Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do (...) not address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life. (shrink)

Pragmatic Modernism traces an alternative strain of modernism influenced by pragmatist philosophy and characterized by its commitment to gradualism, continuity, and habit rather than spectacular events and radical rupture. Through original readings of Gertrude Stein, Henry James, Marcel Proust, and Oliver Wendell Holmes, Jr., this study rediscovers an overlooked cultural and social matrix and suggests an expanded range of responses to modernity.

Pragmatic Modernism traces an alternative strain of modernism influenced by pragmatist philosophy and characterized by its commitment to gradualism, continuity, and habit rather than spectacular events and radical rupture. Through original readings of Gertrude Stein, Henry James, Marcel Proust, and Oliver Wendell Holmes, Jr., this study rediscovers an overlooked cultural and social matrix and suggests an expanded range of responses to modernity.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.1 (2002) 83-104 [Access article in PDF] Reluctant Modernism: Moses Mendelssohn's Philosophy of History Matt Erlin In a well-known passage from the second section of Jerusalem (1784) Moses Mendelssohn takes his old friend Lessing to task for his recent treatise on The Education of the Human Race (1780). His respect for the author notwithstanding, Mendelssohn has little sympathy for Lessing's view of human (...) progress. Opposing the attempt to force the entire species into a single framework of linear development, Mendelssohn claims that, as a species, humankind has always oscillated between cultivation and barbarism. Borrowing the "ages of man" metaphor that Lessing employed in his own discussion, he writes that at almost any point in human history, man is "child, adult, and old man at the same time, though in different places and regions of the world." 1 Against Lessing's concept of global progress Mendelssohn proposes a model in which each individual follows his own trajectory of self-cultivation, a trajectory that begins before birth, intersects more or less briefly with the plane of historical time, and then continues after death into eternity.Mendelssohn's resistance to the Geschichtsphilosophie articulated here by Lessing and later appropriated by Kant, Schiller, and Hegel has been subject to a variety of interpretations. Not surprisingly, more recent commentators have stressed the philosopher's defense of particularity, his opposition to a totalizing theory of history that threatens to grant the individual nothing more than a bit part in the realization of some future state of human perfection. Norbert Hinske, for example, has argued that Mendelssohn's late writings engage in a conscious confrontation with Kant's understanding of historical progress. 2 [End Page 83]According to Hinske, especially Mendelssohn's short text On the Ideal Constitution indicates that the author "must have recognized spontaneously that Kant's proposed solution, whether intentionally or unintentionally, degraded the individual to a mere means of social progress...." 3Mendelssohn's concern for the individual is certainly central to his rejection of a species-based historical teleology, but one should also keep in mind the ethnic and cultural implications of such a model. As both Kant's and Hegel's later writings reveal, any attempt to understand human history in terms of a coherent, linear narrative, especially one that culminates in the rise of Christian Europe, is necessarily troubled by the continued existence of Judaism. In other words it is not just the individual who suffers an implicit reduction in status in late eighteenth-century theories of progress; entire cultures become vestigial once their historical function has been fulfilled. 4 Although the texts containing the most striking hostility toward Judaism were published after the appearance of Jerusalem, a somewhat surprising anti-Jewish bias is already evident in Lessing's explorations of the topic. Lessing does after all refer to the Jews in the period of Egyptian exile as "the most rude and the most ferocious" people imaginable. 5 Moreover, although he grants them a crucial role as educators of humanity, this role lasts only until the appearance of Jesus Christ, an event that simultaneously marks the end of the childhood of humankind. As Hans Liebeschütz has remarked, Lessing's adoption of this position must have been quite a blow to Mendelssohn. 6Each of these reasons for Mendelssohn's skepticism is significant in its own right; taken together, they also raise fundamental questions regarding his relationship to modernity and modern historical consciousness more generally. In one respect, of course, the topic of Mendelssohn's modernity has been much debated. Ever since Alexander Altmann's 1973 biography addressed the philosopher's complex relation to the "two disparate worlds of Judaism and modern Enlightenment," scholars have sought to untangle the strands of tradition and innovation in his work. 7 Most recently, Allan Arkush has depicted Mendelssohn as a radical deist whose observance of Jewish law was largely [End Page 84] strategic, while David Sorkin has emphasized the more conservative aims of his long neglected Hebrew works. 8In light of this interest... (shrink)

Ratté has provided a sympathetic but mildly critical account of the leading French, English, and American precipitators of the Modernist crisis in the Catholic Church, a crisis which floated to the surface just before the turn of the century with Loisy's L'Evangile et l'Eglise and reached its climax in its condemnation by Pius X in his 1907 Encyclical, Pascendi Dominici Gregis. Ratté treats each of the individuals separately by means of what can be styled an intellectual biography interwoven with (...) the events which constituted the history of Modernism. The result is a good introduction in some depth to the men themselves and to the history of Modernism as a whole. There are obvious parallels between the Catholic Church then and now, and the idea that we are witnessing today the tardy triumph of many Modernist tenets is exploited in passing in the book proper, and to some degree in the final evaluative chapter, "Modernism and Modernization." For the most part though, Ratté is content to play the historian rather than the theologian. The book has an excellent bibliography.--E. A. R. (shrink)

