The Italian philosopher Benedetto Croce (1866-1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his "philosophy of the spirit" and he thus presents a systematic general theory intended (...) to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. This new translation of the first and most important part of the work (Theory) supersedes the defective translation by D. Ainslie, first published in 1909. It is based on the most recent Italian edition (1990). In his foreword the translator addresses the difficulties in translating certain key words in the Italian original, "scienza", "fantasia", and of course, "estetica" itself. He also furnishes the reader with helpful explanatory annotation. This publication will be of cardinal importance for all those interested in the philosophy of art, the history of criticism, and the history of linguistics. (shrink)

The Italian philosopher Benedetto Croce (1866–1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his 'philosophy of the spirit' and he thus presents a systematic general theory intended (...) to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. (shrink)

TRANSLATED FROM THE ITALIAN OF BENEDETTO CROCE BY DOUGLAS AINSLIE B.A. (OXON.).

Benedetto Croce was a historian, humanist, political figure, and the foremost Italian philosopher of the early twentieth-century. A Croce Reader brings together the author's most important works across the fields of aesthetics, philosophy, history, literary criticism, and the Baroque and presents the "other" Croce that has been erased by scholarly tradition, including by Croce himself. Massimo Verdicchio traces the progress of Croce as a thinker, focusing on his philosophy of absolute historicism and its aesthetic implications. Unlike other anthologies, A Croce (...) Reader includes essays from the Aesthetics of 1902 and key studies on Vico, Hegel, and Pirandello. Verdicchio's masterful translation of the source material welcomes specialists and non-specialists alike to discover the "other" Croce for themselves. (shrink)

In this edition, the Breviary of Aesthetics is presented in a brand new English translation and accompanied by informative endnotes that discuss many of the philosophers, writers, and works cited by Croce in his original text.

For some Western translators before the twentieth century, domestication was their strategy to translate the classical Chinese poetry into English. But the consequence of this strategy was the sacrifice of the ideogrammatic nature of these poems. The translators in the twentieth century, especially the Imagist poets and translators in the 1930s, overcame the problems of their predecessors by developing their translation theory and practice in ways that are close to those of many contemporary semiotic translators. But both Imagist (...) translators and contemporary semiotic translators have the problem of indifference to the feeling of the original in their translations. For the problem of translating the classical Chinese poetry by the Westerners before the twentieth century and the Imagist poets and translators of the twentieth century, see Zhao and Flotow 2018. This paper attempts to set up an aesthetic-semiotic approach to the translation of the iconicity of classical Chinese poetry on the basis of the examination of both Eastern and Western translation studies. (shrink)

Benedetto Croce’s influence pervades Anglo-Saxon culture, but, ironically, before Giovanni Gullace heeded the call of his colleagues and provided this urgently needed translation of _La Poesia, _speakers of English had no access to Croce’s major work and final rendering of his esthetic theory.__ __ _Aesthetic, _published in 1902 and translated in 1909, represents most of what the English-speaking world knows about Croce’s theory. It is, asserts Gullace, “no more than a first sketch of a thought that developed, clarified, and (...) corrected itself through new literary experience and more mature reflection.” During the 34 years between _Aesthetic _and _La Poesia _, for example, Croce added a striking new element to his thought: the analysis of prose literature. Gullace’s introduction to _La Poesia _constitutes a major under­taking in its own right. It is aimed at acquainting the reader with the evolution of Croce’s thought and at explaining the relation­ship between this final work and the philosopher’s previous work in esthetic theory and literary criticism. __ _La Poesia _is divided into two parts, text and postscripts. The text consists of four chapters: Poetry and Literature; The Life of Poetry; Criticism and History of Poetry; and The Formation of the Poet and the Precepts. Croce saw the postscripts “as a re­laxed conversation after the tension of theoretical exposition. In Gullace’s translation the text and relevant postscripts appear conveniently side by side in a double column. Gullace has anno­tated both text and postscripts. (shrink)

Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, (...) and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics. (shrink)

