How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions – analytic philosophy, French philosophy, and German post-Kantian philosophy – his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.

Der Aufsatz verfolgt die Frage, welche Bedeutung Literatur im Sinne von künstlerischem Sprachgebrauch für Sprache überhaupt zukommt. Inwiefern ist für Sprache und sprachliches Verstehen künstlerischer Sprachgebrauch konstitutiv? Ich mache den Vorschlag, diese Frage durch die Unterscheidung von sprachlicher Artikulation (von Strukturen der Welt) und sprachlicher Explikation (der sprachlichen Thematisierung von Sprache) zu beantworten. Diese Unterscheidung versetzt uns in die Lage, die Irreduzibilität von Explikation für Sprache zu begreifen. Auf dieser Grundlage kann dann künstlerischer Sprachgebrauch als eine spezifische Form von Explikation (...) verstanden werden, der eine besondere Relevanz für Sprache insgesamt zukommt. Diese besondere Relevanz lässt sich mit der These umreißen, dass literarische Texte eine Distanzierung von artikulativen Zusammenhängen in der Sprache eröffnen. So erweist sich Literatur als eine dem Medium der Sprache eingeschriebene Form der Freiheit. The paper addresses the question of how to determine the significance of literature – i.e. the artistic use of language – for language. Is the artistic use of language constitutive for language and linguistic understanding more generally? I seek to answer these questions by, first, distinguishing between linguistic articulation (of structures in the world) and linguistic explication (understood as the linguistic thematization of language itself). This makes it possible to, second, view linguistic explication as an irreducible dimension of language. Against this background, we can conceive the artistic use of language as a specific type of explication that has genuine relevance for the use of language more generally, because literary texts enable us to distance ourselves from the structures of articulating language. In this sense, literature has to be understood as a means of realizing freedom that is inscribed into language as such. (shrink)

In this paper, I discuss Adorno’s critique of jazz to develop a metacritique. I explain the basic objection of Adorno against jazz which states that jazz performances do not realize a law of form and therefore are not able to challenge subjects. According to my diagnosis, Adorno’s assessment of jazz is based on his conception of art for, firstly, Adorno excludes interactions of contributing to a law of form and, secondly, has a one-sided account of how art reflects subjectivity. If (...) one works out a conception of art that avoids these shortcomings it is possible to conceive of jazz as a paradigmatic form of art. (shrink)

Usually, the ontology of art is executed as an ontology of artworks. This has the consequence that the answer to the question what art is says nothing about why art is valuable. But it is, I argue, necessary to determine the value of art if one wants to say what art is. In order to account for the value of art, I start with the claim that art is a practice of transformation. Thus, I propose to develop the ontology of (...) art as the ontology of a practice of transformation. The practice in question has four elements: first artworks, second interpretive activities through which recipients and producers follow the constellations realized in artworks, third ordinary practices which are reflected through interpretive activities, and fourth practices of art criticism. By way of these four elements art is realized. According to the proposed conception, art is a profoundly unstable practice which challenges human beings and their self-understandings in such a way that they and their self-understandings develop further. (shrink)

The paper argues that the concept of second nature has two aspects that are inherently bound up with one another. Firstly, second nature has to be conceived of as a concept that has a critical force. Secondly, art has to be understood as an essential part of what second nature is. The paper explains these two dimensions of the concept by drawing on Hegel’s and Heidegger’s conceptions of second nature as the nature of essentially incomplete beings. Since the incompleteness in (...) question always has to be reproduced, human beings have to develop and constantly engage in practices of self-criticism. As a practice of self-criticism, art is constitutive of second nature understood in this way. Thus, the specificity of art is to be found in its form of self-criticism as articulated through objects, which for their part give orientation to beings that realize their second nature through their practices. In the end, art prompts them to revise and enliven these practices. (shrink)

George McClure offers here a far-reaching analysis of the role of consolation in Italian Renaissance culture, showing how the humanists' interest in despair, and their effort to open up this realm in both social and personal terms, signaled a shift toward a heightened secularization in European thought. Analyzing works by fourteenth-and fifteenth-century writers, from Petrarch to Marsilio Ficino, McClure examines the treatment of such problems as bereavement, fear of death, illness, despair, and misfortune. These writers, who evinced a belief (...) in the legitimacy of secular sadness, tried to forge a wisdom that in their view dealt more realistically with the art of living and dying than did the disputations of scholastic philosophy and theology. Arguing that consolatory concerns helped spur the revival of classical schools of psychological thought, McClure reveals that the humanists sought comfort from once-neglected troves of Stoic, Peripatetic, Epicurean, Platonic, and Christian thought. He contends that the humanists' pursuit of solace and their duty as consolers provided not only a forum but perhaps also an incentive for the articulation of prominent Renaissance themes concerning immortality, the dignity of man, and the sanctity of worldly endeavor. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The article presents the conceptual groundwork for an understanding of the essentially improvisational dimension of human rationality. It aims to clarify how we should think about important concepts pertinent to central aspects of human practices, namely, the concepts of improvisation, normativity, habit, and freedom. In order to understand the sense in which human practices are essentially improvisational, it is first necessary to criticize misconceptions about improvisation as lack of preparation and creatio ex nihilo. Second, it is necessary to solve the (...) theoretical problems that derive from misunderstandings concerning the notions of normativity, habit, and freedom – misunderstandings that revolve around the idea that rationality is a form that is developed out of itself and thus works in a way similar to algorithms. One can only make sense of normativity, habit, and freedom if one understands that they all involve conflictual relationships with the world and with others, which in turn enables one to adequately take into account their constitutive connection to improvisation, properly understood. In outlining these conceptual connections, we want to prepare the foundations for an explanation of rational practices as improvisational practices. The article concludes by stating that human rational life is improvisatory because the conditions of human practice arise out of practice itself. (shrink)