The aim of this article is to examine the thought of Hannah Arendt and the work of Osip Mandelstam from a unified conceptual stance. Arendt provides the grounds for this in her remarks about Mandelstam (alongside Rilke and Auden) in two major fragments from her final work “The Life of the Mind.” Arendt (here following on from Heidegger) speaks of the unity of poetry and praise, which, in turn, illustrates the affinity between thought and gratitude. However, the great modernist (...) poets that Arendt mentions perform their praise within an existential and historical context in which praise proves a kind of impossible, paradoxical event. We attempt to discern Mandelstam’s poetic thought through the optics proposed by Hannah Arendt and to describe several aspects of his “poetics of praise.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Evidence-Based Medicine and EvaluativismTim Thornton (bio)KeywordsPhilosophy, psychiatry, values, causalThe rise of evidence-based medicine (EBM) in psychiatry has brought, in its train, a concentration on the validity of psychiatric taxonomy to augment the previous focus on reliability (in the medical sense of inter-subject agreement). This is not surprising. If EBM is to be a trustworthy guide to future events, such as patient recovery, it must be based on projectible (...) predicates (Goodman 1983). Not all the predicates that apparently fit past observations would produce true predictions for the future. Furthermore, there is reason to think that employing projectible predicates goes a long way to satisfy the (widespread if contested) aim of being based on a nomological science (Papineau 1986). Thus, the successful implementation of EBM within psychiatry requires the successful articulation of a valid psychiatric taxonomy.This connection helps to explain why fears about the application of EBM to psychiatry often turn on fears about the application of the criteriological model of diagnosis to individuals. In her commentary in this issue, Gloria Ayob has examined some of the arguments concerning the application of EBM to individuals. In this brief commentary, I examine a different potential source of disquiet focused on the underlying nature of psychiatric taxonomy.Dimensions for Psychiatric TaxonomyIn their recent paper, Peter Zachar and Kenneth Kendler suggest a number of different dimensions according to which rival conceptions of psychiatric taxonomy can be mapped. These include (1) causalism–descriptivism, (2) essentialism– nominalism, (3) objectivism–evaluativism, (4) internalism–externalism, (5) entities–agents, and (6) categories–continua (2007, 557). At the heart of the objectivism-evaluativism dimension is the question:Is deciding whether or not something is a psychiatric disorder a simple factual matterY (objectivism), or does it inevitably involve a value-laden judgment (evaluativism)?(Zachar and Kendler 2007, 558)Objectivists argue that the concept of disorder is a simple or plain factual matter by contrast with an evaluation. The apparently evaluative connotations of disorder, they argue, can either be reduced to, or explained away in, more basic terms, which are not themselves essentially evaluative. Thus, for example, the attempt to explain disorder in statistical terms is a form of objectivism. The more plausible attempt to explain disorder through the idea of a biological or proper function is also usually presented as a form of objectivism. (The most famous proponent of a biological approach, however, Jerome Wakefield, adds to an objectivist-aspiring core an explicit value in the form of harm [End Page 175] [Wakefield 1999].) Whether or not it can be successful as a form of objectivism, in addition to whether an analysis in biological terms is possible, depends on whether the account of function can fully discharge any initial evaluative or normative assumptions.There seems to be good evidence that current psychiatric taxonomy, at least, contains values. John Sadler, for example, makes a powerful case for this in his substantial work Values and Psychiatric Diagnosis (2005). Sadler, furthermore, addresses in some detail a further set of questions concerning the kinds and nature of the values involved. I outline just one further question about the nature of values involved.Zachar and Kendler contrast the presence of values with objectivism. Objectivity has at least two relevant senses reflecting contrasts with two senses of subjectivity. It—objectivity—might mean requiring no special subject for the conception and framing of relevant judgments. (This mirrors primary, by contrast with secondary qualities, and Williams' idea of an absolute conception [Williams 1978]). Or, it might mean disciplining and providing a contrast between correctness and incorrectness, or truth and falsity, for the relevant judgments. This contrasts with subjective whimsy.Although it seems relatively straight forward that the conception and framing of value judgments requires that subjects have a particular kind of mind, that still leaves open the other issue. Are value judgments disciplined by anything or does the "truth" of a value judgment collapse back into its being sincerely made?Evaluativism in Psychiatric Taxonomy and EBMThis question relates to the application of EBM to psychiatry in this way. On a disciplined account, psychiatric taxonomy can aim to get right the mixture or, better, the compound of simple facts and values... (shrink)

Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the plentiful archive of Victorian "art writing"-essays addressed to the visual arts- to reveal the key role played by nineteenth-century writers in the rise of modernist Anglo-American aesthetics. Though Victorians are most often associated with realism, (...) certain art writers promoted a formalism that would come to dominate canons of twentieth-century art. Teukolsky analyzes the canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to the rich field of Victorian print culture--gallery reviews, scientific treatises, satirical cartoons, advertisements, and early photography monographs among them. Spanning the years 1840 to 1910, her argument also adds substance to our understanding of the transition from Victorianism to modernism, a period of especially lively exchange between artists and intellectuals, here narrated with careful attention given to the historical particularities and real events that stamped their imprint on such interactions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful (...) and revolutionary like the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

This article uses Hegel’s analysis of the Romantic form to elucidate the relationship between aesthetic space and subjectivity in modernist painting (Paul Klee) and cinema (Sergei Eisenstein). The movement that brings art to realization in Hegel thus includes genres and modalities of art that did not exist in his time: in cinema and modernist painting, the Idea or truth of art evolves and brings itself to completion. Plasticity, the movement of aesthetic form toward self-expression, abandons the rigid substantiality (...) it achieves in the Classical era and acquires unprecedented range, depth and resilience. In the Romantic form, the dynamism of the concept surfaces in full force and aesthetic boundaries expand. The emergence here of a new type of visual space is determined by a subjectivity that abandons the concrete, corporeal individuality associated with sculpture (most explicitly in Classical art) and imparts on sensuous form the fluidity of inner life. Music and poetry converge in the visual object which now assumes cinematic modality, a modality that also finds expression in modernist painting. (shrink)

Fitzpatrick’s writing on international law did not constitute the main focus of his oeuvre. However, the determinate-responsive nature of law that characterised so much of his work did extend to an analysis of the generative force of international law. This article picks up on commentary from Modernism and the Grounds of Law (2001) and ‘Latin Roots’ (2010), among other contributions, to test this generative force of international law, which Fitzpatrick identifies as a necessary affirmation of the movement between the ‘determinate (...) but not ultimately determinate’ sovereignty of a singular nation state and the ‘illimitably responsive but not ultimately responsive’ force of the community (Fitzpatrick 2010, p. 46). We test Fitzpatrick’s view of international law through two examples of un-recognised states and the mechanism of non/recognition utilised by the international legal community to determine what constitutes a singular nation-state for participation in the community of international law. Our two case studies, North Cyprus and Crimea, illuminate the continuing relevance of Fitzpatrick’s schema. Through non/recognition, ‘states’ that are included-as-excluded participate in the ongoing affirmation of an international legal ‘community’, a community that continues to be constituted through the affirmation of imperial power. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful (...) and revolutionary like the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

Book Reviews Mehmet Karabela, Dialogue: Canadian Philosophical Review/Revue canadienne de philosophie, FirstView Article.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

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

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

This article assesses Herman Paul's intellectual biography of Hayden White, the most important figure in the philosophy of history of the past half century. Offering a clear overview of White's career and contribution, Paul's account proceeds chronologically from the 1950s to the present, distinguishing the phases of White's career, but convincingly pinpointing an abiding core of concerns around an existentialist and liberationist humanism. In that light, White sought to show the way beyond historiographical realism to more innovative approaches—ideally to serve (...) progressive politics. Paul notes, however, that White failed to connect with most mainstream historians, and Paul's account is not sufficiently probing and critical to explore the gulf. Indeed, following White, Paul is too prone to take White's particular liberationist agenda as the only alternative to a conservative, passive realism—and thereby to gloss over alternative ways of conceiving the postrealist cultural space. Moreover, Paul fails to note White's tendency sometimes to imply that mainstream history claims more than it does, and sometimes to denigrate prejudicially what it in fact does, or could do. Although much of White's challenge could have been especially salutary, he tended toward mischaracterizations that fostered polarization in the historical discipline and reinforced prejudicial understandings of historiography in the wider culture. Paul's overview provides a useful, and in many ways exemplary, introduction to White's legacy, but it is too deferential to provide a convincing overall critical assessment. (shrink)

Indicates that post-modernist and mainstream psychologists who accept social constructionist arguments that posit a social context within which to describe human thought, emotion, and language as discourse conventions, in fact, support context as a class of events that can neither be opposed nor superseded. When scientific power-positioning is attributed to psychologists, while social contextualism is walled off from the same accusation, power over categories results. The elimination of dualities of mind and body and of thought and language, and (...) a resulting inability of the individual to assign meanings or think about emotions, isolates emotion and thought from logic and meaning. It is argued that the assumption that political context surrounds all psychological thinking suspends a host of contraries; and that the egalitarian counterclaim of post-modernists is contradicted by the very political power matrix within which it is stated. 2012 APA, all rights reserved). (shrink)

