The article begins by noting that the widespread assumption that the social basis of more difficult or cosmopolitan art has been undermined in later modernity should lead to blander, less controversial art. An alternative interpretation is briefly described in which cosmopolitan art has become a spectacular tourist attraction. Significant questions that would follow such a development are: how national cultural institutions have been co-opted into a global spectacular culture and whether the work displayed in these settings can be (...) radically critical of dominant social values; and the implications of the development of a public culture focused on spectacular attractions for notions of cultural citizenship. In the article these questions are explored through a brief history of changing attitudes and values in British public culture, leading to a suggestion that we are experiencing an era of cultural fragmentation. The article concludes with a consideration of the possibilities for cultural citizenship in these changing circumstances. (shrink)

My focus in this article is on a small group of German theorists, designers and patrons who thought extensively about the relationship between national identity and garden design: Christian Hirschfeld, Prince Franz von Anhalt-Dessau and his wife Luise, Johann Wolfgang von Goethe, and Prince Pückler. These garden enthusiasts knew one another through personal contact or their writings, and they responded to and developed their ideas in relation to the newly framed creative enterprise in German lands of “garden-landscape-art”. What they shared (...) was a conviction that garden forms affect feelings, with the role of the garden artist to determine paths that would alter and diversify the visitor’s experience of place. This essay explores how spontaneous emotions, elicited by movement through the garden, were linked with a growing sense of patriotism that contrasted with cosmopolitan judgments in the writings of Hirschfeld, Pückler, and Goethe. (shrink)

Debates about cosmopolitanism in the spheres of political philosophy, sociology and postcolonial criticism have on the whole ignored specific histories of the cosmopolitan imagination and its vernacular expressions in everyday life. This article draws on aspects of the urban and often feminized worlds of entertainment, commerce, the arts and the emotions in metropolitan England during the first decades of the 20th century, in which an interest in abroad and cultural ‘others’ increasingly signalled an engagement with the new, in order (...) to argue for a notion of cosmopolitan modernity. This should be understood not just as a reflexive stance of openness, but also as a dialogic formation – a counterculture – part of a psychic and often gendered revolt against the conservatism and xenophobia of the parental culture. (shrink)

