In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies (...) that deploy literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

_Imagination_ is an outstanding contribution to a notoriously elusive and confusing subject. It skillfully interrelates problems in philosophy, the history of ideas and literary theory and criticism, tracing the evolution of the concept of imagination from Hume and Kant in the eighteenth century to Ryle, Sartre and Wittgenstein in the twentieth. She strongly belies that the cultivation of imagination should be the chief aim of education and one of her objectives in writing the book has been to put forward (...) reasons why this is so. Purely philosophical treatment of the concept is shown to be related to its use in the work of Coleridge and Wordsworth, who she considers to be the creators of a new kind of awareness with more than literary implications. The purpose of her historical account is to suggest that the role of imagination in our perception and thought is more pervasive than may at first sight appear, and that the thread she traces is an important link joining apparently different areas of our experience. She argues that imagination is an essential element in both our awareness of the world and our attaching of value to it. (shrink)

How do our engagements with fictions and other products of the imagination compare to our experiences of the real world? Are the feelings we have about a novel's characters modelled on our thoughts about actual people? If it is wrong to feel pleasure over certain situations in real life, can it nonetheless be right to take pleasure in analogous scenarios represented in a fantasy or film? Should the desires we have for what goes on in a make-believe story cohere with (...) what we want to happen in the actual world? In Apt Imaginings, Jonathan Gilmore develops a new framework to pursue these questions, marshalling a wide range of research in aesthetics, the science of the emotions, moral philosophy, neuroscience, cognitive psychology, and film and literary theory. Gilmore argues that, while there is a substantial empirical continuity in our feelings across art and life, the norms that govern the appropriateness of those responses across the divide are discontinuous. In this view, the evaluative criteria that determine the fit, correctness, or rationality of our emotions and desires for what is internal to a fiction can be contrary to those that govern our affective attitudes toward analogous things in the real world. In short, it can be right to embrace within a story what one would condemn in real life. The theory Gilmore defends in this volume helps to explain our complex and sometimes conflicted attitudes toward works of the imagination; challenges the popular view that fictions serve to refine our moral sensibilities; and exposes a kind of autonomy of the imagination that can render our responses to art immune to standard real-world epistemic, practical, and affective kinds of criticism. (shrink)

The notion of conceivability has traditionally been regarded as crucial to an account of modal knowledge. Despite its importance to modal epistemology, there is no received explication of conceivability. One purpose of this paper is to argue that the notion is not fruitfully explicated in terms of the imagination. The most natural way of presenting a notion of conceivability qua imaginability is open to cogent criticism. In order to avoid such criticism, an advocate of the modal insightfulness of (...) the imagination must broaden the idea of what it is to be imaginable. I argue that this required broadening renders the imagination idle . Consequently, I distinguish two different accounts of the evidential basis of modal knowledge and present a more general argument that concludes that the very notion of conceivability should be eschewed in modal epistemology. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

_Imagination_ is an outstanding contribution to a notoriously elusive and confusing subject. It skillfully interrelates problems in philosophy, the history of ideas and literary theory and criticism, tracing the evolution of the concept of imagination from Hume and Kant in the eighteenth century to Ryle, Sartre and Wittgenstein in the twentieth. She strongly belies that the cultivation of imagination should be the chief aim of education and one of her objectives in writing the book has been to put forward (...) reasons why this is so. Purely philosophical treatment of the concept is shown to be related to its use in the work of Coleridge and Wordsworth, who she considers to be the creators of a new kind of awareness with more than literary implications. The purpose of her historical account is to suggest that the role of imagination in our perception and thought is more pervasive than may at first sight appear, and that the thread she traces is an important link joining apparently different areas of our experience. She argues that imagination is an essential element in both our awareness of the world and our attaching of value to it. (shrink)

Drawing on his own experiences of imagining, Edward S. Casey describes the essential forms that imagination assumes in everyday life. In a detailed analysis of the fundamental features of all imaginative experience, Casey shows imagining to be eidetically distinct from perceiving and defines it as a radically autonomous act, involving a characteristic freedom of mind. A new preface places Imagining within the context of current issues in philosophy and psychology.