In this essay I explore the relationship of sport to art. I do not intend to argue that sport is one of the arts. I will rather argue that sport and art have a commonality, in that both are alienated philosophy. This is to propose – in an argument that has its roots in Hegel's aesthetics – that sport and art may both be interpreted as a way of reflecting upon metaphysical and normative issues, albeit in media that are alien (...) to philosophy's conceptual language. The medium of art is the manipulation of sensuous materials, such as stone, paint, or sound. The medium of sport is the pursuit of a physical challenge, at which the athlete may fail. I will develop this argument by borrowing from the philosophy of art of Arthur C. Danto. In particular, I will suggest that a parallel to his concept of ‘artworld’ can be seen in a ‘sportworld’. As the artworld is an ‘atmosphere of theory’ and a ‘knowledge of history’ through which an event is interpreted and thereby constituted as art, so a sportworld is the atmosphere of theory through which an event is constituted as sport. I will argue that much of the existing discussion of the relationship between sport and art is grounded in an ill-conceived aesthetics. In order to be appreciated and appropriately interpreted, sport must be understood within a modernist aesthetics and hermeneutics. As such, the core issue of an aesthetics of sport is not that of beauty, but rather of the meaning of the sport, and what I shall call the capacity of sport to ‘speak as a world’ – to bring to consciousness through play the taken-for-granted cultural conditions through which our social lives are constituted, and within which metaphysical and normative problems are articulated. I will propose that the hermeneutics of music provides a useful model for the interpretation of sport. (shrink)

The reference of the postmodern task of thinking is Auschwitz, the abyss and discontinuity separating us from the world of our ancestors. As inhabitants of Planet Auschwitz our point of reference lacks all transcendental warrants; it is not a non-referable reference which constitutes the abyss we must enter, endure, and in which our intellectual and cultural tradition must be transformed. The private/public transformations which constitute the texts of this book attempt to depart from the dystopic individuality and public life resulting (...) from business-as-usual after Auschwitz. The three parts of the book are progressive reworkings of traditional metaphysics as adapted and modified by a modernism that refuses to grapple with its complicity. It is precisely that complicity which postmodern thinking takes up in its attempt to signify otherwise than the easy modernist translations and images of tradition. Thus it is a series of uneasy images imaging otherwise but never apart from modernity that take us away from complicity toward a transformed tradition. The uneasy images of this book are photogrammic combinations of photographs and texts, mutual supplements, pulling tradition through the Event against the persistent and murderous forces of contemporary idolatry and repression. (shrink)

In a recent online lecture, the acclaimed novelist Amit Chaudhuri responded to an accusation that has greeted his fiction since the start of his literary career: that since, as he openly admits, his novels contain people and events that are drawn from his own life, they are better thought of as thinly disguised memoirs—as not really novels at all. In this paper, I discuss this charge by drawing on an account by the philosopher Stephen Mulhall of the work of (...) another distinguished novelist—J.M. Coetzee (more specifically, that work which features the character Elizabeth Costello). In particular, I want to establish the pertinence to Chaudhuri’s lecture of Mulhall’s analogy between aspects of that work and the work of the influential art historian and critic Michael Fried on the history of modernist painting. In so doing, I aim to show that the commitment to the projects of literary modernism and realism which Mulhall sees in Coetzee (and Costello), can also be seen in Chaudhuri’s understanding of the sense in which his novels both are, and are not, autobiographical. (shrink)

Modernism remains a complex and complicated term, contested not only with regard to its historical meaning or period boundaries but also with regard to its relevance for aesthetics and, more broadly, for the contemporary understanding of art. Is modernism the culmination of modernity, its crowning moment or perhaps its tipping point toward the purported postmodernity/postmodernism, or is the radical challenge instigated by modernism’s artistic inventiveness—what I call its avant-garde momentum—still extant and current beyond the apparent succession of modernism by postmodernism? (...) This essay approaches these questions through a discussion of various approaches to artworks in modernism and the avant-garde: Adorno, Rancierè, Heidegger, and Lyotard in order to explore the extent to which aesthetics remains both the precondition and the optics for modernism. At the same time, it assesses the implications of the avant-garde’s challenge to the very idea of art. The divergence in the discussions of the split between modernism and avant-garde, as well as the contention between proposals for a new aesthetic and the critique of the notion of art, pivot on the issue of freedom and the role of the human. In its challenge to art, the avant-garde calls into question the centrality of the human and the idea that freedom is a human possession. In doing so, it rethinks the notion of the artwork with regard to the non-human or inhuman. Against the backdrop of this rift between modernism and the avant-garde, the essay discusses the works of Wallace Stevens and Gertrude Stein. While Stein’s avant-garde writing is intensely engaged in its practice with drafting a new poetic rigor of writing and experience, the modernist Stevens uses aesthetic paradigms and reflection to trigger the liminal state at the end of the imagination or the mind. This brief study of Stevens and Stein illustrates the fact that modernism and the avant-garde inhabit the same historical moment yet part ways with regard to aesthetics. As the avant-garde elaborates its new rigor in order to work in tune with the non-human reach of the event, it moves beyond the metaphysical determination of art and aesthetics. In the avant-garde, what is ‘proper’ to humankind comes to be “inhabited by the inhuman,” to paraphrase Lyotard, and is “celebrated” as such. This fissure means also that the momentum of the avant-garde extends beyond the historical boundaries of, for many already closed, chapter of modernism. (shrink)