Hegel's reading of Hafez as part of his Berlin aesthetics lectures. The jargon of the prosaic world -/- This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his remains by Heinrich Gustav Hotho (1802 - 1873) in three (...) volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez. -/- Within the framework of this essay, Hegel's categories of historical frameworks (Symbolic, Classical, and Romantic Art), especially that of the "Symbolic Art", are examined in his lectures on Aesthetics . This will do in three steps: starting with the current state of research, problematizing of Hegelian concepts in his Lectures on Aesthetics like "oriental Pantheism" or Vorkunst, ("the threshold of art" or "praeambula": T. M. Knox' translation, 1975, part I); extending the discussion by focusing on similarities and differences between Hegel's reading of Goethe (part II) and Hegel's reading of Hafez (part III) in his Berlin Aesthetics Lectures of the 1820's. For this purpose, material from Goethe's literary remains (II), as well as a masterpiece of Dutch painters van Eyck analyzed by Hegel (Ghent Altarpiece) during his lectures (III), will be included in the analysis and explored from an interdisciplinary and intercultural perspective. In doing so, Goethe's “Space of Experience and Horizon of Expectation” (Koselleck) in imitating Arabic script and calligraphy (II) is linked to Hegel's reading of Hafez during his Berlin lectures on aesthetics (III). Thus, a dialogue of cultures unfolds between poetry and philosophy. The main questions are: How does the German philosopher Hegel interpret and receive Hafiz's poetry in the context of German idealist philosophy as a topic of his lectures on aesthetics? What epistemological aspects can be gained from Hegel's reading of Hafez for a cultural studies analysis, especially regarding the history of the ideas? In addition to analyzing the historical aspects, the aim is also to uncover new perspectives in order to look with Hafez and Rumi at Hegel's problem child of ‘history’. Of particular interest are epistemological aspects and problems of reception and translation studies in sense of interdisciplinary and intercultural research (e. g. connected/entangled histories; boundary objects). Interculturality is understood in the context of the present essay as a cross-disciplinary theoretical framework in the sense of entangled histories research work interwoven with communication, aesthetic and cultural techniques approaches or resilience studies in a historical perspective. (shrink)

The Problem of a Chinese Aesthetic calls for and applies a new model of comparative literature - one that, instead of taking for granted the commensurability of traditions and texts, gives incompatibility and contradiction their due. Exposing contemporary literary theory to the risks of ancient Chinese literature (and vice versa), this book considers a linked series of case studies. To what degree does the translation between languages and texts that we call comparative literature depend on allegory or translation (...) within a single text or language? The author offers an important, new perspective on the reading of the Shih-ching or Book of Odes and the question of allegory and metaphor in the Chinese poetic tradition. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

Analyses The Problems Of Understanding Exegesis And Translation. Scrutinises Peculiariaties Of Grammar, Syntax, Diction, Style And Metaphor In Various Languages And Their Forms-Prose, Poetry, Drama Etc In India And Western Tradition-In English, German, French, Greek, Sanskrit And Pali Texts. Emphazises The Importance Of Classical Languages In Which Religion And Philosophical Works Have Been Written.

Oakeshott’s theory of poetry was a pure theory. But it was so pure a theory it emptied out most of what we would normally mean by poetry, it ignored the history of poetry in extracting a meaning out of it, and it left to one side most of the questions about poetry which are of interest to poets, critics or indeed anyone. This chapter places Oakeshott’s theory of poetry in the context of theories of poetry from Aristotle through Johnson, Wordsworth (...) and Shelley through to figures as varied as Wittgenstein, Leavis, Eliot and Auden in order to suggest that Oakeshott theory was, as a theory of poetry, a provocation, and, as a theory of something undoubtedly worth thinking about, not a theory of poetry at all. (shrink)

