The history of political philosophy is marked by a conception of politics as inherently tragic. As such, it has hardly ever been systematically contrasted with the other model of dramatic art, comedy. In this article, I explore the relation between Hegel's twofold notion of drama as an ordered genre of disorder – what he considers to be the highest form of self-reflective art – and the post-foundational concept of radical democracy. After outlining the interplay between order and disorder in (...) post-foundationalist theories of political difference, I summarize the way in which the steps of Hegel's poetics consecutively build on each other and elaborate the role of the dramatic genres. By means of a genealogical reconstruction of the respective concepts of democracy and drama, I demonstrate the extent to which these two methodologies correspond to poetic and political order formation in a structural homology. This conceptualization concludes with the assertion of a constitutive dramatization of political modernity which does not, however, culminate in the concept of political tragedy but points towards a still-to-be-realized, comically ordered democracy. (shrink)

It should be clear that Lyell's scientific contemporaries would hardly have agreed with Robert Munro's remark that Antiquity of Man created a full-fledged discipline. Only later historians have judged the work a synthesis; those closer to the discoveries and events saw it as a compilation — perhaps a “capital compilation,”95 but a compilation none the less. Its heterogeneity made it difficult to judge as a unity, and most reviewers, like Forbes, concentrated on the first part of Lyell's trilogy. The chapters (...) on glaciation were admired by Lyell's friends but had relatively little appeal to more general readers. His discussion of the species question hedged far too much to please those who accepted the cogency of Darwin's evidence and arguments. This last section of the book blatantly lacks originality or commitment and certainly has no claim to classical status in anthropology.We are left, then, with the first twelve chapters, for it was this portion that dictated the book's title and that amassed the available evidence favoring the antiquity of the human species. Did it do anything more than marshall the evidence that others had discovered? I think not. Lyell could write with style and verve. Principles of Geology is a remarkably readable book. But Antiquity is the work of a geologist, not of a systematic student of man. Despite its occasional touches of power, it never captures the freshness and immediacy of Lubbock's Pre-historic Times nor the theoretical brilliance of E. B. Tylor's Researches into the Early History of Mankind (1865).96 Antiquity utilizes little of the comparative method whereby Lyell's contemporaries used data from modern “savagery” to elaborate the possible social functions of the prehistoric remains being uncovered. It contains little social theory and has virtually no integrated framework. Even the first twelve chapters do not really hang together. As Hooker, commenting to Darwin on Lubbock's review, sadly wrote: “Lubbock in [the] N[atural] H[istory] Review, had in a note called attention to Lyell's ... ‘doing injustice’ to Prestwich & Falconer. I modified this expression ‘injustice’ in Lubbock's paper (which was friendly and apologetic). I am deeply sorry for it, but what can one do? I do think Lyell's first XII chapters a complete mess.”97 In another letter to Darwin, Hooker described this first portion of Antiquity as “confused and confusing.”98Part of the problem, of course, lay in the subject's novelty for Lyell and for most of his contemporaries. At a deeper level, however, I believe that the book accurately reflects Lyell's uncertainties about Darwin's work and its implications for man.99 Leonard Wilson's edition of Lyell's Scientific Journals provides a unique insight into Lyell's mind during the years just before he began to write Antiquity.100 Preoccupied with the human implications of evolutionary biology, Lyell was not clear how many of those implications were compatible with his deep convictions about the dignity of man's place in the cosmos. With a certain naiveté, Lyell complained in 1873 that many of his readers had failed to see the “natural connections” among the three portions of Antiquity.101 Connections could indeed be drawn between man's antiquity and his evolutionary origins; Lyell's private Scientific Journals movingly demonstrate that he was well aware of this fact. But he never fully made the connections in his published writings. Antiquity of Man is more appropriately seen as the last gasp of the heroic period in British geology than as the opening salvo in a new, post-Darwinian anthropological synthesis. Between the founding of the Geological Society of London in 1807 and the middle of the nineteenth century, geology was recognized as one of the most exciting and innovative scientific fields in Britain.102 Lyell himself had contributed much to that drama, and by the 1860's he was a public figure of venerable proportions. More then any other man he represented a geology that had extended the boundaries of process, time, and life. The fundamental achievements of Lyell and his colleagues had been assimilated into the wider Victorian consciousness, yet the earlier public debates about “genesis and geology” had left untouched in its essentials the concept of Man as a moral, responsible, created being.103Lyell never abandoned this view of his own species, and in 1863 it was a completely responsible creature which, under the weight of empirical evidence, Lyell admitted had lived on earth far longer than had previously been thought. Certainly this more generous allowance for human existence was constitutive to what Burrow calls the evolutionary social theory of midcentury Britain.104 Unlike Lyell, the younger representatives of this anthropology quietly accepted both man's antiquity and his aboriginal animality. Herbert Spencer's Principles of Psychology (1855), as well as the other volumes of his grand Synthetic Philosophy, presented as part of the cosmic process the development of human from prehuman beings.105 Tylor's discussion of what in his Researches (1865) he called the “gesture-language” presupposed the gradual and de novo origin of language in early human populations.106 Lubbock's young and polished mind was untroubled by the human implications of Darwin's work, and he cast his Prehistoric Times into such a perfect mold that it and its companionpiece (On the Origin of Civilization, 1870) went through seven editions each between 1865 and World War I, with their original theoretical structures intact. In a way that Lyell could not grasp, Lubbock was intrigued by questions concerning the origins of moral and religious beliefs and did not flinch at the thought of an amoral, atheistic creature as an ancestor.107 Indeed, as the German naturalist Carl Vogt pointed out in his Lectures on Man, translated into English the year after Antiquity, both Darwin's theories and the primitive flint knives of the Stone Age bore witness to a time beyond that imaginable from the condition of the lowest present-day “savage”:From such a low condition [little better than anthropomorphous apes], compared to which that of the so-called savages of the old and new world is a refined civilisation, has the human species gradually extricated itself, in a bitter struggle for existence, which it was well able to maintain, by being gifted with a larger amount of brain and intelligence than that possessed by the surrounding animal world.108The easy integration of biological and social themes was perhaps the distinguishing hallmark of Victorian anthropology of the 1850's and 1860's. After his fashion, Lyell got both themes into Antiquity, but he carefully separated them with a seven-chapter wall of glacial ice. Lyell's anthropology was not that of a thoroughgoing evolutionist like Lubbock, Tylor, or Spencer. For Lyell prehistoric man was not a product of biological evolution. Rude and superstitious he may have been, but he possessed ritual and a belief in a future state, and thus deserved “the epithet of ‘noble,’ which Dryden gave to what he seems to have pictured to himself as the primitive condition of our race: as Nature first made man/when wild in woods the noble savage ran.”109As a systematic argument, Lyell's book was at best a significant failure. As a popularization, it was a success — largely because of the personal stature of its author and the particular moment of its appearance. It helped establish the fact of man's antiquity with a wider Victorian audience, in itself no mean achievement. But Lyell was unable to exploit the fuller implications of his material in the service of a secular science of man. Ironically, he exploited only his colleagues' discoveries. Though the aging Lyell, with failing eyesight but unfailing mental powers, can still be seen as a man of considerable importance, his Antiquity belongs to the carefully circumscribed world of British geology rather than to the less disciplined world of Victorian anthropology. (shrink)