Before imagination became the transcendent and creative faculty promoted by the Romantics, it was for something quite different. Not reserved to a privileged few, imagination was instead considered a universal ability that each person could direct in practical ways. To imagine something meant to form in the mind a replica of a thing—its taste, its sound, and other physical attributes. At the end of the Renaissance, there was a movement to encourage individuals to develop their ability to imagine vividly. Within (...) their private mental space, a space of embodied, sensual thought, they could meditate, pray, or philosophize. Gradually, confidence in the self-directed imagination fell out of favor and was replaced by the belief that the few—an elite of writers and teachers—should control the imagination of the many. This book seeks to understand what imagination meant in early modern Europe, particularly in early modern France, before the Romantic era gave the term its modern meaning. The author explores the themes surrounding early modern notions of imagination (including hostility to imagination) through the writings of such figures as Descartes, Montaigne, François de Sales, Pascal, the Marquise de Se;vigne;, Madame de Lafayette, and Fe;nelon. (shrink)

Recent cognitive accounts of the imagination propose that imagining and believing are in the same “code”. According to the single code hypothesis, cognitive mechanisms that can take input from both imagining and from believing will process imagination-based inputs (“pretense representations”) and isomorphic beliefs in much the same way. In this paper, I argue that the single code hypothesis provides a unified and independently motivated explanation for a wide range of puzzles surrounding fiction.

Some of our moral commitments strike us as necessary, and this feature of moral phenomenology is sometimes viewed as incompatible with sentimentalism, since sentimentalism holds that our commitments depend, in some way, on sentiment. His dependence, or contingency, is what seems incompatible with necessity. In response to this sentimentalists hold that the commitments are psychologically necessary. However, little has been done to explore this kind of necessity. In this essay I discuss psychological necessity, and how the phenomenon of imaginative (...) resistance offers some evidence that we regard our moral commitments as necessary, but in a way compatible with viewing them as dependent on desires (in some way). A limited strategy for defending sentimentalism against a common criticism is also offered. (shrink)

The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating (...) it, seems to offer great scope for imagination. Hume, Kant, Oscar Wilde, Roger Scruton, and others have defended variations on this attractive idea. In this book, James Grant critically examines it. The first half explains the role imaginativeness plays in criticism. To do this, Grant answers three questions that are of interest in their own right. First, what are the aims of criticism? Is the point of criticizing a work to evaluate it, to explain it, to modify our response to it, or something else? Second, what is it to appreciate art? Third, what is imaginativeness? He gives new answers to all three questions, and uses them to explain the role of imaginativeness in criticism. The book's second half focuses on metaphor. Why are some metaphors so effective? How do we understand metaphors? Are some thoughts expressible only in metaphor? Grant's answers to these questions go against much current thinking in the philosophy of language. He uses these answers to explain why imaginative metaphors are so common in art criticism. The result is a rigorous and original theory of metaphor, criticism, imaginativeness, and their interrelations. (shrink)

Aristotelian imagination -- A Bonaventuran synthesis -- Imagination in Bonaventure's Meditations -- Exercising imagination: the Meditationes vitae Christi and Stimulus amoris -- From "wit to wisedom": Langland's Ymaginatif -- Imagination in translation: Love's myrrour and The Prickynge of love -- Conclusion.

