In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional (...) aesthetics might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305). (from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beardsley for the Twenty-First CenturySusan L. Feagin (bio)When I was a graduate student in the early 1970s, Nelson Goodman's Languages of Art,1 published originally in 1968, was all the rage, eclipsing Beardsley's monumental Aesthetics: Problems in the Philosophy of Criticism as the most important book in the field at the time. Goodman's book veered decidedly away from aesthetics and toward the philosophy of art; insofar as "the aesthetic" (...) remained, it was explained in cognitive terms. However, Beardsley's Aesthetics continued to provide a valuable resource for those of us who took questions about value and evaluation to be central to the philosophical enterprise, even if we chose to focus on the philosophy of art more or less independently of the aesthetic. Beardsley's functionalist account of aesthetic value is adaptable as a framework for understanding artistic value and evaluation, as is his opposition to (what also seemed to me to be) the too-easy ploy of attributing intrinsic value to our experiences of art. I ended up writing my dissertation on general criteria of criticism—with a chapter devoted to Beardsley's views—arguing that once one employs the notion of artworks having a function, general criteria are not needed to provide a logical connection between a work's good-making or bad-making qualities and its value as a work of art.Nevertheless, Beardsley's instrumentalist view that the value of an artwork resides in its capacity to provide an aesthetic experience contains a major structural problem—what I shall call "Beardsley's dilemma," which he continued to struggle with in his later work.2 The problem lies in the tension between the claim that the value of a work resides in its capacity to evoke an experience having a certain phenomenological quality, and the claim that the properties or qualities of the work are valuable not merely as a means for producing such an experience. [End Page 11]Fifty years on, philosophers of art continue to struggle with this dilemma in various guises. Though the nature of aesthetic experience is still a lively topic of debate, it is just as common to find the evocation of emotions and other affective responses—from Aristotelian pity and fear; to anger and pride and horror; to moods such as sadness and melancholy—touted as among the functions of art.3 In the first section of this essay, I describe why understanding Beardsley's dilemma is important if one takes having emotions and other affective responses to art as part of what is valuable about it. Emotions, after all, are typically alleged to be "in us," not in the object; simply jettisoning the concept of aesthetic experience or aesthetic emotion does not make the dilemma go away. In the second section I distinguish between Beardsley's instrumentalism and a noninstrumentalist version of functionalism as two different models for understanding art's value. Noninstrumentalist functionalism involves the idea that the value of a work lies in the activity of appreciating what is (aesthetically or artistically) valuable about it, rather than in an experience that occurs as a result of perceiving the work. Some exercises involving the evaluation of art and nonart objects—exercises that might usefully be undertaken by students using objects of their own choosing—illustrate how functionalism skirts Beardsley's dilemma and better explicates the nature and locus of the values concerned.I: From Aesthetic Experience to Garden-Variety EmotionsThe view that at least some artworks have as part of their function the production of emotions or other affective responses is a contemporary analogue of Beardsley's instrumentalist view that the function of artworks is to provide an aesthetic experience. The contemporary analogue, however, is not committed to the view that all artworks have, in some abstract sense, the same function but only insists, minimally, that it is at least part of the function of some works of art to produce some variety of emotions and other affective responses. That is, producing emotions may be conceived of as part of the function of a work, and a perceiver's having them as part of appreciating its value.Beardsley's dilemma arises when (at... (shrink)

This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological connection (...) eliminates the need for Carroll's condition that narratives must be globally forward-looking. (shrink)

My general topic is whether limitations in olfaction’s conceptual and generally mental capabilities hinder its suitability for playing significant and sophisticated roles in theatrical productions of the standard narrative type. This is a big question and I only scratch the surface here. I begin with a brief look at smell’s most prominent roles in the theatre, as illustration and to evoke mood and atmosphere. Next, I consider the relation between smell and the experience of space, looking first at a kind (...) of power it has that is sometimes overlooked. Third, I examine a conundrum about what the objects we smell, as opposed to the objects we see, do and do not represent in a theatrical performance. Finally, the conundrum leads into a deeper discussion of whether scents or the objects we smell do the representing in theatre. (shrink)