Epistemic injustice has undergone a steady growth in the medical ethics literature throughout the last decade as many ethicists have found it to be a powerful tool for describing and assessing morally problematic situations in healthcare. However, surprisingly scarce attention has been devoted to how epistemic injustice relates to physicians’ professional duties on a conceptual level. I argue that epistemic injustice, specifically testimonial, collides with physicians’ duty of nonmaleficence and should thus be actively fought against in healthcare encounters on the (...) ground of professional conduct. I do so by fleshing out how Fricker’s conception of testimonial injustice conflicts with the duty of nonmaleficence as defined in Beauchamp and Childress on theoretical grounds. From there, I argue that testimonial injustice produces two distinct types of harm, epistemic and non-epistemic. Epistemic harms are harms inflicted by the physician to the patient qua knower, whereas non-epistemic harms are inflicted to the patient qua patient. This latter case holds serious clinical implications and represent a failure of the process of due care on the part of the physician. I illustrate this through examples taken from the literature on fibromyalgia syndrome and show how testimonial injustice causes wrongful harm to patients, making it maleficent practice. Finally, I conclude on why nonmaleficence as a principle will not be normatively enough to fully address the problem of epistemic injustice in healthcare but nevertheless may serve as a good starting point in attempting to do so. (shrink)

This is certainly one of the most beautiful books in philosophy published in the last couple of years. It comprises eighty-four essays, carefully selected, well-translated, covering almost the full range of Croce's immense literary production. Croce is certainly one of the most important and influential thinkers of this century and in this huge anthology the English-speaking reader is given an incomparable instrument to get acquainted with him. The list of the headings which classify the eighty-four essays are: The Logic of (...) Philosophy; Philosophical Criticism; Aesthetics; The Philosophy of Art and Language; The Theory of History; Economics and Ethics; Essays in Criticism and Literary History; Moral and Political History. But first one should read the late Cecil Sprigge's excellent introduction.—M. J. V. (shrink)

This chapter discusses the topics of trust and expertise from the perspective of political epistemology. In particular, it addresses four main questions: (§1) How should we characterise experts and their expertise? (§2) How can non-experts recognize a reliable expert? (§3) What does it take for non-experts to trust experts? (§4) What problems impede trust in experts?

This article introduces an account of moral education grounded in Zagzebski’s recent Exemplarist Moral Theory and discusses two problems that have to be solved for the account to become a realistic alternative to other educational models on the market, namely the limited-applicability problem and the problem of indoctrination. The first problem raises worries about the viability of the account in ordinary circumstances. The second charges the proposed educational model with indoctrinating students. The main goal of this article is to (...) show how an exemplar-based account of moral education can handle both problems without compromising its structure and upshot. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Age of Grace: “Charis” in Early Greek PoetryDana R. SmithThe Age of Grace: “Charis” in Early Greek Poetry, by Bonnie MacLachlan; xxi & 192 pp. Princeton: Princeton University Press, 1992, $29.95.Bonnie MacLachlan has two concerns in this book. First, she sees early charis, conventionally and inadequately translated as “grace,” as the result of feeling, concrete action, and sometimes concrete objects, fused in such a way that early (...) Greeks did not clearly distinguish these as separate aspects. Second, she focuses on the experience of beauty or pleasure as a crucial part of reciprocity in charis, and argues that many of the now-fashionable models from the social sciences, such as those dealing with reciprocal exchange of goods and favors, are insufficient to account for this particular dynamic of allurement. What later ages sensed, and what we sense, as two or more different kinds of charis “may not have been sensed as such by the archaic Greek mind.” Rather, the early Greeks possessed an integrated sense of these fragments as part of a single experience. “A charis-event, provoked by moral or aesthetic beauty, was disarming; it broke down the barriers of the self, and it demanded that the beneficiary reach out to another.” This study combines extremely able discussions of different sides of this crucial concept with a large vision of their integration into a coherent whole: “[Charis] was the moral glue of their society, linking such other central moral ideas as timê [“honor,” “prerogative,” “price”], dikê [“due portion,” “justice”], themis [“unwritten law”], xenia [“requital of gifts and hospitality”], and aidôs [“reverence,” “awe”].”How well does MacLachlan demonstrate this twofold idea? She deserves high praise for setting forth the essential passages of her authors clearly and succinctly, for giving numerous insights into them, for adducing much pertinent scholarship, and certainly for furthering the development of her important thesis. Her discussion of the earliest conception of charis (chap. 2, “The Charis of Achilles”), focused mainly on Homer, with material from the Homeric Hymns and Hesiod, gives a sensitive and persuasive account of relations among charis, timê, and dikê. She makes excellent points about specific perceptions of beauty, especially visual, although one comes away a bit uncertain as to how these aspects all cohere, and also as to whether there are differences in charis between the Iliad and the Odyssey. Her discussion of the cult dimensions of charis (chap. 3, “The Charites”), while fascinating in itself, contains little direction for using this information so as to understand the thesis. She gives careful readings of her examples of erotic and social charis (chaps. 4 and 5, “Erotic Charis” and “Social Charis”), clearly identifying types that contrast with the earlier prototypical experience, although sometimes her criticism of these is more implicit than stated. A more forceful definition of the “problem” of erotic charis, for example, would have helped unify this discussion with that of erotic charis in Aeschylus. Her discussion of Pindar and Bacchylides (6, “Epinician Charis”), perhaps the high point of the book, shows the richest ties to the multi-dimensional Homeric charis; here we return clearly to the topic of [End Page 172] beauty, see the pertinence of some of the cult information, and sense the transformational dynamics of charis as profoundly important for this genre of poems. She leaves somewhat open, however, the question of whether charis is a single thing in Pindar. The chapter on Aeschylus (7, “Charis in the Oresteia”) presents a powerful reading of different kinds of charis in conflict, private versus public, resulting in a unified view of the trilogy as a whole. Once more we note different senses of charis, but in a way that highlights their collision: the duality of charis is further brought into relation with other dualities, such as that of dikê. This chapter connects well with other parts of the book; erotic and false charis become important issues.If there is a criticism to make of this book, it is that MacLachlan does not do quite enough to work out the relations between her provocative thesis and her discussions of particular poems. Some sections are too dissertation-like in presenting evidence, and more thought about the... (shrink)