In a work of astonishing intellectual range, James Engell traces the evolution of the creative imagination, from its emergence in British empirical thought through its flowering in Romantic art and literature. The notion of a creative imagination, Engell shows, was the most powerful and important development of the eighteenth century. It grew simultaneously in literature, criticism, philosophy, psychology, religion, and science, attracting such diverse minds as Hobbes, Addison, Gerard, Goethe, Kant, and Coleridge. Indeed, rather than discussing merely the abstract (...) notion of the imagination, Engell examines the community of thinkers, especially in England and Germany, who joined to pursue and develop what became the most fascinating and suggestive concept of modern Western thought. For as the imagination became the dominant subject of literature, its meanings multiplied. Finally it came to be seen as the crown of artistic creation and as the mediator in the ongoing dialectic between matter and spirit, materialism and transcendentalism. (shrink)

Political judgment in its historical context -- The politics of managing decline -- Moralism and realpolitik -- On the very idea of a metaphysics of right -- The actual and another modernity : order and imagination in Don Quixote -- Culture as ideal and as boundary -- On museums -- Celan's Meridian -- Heidegger and his brother -- Richard Rorty at Princeton : personal recollections -- Melody as death -- On bourgeois philosophy and the concept of "criticism".

In her already classical criticism of thought-experimenting, Kathy Wilkes points to superficialities in the most famous moral-political thought experiments, taking the Ring of Gyges as her central example. Her critics defend the Ring by discussing possible variations in the scenario(s) imagined. I propose here that the debate points to a significant dual structure of thought experiments. Their initial presentation(s) mobilize the immediate, cognitively not very impressive imaginative and refl ective efforts both of the proponent and the listener of (...) the proposal. The further debate, like the one exemplifi ed by Wilkes’s criticisms and some of the answers, appeals to a deeper, more rational variety of imagination and reasoning. I suggest that this duality is typical for moral and political thought experimenting in general, conjecture that it might be extended to the whole area of thought experimenting. (shrink)

The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful (...) as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture. (shrink)

“Ethical criticism” is an approach to literary studies that holds that reading certain carefully selected novels can make us ethically better people, e.g., by stimulating our sympathetic imagination (Nussbaum). I try to show that this nonargumentative approach cheapens the persuasive force of novels and that its inherent bias and censorship undercuts what is perhaps the principal value and defense of the novel—that reading novels can be critical to one’s learning how to think.

__: In this essay I explore the account of imaginative phenomenology developed by Uriah Kriegel in _The Varieties of Consciousness_. On his view, the difference between perceptual phenomenology and imaginative phenomenology arises from the way that they present the existential status of their object: While perceptual experience presents its object as existent, imaginative experience presents its object as non-existent. While I agree with Kriegel that it’s likely that the difference between imaginative phenomenology and perceptual phenomenology is (...) one not just of degree but of kind, I worry about the particular account that he has developed. I thus develop two lines of criticism. First, I question whether Kriegel is right that imagination presents its object as non-existent. Second, I question whether this account of imaginative phenomenology is consistent with other commonly-accepted facts about the nature of imagination. _Keywords_: Imagination; Perception; Phenomenology; J.-P. Sartre; Epistemic Value; Emotion ___Fenomenologia dell’immaginazione e status esistenziale_ _Riassunto_: In questo articolo intendo indagare l’approccio alla descrizione della fenomenologia dell’immaginazione sviluppata da Uriah Kriegel in _The Varieties of Consciousness_. Dal suo punto di vista, la differenza tra fenomenologia della percezione e fenomenologia dell’immaginazione si mostra nel modo in cui queste presentano lo status esistenziale dei loro oggetti: se l’esperienza percettiva presenta il proprio oggetto come esistente, l’esperienza immaginativa lo presenta come non-esistente. Per un verso, concordo con Kriegel sulla probabilità che la differenza tra fenomenologia dell’immaginazione e fenomenologia della percezione non sia di grado ma di genere, mentre, per altro verso, non sono convinta della correttezza del suo approccio. Pertanto vorrei sollevare due criticità. In primo luogo, mi chiedo se Kriegel sia nel giusto quando ritiene che l’immaginazione presenti il proprio oggetto come non-esistente; in secondo luogo, mi chiedo se questa descrizione della fenomenologia dell’immaginazione sia coerente con altri fatti, comunemente accettati, circa la natura dell’immaginazione. _Parole chiave_: Immaginazione; Percezione; Fenomenologia; J.-P. Sartre; Valore epistemico; Emozione. (shrink)

