Taking Emerson as his starting point, Cornel West’s basic task in this ambitious enterprise is to chart the emergence, development, decline, and recent resurgence of American pragmatism. John Dewey is the central figure in West’s pantheon of pragmatists, but he treats as well such varied mid-century representatives of the tradition as Sidney Hook, C. Wright Mills, W. E. B. Du Bois, Reinhold Niebuhr, and Lionel Trilling. West’s "genealogy" is, ultimately, a very personal work, for it is imbued throughout with the (...) author’s conviction that a thorough reexamination of American pragmatism may help inspire and instruct contemporary efforts to remake and reform American society and culture. "West... may well be the pre-eminent African American intellectual of our generation."—The Nation "_The American Evasion of Philosophy_ is a highly intelligent and provocative book. Cornel West gives us illuminating readings of the political thought of Emerson and James; provides a penetrating critical assessment of Dewey, his central figure; and offers a brilliant interpretation—appreciative yet far from uncritical—of the contemporary philosopher and neo-pragmatist Richard Rorty.... What shines through, throughout the work, is West's firm commitment to a radical vision of a philosophic discourse as inextricably linked to cultural criticism and political engagement."—Paul S. Boyer, professor emeritus of history, University of Wisconsin–Madison. Wisconsin Project on American Writers Frank Lentricchia, General Editor. (shrink)

In this fresh, original analysis of Marxist thought, Cornel West makes a significant contribution to today's debates about the relevance of Marxism by putting the issue of ethics squarely on the Marxist agenda. West, professor of religion and director of the Afro-American studies program at Princeton University, shows that not only was ethics an integral part of the development of Marx's own thinking throughout his career, but that this crucial concern has been obscured by such leading and influential interpreters (...) as Engels, Kautsky, Lukcs, and others who diverted Marx's theory into narrow forms of positivism, economism, and Hegelianism. (shrink)

New York University, USA In theoritical and political writings, multiculturalism is most frequently understood in the language of recognition. Multiculturalist initiatives responds to the demands of minority cultures for political and cultural recognition so long denied them with devastating effects. In this article, we argue that the politics of recognition may have implicit dangers. In so far as it is articulated as a demand placed upon a dominant group and integrally tied to the substantiation of pre-given or fixed identity, (...) it can easily mask or even reiterate cultural hierarchization associated with Eurocentrism. We argue that it is necessary to understand recognition in terms of equal dignity; at the core of our argument is the insistence that all of us must have our potential to shape our identifications recognized by the state, such that we - and not the state - are the source of the meaning that they have to us, as individuals and as members of groups. Key Words: multiculturalism • racism • recognition • U.S. politics and culture. (shrink)

In recent years, feminist and queer theory have effectively disavowed both “the human” and revolutionary politics. In the face of massive geopolitical crisis, posthumanists have called for us to reconsider fundamentally the superiority and centrality of mankind and “the human,” and question how Man can presume to change the world by revolutionary action, particularly when Marx’s dreams seem to have been swept into the dustbin of history. This provocative book reaffirms what is most basic in feminism – the attack on (...) the “universality” and sovereignty of Man – but contends that the only way this can mean anything other than pessimistic rhetoric is to embrace human agency and the struggle against colonialism and capitalism. In a series of “creolized” readings – Foucault with Ali Shari’ati, Lacan with Fanon, and Spinoza with Sylvia Wynter – the authors demonstrate what is at stake in the ongoing debate between humanism and posthumanism, putting this debate in the context of contemporary global crises and the possibilities of revolution. In its defense of “political spirituality,” this book pushes for a new trajectory in response to the gross inequalities of today, one that offers us a very different view of revolution and its present-day potential. (shrink)