The problem of translation confronts every English, or French-language reader of Geschlecht III, from its title page on, by way of Derrida’s decision not to translate the German noun Geschlecht. In this paper, I explore the stakes of Derrida’s refusal to translate, by situating it within the context of the 1984–5 seminar, ‘Philosophical Nationality and Nationalism’, from which the text of Geschlecht III was taken. I show that the question of translation is already at the heart of that (...) seminar, which concerns the place of the idiom in philosophy, and why approaching the difficulty posed by the untranslatability of a term like Geschlecht might be the very objective of Derrida’s reading of Heidegger on Trakl. (shrink)

This paper tackles the problem of defining what a cognitive expert is. Starting from a shared intuition that the definition of an expert depends upon the conceptual function of expertise, I shed light on two main approaches to the notion of an expert: according to novice-oriented accounts of expertise, experts need to provide laypeople with information they lack in some domain; whereas, according to research-oriented accounts, experts need to contribute to the epistemic progress of their discipline. In this paper, I (...) defend the thesis that cognitive experts should be identified by their ability to perform the latter function rather than the former, as novice-oriented accounts, unlike research-oriented ones, fail to comply with the rules of a functionalist approach to expertise. (shrink)

Although sinology cannot exist without translation, the goals of the two are not always the same. One is usually put in service subordinate to the other, whether a conflict is explicitly recognized or not. The perennial dispute surrounding “free” vs. “literal” translation often ensues as an inevitable consequence. Brief remarks are offered here in hope of clarifying certain issues and methods, with special attention to the translation of medieval poetry.