My aim in this article is to understand the role of imagination and practical judgment in Kant's moral philosophy. After a comparison of Kant with Rousseau, I explore Kant's moral philosophy itself — unlike Hannah Arendt, who finds in the enlarged mentality of the third Critique the ground for the activity of imagination in a shared world. Instead, I place the concept of moral legislation in its background, the reflection on particulars relevant to deliberation, and discuss the mutual relation of (...) reflection and determination. Not only reflection and determination work together; imagination and judgment imply one another essentially, as interpretation of what is relevant, and as a principle of orientation in the choice of the maxim against the backdrop of a uniform and ordered world. The concepts of analogy and symbolic exhibition turn out to be crucial for how reason represents to itself the reality of ideas in the world. (shrink)

Referring to Habermas’ groundbreaking book ‘The structural transformation of the public sphere’, the article discusses contemporary transformations of higher education and science. In order to do so, in a first step a post-Habermas perspective will be developed, which implies two changes to the theoretical foundations guiding Habermas’ analysis: On the one hand, we are in the midst of a social transformation that has led to a pluralization of the understandings of the public – that is, publics. The representation of society (...) in society no longer finds a homogeneous form; it takes place only within the framework of different partial publics. These publics gain importance for different types of organizations (companies, public administrations, NGOs, etc.). This is where the second change to Habermas’ concept comes in because, on the other hand, from the perspective taken in this paper, such publics are constructs of the organizations themselves, that is, imagined publics. The fruitfulness of such a post-Habermas perspective on the public sphere will be illustrated by focusing on higher education and science. Universities as the organizational embodiment of higher education and science, not only represent a discursive space in the public sphere, but they are also increasingly transformed into strategically acting organizations that imagine and actively shape the publics that are relevant to them. Four examples will be used to present empirical observations that emerge from the theoretical perspective proposed here. These examples, however, require more in-depth investigations and only serve as illustrations for a new research agenda on ‘imagined publics’. In the end of this contribution, it is asked how far-reaching the discussed change processes towards universities as strategic organizations are, and what consequences result concerning a discursive and communicative understanding of universities. (shrink)