This Article draws attention to a conceptual point that has been overlooked in recent discussions about the theoretical foundations of contract law. I argue that, rather than enforcing the obligations of promises, contract law concerns complaints against promissory wrongs. This conceptual distinction is easy to miss. If one assumes that complaints arise whenever an obligation has been violated, then the distinction does not seem meaningful. I show, however, that an obligation can be breached without giving rise to a valid complaint. (...) This Article illustrates the importance of this conceptual distinction by focusing first on the doctrine of substantive unconscionability. I claim that the doctrine can be best explained by the way in which a party who engages in exploitative behavior may lose her moral standing to complain. It is because such a party has lost her moral standing to complain that the law, through unconscionability doctrine, bars her from bringing a legal complaint. This explanation avoids the oft-issued charge of paternalism and it also offers benefits over an alternative state-oriented account developed recently by Seana Shiffrin. Using the conceptual distinction behind this account of unconscionability, this Article further argues that recent theoretical debates about the relationship between contract law and morality have been largely misconceived. Those debates have focused on whether contract law and morality impose parallel obligations. Once one appreciates the difference between imposing obligations and recognizing complaints, the comparison looks quite different. Contract law recognizes valid complaints against broken promises, much as morality recognizes moral complaints. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 89-93 [Access article in PDF] Richard Shusterman, Performing Live: Aesthetic Alternatives for the Ends of Art (New York: Cornell University Press, 2000) Performing Live can be ascribed to post-modern American pragmatism in its widest expression. The author's intention is to revalue aesthetic experience, as well as to expand its realm to the extent where such experience also encompasses areas alien (...) to traditional aesthetics (for example, popular art or the somatic arts of self-improvement), reaching "the art of living" and reclaiming life itself as performance.After the introduction, titled "Aesthetic Renewal for the Ends of Art: An Overture," the text is organized in two main parts: "Aesthetic Experience and Popular Art" and "Soma, Self, and Society." Along with its ambitious title, the book's organization and structure promise a consistency of approach and narrative that somewhat dissolves during the reading. Shusterman recognizes that the stylistic problems that arise from a compilation of articles spanning ten years, mixing newly written and revised articles, but appeals to the reader's appreciation of the "quality of the mix" (11). Despite this feature, he is a lucid and thoughtful communicator and his writing style is excellent.In order to propose new or revitalized alternatives for the ends of art, Shusterman [End Page 89] explores the crisis in traditional visions of art, pointing to the compartmentalization and lack of credibility in current artistic thought and practice. Hegel, Walter Benjamin, Gianni Vattimo, and Arthur Danto provide him with the philosophical arguments accounting for the modern "exhaustion" of art. He supports a dialectical approach, both naturalistic and historicist, and builds a solid case for the possibility of alternatives in aesthetic thought and experience. He proposes two alternatives in his introduction: The two most prominent sites for today's aesthetic alternatives are clearly the mass-media popular arts and the complex cluster of disciplines devoted to bodily beauty and the art of living as expressed in today's preoccupation with aesthetic lifestyles. (7) It is unclear why these alternatives are "clearly" "the two most prominent." The author does not build a case for this assumption or for the "newness" of these alternatives. The "compilation style" mentioned above and this lack of justification for one of the most original elements in the book make this text often read as a philosophical drafting board. Keeping these characteristics in mind and also critically pondering the degrees of success in the enterprise, the reader must give Shusterman credit for taking risks while suggesting concrete examples for an experiential, holistic philosophy. In this sense, he mentions (in a different context) that "all of us [are caught] between conceptual history and futuristic speculation" (145), and he takes to heart this situation and its challenges.The first chapter in Performing Live aims to redeem or revalue the concept of aesthetic experience. For Shusterman, the loss of "felt experience" in art makes the interest in this concept utterly relevant for art's survival. He traces the lineage of this aesthetic philosophy to John Dewey, Monroe Beardsley, Nelson Goodman, and Arthur Danto. Besides focusing on these authors, his analysis revisits some of the main currents of thought in Western philosophy on the topic (for example, Plato, Hume, Kant, Dickie, Adorno, Benjamin, Gadamer). He concludes that a pragmatic approach to aesthetics, applying the concept of aesthetic experience directionally (as a means towards the actual experience rather than as a definable concept), can provide new paths for revitalizing art. Throughout the text this concept is also used expansively. The post-modern justification of the proposed aesthetics, by allowing the extension of aesthetic experience to embrace "the art of living," can leave the reader wondering if Shusterman has not simply turned Kierkegaard's existentialist stages to self-realization upside down.The second chapter is an open defense of popular art, carried out by contesting the main complaints found in current art criticism. Shusterman's defense is not directed to the products of popular art, but against the claim that popular art is aesthetically "worthless." His definition of "popular art... (shrink)

Il est étonnant que la Commune n'ait pas reçu plus d'attention de la part de ceux et celles qui s'occupent d'histoire sociale et culturelle, et surtout de l'histoire des femmes. Les efforts des conservateurs des premières années de la Troisième République visant à monopoliser les représentations des Communards et des Communardes ont apparemment très bien réussi. En effet, peu d'historien(ne)s féministes ont essayé de réexaminer les buts idéologiques et les stratégies suivies par les Co..

Il est étonnant que la Commune n'ait pas reçu plus d'attention de la part de ceux et celles qui s'occupent d'histoire sociale et culturelle, et surtout de l'histoire des femmes. Les efforts des conservateurs des premières années de la Troisième République visant à monopoliser les représentations des Communards et des Communardes ont apparemment très bien réussi. En effet, peu d'historien(ne)s féministes ont essayé de réexaminer les buts idéologiques et les stratégies suivies par les Co...

Ce recueil de treize articles portant sur l’histoire ouvrière européenne depuis le XVIIIe siècle illustre bien les approches récentes. La diversité des sujets traités – de l’industrie de la laine en Irlande au début du XIXe siècle, au prolétariat féminin, en URSS, dans les années vingt – et la sophistication avec laquelle ils sont analysés les rendent difficiles à résumer dans leur globalité. Un point commun à tous les auteurs est la place centrale qu’ils donnent au gender dans la vie (...) politiq... (shrink)