Thomas Mann (1875-1955), was a leading figure in the 20th century and is writer who has been widely mentioned in world litetarure. He is known not only as the writer of milestone novels but also as the master of oppositions. The Buddenbrook’s Family (1901), The Death in Venice (1912), and The Magıc Mountain (1924) in particular are inspiring the same emotions in the readers of today as the day they were written. While these masterpieces have been the subject of literature (...) research and psychoanalysis, they have also been of interest in the realm of philosophy. In particular, from the perspective of philosophy, The Magic Mountain, was the main concern of this study. This study will indicate both the modern aspects of the story as well as try to show how this work was a mirror for its time. The story takes place in a sanatorium where people who suffering from tuberculosis are sent to recover. This is an illness without remedy in its time and which was widespread through the 19th century. Switzerland, with its lofty mountains, was chosen as a location for tuberculosis senatoriums which offered fresh air, good nutrition, and light exercise. While the hospitals of Davos village tried to treat the patients’ lung spots, they also forced them to follow a life of dicipline. The fact that the “spotted” people went to the senatorium, with no intention of going back to their previous life is the main concern of this study. The most interesting fact here is the chain of events that connected earth to the mystical mountains of this town. The main issue will be the question of why people perceived this earthly place in such a different way. (shrink)

Through a comparative analysis of diverse texts and contexts, this book offers a cultural history of the interplay between the aesthetic and the political in the formation of personal and collective identity that crystallizes into the Chinese aesthetic of the sublime. It describes how various kinds of politics are aestheticized and how aesthetic manifestations are bound up with prevalent ideologies and politics. In this book, politics refers to various projects for fashioning a viable self, a workable personal and collective identity (...) in the crisis-ridden history of modern China. These projects include imagining a political subject adapted to the modern nation-state, mobilizing revolutionary masses as subjects of the Communist state, sustaining a unified self despite the challenges to traditional culture, erecting the sublime figure of the revolutionary hero, and, finally, debunking the grand images of the hero and history in post-Mao culture. Throughout, the author seeks to delineate the ways the political masquerades as aesthetic discourse and aesthetic experience. Covering a wide range of material from fiction, poetry, aesthetics, and political discourse to memoirs, film, and historical documents, the book reconsiders a number of prominent cultural figures, including Wang Guowei, Cai Yuanpei, Lu Xun, Eileen Chang, Mao Zedong, Zhu Guangqian, and Li Zehou. It also analyzes such important cultural features and events as Western influences on the formation of modern Chinese aesthetic discourse, modernist writings, Revolutionary Cinema, the Cultural Revolution, and New Wave Fiction. An East-West comparative approach informs the analysis, which engages in dialogue with Kant, Hegel, Freud, Marx, and Walter Benjamin, as well as Terry Eagleton and other contemporary critics. The author's interdisciplinary method, which emphasizes the interaction among text, context, and the psyche, both presents new materials and illuminates familiar texts and phenomena from the perspective of the political-aesthetic nexus. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons ed. by Alexandru Matei, Christian Moraru and Andrei TerianLaura Elena Savu WalkerMatei, Alexandru, Christian Moraru, and Andrei Terian, editors. Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons. Bloomsbury, 2021. 376pp.Far from “mourning” the demise of theory, this timely and thoughtfully curated essay collection testifies to its “renewed vitality,” its compelling presence “across (...) fields, domains of life, and geocultural boundaries,” and its power to build an ever-expanding world community of practioners who are forming what has come to be known as a “theory commons” (ix). As the collection’s editors point out, theory’s new lease on life hinges on ensuring both the democratic workings of this “world discourse formation” (1) and on the responsible theorizing of the very notion of community in “a world threatened by all kinds of anti-communal actions and reactions, from runaway globalization to exacerbated tribalism and tunnel-vision politics” (x). Working on the margins, specifically, out of a Romanian “lab” called The Critical Theory Institute (CTI), which opened its doors in early 2000, the contributors seek to revise the “standard history of theory,” one whose “Western origins, authority, and cultural compass ” strike them as “exceedingly reductive” (3). This project of geotheoretical repositioning and recalibration aims to recast theory as a “quintessentially cross-linguistic, cross-cultural, trans- and intercontinental undertaking” (4). As such, it carries on the project, launched in a previous volume, Romanian Literature as World Literature (2018), of fashioning an alternative to the nation-state paradigm that has long shaped literary and intellectual histories. In both of these works, Romanian critics and theorists have tuned into a wide range of voices, and tapped into a shared conceptual and methodological apparatus—itself the product of “an ethno-linguistic medley of traditions” (8). This approach informs what editors see as the “epoch-making” (17) discursive paradigm that has taken shape in globally networked post-Cold War societies (17), a viral model of cultural influence that fosters an ontology of “contact, contagion, of infection, dissemination, and horizontal accumulation” (15).To give us a sense of theory’s complex genealogy and evolution, the editors reference the Bulgarian critic Galin Tihanov, who has attributed [End Page 122] important developments in contemporary theory to the achievements of theorists (Nikolai Trubetskoi, Roman Jakobson, Vladimir Propp, and Georg Lukács) and schools of thought (Russian Formalism and the Prague Linguistic Circle). In “Traveling Theory” (1983) and “Traveling Theory Reconsidered” (2000), Edward Said called attention to the migratory nature of contributions made, for instance, by Georg Lukács, whose theories moved across different European locales in this period. Since then, contemporary theory has branched out to integrate the travels and travails of scholars affiliated with theory labs located in Bulgaria, Hungary, Slovakia, and last, but not least, Romania (10).Theory in the “Post” Era highlights five characteristics that distinguish theory in the “post” era from earlier forms: 1) It has a “reluctantly epoch-alist” thrust (19; original italics), which assumes that the “post” lexicon entails “rupture, discontinuity, and opposition” (19), radical departures, tentative claims, provisional conclusions, and ex-centric perspectives; 2) it adopts a “self-reflexive and experimental” (20; original italics) stance in which theorists invoke inherited approaches or invent new ones; 3) it introduces a “transdisciplinary” (21; original italics) scope that allows authors to interrogate the foundations, aims, and methods of theoretical discourse and practice across several knowledge domains, from which they “borrow whole vocabularies and toolkits” (21); 4) it is “nationally, transnationally, and ecologically affiliative” (20) in ways that allow theorists to “think with others at a distance” (21) about global issues; and 5) it is programmatic, placing critical and theoretical concerns in the service of “the ethical, the political, and the communal” (22). Organized around three main themes (“Aesthetics,” “Temporalities,” and “Critical Modes”), the essays juxtapose discussions of pivotal historical events and cultural phenomena with literary analyses of Romantic era “classics,” modernist experiments, and postmodern works of the post-Communist era, a corpus that includes, but is not limited to, landmark works of national culture that are now part of a fast-expanding planetary... (shrink)