This chapter introduces a novel account of fake news and explains how it differs from other definitions on the market. The account locates the fakeness of an alleged news report in two main aspects related to its production, namely that its creators do not think to have sufficient evidence in favor of what they divulge and they fail to display the appropriate attitude towards the truth of the information they share. A key feature of our analysis is that it does (...) not require that fake news must be circulated with the intention to deceive one’s audience. In this way, our account overcomes a potential limitation of the current philosophical discussion about fake news, which appears to individuate the main problem with this phenomenon in the fact that fake news consumers are misled and misinformed. In contrast, the proposed analysis shows that an additional (and perhaps equally fundamental) problem uncovered by the spread of fake news is a widespread pathological relationship with information, one on which we consume information not to satisfy our interest in the truth but to strengthen our social identities and quench our hunger for social recognition. (shrink)

In the eleventh of his Antiquarian Letters, Gotthold Ephraim Lessing discusses a phrase from Lucian's description of the painting by Zeuxis called A Family of Centaurs: ‘at the top of the painting a centaur is leaning down as if from an observation point, smiling’. ‘This as if from an observation point, Lessing notes, obviously implies that Lucian himself was uncertain whether this figure was positioned further back, or was at the same time on higher ground. We need to recognize the (...) logic of ancient bas-reliefs where figures further to the back look over those at the front, not because they are actually positioned above them but because they are meant to appear as if standing behind.'1 · 1. The passage is in George Lessing, Briefe, antiquarischen Inhalts, p. 81. Panofsky's discussion does not note that the original text of Lucian makes clear that what is described is a copy of the original painting. This means that some of the issues of misunderstanding situated by Lessing and Panofsky in Lucian's court may in principle be attributable to the copyist. This makes no difference to the conceptual thrust of Panofsky's case.—Trans. (shrink)

First published in 1917 and 1918, with a second edition in 1946, this is the first English translation of Santi Romano's classic work, L'ordinamento giuridico. The main focus of The Legal Order is the notion of institution, which Romano considers to be both the core and distinguishing feature of law. After criticising accounts of the nature of law centred on notions of rule, coercion or authority, he offers a compelling conception, not merely of law as an institution, but of (...) the institution as 'the first, original and essential manifestation of law'. Romano advances a definition of a legal institution as any group who share rules within a bounded context: for example, a family, a firm, a factory, a prison, an association, a church, an illegal organisation, a state, the community of states, and so on. Therefore, this understanding of legal institutionalism at the same time provides a ground-breaking theory of legal pluralism whereby 'there are as many legal orders as institutions'. The acme of a jurisprudential current long overlooked in the Anglophone environment, The Legal Order not only proposes what Carl Schmitt described as a 'very significant theory', but, more importantly, it offers precious insights for a thorough rethinking of the relationship between law and society in today's world. (shrink)

A great virtue of this book is its fusion of Croce's unique brand of idealism and aesthetic philosophy with Vico's epistemological, ethical, and historical ...

Written in 1938 when the Western world had succumbed to the notion that history is a creature of blind force. A reviewer at the time noted the importance of Croce's belief that "the central trend in the evolution of man is the unfolding of new potentialities, and that the task of the historian is to discover and emphasise this trend: the story of liberty". As Croce himself writes, "Even in the darkest and crassest times liberty trembles in the lines of (...) poets and affirms itself in the pages of thinkers and burns, solitary and magnificent, in some men who cannot be assimilated by the world around them." The first edition in English of HISTORY AS THE STORY OF LIBERTY appeared in London in 1941. The new Liberty Fund edition includes modest improvements to the translation by Folke Leander and arranged by Claes Ryn. (shrink)