This collection of papers focuses on theories and practices in relation to the arts around the globe, in particular, those that have been ignored or marginalized by analytic or Anglo-American aesthetics and philosophy of art. The intention is to explain specific ways that the concepts of the aesthetic and of the arts might be enriched and enhanced. Indeed, in some cases the participation in artistic practices and the experience of art are deeply embedded in one’ s sense of self, in (...) moral action, and in how one negotiates one’s way through the world. (shrink)

I argue that it is implausible to think that motives, As distinguished from intentions, Are relevant to literary criticism. The considerations leading to this conclusion offer some insights into the continuing debate over the relevance of artist's intentions to criticism. I also examine briefly why motives are not relevant to aesthetic judgments even though they are (plausibly) relevant to ethical ones. Some views of anscombe on intentions are discussed.

This article critiques peter van inwagen's application of quinean ontology to the problem of whether fictional entities exist. It is argued that nothing is gained by considering fictional entities to be theoretical entities, And that van inwagen's claim that fictional entities 'hold' rather than 'have' certain properties does not avoid logical difficulties and is inconsistent with his commitment to quinean ontology.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deeper Than Reason: Emotion and Its Role in Literature, Music, and ArtSusan FeaginDeeper Than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson; 516 pp. Oxford: Clarendon Press, 2005, $35.00.Jenefer Robinson's lucid yet closely-argued book has four parts. The first part presents a theory of the emotions in general. The second part develops and defends the view that "some works of literature... need to (...) be experienced emotionally if they are to be properly understood" (p. 3) and draws some implications for other arts. Part Three develops a new theory of expression, and Part Four examines the expression of emotion in and listeners' emotional responses to music. Robinson applies her theory of emotions and how they arise and are expressed in response to individual works of art throughout, and the extended discussions of Edith Wharton's The Reef and one of the intermezzi from Brahms's Opus 117 set are not to be missed.Robinson's use of psychological research to develop a philosophical theory of emotion is characteristic of an increasingly popular practice in the philosophy of mind. Her descriptions of this often highly technical literature are among the best with respect to accuracy and clarity. On most accounts, emotions are mental states; on Robinson's, they are mental processes. These processes are always initiated by "an automatic 'affective appraisal' [that] induces characteristic physiological and behavioral changes and is succeeded by... 'cognitive monitoring' of the situation" (p. 3). The appraisal is also referred to as a 'non-cognitive' appraisal, which may sound like an oxymoron. Robinson explains: these appraisals are non-cognitive "in the sense that they occur without any conscious deliberation or awareness, and that they do not involve any complex information processing" (p. 45; see also p. 59). Appraisals have a valence, positive or negative, sufficient to induce a characteristic pattern of physiological and (roughly, involuntary) behavioral responses, such as alterations in galvanic skin response and movements of facial muscles. These changes are succeeded by cognitive monitoring of the situation, resulting in conceptually more sophisticated assessments of one's initial response with respect to its suitability to the circumstances and in relation to one's beliefs. Thus, cognitive monitoring generates the more cognitively complex emotions, and here she is in agreement [End Page 420] with the "judgment theorists" (p. 90) that these emotions are individuated by cognitions. Robinson seeks a univocal account of emotions for humans and other sentient creatures, though with humans it is possible for a "complex cognition" to trigger the process that constitutes having an emotion and cognitive feedback may occur in general throughout the process in ways that are not possible for creatures lacking the relevant complex mental capacities (p. 93).The fact that complex cognitions can constitute the initial stage of an emotion makes it possible to respond emotionally to literature. As in emotional situations in real life, emotions are initiated by automatic affective appraisals that have to do with one's own wants and interests, calling our attention to something important in the novel, which may lay down its own memory system, linked with bodily feelings, which is then subject to cognitive appraisal and reappraisal. Cognitive reflection facilitates the understanding of narratives as well as characters, and with respect to the latter, she argues, deploys the same mental systems that are engaged in understanding people. Further, it is not merely the beliefs that one may acquire as a result of the process that is educational, but the process of emotional understanding itself (p. 155). Indeed, Robinson endorses the strong claim that for at least some novels, those that are part of the "Great Tradition" of nineteenth-century realistic British and American literature, it is necessary to experience them emotionally to understand them.Part Three exposits a theory of the expression of emotion simpliciter and then makes adjustments to it to build a theory of expression in art, taking advantage of Romantic theories of expression developed in the works of, for example, Collingwood. Reflection on ordinary expression allows an artist to clarify and articulate "what it is like to go through the emotion process," which may be revealed both in the... (shrink)