Has the passing of the old God paved the way for a new kind of religious project, a more responsible way to seek, sound, and love the things we call divine? Has the suspension of dogmatic certainties and presumptions opened a space in which we can encounter religious wonder anew? Situated at the split between theism and atheism, we now have the opportunity to respond in deeper, freer ways to things we cannot fathom or prove. Distinguished philosopher Richard Kearney calls (...) this condition _ana-theos_, or God after God-a moment of creative "not knowing" that signifies a break with former sureties and invites us to forge new meanings from the most ancient of wisdoms. Anatheism refers to an inaugural event that lies at the heart of every great religion, a wager between hospitality and hostility to the stranger, the other—the sense of something "more." By analyzing the roots of our own anatheistic moment, Kearney shows not only how a return to God is possible for those who seek it but also how a more liberating faith can be born. Kearney begins by locating a turn toward sacred secularity in contemporary philosophy, focusing on Maurice Merleau-Ponty and Paul Ricoeur. He then marks "epiphanies" in the modernist masterpieces of James Joyce, Marcel Proust, and Virginia Woolf. Kearney concludes with a discussion of the role of theism and atheism in conflict and peace, confronting the distinction between sacramental and sacrificial belief or the God who gives life and the God who takes it away. Accepting that we can never be sure about God, he argues, is the only way to rediscover a hidden holiness in life and to reclaim an everyday divinity. (shrink)

What are the limits of language? How can philosophy be brought closer to everyday life? What is a good human being? These were among the questions that philosophers wrestled with in mid-twentieth-century Britain, a period shadowed by war and the rise of fascism. In response to these events, thinkers such as Philippa Foot (originator of the famous trolley problem), Isaiah Berlin, Iris Murdoch, Elizabeth Anscombe, Gilbert Ryle, and J. L. Austin aspired to a new level of watchfulness and self-awareness (...) about language as a way of keeping philosophy true to everyday experience. A Terribly Serious Adventure traces the friendships and the rivalries, the shared preoccupations and the passionate disagreements of some of Oxford's most innovative thinkers. Far from being stuck in their ivory towers, the Oxford philosophers lived. They were codebreakers, diplomats, and soldiers in both World Wars, and they often drew on their real-world experience in creating their greatest works, masterpieces of British modernism original in both thought and style. (shrink)

