This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part (...) of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism. (shrink)

Like every other venerable speculation, philosophy has its myths and its great myth-makers. One of the greatest—maker of myths for all contemporary thought—was Kant. Should some future Lévi-Strauss classify this tradition, he will find that philosophical myths, like tribal lore of primitive peoples, suffer thematic variation and evolution, for myths relate our true business in this world, and therefore are essential for all thought about ourselves.

In this creative and engaging reading, Richard Kuhns explores the ways in which _Decameron's_sexual themes lead into philosophical inquiry, moral argument, and aesthetic and literary criticism. As he reveals the stories' many philosophical insights and literary pleasures, Kuhns also examines _Decameron_in the context of the nature of storytelling, its relationship to other classic works of literature, and the culture of trecento Italy. Stories and storytelling are to be interpreted in terms of a wider cultural context that includes masks, metamorphosis, mythic (...) themes, and character analysis, all of which Boccaccio explores with wit and subtlety. As a storyteller, Boccaccio represents himself as literary pimp, conceiving the relationship between storyteller and audience in sexual terms within a tradition that goes back as far as Socrates' conversations with the young Athenians. As a whole, Boccaccio's great collection of stories creates a trenchant criticism of the ideas that dominated his social and cultural world. Addressed as it is to women who were denied opportunities for education, the author's stories create a university of wise and culturally observant texts. He teaches that comic, religious, sexual, and artistic themes can be seen to function as metaphors for hidden and often dangerous unorthodox thoughts. Kuhns suggests that _Decameron_is one of the first self-conscious creations of what we today call "a total work of art." Throughout the stories, Boccaccio creates a detailed picture of the Florentine trecento cultural world. Giotto, Buffalmacco, and other great painters of Boccaccio's time appear in the stories. Their works and the paintings that surround the characters as they prepare to leave the plague-ridden city, with their representations of Dante, Aquinas, and other thinkers, are essential to understanding the ways the stories work with other works of art and illuminate and enlarge interpretations of Boccaccio's book. (shrink)

The Promethean background As the scientific rationality of Western civilization began to bear its full fruit, it became increasingly conscious of its ...

In lieu of an abstract, here is a brief excerpt of the content:PORTIA'S SUITORS by Richard Kuhns and Barbara Tovey I am always inclined to believe that Shakespeare has more allusions to particular facts and persons than his readers commonly suppose. —Samuel Johnson, "Merchant of Venice," Notes on Shakespeare's Plays. 66f\ver-name them," Portia says to Nerissa, "and as thou namest V^/them, I will describe them, and according to my description level at my affection." This passage in TL· Merchant of Venice (...) (Act I, Scene ii), where Portia describes her suitors, presents certain problems.1 To our knowledge interpreters have not addressed them. In the first place, the lengthy description ofthe discarded suitors serves no apparent function. The suitors play no role whatsoever in the subsequent development of the drama, and the protracted account of their failings retards rather than advances the action of the play. To be sure, Shakespeare wanted die audience to be aware that Portia had many suitors of high rank and from many different countries, but it was scarcely necessary for him to go to such lengths to make the point. In the second place, the denigration of the previous suitors in this scene does not accord with the account ofthem given by Bassanio when talking to Antonio in the first act: Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renowned suitors, and her sunny locks 325 326Philosophy and Literature Hang on her temples like a golden fleece, Which makes her seat of Belmont Colchos' strond, And many Jasons come in quest of her. (Li. 167-72) The suitors as described by Portia hardly deserve to be called "renowned," or to be referred to as "Jasons." The belittling of his competitors in this scene also has the undesirable effect of trivializing Bassanio 's achievement in Act III. Thirdly, there is something decidedly odd about the sort of failings attributed to the suitors by Portia. Had he so wished, Shakespeare could have utilized this passage to present a sort of catalogue of human frailties. One suitor might have been a representative of pride, another of avarice, another of envy, etc. But Shakespeare does nothing of the sort. With the exception of the German, who is a drunkard, the defects of the suitors can hardly be considered major vices. The Neapolitan Prince talks too much about his horse, the County Palatine frowns excessively, the French lord is an imitator of the others, the English baron is "oddly suited," and so on. Yet Shakespeare dwells at considerable length upon these more or less trivial failings. Now it may be suggested that Shakespeare, who is certainly deeply interested in national differences of character and behavior, may have inserted this discussion of the suitors into the play in order to provide himself with an opportunity for analysis of idiosyncratic national traits. The answer to this objection is simple. The characteristics ascribed to the suitors do not represent genuine or interesting national differences any more than they stand for major human vices. Is it true, as under this hypothesis Shakespeare would seem to be suggesting, that Neapolitans are fonder of horses than most other folk? Or that Frenchmen are particularly prone to imitating others? Or that Germans are uniquely predisposed to alcoholism? If not, we must admit that the discussion of the discarded suitors represents a puzzling and as yet unexplained digression. Commenting upon this scene, Samuel Johnson made a suggestion that we think merits serious consideration. Might it be the case that the suitors represent actual persons, whose descriptions give clues to their real identities? It is our suggestion that the six suitors make up a company of the most gifted, influential, and to Shakespeare—we suspect—the most interesting writers of the tradition in which he worked. These are the writers from whom he derived inspiration and plots. The question may Richard Kuhns and Barbara Tovey327 well be raised, as to why, if this is so, the suitors are depicted in such derogatory terms. We suggest that one very potent way in which to express the deepest gratitude and admiration is by means of a loving insult. This technique ofexpressing affection and indebtedness to one's literary mentors... (shrink)

Wittgenstein’s laconic observation about self and history elicits thought about the interventions of history into our private consciousness. Although “the world” may end with the end of my consciousness, I could hardly claim that my consciousness exhausts the world, or that there are no presences, realities, objects, and events that do not come into my consciousness from elsewhere, creating for me a distinct ever-present awareness of mine and other, inner and outer, recollection and recognition. A plaintive refrain, similar to that (...) in Wittgenstein’s reflection, appears in much modern criticism that sets itself the task to understand and interpret works of art. Among such efforts there are theories whose main assumption is that a particular art, such as poetry, may indeed put forward a claim to the truth of an assertion, but it is not necessary to poetry as poetry that it asserts anything at all, and therefore it is irrelevant to poetry as poetry to be tested by reference to the world, to history, through the canons of verification and the principles of plausibility relevant to empirical inquiry. We might rewrite Wittgenstein’s aphorism this way: “What has poetry to do with the world? The poem is the first and only thing.”. (shrink)

This book places the contribution of psychoanalysis to the understanding of art within a philosophical framework and seeks to show by argument and example the potential and unrealized power of psychoanalytic theory for a philosophy of art and culture.