Cet article propose une réinterprétation du système des arts de Hegel. Il montre que ce système contient deux affirmations apparemment contradictoires. D’une part, Hegel soutient que les différents arts ont leurs propres potentialités et accomplissements, irréductibles les uns aux autres. D’autre part, il affirme que ces potentialités et accomplissements ne peuvent être compris que dans le cadre d’une conception d’ensemble de l’art pris en totalité. Loin de d’intégrer l’art comme un tout dans son système, Hegel combine une conception des différents (...) arts comme pratiques autonomes avec l’idée que les différents arts (en tant qu’accomplissements de ce qu’est l’art) sont des contributions au sein de contextes historico-culturels dans lesquels individus et groupes interagissent avec eux. Selon Hegel, les différents arts entrent dans des échanges dynamiques les uns avec les autres sur la base de leur enjeu commun, à savoir de fournir des impulsions productives au mouvement autonome des pratiques historico-culturelles. Les réflexions de Hegel sur l’art offrent ainsi une perspective sur l’unité hétérogène des arts. (shrink)

Opposition: Obedience and authority in Exodus 32-34 / George W. Coats -- The theological significance of contradiction within the Book of the Covenant / Paul D. Hanson -- The renewed authority of Old Testament wisdom for contemporary faith / Wayne Sibley Towner -- A stylistic study of the priestly creation story / Bernhard W. Anderson -- "I will not cause it to return" in Amos 1 and 2 / Rolf P. Knierim.

Without question, Process Philosophy and Political Liberalism: Rawls, Whitehead, Hartshorne, is Daniel Dombrowski's most important and well-argued treatise to date within his growing, prolific literary corpus. Bringing his expertise on John Rawls's political thought to bear on the process thinking of A. N. Whitehead and Charles Hartshorne, he explores commonalities of approach and ventures the interpretive hypothesis that Rawls is, at least broadly speaking, a process philosopher. He also argues that each of these philosophers appropriately shares the appellation “political liberal” (...) when that term is carefully defined. I find this strongly plausible. (shrink)

Humans have developed various practices to confront the indeterminacy of their existence. Roughly speaking, there are two types of such practices. On the one hand are those through which humans control the uncertainty that permeates their actions and choices. These are practices of self-reassurance and risk reduc- tion. On the other hand are practices in which humans welcome or search out uncertainty, practices that are explicitly open to the risk of failure. One particu- larly remarkable example of the latter set (...) is art. Art is a practice that embraces the uncertainty of human existence in a special way. Generally speaking, art- works do not aim to reassure. Rather, they are open to uncertainty. Thus, art represents a special mode of reflecting on a constitutive feature of human exis- tence, namely, the possibility of failure. What does it mean that art is, in princi- ple, always susceptible to failure? The present article explores this question. (shrink)

Critical thinking and arguments -- What makes a good argument? -- Premises and conclusions -- Language -- Propositional arguments -- Categorical arguments -- Analogical arguments -- Statistical arguments -- Causal arguments -- Moral arguments -- Answers to selected exercises -- Reference guide.

Although social contracts theory has been applied to organizations (Donaldson & Dunfee, 1994), rarely has the theory been tested empirically. This article uses the traditions of communitarianism and individualism to instantiate an ideal-type economic social contract. We asked 269 subjects to complete the Ideological Orientation Scale and to make judgments on eight downsizing scenarios. Using social judgment theory, we assess the direct and indirect influences of ideology on judgments of fairness. Our findings suggest that ideology indeed shapes individual’s conceptions of (...) organizational fairness. (shrink)

In an attempt to gain some control over ever escalating health care cost, many organizations have moved to a managed care concept of health benefits. Managed care health benefit strategies account for well over 90 percent of all employer sponsored health benefit programs.In essence, managed care coverage usually demands, at a minimum, some form of utilization review in regard to provider services. Thus the privacy of the traditional doctor patient relationship must inevitably be modified when managed care enters the picture.

The mother discipline of organisational behaviour has deep roots in psychology, particularly industrial and organisational psychology. It comes as no surprise, therefore, that new and theoretically incommensurate findings involving human moral behaviour have been met with calls for a more psychologically informed investigation of ethical behaviour in organisational contexts (DeCremer and Tenbrunsel, 2012; Reynolds and Ceranic, 2009). This project, aimed at a fuller understanding of the psychology of ethical behaviour, typically falls under the label of Organisational Ethical Behavior (OEB).

S76 1992 305.8—dc20 92-25829 "The Ethnographer's Magic: Fieldwork in British Anthropology from Tylor to Malinowski" was originally published in Observers Observed: Essays on Ethnographic Fieldwork (History of Anthropology Vol. ... Toward a History of the Interwar Years" was originally published in Selected Papers from the American Anthropologist, 1921-45, edited by George W . Stocking, Jr., pp.

George W. S. Bailey. prove that mental phenomena in general are not self- intimating in sense (3). Armstrong's argument is based on two claims: (a) Introspective awareness and its objects are distinct existences. (b) If introspective awareness ...