The world-view to which the long arc of modern philosophy since Descartes bends is Materialism With A Bad Conscience, a Materialism continually bedeviled by the need to deal with apparently irreducible mental items. I believe this world-view to be the offspring of an introjective error; in effect, the mentalization of sensible form, finality and value. Hence the characteristic modernist accusation is that when we take sensible form, finality and value to be genuine features of the manifest we are thereby (...) "projecting" aspects of our mental life onto an environment devoid of these features. David Hume went furthest in this Projectivist direction arguing that indeed even the very notion of an efficient cause was a projection of our habitual expectations that the regularly observed consequences of certain classes of events would continue. So far from these expectations constituting a practical knowledge of efficient causes, acquired over immense periods of time in the life of our species as it adapted to and with its complex causal environment, those expectations are merely appearances which we mistake for a mind-independent relation among the things themselves. Thus the manifest is traded in for the "manifest image of the world," an image interposed between a subject and deracinated environment. (shrink)

The world-view to which the long arc of modern philosophy since Descartes bends is Materialism With A Bad Conscience, a Materialism continually bedeviled by the need to deal with apparently irreducible mental items. I believe this world-view to be the offspring of an introjective error; in effect, the mentalization of sensible form, finality and value. Hence the characteristic modernist accusation is that when we take sensible form, finality and value to be genuine features of the manifest we are thereby (...) "projecting" aspects of our mental life onto an environment devoid of these features. David Hume went furthest in this Projectivist direction arguing that indeed even the very notion of an efficient cause was a projection of our habitual expectations that the regularly observed consequences of certain classes of events would continue. So far from these expectations constituting a practical knowledge of efficient causes, acquired over immense periods of time in the life of our species as it adapted to and with its complex causal environment, those expectations are merely appearances which we mistake for a mind-independent relation among the things themselves. Thus the manifest is traded in for the "manifest image of the world," an image interposed between a subject and deracinated environment. (shrink)

Édouard Glissant passed away on 4 February 2011 at the age of 82. A few words of memory. As a person and thinker, Glissant lived through, then reflected with meditative patience and profundity upon some of the most critical years in the black Atlantic: the aesthetics and politics of anti-colonial struggle, the civil rights movement in the United States, postcolonial cultural anxiety and explosion, the vicissitudes of an emerging cultural globalism, and all of the accompanying intellectual movements from surrealism to (...) negritude to existentialism to those varieties of high modernism and postmodernism for which Glissant himself is such a generative, founding resource. His life bears witness to those years, events, and movements with a poet’s word and a philosopher’s eye. And so Glissant, like all important thinkers, leaves for us an enormous gift – in his case, a new, enigmatic vocabulary of and for the Americas. . (shrink)

Evaluation of the influence of Hayden White on the theory of history is made difficult by his preference for the essay form, valued for its experimental character, and by the need to find comparable data. A quantitative study of citations of his work in English and foreign-language journals, 1973–1993, reveals that although historians were prominent among early readers of Metahistory, few historical journals reviewed White's two subsequent collections of essays and few historians-except in Germany-cited them. Those historians who did tended (...) still to cite Metahistory and often the parts of it devoted specifically to nineteenth-century historians.Literary critics, on the other hand, were relatively late to discover White, but during the "narrative turn" of the 1970s and 1980s his work was important for students of the novel and the theater. Recognition of it was especially marked in Spanish-speaking countries and in Germany.As a result, salient themes of White's later work-the ideological and political import of narrativization, the "historical sublime," and writing in the "middle voice"-have largely gone unremarked by historians and philosophers. Both these groups have tended to be irritated by White's bracketing of questions of historical epistemology; some have accused him of effacing the line between fiction and history, while White's numerous literary readers have generally applauded his tendencies in this direction. White however has consistently maintained that there is a difference, although not the one conventionally postulated. His exploration of writing in the "middle voice" brings his work full circle, in that it promises a "modernist" realism appropriate for representing the "sublime" events of our century. (shrink)

To understand and begin to answer the question of this article, I compare Heidegger's position to Hegel's, since the two appear structurally similar and Heidegger is explicitly indebted to Hegel's aesthetics. On the basis of this comparison, I argue that abstract art has the potential to play an important role on Heideggerian grounds. I conclude that modernist art should be understood not as a supplement to the project of self-realization that characterizes Hegelian freedom but rather as a disruptive event (...) that could potentially challenge the constraining technological mindset that is characteristic of our time. (shrink)