One common response to the knowledge argument is the ability hypothesis. Proponents of the ability hypothesis accept that Mary learns what seeing red is like when she exits her black-and-white room, but they deny that the kind of knowledge she gains is propositional in nature. Rather, she acquires a cluster of abilities that she previously lacked, in particular, the abilities to recognize, remember, and imagine the color red. For proponents of the ability hypothesis, knowing what an experience is like simply (...) consists in the possession of these abilities. Criticisms of the ability hypothesis tend to focus on this last claim. Such critics tend to accept that Mary gains these abilities when she leaves the room, but they deny that such abilities constitute knowledge of what an experience is like. To my mind, however, this critical strategy grants too much. Focusing specifically on imaginative ability, I argue that Mary does not gain this ability when she leaves the room for she already had the ability to imagine red while she was inside it. Moreover, despite what some have thought, the ability hypothesis cannot be easily rescued by recasting it in terms of a more restrictive imaginative ability. My purpose here is not to take sides in the debate about physicalism, i.e., my criticism of the ability hypothesis is not offered in an attempt to defend the anti-physicalist conclusion of the knowledge argument. Rather, my purpose is to redeem the imagination from the misleading picture of it that discussion of the knowledge argument has fostered. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 345-367 [Access article in PDF] Imagining in the Public Sphere Robert Asen Contemporary public sphere scholarship has been motivated significantly by a concern to overcome historical and conceptual exclusions in public spheres. Recent theory and criticism has investigated direct and indirect exclusions. Direct exclusions expressly prevent the participation of particular individuals and groups in public discussions and debates. Prohibitions against women speaking in (...) public, for example, have served historically to inhibit women's participation in various forums (see, e.g., Landes 1998). Indirect exclusions function tacitly through discursive norms and practices that prescribe particular ways of interacting in public forums. Indirect exclusions compel participants to conform to established modes of discourse that effectively negate the perspectives and contributions of previously directly excluded individuals and groups. Calls for "objective" and "dispassionate" debate, for instance, sometimes have restricted public agendas by portraying culturally specific forms of address as universally practiced (see, e.g., Warner 1993). Indirect exclusions may regulate discourse in various forums even when direct exclusions have been counteracted. Scholarship seeking to overcome these exclusions has proceeded on two levels. On one level, scholars have recounted the efforts of excluded persons to participate in public life despite restrictions by developing alternative modes of publicity (see, e.g., Ryan 1990; Zaeske 2002). On a second level, theorists have proposed more inclusive conceptual models of the public sphere that may overcome historical exclusions of the bourgeois public sphere while retaining a commitment to critical publicity (see, e.g., Asen 1999; Benhabib 1996; Hauser 1999; Mouffe 2000).Practicing democratic discourse fairly and justly depends indispensably on enabling inclusion. Proponents of deliberative democracy argue that political legitimacy arises from processes of inclusive public debate. Seyla Benhabib asserts that "legitimacy in complex societies must be [End Page 345] thought to result from the free and unconstrained public deliberation of all about matters of common concern" (1996, 68). Others regard inclusive public discourse as crucial for the formation of affirmative individual and collective identities. Craig Calhoun faults bourgeois notions of publicity for treating "identity formation as essentially private and prior to participation in the idealized public sphere of rational-critical discourse" (1993, 274). Identity formation entails mutual recognition among members of diverse cultures, yet theorists have observed that truncated discursive processes may inhibit mutual recognition. Charles Taylor writes that practicing a politics of recognition requires an openness toward other cultures—a presumption of value tested through sustained engagement so that "what we have formerly taken for granted as the background to valuation can be situated as one possibility alongside the background of the formerly unfamiliar culture" (1994, 67). Inclusiveness is also important for individuals and groups seeking to advance self-fashioned interpretations of their interests and needs against interpretations imposed by others. Nancy Fraser explains that self-fashioning is necessary because in public debates and controversies "who gets to establish authoritative thick definitions of people's needs is itself a political stake" (1989, 164).Although inclusion is indispensable, exclusion is never total. Sometimes, people force their way into public forums and agendas. For example, participation by activists in discussions of AIDS research and treatment often has been limited by researchers' assertions of expert privilege in investigating scientific matters. Valeria Fabj and Matthew J. Sobnosky (1995) detail how AIDS activists have responded by engaging in discursive acts of redefinition and translation to gain entry into previously circumscribed forums. At other times, people surreptitiously access public arenas. Prison writing is one way that those officially banished from public view nevertheless continue to participate in oppositional discourses and movements. Gerard A. Hauser (2001) considers how dissident Adam Michnik remained a vibrant voice in Polish civil society through his writings even after his imprisonment in the 1980s by an authoritarian regime. At still other times, typically excluded people may be invited to participate in public discussions. Members of the AIDS activist group ACT UP occasionally have testified in the traditional setting of the congressional committee hearing as invited witnesses. Daniel C. Brouwer (2001) maintains that politically sympathetic committee chairs facilitated ACT UP's "official" appearances before members of Congress. Whether invited or... (shrink)