This book presents an alternative view of cosmopolitanism, citizenship and modernity in early 20th-century India through the multiple lenses of mysticism, travel, friendship, art, and politics.It makes a key intervention in the understanding of cosmopolitan modernity based on the lives and experiences of Rabindranath Tagore, Ananda Coomaraswamy, Sri Aurobindo, Mirra Alfassa, James Cousins, Paul Richard, Dilip Kumar Roy, and Taraknath Das. Using archival texts and photographs, Mohanty interrogates the ideas of tradition and modernity, the local and the global, and (...) Self and the world as integral to the conception of a cosmopolitan world order. The volume will interest scholars and students of modern Indian history, comparative literature, cultural studies, Indian philosophy, and South Asian studies and the general reader. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Cosmopolitan Peirce:The Impact of His European ExperienceJaime Nubiola, Guest EditorKeywordsCharles S. Peirce, Europe, ScienceThe common image of Charles Sanders Peirce as an isolated thinker writing in Arisbe without any contact with the world is not only historically inaccurate, but also makes it difficult to understand some key elements of his philosophy. Charles S. Peirce traveled to Europe on five different occasions. The five trips occurred between the (...) years 1870 and 1883, all of them in the service of the Coast and Geodetic Survey, at that time the chief scientific agency of the United States. Those trips—which covered a total of thirty-eight months—were a rich mixture of scientific research and tourism, of communication with other scientists and also of enjoying the artistic treasures of Europe. The impact of this extensive travelling was so relevant in Peirce’s life and thought that it makes perfect sense to identify this period of time as his “cosmopolitan period”—to use Max Fisch’s expression (Fisch 1986, 227).Peirce’s experiences of his European trips are lively reflected in his broad correspondence (professional and family letters), which until now has been unduly neglected by the scholarship, due in part to the difficulties accompanying access to it and in part to the general lack of interest from the analytic tradition in the biographical aspects of philosophy. We are convinced that the feelings that Peirce experienced in Europe were seeds which bore fruit in later years. A close study of Peirce’s letters and other documents of those years will help in avoiding a number of misunderstandings about his thought and its evolution by highlighting his active participation in the first line of several fields of cooperative scientific research (astronomy, geodesy, etc.). [End Page 425]In this issue we collect three papers presented at the 2014 Charles S. Peirce International Centennial Congress, authored respectively by Nathan Houser, Sara Barrena and myself. The first paper, written by Nathan Houser, describes how Peirce’s European experiences influenced the development of his thought and helped shape his philosophy. It appears likely that his thought was decidedly influenced by his intellectual and personal contact with European scientists and philosophers. So to understand Peirce as an American philosopher it is necessary to grasp that he was profoundly influenced by European thought and culture and to inquire how his American and European experiences worked together to form his ideas and shape him into the world-renowned philosopher he became.Sara Barrena’s paper focuses on Peirce’s aesthetics. While Peirce claims to not be well acquainted with aesthetics, he always was interested in that field. In spite of the fact that Peirce did not develop the issue in depth, aesthetics is at the foundation of the other normative sciences. Barrena suggests that the trips through Europe and the contemplation of so many works of art and of historic places left in his memory impressions that are at the basis of the importance that Peirce would assign to art and aesthetics in his later years.The final paper, by Jaime Nubiola, describes—with documental support from Peirce’s correspondence from his first and second European trips—Peirce’s conception of science as a collective and cosoperative activity of people whose lives are animated by the desire to find out the truth and by “an impulse to penetrate into the reason of things” (CP 1.44, c.1896). The paper deals with Peirce as an inventor and builder of research instruments around which scientific communities are built, and with Peirce’s own experience of cooperation in science.In sum, a close study of Peirce’s letters and other documents of his “cosmopolitan period” will help avoid certain misunderstandings about his thought and its evolution, highlighting his active participation in the first line of several fields of cooperative scientific research (astronomy, geodesy, etc.). A better understanding of Peirce’s activity in those years will provide a richer and more sympathetic approach to him, and correct that all too common but inaccurate image of Peirce as an isolated thinker.Jaime Nubiola, Guest EditorUniversidad de Navarra [email protected], Charles S. Collected Papers of Charles Sanders... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Social Studies: Exploring the World and Ourselves with RembrandtIftikhar Ahmad (bio)IntroductionRembrandt’s art lends itself as a fertile resource for teaching and learning social studies. His art not only captures the social studies themes relevant to the Dutch Golden Age, but it also offers a description of human relations transcending temporal and spatial frontiers. Rembrandt is an imaginative storyteller with a keen insight for minute details. His narrative (...) of the culture, society, economy, geography, and contemporary events of seventeenth-century Dutch life is as vivid and perceptive as a historian’s eloquent text. How people lived in community, how the city of Amsterdam functioned, how important religion was to people, how diverse and cosmopolitan the culture was, how interdependent the world was in the seventeenth century, and what the social and civic ideals of the Dutch people were during the Golden Age—Rembrandt’s paintings, etchings, and drawings neatly organize these and other social studies themes into visual messages. More importantly, our appreciation and interpretation of Rembrandt’s work helps us learn about not just Dutch society and culture of four hundred years ago but also about ourselves. The passion, emotions, conflicts, and inspirations of his subjects are essentially human and eternal, arousing empathy in every generation and cross-section of society. In this article I look at Rembrandt’s art for the purpose of teaching and learning social studies in our contemporary interdependent world—a world that is chronologically and geographically distant from the Dutch Golden Age but in many respects shares its enduring values, norms, ideals, pursuits, challenges, and possibilities. To do so, I employ a conceptual lens—the curriculum thematic strands of the National Council for the Social Studies (NCSS)—to examine Rembrandt’s art in order to explore life and make meaning of the story that is being told about the human condition, and to seek out its relevance to ourselves and [End Page 19] our world in the early twenty-first century. Although Rembrandt’s oeuvre is extensive, including the diverse genres of self-portraits, group portraits, drawings, etchings, landscapes, and religious themes, for our limited purpose I have selected only those works that, in my judgment, correspond with the following seven of the ten thematic curriculum strands of the NCSS:CultureTime, Continuity, and ChangePeople, Places, and EnvironmentIndividual Development and IdentityProduction, Distribution, and ConsumptionGlobal ConnectionsCivic Ideals and PracticesThese thematic curriculum strands are derived from the foundational disciplines of the social sciences and humanities such as anthropology, history, geography, sociology, political science, psychology, economics, philosophy, and law, but they are conceptually interrelated.1 For example, culture is a core concept in anthropology but it is also relevant to Time, Continuity, and Change, which is the main concept in the history discipline. Similarly, culture is relevant to the theme of People, Places, and Environment, which is the central focus of geography. More importantly, since social studies is about human experiences, there is a general consensus among the social studies educators that classroom teachers should draw content knowledge not just from the social sciences as mentioned here but from wide sources “to construct curricular experiences enabling students to actively relate new knowledge to existing understanding.”2 That is to say all fields of knowledge that are related to human civilization and that help in developing students’ skills in reflective thinking, decision making, and problem solving are relevant to social studies education. Those fields also include art. Rembrandt’s art is especially relevant because his themes are universal and the social, political, and economic contexts in which he created his work—globalization, individualism, and free enterprise—are more or less similar to our age.It needs to be mentioned that by looking at Rembrandt’s art from the social studies perspective it is not my intention to strip his work of its aesthetic scope and value. On the contrary, by looking at Rembrandt in the social studies classroom I seek to humanize social studies education itself. That [End Page 20] is to say I wish to step back from the conventional view of social studies to feel free from the bonds of traditionalism and discover, describe, analyze... (shrink)