Susan Feagin’s book offers a welcome redirection in the philosophical understanding of fictional literature as an art. In recent decades the appreciation of literature has been reduced by many theorists and critics to considering what literary works reveal about either the societies in which they were produced, moral life in general, or conflicts in class, race, and gender. On a more abstract plane, questions about the logic of interpretation have preoccupied many philosophical analysts.

This collection gives George Yancy’s transformative work in social and political philosophy and the philosophy of race the critical attention it has long deserved. Contributors apply perspectives from disciplines including philosophy, sociology, education, communication, peace and conflict studies, religion, and psychology.

The title of this symposium, “Formal Simplicity as a Weight in the Acceptability of Scientific Theories,” to some people might seem to suggest that we are to be making positive proposals about how the concept of simplicity could be defined for formalized languages, defined so as to figure in a formalized theory of confirmation. I must confess at the start that I do not have any such ambitious object in view. I now feel, indeed, that premature formalizations have little power (...) to illuminate the philosophically interesting questions which cluster round the problem of the role of simplicity in scientific thinking. So in this short paper I wish merely to present some elementary considerations, not very novel ones, concerning the role which simplicity seems to me to play in our non-demonstrative reasoning about matters of empirical fact. Although many writers have sought to analyze the logical character of such reasoning, little unanimity has been attained in their over-all views; thus it is that though the considerations which I wish to present are elementary, they are not wholly uncontroversial. But because these matters are elementary in nature, I do feel it appropriate in discussing them to use homely examples of uncomplicated kinds, rather than elaborate examples drawn from the more sophisticated reaches of scientific theory; in doing so, I am taking it for granted that scientific inference as regards its logical character is fundamentally a refinement of everyday thinking, rather than a procedure of some essentially different nature. (shrink)

... [T]here manifestly is not one drop of principle in the whole vast reservoir of established scientific theory that has sprung from any other source than the power of the human mind to originate ideas that are true. But this power, for all it has accomplished, is so feeble that as ideas flow from their springs in the soul, the truths are almost drowned in a flood of false notions; and that which experience does is gradually, and by a sort (...) of fractionation, to precipitate and filter off the false ideas, eliminating them and letting the truth pour on in its mighty current. But precisely how does this action of experience take place? It takes place by a series of surprises. Throughout the.. (shrink)

This essay by S. F. Davenport won the Norrisian Prize awarded by the University of Cambridge in 1924 and was published the next year. In it, Davenport examines the idea of 'immanence', which he defines as 'indicating the rapport between God and His creatures', and the possible application of the concept to the Incarnation of Christ. This book will be of value to anyone with an interest in Christology or Christian theology more generally.

Critics of the computational connectionism of the last decade suggest that it shares undesirable features with earlier empiricist or associationist approaches, and with behaviourist theories of learning. To assess the accuracy of this charge the works of earlier writers are examined for the presence of such features, and brief accounts of those found are given for Herbert Spencer, William James and the learning theorists Thorndike, Pavlov and Hull. The idea that cognition depends on associative connections among large networks of neurons (...) is indeed one with precedents, although the implications of this for psychological issues have been interpreted variously — not all versions of connectionism are alike. (shrink)

This chapter explores how science and technology studies (STS) have evolved over the past generation. It surveys the contrasting perspectives of philosophers, sociologists, scholars of the humanities, wider publics, and scientists themselves. It describes contrasting views about the practice and purpose for studying the history of science. -/- ISBN 978-1-85168-681-0.

In recent writing on the theory of knowledge a distinction has been drawn between ‘the language of appearing’ and ‘the sense-datum language’. The aim of this paper is to suggest that consideration of that distinction and of what Kant’s attitude toward it would have been can shed light on two otherwise-puzzling aspects of his doctrine in the Critique of Pure Reason: his adamant conviction that there are things-in-themselves, and his confidence that the Antinomies are resolved once we admit the transcendental (...) ideality of space and time. (shrink)