At First, the article analyses Hamann’s path to self-knowledge and self-love as a path of Socratic ignorance, which is indeed the highest form of knowledge. For Hamann Socrates is the predecessor of Christ, and Socratic ignorance (I know that I know nothing) is the path to divinization. Subsequently, it is pointed out, how Hryhorii Skovoroda explains the path of self-knowledge and self-love. To illustrate this thought, he makes use of the Ovidian Narcissus myth. Concerning the figure of Narcissus, Skovoroda distinguishes (...) the following three aspects: 1. The Egyptian Narcissus, 2. The Hebraic Narcissus and 3. The Christian Narcissus, i.e. Jesus Christ. These three aspects and corresponding assertions of the Bible designate Skovoroda’s path to divinization. Finally, it points out similarities between Hamann’s and Skovoroda’s understanding of self-knowing and self-love and their fundamental impact for the philosophy of Franz von Baader and his criticism of modern subjectivism. (shrink)

Sometimes, a proposition is fictional in a story in virtue of the fact that other fictional truths are good evidence for it. Cases are presented in which this evidential rule, and not some rule that invokes counterfactuals or intentions, is what explains what is fictional. Applications are made to the question of interpretive pluralism and the problem of imaginative resistance. In the background is pluralism about fictionality: the evidential rule is one of a variety of rules that are needed (...) to account for what is fictional in a story. (shrink)

This work brings together Max Lemer's extended and enduring essays on Aristotle, Niccolb Machiavelli, Alexis de Tocqueville, John Stuart Mill, Thorstein Veblen, and Oliver Wendell Holmes, Jr. Combining biography and interpretation, Lerner insightfully examines a cluster of thinkers who helped shape his own influential work in political theory and civilizational analysis. Viewed collectively, these essays show Turner's method and mind at their best. Like Lerner himself, the "masters" were tough-minded realists--philosophers who saw human experience in all of its variety as (...) central to study. Less inclined to metaphysical speculation, they wrestled with the real concerns and circumstances of therr times--but always within the larger context of ultimate meaning and consequence. Lerner eloquently introduces each philosopher and his work, but he also provides his own criticism and commentary. Complicated subjects are clearly presented, and cross-disciplinary analysis enhances the reader's sense of the whole. In his introduction, Robert Schmuhl discusses why Lerner was attracted to these particular thinkers and how they refined his approach to the human sciences. Schmuhl also traces the influence of these figures on Lemer's work. Magisterial Imagination will be of importance to philosophers, political theorists, and sociologists. (shrink)

What is photography? -- Rethinking the political -- The photograph as the source of civil knowledge -- Civil uses of photography.

Tolkien is one of our most beloved fantasy writers. Such was the power of his imagination that much has been written on his invented world, languages, and myth. This book is an invitation to tread the paths of Tolkien's realm, exploring three regions of his work: language, myth, and imagination. We will be looking for a path leading to a summit from where we can view Tolkien's whole realm. Yannick Imbert argues that we can gain such a view only if (...) we understand Tolkien's philosophical theology, his Thomism. To attain this vantage point and better understand the genius of his Middle Earth, readers journey with Tolkien through his academic, personal, and theological milieu, which together formed his Thomistic imagination."--Amazon. (shrink)

This book departs from much of the scholarship on Kant by demonstrating the centrality of imagination to Kant's philosophy as a whole. In Kant's works, human experience is simultaneously passive and active, thought and sensed, free and unfree: these dualisms are often thought of as unfortunate byproducts of his system. Gibbons, however, shows that imagination performs a vital function in "bridging gaps" between the different elements of cognition and experience. Thus, the role imagination plays in Kant's works expresses his fundamental (...) insight into the complexity of cognition for finite rational beings such as ourselves. (shrink)

Some popular views of Ernst Mach cast him as a philosopher-scientist averse to imaginative practices in science. The aim of this analysis is to address the question of whether or not imagination is compatible with Machian philosophy of science. I conclude that imagination is not only compatible, but essential to realizing the aim of science in Mach’s biologico-economical view. I raise the possible objection that my conclusion is undermined by Mach’s criticism of Isaac Newton’s famous “bucket experiment.” I (...) conclude that Mach’s issue lies not with thought experimentation, tout court, but with the improper use of thought experimentation as it relates to the aim of the biologico-economical development of science. (shrink)