The aim of this paper is to show why the humanities are more necessary than ever as part of the university education in our contemporary cosmopolitan age. We need the humanities if our educational institutions are to overcome the threats from narrow-minded politicians and business people to reduce education in schools and universities to simple instruction in management without guidance from the cultures of the world as expressed in art and literature, knowledge of languages, history, and philosophy. Keywords: education; (...) university; humanities; institution; cosmopolitanism. (shrink)

Voltaire has presented in his Letters on the English different themes, from religious ethics, literacy, politics, to dramas and science. The letters present us a comparison between England and France. In this parallel we shall present how Voltaire was concerned in evaluate a high standard of taste and refinements. This paper will review some of the last letters of those, which testify about this criterion of taste as a modern point of view. We shall present in Voltaire the eminence of (...) modernity in taste, refinements and on liberty of enjoying the ecstasies of a cosmopolitan life fulfilled with entertainments and luxury. We shall present how Voltaire fought against barbarism in benefit of civilization and some how against religiosity in benefit of an ethic hedonism. (shrink)

The paper presents Polish culture from the X century to the present time inspected from a special perspective, namely that determined by the opposition universal-native. It is shown that in Poland the native, at times slightly modest artistic styles and forms as well as the more cosmopolitan and universal European trends always served the best-possible expression of the essence of the Polish people and their national traditions, unbrokenly preserved over ages.