Before taking this book with the seriousness which at least parts of it deserve, it is necessary to dispose of a criticism which is basically frivolous but has already been made too often to be ignored. “Contemporary British Philosophy”—the title conjures up the names that everyone is currently bandying about ; and then you find with a jolt that you are being served with fare by such cooks as Ewing, Findlay, Kneale, Mabbott, Price, and—of all people—Paton. People, clearly, (...) who for the most part wouldn’t even pretend to be “contemporary” in the ordinary use of this word, and who indeed in these very papers subject the real “contemporary” philosophers to endless sniping and sharp-shooting. Almost the only contributor one can imagine wishing to be thought “contemporary” is Ryle; and even he—well, did Freud really think of himself as a Freudian? Ayer might be put up as another exception, but that would be shallow— there's no one so completely and hopelessly out of date as the conductor of the bandwagon that's just gone past. Even from the point of view of crass physical age, the baby of this bunch , works out at about 43. (shrink)

This title tells the story of democracy through the perspective of tragic drama. It shows how the ancient tales of greatness and its loss point to the potential dangers of democracy then and now.

This article makes the controversial argument that Bourdieu’s theory of practice offers both a model of transformation and social reproduction. However, it also claims that his account of cultural production is marred by two blind-spots. First, it contends that Bourdieu has neglected key forms of material support, notably, that offered, post-war, from the ‘left hand of the state’. The subsequent New Wave of 1950s and 1960s British drama had authors who possessed neither economic capital nor certified cultural capital. (...) Secondly, it interrogates Bourdieu’s conclusion that popular culture can never be source of canonized art. Adopting the view that Bourdieu focused too exclusively on legitimate culture, it seeks to contrast his theories on this point with the approach developed by Raymond Williams. The last section sketches a Bourdieusian analysis of Bourdieu. It reads his writings in the light of the different origins of the British and French fields of cultural studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Justifying the Arts:Drama and Intercultural EducationMike Fleming (bio)IntroductionFor teachers of arts subjects, questions about justification can be tiresome in the same way that contemporary aestheticians may feel fatigue about defining art.1 Providing justification can feel more like an exercise in rhetoric than theoretical enquiry, induced more by political necessity than intellectual challenge. If the value of the arts is not self-evident, it is difficult to advance arguments (...) to convince those who have no knowledge or affinity with them. Not that many educationists admit to falling into the latter category. As Eisner has said, nobody wants to be seen as a philistine.2 Yet to those with a deep commitment to the value of the arts in education and wider society, the arts are rarely thought to be taken as seriously as they should be.3 This paper will describe five approaches to the question of justifying the arts before examining the specific case of drama and intercultural education.Approaches to Justifying the Teaching of the ArtsFaced with questions of justification, providing a list of reasons for teaching the arts is one approach but not the only one. Instead, looking for broader categories of justification within possible lists (e.g., between art and entertainment, feeling and cognition) exposes differences of emphasis more easily. Exploration of the tension between such concepts as "creating" and "responding" may help get behind bland claims of the kind that the arts can "develop creativity." In this way, the relevance of aesthetic theory, which often centers on the tension between competing concepts, can be demonstrated more readily. Another approach to the question of justification is to reject the idea that the arts should serve instrumental goals at all by advancing an argument in favor of their intrinsic rewards. A fourth approach is to [End Page 54] question whether it is appropriate to seek justification for the arts as a generic concept, rather than looking instead at individual art forms; the benefits of dance may be different in certain respects from those of visual arts. Finally, a priori enquiry could be abandoned altogether in favor of seeing what teachers actually say about their reasons for teaching the arts. Each of these positions will be examined briefly.Mortimer includes physical education and personal and social education among the areas of benefit he attributes to the arts.4 Within five broad categories, he describes further subcategories, amounting to more than seventeen reasons for teaching the arts. He also claims that the arts are a way of developing life skills and attitudes that are transferable across the curriculum and are a way of contextualizing other learning. It is easy to sympathize with someone who is passionate about the arts and concerned that they should be seen as a "fundamental" not as a "frill," but such general claims do not always bring clarity or insight. It is difficult for example to see how poetry "encourages physical confidence in balance." A visit to a children's home may be more fruitful in "developing sensitivity to others." The benefit of "using imagination and creativity" (a catchall phrase that on its own says very little) may in practice find tension with other stated benefits such as "discriminating, selecting, editing." The latter concepts suggest a more constrained, skills-oriented form of teaching rather than an approach that encourages free flow of imagination. Long lists of justifications can obscure theoretical differences and from a tactical point of view in the political arena can appear overblown. They are well meant but not always helpful. Nor do they go far in explaining the deep importance of the arts in so many people's lives.The influential Gulbenkian report in the United Kingdom was wide-ranging in its claims but reinforced the idea of the arts as being an alternative to academic study and what it termed "logico-deductive thought."5 "Society," it argued, "needs and values more than academic abilities." In the 1980s, many writers were keen to free themselves from the influence of narrow theories of self-expression to embrace a wider discipline-based approach but continued to underplay the cognitive dimensions of work in art.6 Of course an emphasis... (shrink)

My purpose in this dissertation is to delineate and evaluate William James's new psychology in The Principles of Psychology. James's avowed aim in his text is to divorce psychology from metaphysics and to treat psychology like a natural science. Psychology is to become more scientific, and is thus to become more conscious of its own goals and its limits. James's aim, in short, is to help psychology become the science of the human mind--of "finite individual minds." ;What James does is (...) to single out a new starting point for psychology by connecting consciousness with life and not with certain metaphysical hypotheses. Indeed, it is through the ordinary manifestations of consciousness that we may renew a contact with consciousness that a more cerebral psychology has lost. Such, in any case, is the revolt that James initiated against the spiritualist and associationist theories, the biological conceptions, and the experimental methods in psychology of his day; and with that revolt he launched a mode of thought that has also escaped the neat formulae of contemporary philosophy. To be sure, he came to be claimed by prominent philosophers as one of the pioneering spirits in the existential, phenomenological, and British analytic modes of thought in philosophy. ;Despite these honorific readings of James, I do not think them sound, for they do not take appropriate notice of the avowed aim and the central message of the pioneer. On the contrary, as I shall show, existentialism, phenomenology, and British analytic philosophy of Wittgenstein and Russell, have moved in an altogether opposite direction from James; in doing so, they have thereby served to foster the disintegration of the finite individual mind. (shrink)