If any emergent historical criticism will tend by its own choice toward inclusiveness and eclecticism, it is also likely to be constrained by more subtle forms of complicity with the theoretical subculture within which it seeks its audience. It is not in principle impossible that we might choose to set going an initiative that is very different indeed from the methods and approaches already in place. But is nonetheless clear that we must be aware, in some propaedeutic way, of (...) the predispositions for or against such change that are latent in the horizons of the field as they are presently conceived and transmitted. An account of these predispositions will take up most of the following essay. Whether or not the particular texts I shall discuss constitute anything as firm as an establishment in the absolute sense does not matter much: they neither sum up the ongoing careers of their particular authors, in the diachronic sense, nor do they represent any simple totality in the critical culture of the late 1960s. All we need here is the weaker assumption: that these writings by Derrida, Paul de Man, Michel Foucault, and Pierre Macherey do offer, by virtue of their very notoriety, evidence of the priorities within the discipline that have afforded them their reputations in the first place. Thus, while they do not in themselves prohibit the emergence of alternatives, they do give us clues about the residual pressures that might constrain those alternatives, and they signal the questions that the historical party must respond to if it is to be recognized as making an important contribution to a debate. My argument will be that the influential critics of the late 1960s have made it very hard indeed to find a place for history, so much so that the avowedly Marxist alternative set forth by Jameson finds itself making disabling concessions to those very influences. I do not claim to describe the entire range of options and alternatives, and indeed offer no discussion of the most excitingly contested field of all, that represented by contemporary feminisms. I mean instead to demonstrate, through a reading of those methodologies that have become authoritative, that the status of historical inquiry has been so eroded that its reactive renaissance, in whatever form, threatens to remain merely gestural and generic. “History” promises thus to function as legitimating any reference to a context beyond literature exclusively conceived, whether it be one of discourse, biography, political or material circumstance. In particular, given the current popularity of discourse analysis, it seems likely that for many practitioners the historical method will remain founded in covertly idealist reconstructions. David Simpson is professor of English and comparative literature at the University of Colorado, Boulder. He is the author of various books and essays, most recently The Politics of American English, 1776-1850 and Wordsworth’s Historical Imagination: The Poetry of Displacement. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable (...) to actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how (...) artworks achieve specific aesthetic effects. I conclude by responding to an objection to my account on the basis that it violates the widely accepted acquaintance principle in aesthetics, on which aesthetic judgments must be based on firsthand perceptual encounters with their objects. (shrink)

In a radical attempt to explore and restructure the presuppositions in any philosophy of language. Edouard Morot-Sir examines such current concepts as "natural languages," "linguistic necessity," and "implicite, explicite." Challenging such thinkers as Bergson, Heidegger, Chomsky, and Rorty, he argues that reference is the fundamental act by which signs and referents exist and make sense, and that "any linguistic expression belongs to the experience of reference." As such, he writes, reference is the center of human cultural existence. All value judgments (...) - whether religious, scientific, moral, or artistic - should be conceived of as positive or negative reference. He considers this work the necessary first step for a new form of criticism he proposes to call "reference criticism.". (shrink)