Cosmopolitanism seeks a political ethics of world togetherness and a political aesthetics that can contribute to this task critically and imaginatively. Regarding political ethics, I explore the world as a “cosmopolitan mind” composed of “dialogic voices” and threatened by neoliberalism, neofascism, and other nihilistic “oracles.” I also construct a criterion for determining which public artworks (1) resist oracles and (2) help us imagine a “cosmopolitan democracy” and its political ethics. The latter includes the concordance of three ethico-political virtues—solidarity, (...) heterogeneity, and fecundity (creating new voices through the interplay among other voices)—and must appeal to different peoples worldwide. I also examine how this political ethics and aesthetics can be applied to nonhuman life and non-sentient formations in a non-anthropocentric manner; indeed, how the cosmos in its entirety and plurality can also be thought of as voices and participants in the cosmopolitan mind and its artistic expression. Moreover, I contend that my ontology of dialogic voices and proposed public art criterion, like the cosmopolitan mind itself, are “events” or “becomings.” This means that there can never be an articulation of the ontology that is final nor a public art criterion that could curtail the imaginative reach of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:William James, W. E. B. Du Bois, and the Art of New Religious IdealsKolby Knight (bio)And I don’t know a soul who’s not been batteredI don’t have a friend who feels at easeI don’t know a dream that’s not been shatteredOr driven to its knees...Oh, and it’s alright, it’s alright, it’s alrightYou can’t be forever blessedStill, tomorrow’s going to be another working dayAnd I’m trying to get some restThat’s (...) all, I’m trying to get some rest—Paul Simon, “American Tune” (1973) / Recreated by Allen Toussaint (2016)William James and W. E. B. Du Bois believed that an artful life could produce new and world-changing religious ideals. As cosmopolitan scholars who studied in the United States and Europe, both men confidently interlaced original interpretations of Shakespeare, Wagner, and Goethe into their academic accounts of individual and social behavior. Beyond their patronage of the arts, James and Du Bois also saw themselves as scientists and artists who had the responsibility to create new pathways and religious ideals at a time when many European and American intellectuals depicted Western civilization as the endpoint of history.This article explores the pragmatic visions of science, art, and religion respectively offered by James and Du Bois. Pragmatism, here, refers to an active mode of study that looks closely at the interaction between specific thoughts and behaviors in particular situations without assuming a standard of truth which influences or evaluates human life from the outside of experience. As pragmatists, James and Du Bois did not believe their work consisted of merely the explication and description of preexisting truths, but more importantly the religious creation of what James called “new facts,” including healthier habits of thought and practice.1 [End Page 71]In this article, I will trace how the two men, as religious naturalists and leaders in the development of a pragmatic social science at the turn of the twentieth century, challenged evolutionary theories which envisioned Western civilization as the highest standard of aesthetic and intellectual development. Part one demonstrates how James, as a psychologist who prioritized the study and development of “first-hand” experiences, worked against visions of science that saw “lower” emotions as a hindrance to impartial intellectual discovery. It also explores how James centered personal religious experiences in his effort to de-center “impersonal” scientific frameworks which depicted human behavior and thinking as beholden to evolutionary laws which transcended individual experience. Part two considers James’s dissatisfaction with the “bad habits” of his privileged intellectual class, and how his own experience of “soul-sickness” and “stage fright” led him to contest both celebratory histories of Western progress and institutional arrangements which juxtaposed his “mystifying” intellectual performances to the lives of everyday people.Part three moves to how Du Bois, as a sociologist and former student of James, refocused James’s religious pragmatism within the context of his experience of anti-Black racism in the United States. This section traces how Du Bois saw his intellectual career as a work of art which could empower Black individuals to see themselves beyond what David Lloyd describes as “the racial regime of aesthetics” which imagines the progress of “lower humans” as dependent on higher civilizational and educational agents. This section also offers a tripartite interpretation of Du Bois’s experience of “double-consciousness” that considers its aesthetic, social, and political dimensions.2 While James expressed a desire to discard his own sense of double-consciousness, Du Bois’s experience of anti-Black racism made his two-ness more enforced and insidious. The fourth section looks at Du Bois’s disillusionment with white standards of beauty and intelligence as an experience akin to what James described as “soul-sickness.” It shows that whereas James believed that his negative emotional experiences could lead him to “new religious ideals” taking shape within the spiritual energy [End Page 72] and discomforts of his own individual body, Du Bois’s negative experience of racism led him to immerse himself in the religious and artistic vitality of Black social worlds which resisted the oppressive mechanisms and caricatures of... (shrink)