[INTRODUCTION] Like the terms 'dialectic', 'Aufhebung' (or 'sublation'), and 'Geist', the term 'concrete universal' has a distinctively Hegelian ring to it. But unlike these others, it is particularly associated with the British strand in Hegel's reception history, as having been brought to prominence by some of the central British Idealists. It is therefore perhaps inevitable that, as their star has waned, so too has any use of the term, while an appreciation of the problematic that lay behind it (...) has seemingly vanished: if the British Idealists get any sort of mention in a contemporary metaphysics book (which is rarely), it will be Bradley's view of relations or truth that is discussed, not their theory of universals, so that the term has a rather antique air, buried in the dusty volumes of Mind from the turn of the nineteenth century. This is not surprising: the episode known as British Idealism can appear to be a period that is lost to us, in its language, points of historical reference (Lotze, Sigwart, Jevons), and central preoccupations (the Absolute). Even while interest in Hegel continues to grow, interest in his Logic has grown more slowly than in the rest of his work, with Book III of the Logic remaining as the daunting peak of that challenging text - while it is here that the British Idealists focussed their attention and claimed to have uncovered that 'exotic' but 'vanished specimen', the concrete universal. Finally, as the trend of reading Hegel pushes ever further in a non-metaphysical direction, it might be thought that the future of the concrete universal is hardly likely to be brighter than its recent past - for it may seem hard to imagine how a conception championed by the British Idealists, who were apparently shameless in their metaphysical commitments, can find favour in these more austere and responsible times. In this paper, however, I want to make a case for holding that there is something enlightening to be found in how some of the British Idealists approached the 'concrete universal', both interpretatively and philosophically. At the interpretative level, I will argue that while not everything these Idealists are taken to mean by the term is properly to be found in Hegel, their work nonetheless relates to a crucial and genuine strand in Hegel's position, so that their discussion of this issue is an important moment in the reception history of his thought. At a philosophical level, I think that the question that concerned Hegel and these British Idealists retains much of its interest, as does their shared approach to it: namely, how far does our thought involve a mere abstraction from reality, and what are the metaphysical and epistemological implications if it turns out it does not? As such, I will suggest, taking seriously what these British Idealists have to say about the concrete universal can help us both in our understanding of Hegel, and in our appreciation of the contribution Hegel's position can make to our thinking on the issues that surround this topic. (shrink)

This paper suggests that one single thread characterizes the developments of French phenomenology that occurred after 1990 in the wake of Merleau-Ponty's and Levinas's major contributions. Janicaud in 1991 had already identified one global trend in French phenomenology and believed it was possible to unite the thoughts of Levinas, Henry, Marion and Chrétien under the common banner of “theological phenomenology.” However, his analysis seems to fail to account for deeper-seated affinities that exist between French phenomenologists such as Marion, Lacoste, Chrétien, (...) Richir, Depraz, Romano – and Benoist for part of his work. This is the reason why, although the present paper does agree with Janicaud's idea that the French authors who define themselves as phenomenologists share some common ground, it defines this common trend quite differently, i.e., as a form of epistemological realism that ultimately manifests itself as a radical empiricism. Consequently, the present study will state and defend three hypotheses: contemporary French phenomenology professes a form of realism of experience, which is the true rallying point of otherwise differing elaborations; this type of epistemological empiricism, by virtue of its radicality, implies a problem that threatens to drive phenomenology towards its own dissolution, because as it precipitates in fine the dilution of philosophical discourse into a multitude of other discourses; this variant of empiricism shows that, within its strictly defined viewpoint, there is scarcely any difference between French phenomenology and a certain part of French analytical philosophy. All three hypotheses lead to the same conclusion: the determination of the defining aspect of contemporary French phenomenology entails, beyond the apparent, misleading, and futile quarrel of paradigms, to bring to light a common space for contemporary French philosophy, which, from both perspectives, can be conveyed by the single term “to show.” It is, in fact, the elevation of “to show” to the detriment of “to demonstrate” that seems to ensnare thinkers within an impasse. (shrink)

Telling stories is a basic human activity. It enables us to organise, evaluate and transform what we see going on around us. It allows us to make sense of what is happening, to defy what is ephemeral in our experience. In short, it helps us to read the signs and between the lines. In the story that follows, we shall watch how Little Monster struggles with the apparently random and inexplicable and strives to make order out of chaos. He is (...) fortunate to have a mother who regards story-telling as a significant determinant of his psycho-social well-being. Indeed, there are those who would argue that engaging in the construction of narrative is a precondition for literacy development, academic success and enhanced life chances. Our second story begins here, as we exploit the potential of narrative to function as a developmental turning-point in our understanding of contemporary debates on early literacy acquisition in the context of the National Evaluation of the Early Intervention Programme in Scotland. (shrink)

This work is the most complete study of the Sophist in any language and the most original account of this dialogue to appear in many years. Virtually every line is subject to exhaustive scrutiny. The major contemporary approaches to reading the Sophist, especially the analytic, are also carefully criticized. The current analytic position maintains or presupposes--and usually little argumentation is given on this point--that the "combination of forms" presented in the Sophist is best understood on the model of (...) grammatical predication. Such an interpretation Rosen argues transposes that doctrine into an Aristotelian or Fregean framework, with which it is wholly incompatible. While predicates are contained in their subjects, the forms combine but remain monoeidetic, for as primary units they do not undergo internal articulation. Furthermore, a study of the text shows that the Eleatic Stranger always distinguishes between language and the forms, making it impossible for the latter to be legitimately subsumed under the former. (shrink)

The first English translation of three essays on contemporary drama penned by Kierkegaard in the mid-1840's. The most substantial essay, "The Crisis and a Crisis in the Life of an Actress," takes as its point of departure Johanna Luise Heiberg's performance as Juliet in a production staged at the Royal Theatre on January 23, 1847. Some 19 years earlier Fru Heiberg had played the same role on the same stage as a girl of fifteen, and Kierkegaard's essay (...) considers some of the ironies and tensions of this juxtaposition. The 56 page introduction by Stephen Crites is perceptive and consistently illuminating as a portrait of the life situation out of which the essays grew. The translation is readable while preserving a thoroughly Kierkegaardian flavor, and the notes are revealing and to the point. Altogether, this volume might be taken as a model of how to present Kierkegaard's minor works in English.—J. T. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I have (...) given much thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

This paper reports on research undertaken into the processes through which student teachers begin to formulate an identity as a professional teacher. Using Fuller's investigations into the attitudes of trainee teachers towards their courses (1969) as a baseline, a discussion is established on the place of the student voice in contemporary initial teacher training programmes. In order to further investigate the potential importance of affording student teachers the opportunity to reflect on and express their thinking and feeling as they (...) embark on their chosen career path, the concerns of a group of student drama teachers were recorded and interpreted. The vehicle for this exercise involved writing and subsequently performing reflective monologues. These were analysed by using The Listening Guide as composed by Gilligan et al (2003). This paper illustrates how the methodology revealed distinct yet generally harmonious voices at work in the group in the first few weeks of their training year. Subsequent analysis suggests a model for the initial formation of a teaching identity built on aspects of self role and character. Recognising the relative values and relationships between these factors for student teachers may, it is argued, provide greater security for them while affording their tutors insights which could help them to re-shape initial teacher training programmes. (shrink)

The Goddess People of Avalon, a young and flourishing religious community in Glastonbury (South-England), have been defining themselvesprincipally as a revitalization of the prehistoric worship of the Great Goddess. Based on fieldwork data of the author, the article offers an introduction into the religious tradition and ritual praxis of the contemporary Goddess People. Specifically, the analysis focuses on the ritual genre of Sacred Drama with its interpretationof the general and local history of religions. The variety of recursivity (as (...) a reference to the past), which this ritual genre expresses, is examined within an analytical frame that has been developed for different forms of ritual dynamics. Particularly, the analytical concepts ritual transfer, adaptation, invention and ritual design are discussed. Within the lastyears, a change in the self-image and legitimizing strategies of the Goddess People has occurred: Whereas in their nascent years, they understood themselves as a reactualization of primordial spirituality, they tend to see themselvescurrently more as a newreligious tradition, inventing their rituals creatively and confidently. The article argues for the use of the analytical concept ritual design to describe this aspect of ritual dynamics. Thus, instead of evaluating the degree of originality of rituals from an academic point of view, the legitimizing strategiesof religious agents come to the fore. (shrink)