Appearing for the first time in an English translation, Introduction to Modernity is one of Henri Lefebvre's greatest works. Published in 1962, when Lefebvre was beginning his career as a lecturer in sociology at the University of Strasbourg, it established his position in the vanguard of a movement which was to culminate in the events of May 1968. It is a book which supersedes the conventional divisions between academic disciplines. With dazzling skill, Lefebvre moves from philosophy to sociology, from (...) literature to history, to present a profound analysis of the social, political and cultural forces at work in France and the world in the aftermath of Stalin's death—an analysis in which the contours of our own "postmodernity" appear with startling clarity. Lefebvre's lectures have become legendary, and something of his charismatic presence and delivery is captured in this book, which he intended "to be understood in the mind's ear... and not simply to be read." With its mercurial shifts of tone, now intensely poetic, now conversational, it not only explores modernity, it exemplifies it. Equally experimental in conception is the book's remarkable structure, twelve "preludes" through which a range of recurrent themes are interwoven in free-form counterpoint: irony as a critical tool, utopianism, nature and culture, the Stalinization of Marxism, the alienation of everyday life, the cybernetic society... What gradually emerges is not only a series of original concepts about humanity and culture, but an extraordinary invocation of the complexity of social contradictions. Yet the fragmented structure of the book is not left to float free. Its shifting and eclectic melodies and leitmotifs have a solid ground basis: the wish to rehabilitate the Marxist dialectic as a method for understanding and transforming the modern world. This program is at the heart of the book, and gives it its underlying coherence, making Introduction to Modernity not only essential reading for all students of European cultural history, but also a key text for Marxism in the post-communist world of the late twentieth century. (shrink)

Of the various forms of life writing with which the present collection is concerned, I want in this chapter to devote my attention to the genre of the memoir (and so the autobiographical), and its relation to the seemingly sharply contrasting literary genre of the novel (insofar as the former is understood as a mode of writing concerned with the recounting of the facts or reality of a particular human life, and the latter is understood as concerned only with the (...) appearance of such lives, with the essentially unreal or fictional). Of course, the recent interest in what is termed ‘autofiction’ has served to raise once again the question of the distinction between the memoir and the novel; but rather than engage with that discussion, I want here to focus instead on a particular author’s explicit critical response to that distinction, insofar as it has persistently marked the reception of his work. -/- In a recent lecture, the acclaimed novelist Amit Chaudhuri replied to an accusation that has greeted his fiction from the start of his literary career: that since his novels contain people and events drawn from his own life, they are better thought of as thinly disguised memoirs—as not really novels at all. To examine this charge, I want to draw on an account by the philosopher Stephen Mulhall of the work of another celebrated novelist—J.M. Coetzee (more specifically, that work which features the character Elizabeth Costello). In particular, I want to establish the pertinence to Chaudhuri’s lecture of Mulhall’s analogy between aspects of that work and the work of the influential art historian and critic Michael Fried on the history of modernist painting. In so doing, I aim to show that the commitment to the projects of literary modernism and realism which Mulhall finds in Coetzee (and Costello), can also be found in Chaudhuri’s understanding of the sense in which his novels both are, and are not, autobiographical. (shrink)

G. W. F. Hegel (1770–1831) has commonly been seen as Europe’s leading philosopher since Kant. His influence extended across the globe down to the Second World War – not least through his dissident disciple, Karl Marx. Since then, despite intermittent revivals, his importance has tended to be eclipsed by a rising tide of anti-modernist polemic, extending from Heidegger to postmodernism. Central to Hegel’s political thought was his view of the French Revolution. But notwithstanding its pivotal role in the development (...) of his ideas, his reaction to that event has been systematically misconstrued. In presenting a more faithful account of Hegel’s interpretation of his own era, the argument presented here places his response to contemporary developments in the context of a series of World Revolutions which framed the meaning of his age. This approach serves to illustrate the unique combination of historical and philosophical reasoning on which Hegel’s thought depended. In the process, reconstructing his arguments raises challenging questions about the applicability of bygone political ideas to later historical periods. (shrink)

By comparison with other parts of his philosophy, Hegel'sAestheticshas been slighted by Anglo-American philosophers. All the more welcome then are two recent essays by Robert Pippin, which promise to go well beyond received notions. WithHegel's Idealism, Pippin published what is by any measure one of the most original of recent treatments. Shortly thereafter came a penetrating study of the idea of the modern, which allotted a central role to artistic modernism, and since then he has published various essays actively engaging (...) our post-Kantian legacy. Readers will therefore have heightened expectations of Pippin's turn to Hegel's aesthetics, or rather, as he himself signals, the philosophy of art — unlike some he clearly approves of the shift from Kantian questions of aesthetic taste to Romantic speculations on art, indeed on Art as cultural absolute.They will hardly be disappointed. Yet in the event they will find themselves negotiating texts that are at once dense and elliptical, much of the argument being conducted via footnotes, its implications—what it commits the author to in theory and in practice — not evident straightaway. If Hegel's position is complex, Pippin's turns out to be no less so. While I can hardly do justice to its intricacies, I do consider it both important and controversial, whether as interpretation of Hegel or as an approach to modernist abstraction. (shrink)