"El cuerpo es siempre un inconveniente", sostiene Susan Sontag sobre la convicción de que es antes un espacio de sufrimiento que de placer. Los avatares de la enfermedad trazan una taxonomía en la cual la responsabilidad del sujeto parece seleccionar las fallas orgánicas. Sobre la conducta irresponsable y apasionada de los travestis chilenos, Pedro Lemebel establece en Loco afán un catálogo de degradación corporal articulado con un lenguaje barroco. El efecto del SIDA en los años 80 y 90 sobre los (...) cuerpos marginales es una "colonización por el contagio" que traslada a la crónica arrabalera las torturas impuestas desde los 70 por la dictadura militar chilena que Roberto Bolaño convierte en performances gore en el relato descarnado de Estrella distante. Allí los aspectos góticos de la corporeidad decadente encuentran una formulación futurista en que la crueldad resulta alentada. En la complementariedad y la tergiversación de las estéticas, el cuerpo se desintegra en un espectáculo que combina lo grotesco y lo fúnebre. "Body is always an inconvenient", writes Susan Sontag on the conviction that it is an space of suffer rather than pleasure. The alternatives of illness trace a taxonomy in which the responsibility of the individual seems choice the organic failures. On the Chilean transvestites' irresponsive and passionate behavior, Pedro Lemebel establishes in Loco afán a catalog of body degradation articulated with baroque language. AIDS' effect in the 80 and 90 on marginal bodies is a "colonization by the contagion" that moves the torture imposed by Chilean military dictatorship since the 70 to the suburban chronicles that Roberto Bolaño makes performances gore in the discarnated narrative Estrella distante. There the gothic aspects of decadent corporality find a futurist formulation in which cruelty is encouraged. In complementarity and distortion of aesthetics, the body is disintegrated in a show combining the grotesque and the funeral. (shrink)

A reprint of the Library of Liberal Arts edition of 1965. Croce's Guide presents one of the clearest and strongest defenses of the intuitive nature of art in Western philosophical thought.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The dominant feature of eighteenth-century aesthetic is the inquiry and discussion concerning the theory of “taste.” There is material or bibliographical evidence of this in the rapid sequence of treatises, essays, inquiries, observations, and controversies on this subject, extending from the close of the seventeenth to the last years of the eighteenth century, and bearing the names, in France, of Dacier, Bellegarde, Bouhours, Rollin, Seran de la Tour, Trublet, Formey, Bitaubé, Marmontel, and, still more eminent, of Montesquieu, Voltaire, d’Alembert; in (...) England, of Addison, Hume, Gerard, Home, Burke, Priestley, Blair, Beattie, Percival, Reid, Alison; in Italy, of Muratori, Calepio, Pagano, Corniani; in Germany, of Thomasius, J. U. König, Bodmer, A. von Schlegel, Wegelin, Heyne, Herz, Eberhard, J. C. König, and, by German influence in Hungary, Szardahely; and, greatest of all, Immanuel Kant, whoseCritique of Judgmentconsists in the main of a critique of the aesthetic judgment of taste. (shrink)

A recent paper by Bullock (2018) raises a dilemma for proponents of epistemic paternalism. If epistemic paternalists contend that epistemic improvements contribute to one’s wellbeing, then their view conflates with general paternalism. Instead, if they appeal to the notion of a distinctive epistemic value, their view is unjustified, in that concerns about epistemic value fail to outweigh concerns about personal sovereignty. In this chapter, I address Bullock’s challenge in a way that safeguards the legitimacy of epistemic paternalism, albeit restricting its (...) scope to a limited range of cognitive projects. After shedding light on a problem with how Bullock singles out cases to which the dilemma applies, I argue that there is at least one reasonable way of interpreting the notion of ‘personal autonomy’ which legitimates and justifies undertaking epistemically paternalistic interferences for one’s epistemic good. (shrink)

Giambattista Vico is often regarded as the beleaguered, neglected genius of pre-Enlightenment Naples. His work-though known to Herder, Coleridge, Matthew Arnold, and Michelet-widely and deeply appreciated only during the twentieth century. Although Vico may be best known for the use James Joyce made of his theories in Finnegans Wake, Croce's insightful analysis of Vico's ideas played a large role in alerting readers to his unique voice. Croce's volume preceded Joyce's creation of "Mr. John Baptister Vickar" by a quarter century. During (...) the last 25 years Vico's ideas about history, language, anti-Cartesian epistemology, and rhetoric have begun to receive the recognition their admirers have long claimed they deserve. Increasing numbers of publications appear annually which bear the stamp of Vico's thinking. Even if he is not yet so renowned as some of his contemporaries, such as Locke, Voltaire, or Montesquieu, there are good reasons to believe that in the future he will be equally honored as a cultural theorist. As a theorist of historical process and its language, there is no more innovative voice than his until the twentieth century-which explains in part why such figures as Joyce and R.G. Collingwood freely drew on Vico's work, particularly his New Science, while creating their own. If Vico was Naples' most brilliant, if uncelebrated, citizen prior to the Enlightenment taking hold in Southern Italy, then Croce is surely the city's most important thinker of modern times, and the single indispensable Italian philosopher since Vico's death. When a genius of Croce's interpretative prowess, evaluates the work of another, it is inevitable that an explosive mixture will result. A great virtue of this book is its fusion of Croce's unique brand of idealism and aesthetic philosophy with Vico's epistemological, ethical, and historical theories. If Vico's theory of cyclical changes in history, the corsi e ricorsi, remains fruitful, it might be argued that Croce's evaluation of his countryman' ideas represented the next turn of the philosophical wheel toward enlightenment. (shrink)