Confucian political philosophy has recently emerged as a vibrant area of thought both in China and around the globe. This book provides an accessible introduction to the main perspectives and topics being debated today, and shows why Progressive Confucianism is a particularly promising approach. Students of political theory or contemporary politics will learn that far from being confined to a museum, contemporary Confucianism is both responding to current challenges and offering insights from which we can all learn. The (...) Progressive Confucianism defended here takes key ideas of the twentieth-century Confucian philosopher Mou Zongsan as its point of departure for exploring issues like political authority and legitimacy, the rule of law, human rights, civility, and social justice. The result is anti-authoritarian without abandoning the ideas of virtue and harmony; it preserves the key values Confucians find in ritual and hierarchy without giving in to oppression or domination. A central goal of the book is to present Progressive Confucianism in such a way as to make its insights manifest to non-Confucians, be they philosophers or simply citizens interested in the potential contributions of Chinese thinking to our emerging, shared world. (shrink)

Scrutinizing the critical tendency to label texts or writers as "postmodern", scholar Stephen Watt argues that "reading post modernly" merely implies reading culture more broadly. In contemporary drama, Watt considers postmodernity less a question of genre or media than a mode of subjectivity shared by both playwright and audience. 6 illustrations.

Skepticism is the one problem above all others which has commanded the attention of moral philosophers in our century. Sometimes the problem is taken up explicitly, in full but uneasy consciousness; at others times it is treated indirectly, as in the troubled reflections from which emerge such questions as "Can moral principles be proved?" or "Is there a single 'right' point of view for confronting moral questions?" or "Why should I be moral at all?" In either case, skepticism as (...) a moral view has never lacked vehement advocates or equally passionate and numerous opponents. Whereas earlier moral philosophers-such as nineteenth-century Idealists, whose views still influence thought in the twentieth century-proceeded on the assumption that moral values could be definitively established, contemporary British and American ethical theorists have tended to challenge that basic assumption. It may therefore, come as a surprise to many to find that the essays of this volume have been written in opposition to the generally dominant trend of twentieth -century skepticism. (shrink)

Despite their contemporaneity and obvious similarities, Richard Price and Immanuel Kant are rarely discussed together. This essay examines the common background of their work, similarities in their methodology and principles, and their common concern with connecting rationalist philosophical systems with knowledge at the level of ordinary life and politics – all this despite their lack of reference to each other. Their normative principles are assessed in connection with major documents and political events in their revolutionary era. A concluding section evaluates (...) their work in relation to contemporary discussions that concern the relationship between pre-reflective and reflective levels of moral knowledge. The essay draws on the work of contemporary scholars such as Danielle Allen, David Brink, Robert Audi, Sarah McGrath, and Thomas Kelly. (shrink)

The aim of this paper is not to focus on a particular thematic issue of Aesthetics, offering an exhaustive approach of it, but to display a broader map allowingto capture the essence of this topic from an overall perspective. To achieve it, I have paid attention to a number of points that will help to place Aesthetics in historical terms in the context of 18th century Great Britain. In this vein, I have addressed certain pillars deemed crucial in understanding Aesthetics, (...) such as the socio-historical background in which it emerged, the meaning of this field of study, its main theoreticians and its three most important aesthetic categories. Finally, I close the paper by drawing some brief conclusions. (shrink)

PurposeA significant volume of philosophical literature produced by Indian academic philosophers in the first half of the twentieth century can be placed under the rubric of ‘Śaṁkara and X’, where X is Hegel, or a German or a British philosopher who had commented on, elaborated or critiqued the Hegelian system. We will explore in this essay the philosophical significance of Hegel-influenced systems as an intellectual conduit for these Indo-European conceptual encounters, and highlight how for some Indian philosophers the (...) class='Hi'>British variations on Hegelian systems were both a point of entry into debates over ‘idealism’ and ‘realism’ in contemporary European philosophy and an occasion for defending Advaita against the charge of propounding a doctrine of world illusionism.MethodologyOur study of the philosophical enquiries of A.C. Mukerji, P.T. Raju, and S.N.L. Shrivastava indicates that they developed distinctive styles of engaging with Hegelian idealisms as they reconfigured certain aspects of the classical Advaita of Śaṁkara through contemporary vocabulary.Result and ConclusionThese appropriations of Hegelian idioms can be placed under three overlapping styles: Mukerji was partly involved in locating Advaita in an intermediate conceptual space between, on the one hand, Kantian agnosticism and, on the other hand, Hegelian absolutism; Raju and Shrivastava presented Advaitic thought as the fulfilment of certain insights of Hegel and F.H. Bradley; and the interrogations of Hegel’s ‘idealism’ provided several Indian academic philosophers with a hermeneutic opportunity to revisit the vexed question of whether the ‘idealism’ of Śaṁkara reduces the phenomenal world, structured by māyā, to a bundle of ideas. (shrink)

The article sets out to explore two plays by contemporary playwrights, one American, the other Ukrainian, focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches, the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss how (...) they operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fi ction is defi nitively tipped in favor of the latter. By centering their biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult fi gures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality. (shrink)

Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another to describe (...) the workings of structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Utopia and the Contemporary British Novel by Caroline EdwardsMark SchmittCaroline Edwards. Utopia and the Contemporary British Novel. Cambridge: Cambridge University Press, 2021. 277 pp. Paperback, ISBN 9781108712392.The development of the novel as a literary form is closely linked to the representational mode of realism and how it can convey the human experience of time. That the novel distinguishes itself substantially from earlier forms of (...) literature in how it attempts to capture temporality through means of literary realism has been acknowledged ever since Ian Watt’s The Rise of the Novel (1957). As such, the novel form underwent dramatic changes throughout the periods of modernity and postmodernity, with modernist and postmodernist techniques of representation mirroring shifts in the temporal experience. But how can the contemporary novel—a category itself loaded with implication and definitional problems—of the twenty-first century confront the particular representational challenges of its time? This is the question that Caroline Edwards addresses in her study Utopia and the Contemporary British Novel. Edwards is concerned with the wider repercussions of the post-postmodernist notion of the Fukuyaman thesis of the “end of history” and the profound challenges to this thesis in the face of the post-9/11 unfolding of the twenty-first century. The temporal experience of this century is marked by what Edwards calls “non-contemporaneity,” that is, a “political, and even ontological uncertainty” (9). In the context of contemporary literature, the resulting “temporal disjointedness that marks our experience in the twenty-first century” has “given rise to different expressions of the unevenness of the contemporary, at the level of novelistic structure, prose style, generic sampling and non-mimetic interventions into otherwise realist narratives and juxtaposed timescales” (9). The notion of non-contemporaneity is drawn from Ernst Bloch’s concept of Ungleichzeitigkeit, which Edwards considers to be “productive to thinking about the complexity of [End Page 595] utopian times and the different kinds of pasts and futures that circulate within our own present moment of contemporaneity, which is inescapably non-contemporaneous with itself ” (30). Edwards considers this noncontemporaneity as a prevalent temporal register in contemporary British fiction that speak to the crises of temporality associated with a range of political, social, and economic events and processes that have marked the first decades of the twenty-first century. The seemingly natural unfolding of the “the linear progressive time of neoliberalism” (8), what Mark Fisher has called “capitalist realism,” has increasingly been put into question, not least due to the 2008 Global Financial Crisis (158). Similarly, Edwards identifies the 2016 Brexit referendum as symptomatic of a nationalism that must, following Michael Gardiner, always appear to be “out of time” (8). Such crises are thus indicative of anachronistic unevenness and conflicting temporalities. Consequently, a literary fiction that wants to adequately represent these struggles with temporality cannot confine itself to the pitfalls of literary realism, but it would be equally ill-suited by resorting to postmodernist metafiction and irony. Rather, as Edwards contends, the twenty-first-century fictions that she discusses attempt to complicate realist modes by using disruptive and experimental narrative techniques that amount to “non-mimetic experiments with narrative voice and structure” and “delinearised” temporalities (4). With this approach, Edwards argues, these texts interrogate the present as unstable.The four main chapters of Edwards’s book proceed by first establishing the dominant philosophical and theoretical concepts underlying her hypothesis. Chapter 2 (“Reading Fictions of the Not Yet”) is a theoretical and methodological chapter and offers an in-depth engagement with theories of temporality and narratology. Edwards’s aim here is to advocate for an updating of conventional narratology to account for the multilayered narrative experiments with time since modernism and especially in contemporary fiction. Her approach to theorization and analysis is inspired by Elizabeth Freeman’s Time Binds: Queer Temporalities, Queer Histories (2010) in the decision to focus on close readings of a small number of primary texts and read them as texts or aesthetic artifacts that develop “theories of their own” (29). The chapter offers an in-depth engagement with Bloch’s philosophy of utopianism and his concept of Ungleichzeitigkeit.Another cornerstone for Edwards’s theory and method is the work of... (shrink)

David Hume’s views on the subject of free will are among the most influential contributions to this long-disputed topic. Throughout the twentieth century, and into this century, Hume has been widely regarded as having presented the classic defense of the compatibilist position, the view that freedom and responsibility are consistent with determinism. Most of Hume’s core arguments on this issue are found in the sections entitled “Of liberty and necessity,” first presented in Book 2 of A Treatise of Human Nature (...) (1739) and then in his An Enquiry concerning Human Understanding (1748). Although the general position in both these works is much the same, there are some significant points of difference relating to the way in which the core position is presented and also in the specific range of arguments covered. The focus of my concerns in this essay will not, however, lie with the relationship between the Treatise and the first Enquiry versions of “Of liberty and necessity.” My discussion will center on the contrast between two alternative interpretations of Hume’s views on this subject, with particular reference to the version presented in the Treatise. It will be my particular concern to explain and defend the naturalistic as against the classical compatibilist account and to explain the general significance of the naturalistic account for the contemporary debate. (shrink)

Essentially a history of religion in the twentieth century, this erudite work puts more emphasis on religion than on change and more faith in Christianity than in other traditions. Alive to the importance of the ecumenical movement and the Second Vatican Council, Edwards argues that no other religious groups in our time have the sophistication of the major Christian denominations in responding to the challenges of a scientifically based culture and an industrialized economy. He relates the major movements in modern (...) theology to a context informed by Marx and Freud, biology and technology, Eastern spirituality and Western revivalism. But he evades the challenge to revise our concept of God or demonstrate the meaningfulness of the traditional concept, with the plea that today's theologians have to be more humble than their predecessors in making dogmatic claims. From his vantage-point in England he judiciously assesses currents of thought in Europe and the United States, while showing more sensitivity to the views of British humanists than to the crises of faith and morals arising in contemporary political and social life. Despite his familiarity with the "new" morality and literary celebrations of the "death" of God, he ends with a relatively unperturbed affirmation of the biblical message concerning Jesus' death and resurrection. The result is a highly competent survey of how things stand at present for Western churchmen and theologians. The book has a few typographical and other errors, notably the placing of the last line first on page 260 and the footnote references to Sir Humphrey rather than Hamilton Gibb and to Robert rather than Richard Robinson.--C. P. S. (shrink)

The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual (...) representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin ; the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances and Martin McDonagh’s The Pillowman ; and the narrative density and traumatic aporia of Pornography by Simon Stephens. (shrink)

