small selection of Schopenhauer's manuscript remains has been published, by Arthur Hübscher in 1966. As recently as 1998 Urs App was able to conclude, from his study of Schopenhauer's unpublished annotations to the Asiatick Researches, that it has been a misconception-although one carefully nourished by Schopenhauer himself-to assume that Indian concepts only confirmed what Schopenhauer had conceptualized intuitively of his own accord. Douglas Berger's timely study, "The Veil of Maya": Schopenhauer's System and Early Indian Thought, shows that this case can be made by way of a careful analysis of the development of Schopenhauer's philosophy without recourse to unpublished manuscript remains. In this respect Berger states:After reading Schopenhauer for some years, I became convinced that some crucial aspects of his system, specifically how he made argumentative transitions from epistemology to metaphysics to ethics, transitions about which much dispute still rages in the secondary literature, could not be well assessed without taking into consideration how Scho-penhauer understood the Upanishadic and Vedantic notion of maya.(p. xii) [End Page 675]On the basis of the published manuscript remains Berger traces how the early system developed. Here Berger shows very convincingly that the formation of Schopenhauer's system was strongly influenced by his appropriation of one particular element of Hinduism-or better, of Brahmanic world views-namely the idea of maya. Maya in the Upanishads is "most often identified to be the magical power of God employed to create the world and then to hide behind the matter out of which it was made" (p. 62). As Berger has traced in the manuscript remains,Schopenhauer develops an understanding of maya over time which makes it at once an epistemological category of falsification and an existential fetter that causes human beings to comport themselves... in an ethically pernicious way. More specifically Scho-penhauer believes maya to be a way the world appears to us as something it is not.... Epistemologically, maya entails an erroneous perception of things and a fallacious assessment of their nature; axiologically, it is the inauthentic valuation of world and other; metaphysically, it is the mere phenomenal appearance of a noumenal reality; and ethically, it leads to an unjustifiable alienation of other from self.(p. 63)In Schopenhauer's own words from a manuscript dating to 1814:In so far as he is alive... a human being... is doomed not merely to... (shrink)

In Emanuel Adler's distinctive constructivist approach to international relations theory, international practices evolve in tandem with collective knowledge of the material and social worlds. This book - comprising a selection of his journal publications, a new introduction and three previously unpublished articles - points IR constructivism in a novel direction, characterized as 'communitarian'. Adler's synthesis does not herald the end of the nation-state; nor does it suggest that agency is unimportant in international life. Rather, it argues (...) that what mediates between individual and state agency and social structures are communities of practice, which are the wellspring and repositories of collective meanings and social practices. The concept of communities of practice casts new light on epistemic communities and security communities, helping to explain why certain ideas congeal into human practices and others do not, and which social mechanisms can facilitate the emergence of normatively better communities. (shrink)

This chapter takes issue with a traditional approach that has tried, unsuccessfully, to separate order from justice. It argues that a solidarist consciousness has been developed, arising from a wide range of social, political, economic, and technological forces. These developments make a retreat to pluralist state‐based conceptions of international order and justice impossible. Yet the chapter acknowledges, too, that attempts to move towards promoting some conception of global justice are still constrained because these attempts have to be made in (...) the context of a global political order that remains heavily structured around inherited pluralist mechanisms that reflect various types of inequality. (shrink)