The problem of explaining how we acquire knowledge via testimony gives rise to a dilemma, according to which any theory must make testimonial knowledge either too hard or too easy, and therefore no adequate account of testimonial knowledge is possible. In recent work, John Greco offers a solution to the dilemma on behalf of anti-reductionism that appeals to Edward Craig’s functionalist epistemology. It is argued that Greco’s solution is flawed, in that his functionalist account provides wrong verdicts of ordinary cases (...) of testimonial knowledge. In contrast, it is shown that both anti-reductionism and reductionism have the resources to solve the dilemma and provide the right verdicts in ordinary cases of testimonial knowledge without appealing to Greco’s functionalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prelude to Tackling Contemporary Crises: William James and a Psychological Springboard to Political ChangePaul Croce (bio)“That selective industry of the mind,... incessantly deciding, among many things,... which ones for it shall be realities.”—William James, 1892 (PBC, 167)“[N]either the whole of truth, nor the whole of good, is revealed to any single observer.”—William James, 1899 (TT, 149)The modern world has witnessed tremendous increases in prosperity, and that material abundance has (...) spurred great achievements. But these successes have also brought enormous and troubling side effects. Climate change, biodiversity loss, social inequality, and more problems have grown into crises with potential to challenge the achievements themselves. Alongside these challenges, many outstanding proposals have also emerged for dealing with our present crises. The crises and the insights for addressing them are in a harrowing competition, reminiscent of what H. G. Wells called “a race between education and catastrophe.” During recent chapters of this contest, especially in the United States, sound suggestions for halting or reversing environmental deterioration and for reducing class and racial inequities have gained some public and political support but have also met considerable resistance.1 While direct work to [End Page 26] address the crises is important, those efforts can be supported with understanding of the people and ideologies resisting that work. In fact, neglect of these impediments, which can further enable them to reduce abilities or willingness to address problems or even notice them, may be the biggest crisis of all.Just as medication can directly heal an illness while rest and self-care can build up general strength to support recovery, so coping with crises calls for both grappling with them directly and also consideration of the impediments that reduce the strength of those steps toward social healing. The inquiry here serves as a complement to sound proposals for immediate action by diagnosing what has hindered their realization. Outcries against injustice and creative interventions address the acute conditions of current crises, while cultural assessments of ways those responses gain or lose attention serve as prescriptions for addressing the chronic conditions that have exacerbated the crises through distraction. As with medical issues, long-term and preventive care of chronic problems can support acute treatment, even as they do not displace the need for immediate action.This article confronts a puzzle about why so many people do not pay attention to such large problems in nature and society and what steps can be taken to bridge that divide between the committed and the distracted. The emphasis here on attention shifts focus away from ideological differences and toward the values selections that drive the ideological differences. This article portrays James’s own path as he learned from differences before explaining how his theories offer insights on how selective choices shape the assumptions supporting ideologies that so often form into hostile contrasts.2 In addition to these alerts about the challenges of disagreement, he also presents methods to encourage listening across differences for chances to turn some of those commitments into constructive possibilities rather than treating them as reasons [End Page 27] to fight. These ways to evaluate cultural and political debates and increase understanding about selective choices can shed light on how so many people have been unwilling or unable to pay attention to the mounting problems, and through encouragement of more listening with respect, these methods can encourage more support for addressing the crises themselves.I. Jamesian Ways to Listen Across DifferencesCharles Taylor calls William James (1842–1910) “our great philosopher of the cusp.” This brief, elegant expression depicts a borderland thinker adept at mediating contrasting ideas. James’s often-difficult experiences in development toward that way of thinking and that reputation provide more depth about the contrasts that he experienced on the way toward his creative syntheses in psychology and philosophy.3 His wrestling with different interpretations serves as a microcosm for the challenges and rewards of listening for potential insights on each side of even hostile contrasts. He designed deliberate ways to reckon with differences, considering each to be a partial yet valuable window into the human condition. In his youth, he was torn between the competing perspectives of religious thought... (shrink)