Recent years have seen a growth of interest in the great English idealist thinker T. H. Green as philosophers have begun to overturn received opinions of his thought and to rediscover his original and important contributions to ethics, metaphysics, and political philosophy. This collection of essays by leading experts, all but one published here for the first time, introduces and critically examines his ideas both in their context and in their relevance to contemporary debates.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 64.3 (2003) 489-510 [Access article in PDF] The Analysis of Culture Revisited:Pure Texts, Applied Texts, Literary Historicisms, Cultural Histories Warren Boutcher School of English and Drama, Queen Mary, University of London Theory What is the relationship between study of canonical texts and broader social and cultural history? This question lies behind the contemporary academic issue of historicism and the public "culture (...) wars" that broke out in the late 1980s, but it was asked by Raymond Williams in the late 1950s and by German and French intellectuals of the 1930s. For the purposes of the present argument I shall distinguish between three broad phases in the responses of those who have taken the inquiry up most actively. Each phase began with what were perceived as crises or turning-points in the humanities corresponding to watersheds in wider history. The first and most profound began after the global crisis of 1929-33 and continued through the global wars that followed. A second began in the mid-1950s after McCarthyism, the consolidation of the Cold War and the Soviet invasion of Hungary. A third phase began in the mid-1970s, after the events of 1968 brought on the extended period of social unrest which found one important epicenter in the universities themselves and which broke out again in the more civilized form of the culture wars already mentioned.Most discussions of historicism do not engage directly with the practice of history. The second half of the paper will therefore ask what the theoretical account offered in the first half means for historical research that starts from past texts, and will include as one of its practical examples a case-study in the modern intellectual history offered in outline below. [End Page 489] Literary Histories of Ideas After the First World War an intellectual revolt took place against the isolation of aesthetic experience in the European tradition. It was led in England and America by teachers who wanted to establish that the general critical intelligence acquired in English literary studies could be applied in extra-literary fields from anthropology to social psychology. In England, English literature as a single discipline was to be the "liaison field of study"; in America it fell to pre-professional literary education in general. 1 The common project was to use refined literary experience of texts as the base from which to conduct value-laden, historically informed analysis of the contemporary problems of interwar European and American society, of western culture and civilization. 2 As consolidated in English intellectual culture between the pre-war and immediate post-war period this has been dubbed the moment of Scrutiny, the influential literary periodical headed by F. R. Leavis. In American intellectual culture it might well be dubbed the moment of Partisan Review, an equally influential periodical whose leading literary critic was Lionel Trilling. 3Leavis's at once dissident and élitist literary criticism concealed a sociology designed to salvage the humane culture of an earlier England from amidst the decay of mass civilization. 4 Trilling used European culture to critique what he perceived to be the superficiality of modern American civilization and literature. His criticism became the Ellis Island of intellectual life, the product of an immigrant culture desirous of assimilation by means of high culture to an American society whose better values were formed by the European canon. 5 For both, then, distinctive histories of society and social change, culture and cultural change were central to the enterprise of criticism. 6 Culture in their hands was a value-laden English or European way of life that shaped and was shaped by the highest artistic consciousness. As such, it carried a new awareness of alienation and repression in the midst of modern society or civilization. The aesthetic critical sense of a Leavis or a Trilling was now a sense of past and present cultural and social life. It competed successfully with claims to the [End Page 490] same ground made by what were seen as cruder sociological theories of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ancient Drama Illuminated By Contemporary Stagecraft:Some Thoughts on the Use of Mask and Ekkyklēma in Ariane Mnouchkine's Le Dernier CaravansÉrail and Sophocles' AjaxPeter W. MeineckIn July 2005, the Lincoln Center Festival presented Théâtre du Soleil's epic production of Le Dernier Caravansérail, a six-hour performance divided into two parts that articulated the plight of contemporary refugees from predominantly Muslim countries and their attempts to seek refuge in (...) the West. Conceived and created by the French auteur Ariane Mnouchkine, the production split audiences, critics, and commentators. 1 Always controversial, Mnouchkine's bold theatricality and collaborative creative process with her metamorphic Théâtre du Soleil brought a work to New York with a sweeping sense of on-stage dynamics, scenic movement, and visual dexterity that evoked Athenian staging devices of the fifth century b.c.e. and created astute parallels between the ancient and modern stage. Focusing on the use of the mask and the ekkyklēma in the suicide scene of Sophocles' Ajax, I will discuss the ways in which an understanding of the creative process of a contemporary dramatist such as Mnouchkine offers another paradigm for the comprehension of ancient texts.Mnouchkine's connection to the dramatic form of ancient Greece seems, at first sight, to be marked. In 1992 the Brooklyn Academy of Music [End Page 453] presented her version of the myth of the House of Atreus, Les Atrides, where Euripides' Iphigenia at Aulis was staged prior to the three parts of Aeschylus' Oresteia. Rehearsed and refined over several years, Les Atrides ran for over ten hours in the non-traditional space provided by the vast Park Slope Armory in Brooklyn. But Mnouchkine's method was not a recreation of Greek tragic theatre or even an updating to accommodate a contemporary audience; rather, it was a theatrical attempt to discern the nature of one of the great foundation myths of the West and to extrapolate the meaning of the myth as it relates to modern political and social institutions. In a 1990 interview, when Mnouchkine was asked if she drew inspiration from Greek theatre space, she responded, "Not at all! First of all, I wasn't familiar with it, and didn't want to be. I prefer to work by confirmation, to have my work confirmed by documents after the event." 2 Mnouchkine adopted an approach to Greek tragedy that was markedly Brechtian, a process of verfremdung (defamiliarisation), utilizing the dramatic styles of Asian theatre. In the case of Les Atrides, she adapted the Indian Kathakali tradition, which deeply infused the production's impressive choral work. Yet Mnouchkine believed that total alienation was a misnomer; her version of Greek tragedy must not become self-reflective or derisive, or use aesthetic realism to "sterilize" the imagination of the audience. In "translating" the techniques of Asian theatre to distance her audience from their preconceived notions of Greek drama, Mnouchkine may have brought us closer to an understanding of staging ancient theatre in her use of masks, scenic devices, stage machinery, choral delivery, and physical acting techniques. 3Théâtre du Soleil's intensive work in Kabuki, Kathakali, and Commedia (whose origin she also sees in the East) has been influenced by the physical theatre movement encapsulated by artists such as Jacques Lecoq and the expression of the mythic elements of drama inspired by directors like Peter Brook. These elements, combined with a refashioning of some of the fundamental staging traditions inherent in Eastern theatre, have infused Mnouchkine's work with a mise en scene that not only transports her own drama but also can help form a greater appreciation of similar theatrical devices employed by the Athenians. After all, Greek drama was created, first and foremost, as a performative craft; any subsequent [End Page 454] life as a written text was a secondary effect of the presentation of the drama to a live audience in the theatre at one given time and place. With this in mind, what can Le Dernier Caravansérail reveal about a play such as Sophocles' Ajax?Ajax is a good choice for this discussion because the staging issues of the play continue to confound. 4 Ajax... (shrink)

What does the idea of taking 'the point of view of the universe' tell us about ethics? Lazari-Radek and Singer defend objectivism in ethics, and hedonistic utilitarianism, following Henry Sidgwick's lead. They explore how to justify an ethical theory; conflicts of self-interest and universal benevolence; and whether we should discount the future.

Tests the views and metaphor of 19th-century utilitarian philosopher Henry Sidgwick against a variety of contemporary views on ethics, determining that they are defensible and thus providing a defense of objectivism in ethics and of hedonistic utilitarianism.

The Current Legal Problems lecture series and annual volume was established over fifty five years ago at the Faculty of Laws, University College London and has long been recognised as a major reference point for legal scholarship. The continuing strength of Current Legal Problems is its representation of a broad range of legal scholarship opinion, theory, methodology, and subject matter, with an emphasis upon contemporary developments of law. Contributions to the 59th volume in the series include a major (...) re-evaluation of the Human Rights Act from Trevor Allan; a survey of recent trends in British crime and control from Robert Reiner; an analysis of the EU's impact on cultural diversity from Bruno de Witte; an examination of tax avoidance from Judith Freedman and a critique of EU constitutionalism from Neil Walker. (shrink)

It is critically important for emerging professionals in education to be sensitised to the ethical and moral responsibilities of their practice throughout their training and beyond. There is a wide disparity in contemporary practice in this regard, which points to a need for greater clarity and consistency in our thinking about ethics within education. Ethics in Education attempts to meet this need, and will be a valuable resource for students, teachers and researchers in education, health and social sciences. Most (...) significantly, the increasing awareness of the importance of ethics, diversity and social pedagogy in the teacher education curriculum will ensure that this book becomes essential reading or recommended reading for initial teacher education and CPD courses in education. The Editors have gathered together an exciting and dynamic group of contributors across many fields of English education, and asked them to help rethink the role of ethics in education in the 21st century. The types of questions that we address include: Do we have a shared view of ethical practice? What are the values that underpin ethical practice? What are our ethical responsibilities as pedagogues? (shrink)

Conservation problems can reveal unsuspected complexities in the ontological make-up of modern and contemporary artworks. Using a problem in the conservation of one of Sol LeWitt’s Wall Drawings as my starting point, I argue that Goodman’s well-known and often criticized distinction between autographic and allographic art can be fruitfully used to articulate the different options in conservation dilemmas, but only if used in a non-disjunctive way and in the context of a biographical approach to the works under consideration.