In this chapter I explore various facets of Addams' approaches to culture as art and as structures of life because they illuminate not only her struggles to reconcile competing perspectives and values, but also because these issues are recurring features in the development of feminist analyses of culture. -/- “This well-crafted collection of essays recognizes Jane Addams as the inspiring and occasionally provocative feminist she was. Connecting Addams’s pragmatism to social theory, political philosophy, queer theory, postcolonial theory, and more, the (...) book’s twelve authors sympathetically and critically explore Addams’s ongoing relevance to issues of art, culture, sexuality, prostitution, religion, cosmopolitanism, public/private divisions, and community organization. Scholarly experts on Addams, as well as those discovering her feminist pragmatism for the first time, will find this volume valuable.” -/- Although Jane Addams's Twenty Years at Hull-House is considered an American classic, her dozen books and hundreds of published articles have sometimes been thought of as quaint examples of an overly optimistic era. Beginning in the 1990s, feminist scholars rediscovered the vitality of Addams's social philosophy and challenged the marginalization of her ideas. Today, following a war-laden twentieth century and the failure of militarism and "get tough" approaches to solve domestic and global problems, Addams's social theorizing, which emphasizes cosmopolitan experiences and sympathetic connections, provides a provocative alternative to Western notions of individualism, transactional relations, and spectator epistemology. Feminist Interpretations of Jane Addams brings together many of the leading Addams scholars in North America to consider Addams's ongoing relevance to feminist thought. Aside from the editor, the contributors are Victoria Bissell Brown, Marilyn Fischer, Judith M. Green, Shannon Jackson, Katherine Joslin, Louise W. Knight, L. Ryan Musgrave Bonomo, Wendy Sarvasy, Charlene Haddock Seigfried, Eleanor J. Stebner, and Judy D. Whipps. (shrink)

This volume addresses the impact of human movement on the aesthetic practices that make up the fabric of culture. The essays explore the ways in which cultural activities—ranging from the habitual gestures of the body to the production of specific artworks—register the impact of migration, from the forced transportation of slaves to the New World and of Jews to the death camps to the economic migration of peoples between the West and its erstwhile colonies; from the internal and external exile (...) of Palestinians to the free movement of cosmopolitan intellectuals. Rather than focusing exclusively on art produced by those identified as migrant subjects, this collection opens up the question of how aesthetics itself migrates, transforming not only its own practices and traditions, but also the very nature of our being in the world, as subjects producing, as well as produced by, the cultures in which we live. The transformative potential of cultures on the move is both affirmed and critiqued throughout the collection, as part of an exploration of the ways in which globalisation implicates us ever more tightly in the unequal relations of production that characterise late modernity. This collection brings academic scholars from a variety of disciplines into conversation with practising visual and verbal artists; indeed, many of the essays break down the distinction between artist and academic, suggesting a dynamic interchange between critical reflection and creativity. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

NOT SAUSSURE: A CRITIQUE OF POST?SAUSSUREAN LITERARY THEORY by Raymond Tallis London: Macmillan, 1988. 273 pp., £33 (£10.95 paper).

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.

Ainda que possa ser visto como clichê sob diversos aspectos, o filme “O Céu da Meia-Noite” (dirigido e protagonizado por George Clooney para a Netflix) traz temas reflexivos na perspectiva existencial. Lançado em dezembro de um ano doloroso para a humanidade, ele teve as suas gravações encerradas pouco antes do início da pandemia, ainda que traga uma atmosfera tão soturna quanto a deste momento histórico.

O início da terceira década do século 21, tão marcado pela globalização tecnológica e virtualização das relações humanas, ainda mantém fortes laços com o obscurantismo religioso da Idade Média. Com outra roupagem, o fanatismo de muitos cristãos das mais variadas igrejas eterniza sentimentos e ações que acreditávamos superados há séculos. A intolerância religiosa, normalmente carregada de outras tantas intolerâncias na pauta moral, revela com clareza que a caça às bruxas nos tempos da chamada Santa Inquisição foi atualizada com sucesso. O (...) Brasil, por exemplo, vive um de seus piores momentos históricos neste sentido, principalmente pelos recorrentes ataques furiosos às religiões de matriz africana e crimes de agressão e morte contra as chamadas minorias sociais. (shrink)