In 1902 Croce published a book on aesthetics which was partly cause and partly effect of a philosophical and cultural revolution in Italy at the time. It had such a great success that it was soon translated into the major foreign languages, including English in 1909, with the title Aesthetic as Science of Expression and General Linguistics. The book did not have, in fact, that much aesthetic content, and its subtitle is more descriptive than its title. It was more of (...) a meta-aesthetics or meta-philosophy of art, critical of any philosophical doctrines which do not give art its proper place among human activities. This was Croce's first book-length philosophical monograph and antedates his extensive works on literary criticism for which he became so famous. (shrink)

Response to Steven Bland’s ‘Interactionism, Debiasing, and the Division of Epistemic Labour’ (in Social Virtue Epistemology, (eds.) M. Alfano, C. Klein & J. de Ridder). Biased cognition is an obvious source of epistemic vice, but there is some controversy about whether cognitive biases generate reliabilist or responsibilist epistemic vices. Bland’s argument, in a nutshell, is that since the development of cognitive biases is due to the interplay of internal psychological processes and external (i.e., environmental) conditions, it cannot be expected that (...) a solution to the problem tackles only one of these dimensions. We argue that the complex architecture on which Bland’s coordinated approach is grounded appears to lose some stability once we analyze more closely its pillars. We shall concentrate our attention on the notion of reliabilist and responsibilist epistemic virtues that the approach should foster as well as on the educational implications of Bland’s view. (shrink)

Excerpt from Philosophie de la Pratique: Économie Et Éthique En décrivant cette façon de procéder de la réflexion ordi naire en présence de la réalité, et en en montrant l'impuis sance philosophique, nous avons, en mémé temps, 'montré déjà le caractère et l'impuissance de la méthode psychologique, appliquée aux problèmes philosophiques. En effet, la philo sophie psychologique, bien qu'elle ait été exposée en 'de pesants traités et en de solennelles conférences académiques, ne fait ni plus ni moins que ce que (...) fait cette réflexion ordi naire, ou plutôt elle n'est précisément que cette réflexion ordi naire. Après avoir ramené ades classes les images des infinies manifestations de l'activité humaine, en mettant par exemple, dans ces classes, à côté de la pensée et de l'imagination la volonté et l'action, elle considère ces classes comme des rén lités. Mais les classes sont des classes et non des distinctions philosophiques celui qui, les prenant trop au sérieux, les entend de cette seconde manière se trouve ensuite, sans s'y attendre, forcé de s'apercevoir un beau jour qu'elles n'ont rien de réel. Et alors il s'exclame, crie et proclame l'inexistence des facultés de l'âme, ou déclare qu'elles ne sont qu'un artie fice mental auquel rien ne correspond dans la réalité; ou mème il va plus loin et, en mème temps que ces fausses distinctions, iljette à I'cenle critérium lui - mème ou la dis tinction, et il affirme que toutesles manifestations spirituelles se réduisent à un élément unique. Puis, cet élément finit par ètre précisément une de ces classes auparavant rejetées: de là, la tentation de montrer les faits volitifs comme n'étant rien d'autre que des faits de représentation, ou ceux de représen tation comme n'étant rien d'autre que des faits de volition, ou les uns et les autres comme n'étant que des faits de senti ment, et ainsi de suite. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)