Arthur Madigan's Contemporary Aristotelian Ethics examines the work of Alasdair MacIntyre, Martha Nussbaum, and Robert Spaemann in the context of twentieth-century Anglo-American moral philosophy. By surveying the ways in which these three philosophers appropriate Aristotle, Madigan illustrates two important points: first, that the most pressing problems in contemporary moral philosophy can be addressed using the Aristotelian tradition and, second, that the Aristotelian tradition does not speak with one voice. Madigan demonstrates that Aristotelian moral philosophy is divided on important (...) issues, such as the value of liberal modernity, the character and provenance of our current moral landscape, and the role of nature in Aristotle's ethics. Through his examination of MacIntyre, Nussbaum, and Spaemann, Madigan offers a vision for the future of Aristotelian moral philosophy, urging today's philosophers to set a clear educational agenda, to continue refining their concepts and intuitions, and to engage with new conversation partners from other philosophical traditions. (shrink)

The most important contemporary debate in the theory of truth is that between inflationists and deflationists.1 But although the debate is of fundamental importance, we do not have a clear, unproblematic formulation of the difference between the two camps. Part of the reason for this is that contemporary deflationists have given up many of the distinctive positions that their predecessors endorsed: typically, they no longer claim that the truth predicate is redundant, that there is no property of truth, (...) or that ‘true’ is not a predicate.2 While the desire to eschew these claims is understandable, doing so has made it more difficult to identify any difference between deflationists and inflationists, and the debate, particularly between deflationists and correspondence theorists, sometimes appears to evaporate. Perhaps in response to this worry, contemporary deflationists have adopted a range of new and distinctive deflationary claims about truth. Yet, as a number of critics have pointed out, many of these new positions are equally as implausible as those of earlier deflationists. (shrink)

This book is a tour de force in the Oxford tradition of philosophical commentaries. Bostok's interest is not primarily the drama, characters, or setting of the Theaetetus, but the interpretation and evaluation of the arguments presented therein. Consequently, the dialogue receives a rather different treatment than the one to be found in Seth Benardete's The Being of the Beautiful, which is not mentioned by Bostok. Bostok's analysis of the Theaetetus is set against a background of ancient, modern, and (...) class='Hi'>contemporary epistemology. For historical context Bostok draws mostly on the other works of Plato, though he also discusses the views of Protagoras and Heraclitus concerning perception and flux, respectively. The tradition in epistemology against which the Theaetetus is subsequently measured begins with the British empiricists Locke, Berkeley, and Hume, and includes twentieth-century analytic philosophers like Russell, Quine, and Kripke. Bostok's style is remarkably clear and engaging, and his account of the significance of the Theaetetus, while restricted in scope, is penetrating and masterly. The book contains a very brief preface, an ample introductory chapter on the place of the Theaetetus in Plato's philosophy, two main sections--appropriately titled "Knowledge and Perception" and "Knowledge and Belief"--and a modest bibliography and index. (shrink)

Anyone who thinks, for example, of “realism,” “sur-realism,” and the like in matters of art, or of the vulgar and journalistic vagueness in the use of the adjective “realistic,” may be prepared for the discovery that in philosophy also the term “realist” is either uncomfortably fluid or else acquires technical senses that are rather easily blurred. Our lexicographers tell us that, in its most general sense, “realism” indicates fidelity to what is real, particularly in the representation of matters of fact, (...) and that in philosophy it is an antithetic term, asserting the contrary either of. (shrink)

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

This paper from the dilemma of the modern super-g to re-read and judge the angle of the Chinese New Scholasticism. Western modern legislation based on human subjectivity, emphasizing human reason, and who constructed the appearance of culture. In which, with the appearance of the main building through rational, manipulation of power, domination of others and otherness, creating a solid all embarrassed, defects clusters. Neo-Confucian emphasis on human subjectivity and for the reconstruction of Chinese philosophy and laid a priori basis for (...) China's modernization, but ignoring the dimension of otherness, especially those who ignore the people he's the ultimate open. Contemporary Neo-Confucian philosophy as a subject, "benevolence" as the self-love and not to speak of ethics and practice, not easy to overcome the dilemma of modernity. By comparison, Catholic scholars of contemporary China, especially Chinese New Scholastic Philosophy, in the process of integration of Chinese culture, emphasizes the human spirit to live straight, but still trying to maintain the relationship of ultimate otherness. Although they used the interpretation of the Christian faith, not necessarily the history of Chinese philosophy, the image, but their efforts to point out that Chinese culture and Chinese philosophy about human nature has not of intrinsic dimension beyond, and to promote and practice of true humility has , Love and Love of ethics, is indeed precious. Philosophy they create, from the ontology, cosmology, human nature, ethics, training Jilun point of view, the plight of modern super-g. Due to space limitations, this article cite Yu Bin , Lo Kuang , Li Zhen three to illustrate their ideas into practice and how can the life of the plight of the modern super-g. This paper re-reads and re-assesses the development of 'Chinese Neo-Scholasticism in terms of its potential to overcome the malaise of modernity, which has been caused by the self-enclosure of human subjectivity, the culture of representations, impoverishment of human reason, and the tendency towards domination by the will to power that characterize Modernity. Different from it, Modern New Confucianism keeps itself to the self-enclosed human subjectivity, without the love for many others, with their strong discourse and weak praxis, and therefore still belongs to modernity and is unable to overcome its malaise. In comparison, Chinese Neo-Scholasticism, in its attempt of synthesis with Chinese philosophy, is open to God, to all things in the universe, to other people, and to love them in their life praxis, it does not allow the self-enclosure of human nature. Even it what they interpret is not necessarily the historical image of Chinese philosophy, their effort in keeping irreducible human nature's openness to God arid many others is very significant today. The philosophical system they build, containing diverse dimensions such as ontology, cosmology, theory of human nature, ethics, theory of self-cultivation, philosophy of culture and philosophy of education ... etc., and their actualization of 'their ideas in their life praxis, indeed offer a way of life and thinking that is capable of 'overcoming the malaise of modernity. This paper will take Cardinal Yu Bin, Archbishop Lo Kuang and Mgr. Gabriel Li, and their theories and life praxis as examples of analysis. (shrink)