This article considers matters of narration and intersubjectivity in cosmetic surgery by drawing from interviews with 80 British and American women who have had an aesthetic procedure and 16 British and American cosmetic surgeons. It explores constructions of the ‘surgical other’ — that is, the woman who has cosmetic surgery with little consideration of its risks, is motivated by vanity rather than need, has unreasonable expectations regarding its outcome and/or is obsessively concerned with her appearance. It shows that constructions of (...) surgical otherness are deeply contextual and interactive. They involve the production of narratives that reflect individual experience, are shaped by cultural imagery and incorporate narratives provided by other people. They also function as a form of identity work, as patients and surgeons draw upon them (and assist in reproducing them) in their performances of self. As part of that process, physicians not only confirm the patient’s self-presentation as a ‘good surgical candidate’, but also aid in producing her as such. Practitioners too engage in their own presentations of self; their negative commentary on surgical others implies a criticism of — and thus an effort to differentiate themselves from — the surgeons responsible for their production. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Robert Leo CRITICISM OF CONSCIOUSNESS IN SHELLEY'S A DEFENCE OF POETRY IN his "Ode to Liberty" Shelley locates by encircling and enfolding metaphors a mythic Hellenic moment, one in which verse was yet "speechless" and philosophy still burdened with "lidless eyes." Greece— always for Shelley either the displaced Garden of prethematic unity or the mythic dream of integrated civic and aesthetic life—is about to inaugurate Athens and (...) the "wrinkled image" of historical consciousness.1 Poetry, thinking, and the tilling of an earth "to human use" are implicitly related and foreseen as destiny: from their enchanted caves Prophetic echoes flung dim melody. On the unapprehensive wild The vine, the corn, the olive mild, Grew savage yet, to human use unreconciled; And, like unfolded flowers beneath the sea, Like the man's dark thought in the infant's brain, Like aught that is which wraps what is to be, Art's deathless dreams lay veiled by many a vein Of Parian stone; and, yet a speechless child, Verse murmured, and Philosophy did strain Her lidless eyes for thee... (11. 49-60). Shelley could be describing the reading or speaking of a text, for poetic experience is an originating moment which unfolds our reflections and anticipations. Poetry elides speechlessness and the empty gaze. Its goings are all returnings, its experience is always inventive before meanings codify and resolve: "Every original language near to its source," we find in the Defence (p. 279), "is in itself the chaos of a cyclic poem; the copiousness of lexicography and the distinctions of grammar are the works of a later age and are merely the catalogue and the form of the creations of poetry." What was dark to experience is now illumined, 46 John Robert Leo47 as different regions in experience are uncovered or redistributed by language across our shifting horizons. Thus this bringing-foward-intoclarity, this moving of the previously inexpressed into articulation, is the pattern not only behind Shelley's view ofGreece producing a "sun-fire garlanded" Athens (1. 68), but also the more pervasive design describing other regarded experience. James Edie puts it this way: "We... can learn to make distinctions in our experience by attending to differences of meaning which are normally below the level of our own cultural threshold. By attending to a given region of experience, we can lower the differential thresholds already sedimented in our language almost indefinitely and make what was implicit in our experience more and more explicit."2 Edie's comments may be taken as responses to questions emerging from modernist readings of Shelley and other visionary poets—Blake, Hart Crane, or Charles Olson are instances—who sense the poetic project as a criticism of consciousness, within the lived body, as it struggles to make a world. How do language and the imagination consort in the critical regeneration of our lives? In what sorts of ways is renascence the uncovering and unfolding of an indefinite wholeness by the unlayering of fixed habits and attitudes? How does Shelley's Defence of Poetry, both a text on aesthetics and a reading of the world, suggest their alignment? What methods from critical discourse make Shelley's poetics present to our experience and thought? The adjustment of these issues is the task of the remainder of my article. First I examine Shelley's organization of consciousness into "reason" and "imagination" and trace the meanings of these functions in their immediate social context. A brief dispute with the reductive idealism of Platonic tradition allows for my third procedure, which is a phenomenological description of the imaginative field according to Husserl. Finally, I try to explicate Shelley's understanding of imaginative "decentering" within our experience. I Poetry and prose are saturated with references to phenomena. Texts refer to interior and exterior events (memory, rain), which are objects ofandfor consciousness. Shelley grasps this co-givenness of consciousness and world, their correlativity, as a condition revealed and strengthened by metaphor, which itself arrests us as "that of which we are speaking through words."3 But if it is the nature of language to be both perceptual and yet transcendental, both present and absent, it still exists as the imagination's voice in... (shrink)