This is the first collection of papers covering the main trends in moral British philosophy in the 20th century. It has three sections. Roots, Theories and Applications. The articles are signed by: C. Kirwan, Jim MacAdam,Rom Harre, Catherine Audard, Roger Crisp, David McNaughton, Onora O'Neill, John Lucas, Bernard Williams.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 265-279 [Access article in PDF] The Physiological Sublime: Burke's Critique of Reason Vanessa L. Ryan The eighteenth-century discussion of the sublime is primarily concerned not with works of art but with how a particular experience of being moved impacts the self. The discussion of the sublime most fully explores the question of how we make sense of our experience: "Why and (...) how does this object move me?" Focusing on the perceiving subject, most critics cast the British discussion of the sublime as reflecting a gradual shift towards a Kantian focus not on the object judged, but on the judging mind. Certainly, eighteenth-century thinkers move away from understanding the sublime as a set of qualities that are presumed to be internal to a given object, and shift their attention to the mental effects of those objects. Yet the increasing interest in the perceiving subject in eighteenth-century British thought should not be understood as necessarily anticipating a Kantian perspective. In his classic work on the sublime Samuel H. Monk claims that this aspect of the British debate provides a preliminary discussion of the Kantian "autonomy of the subject" and that it constitutes a movement towards the "subjectivism of Kant." 1 This reading of British aesthetics exclusively in [End Page 265] terms of a preparation for the Kantian description of the subject obscures the differences between the British and the German traditions. It thereby fails to accommodate the reluctance of British thinkers to give up the social and ethical when faced with the sublime: instead of explaining the commonality of the aesthetic experience by positing a "disinterested" and "autonomous" subject, thinkers such as Adam Smith, John Dennis, and Edmund Burke subordinate the freedom of the individual subject in an attempt to reconcile the aesthetic affect with moral conduct.The teleological and Kantian understanding of British eighteenth-century aesthetic theory is largely the result of the central position that has been given to its most famous theorist, Edmund Burke. Although Burke's conception of the sublime differs in some points markedly from that of his British contemporaries, his treatment of the sublime in the Philosophical Enquiry (1757) has come to represent eighteenth-century British thought, and as such it is routinely compared to Kant's analytic of the sublime. Yet at the point where the British tradition seems to come closest to the Kantian, namely, in the writings of Burke, it also most clearly marks its distance from it. Burke is in some ways the least Kantian of eighteenth-century British thinkers. Whereas Kant holds that the sublime allows us to intuit our rational capacity, Burke's physiological version of the sublime involves a critique of reason. The sublime for Burke is a question not of the subject's increasing self-awareness but of the subject's sense of limitation and of the ultimate value of that experience within a social and ethical context.One of the most intransigent problems in distinguishing the strains of thought on the sublime is that the relationship between the object and its sublime effect--between the object taken to arouse heightened response and the affective quality of such a response--is so variously conceived. The sublime experience is seen as leading, on the one hand, to an overpowering of the self and, on the other hand, to an intense self-presence and exaltation, sometimes even to self-transcendence. The central question is thus not to what extent the sublime is located in the subject, but in what way the experience of the sublime affects the perceiving subject: Does the sublime enlarge us, or diminish us? 2 Does the sublime annihilate our sense of self, or does it affirm and heighten our sense of identity? These two opposing views of the effect of the sublime on the self can be seen in the contrast between Kant and Longinus, whose theories exerted an enormous influence in Britain, especially on Burke. Whereas Longinus emphasizes that the sublime overpowers and dominates the self, Kant holds that the feeling of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading the Mind:From George Eliot's Fiction to James Sully's PsychologyVanessa L. RyanWhat is the function and value of fiction? Debates over these questions involve considerations that range from aesthetics to ethics, from the intrinsic values of the genre to its moral effects. Recently, largely under the influence of the cognitive sciences, the question has taken on a new cast: might science give us a new answer to these long-standing (...) issues? Studies such as Lisa Zunshine's Why We Read Fiction (2006), John Carey's What Good Are the Arts? (2005), and Alan Palmer's Fictional Minds (2004) are part of a growing area of interdisciplinary work on the relationship between art and consciousness.1 This body of work asks not just how our theories of consciousness inform our understanding of the process and function of [End Page 615] reading fiction, but also whether fiction itself might provide a key to new theories about the nature of consciousness.The nineteenth-century novel is often considered the high point in the literary representation of mind. Indeed, the terms "psychology" and "novel" are explicitly yoked in the nineteenth-century with the simultaneous emergence of both as discrete forms of intellectual and artistic activity. Not surprisingly, George Eliot has come to be identified with the term "psychological novel": in fact, Nicholas Dames argues that she was the first to couple the words psychology and novel in this way in an 1855 review where she contrasted Charles Kingsley's historical romance Westward Ho! with "those 'psychological' novels."2 While George Eliot initially used the phrase in what Dames calls "mock disdain," by the end of the nineteenth century the term "psychological novel" had gained currency as a straightforward description of a type of Victorian novel: Wilbur Cross, in his summary The Development of the English Novel, for example, describes the form as "stressing an inner sequence of thought and feeling, which is brought into harmony with an ethical formula and accounted for in an analysis of motive." Along with Elizabeth Gaskell and George Meredith, Cross also cites George Eliot as one of his central examples of the "psychological novel."3It seems natural, then, when a critic asks, "what is the special distinguishing function of the modern art of fiction?" to turn for an answer to George Eliot's novels and their close connections with psychological science. It is perhaps surprising that this still-current question was posed by the nineteenth-century psychologist James Sully (1842–1923) in an 1881 article in the journal Mind on "George Eliot's Art."4 His essay offers us a Victorian contribution to questions about the relationship of literature and psychology that are being addressed today by critics such as Sally Shuttle-worth, Athena Vrettos, Kay Young, Nicholas Dames, or Rick Rylance, especially [End Page 616] with respect to George Eliot. James Sully's essay not only provides valuable insight into how the Victorians themselves understood the role of psychology in the novel, but also helps to place contemporary debates about fiction and consciousness into sharper relief.In the wake of important studies, such as Rylance's Victorian Psychology and British Culture (2000), that have brought renewed attention to nineteenth-century British psychology, recent scholarship has shown the central role of Victorian debates about the mind in shaping the fiction of the period.5 Nineteenth-century mental science provided material and inspiration for works of literature, with imaginative writers eager to exploit and develop the narrative and thematic potential of contemporary psychological discourse and probe the problems it raised. Novelists such as Wilkie Collins, George Eliot, and Henry James turned to some of the most current work in the science of the mind, which they saw as the most sophisticated and credible approach to psychological realism available. These and other novelists rapidly absorbed the central terms of the new science as it considered problems of consciousness, identity, and memory, and brought them to life by dramatizing and questioning them in their fiction. James Sully's interest in George Eliot reflects this fruitful mid- to late-nineteenth-century cross-pollination between philosophers, scientists, and novelists who were interested in the nature of consciousness, psychology... (shrink)

This Article points to a widening gap between citizenship theories and practices. Although discourses of citizenship resonate widely and are used extensively by scholars and policy makers, the author argues that the social, economic, political and even psychological processes of citizenship are shrinking in a contemporary context of global insecurity where im/migration and ever more restrictive national security concerns have become enmeshed in law, as well as in the public consciousness. As a result, this Article explores new trends of (...) securitization and related processes of marketization, racialization and the invisibilization and/or instrumentalization of women and evaluates their impact on citizenship in Canada and Britain. A citizenship regime framework structures the analysis and highlights the contraction of citizenship in both countries. In the end, despite their purported concern with citizenship, social exclusion and social cohesion, British and Canadian state’s responses serve to perpetuate feelings of insecurity on the part of both citizens and non-citizens. (shrink)

This paper aims to analyze R. G. Collingwood’s maiden work in philosophy, Religion and Philosophy, in the light of the realism/idealism dispute in early twentieth-century British philosophy. Due to scholars’ narrow scopes of interests, this book has suffered divided and unsettled understandings in literature that find only either realist or idealist character in it. By contrast, I comprehensively examine various aspects of the work on which both readings rest in turn—his conception of history and metaphysics. Consequently, I find out (...) that Collingwood implicitly elaborates a series of negative doctrines attempting to overcome dualismspervading at both poles of the dispute, namely abstract/concrete, subject/object, and theory/action. Since this framework is to be more explicitly present in his subsequent philosophizing, I demonstrate that Religion and Philosophy was, against its underestimated status in literature, not mere juvenilia, but a substantialstarting-point for Collingwood’s philosophy constructively grounded in the contemporary debate. (shrink)