This book, written in 1957, arises from the encounter of two men: the American poet Samuel Hazo and the French philosopher Jacques Maritain. They met on September 12, 1956, at Maritain's home in Princeton, New Jersey. Hazo sought to engage Maritain's diffuse writings in aesthetics by bringing them into conversation with the great voices of the English literary tradition, especially Samuel Taylor Coleridge, Gerard Manley Hopkins, and John Keats. Hazo was also striving to understand and articulate his (...) own experience of the creative process. Then at the beginning of his writing life, he would later emerge as a leading voice in American poetry. He is the author of more than thirty collections, the winner of many awards, the founder of the International Poetry Forum, and a National Book Award finalist. The World within the Word is the only book about Jacques Maritain for which Maritain himself wrote a foreword. (shrink)

My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of (...) aesthetic judgement. Finally, I respond to two recent attempts to discredit the validity of the notion of aesthetic autonomy. I claim that both fail adequately to address the underlying non-realist motivations and justifications for maintaining the principle. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Critical Essays on Samuel Taylor ColeridgeWilliam E. CainCritical Essays on Samuel Taylor Coleridge, edited by Leonard Orr; vi & 194 pp. New York: Twayne, 1994, $42.00.“Coleridge, as you doubtless hear, is gone,” wrote Thomas Carlyle, August 12, 1834, to Ralph Waldo Emerson: “How great a Possibility, how small a realized Result.” There is now a huge Coleridge industry in the academy, engaged in producing editions of (...) his writings and examinations of his literary career. Yet Carlyle’s judgment continues to carry weight with many nonspecialist readers, who know Coleridge only as Wordsworth’s estimable friend and as the author of a handful of superb lyrics and radiant critical speculations in the Biographia Literaria (1817). These texts are indeed rich and suggestive: readers wish that there were more like them and that Coleridge’s achievement had somehow been greater, more monumental, like Wordsworth’s. Coleridge’s “misfortune,” concluded Carlyle’s friend, John Sterling, in January 1842, “was to appear at a time when there was a man’s work to do—and he did it not.”But the wish that Coleridge had been more than he was is misplaced, in large measure for the reason that it neglects the vast amount of significant work that he did accomplish—not only in poetry and criticism, but in philosophy, political journalism, social theory, and other disciplines and areas of thought. Experts in Romanticism know this work (or, at least, know of it), yet it has not [End Page 151] been excerpted in anthologies, contextualized and explained for students, or brought forward for analysis, beyond the circle of avid Coleridgeans, to extend and complicate the commonplaces about this writer that still enjoy wide circulation.In this respect, Leonard Orr, editor of Critical Essays on Samuel Taylor Coleridge, perhaps has missed an opportunity. His collection is valuable as far as it goes; it reprints eight excellent essays along with two new ones, and Orr’s own concise, informed Introduction, with footnotes packed with bibliography, provides a lucid overview of Coleridge studies. But the focus is strangely limited, the conception of the writer’s career is dated and conventional, and the selection of essays is too restricted.One is grateful for this collection’s strengths even as one regrets its gaps and omissions. John Beer gives a good account of the Coleridge/Wordsworth relationship; Stuart Peterfreund nicely shows how “Coleridge’s failed political vision of European history” is redeemed “as part of his critical vision of the imagination”; James C. McKusick, Paul Magnuson, Andrew M. Cooper, James Engell, and Anne K. Mellor explore Coleridge’s poetry—though oddly there is no essay devoted primarily to “The Rime of the Ancient Mariner”; and Kathleen M. Wheeler, Lawrence Buell, and Jerome Christensen form a helpful unit of pieces on the Biographia Literaria. But readers will not find here anything more than brief mentions of, for example, Coleridge’s writings for The Watchman and The Friend, his striking interpretations of Shakespeare, Aids to Reflection, letters, notebooks, two Lay Sermons, and On the Constitution of the Church and State.This failure to supply broader, more innovative coverage is puzzling, given that the general aim of the series in which Orr’s book appears (Critical Essays on British Literature, gen. ed. Zack Bowen) is “to develop a new overall perspective on its particular subject.” Even more, Orr himself says in his Introduction that scholarship of the past two decades has prompted us to be “less likely to ignore the prose works beyond the Biographia” and has drawn attention to Coleridge’s marginalia and notebooks. Orr displays a sharp sense of the new Coleridge, yet has designed his book in a way that reflects the old one and that will tend for many readers simply to reinforce Carlyle’s adverse judgment.William E. CainWellesley CollegeCopyright © 1995 The Johns Hopkins University Press... (shrink)

Self-abandonment and self-denial are, respectively, Catholic and hyper-Calvinist analogues of each other. Roughly, each requires the surrendering of a person to God's will and providence through faith, hope, and love. Should the self-abandoning/self-denying individual accept his or her own damnation if that be God's will? This article, which is virtually alone in discussing the Catholic and Reformed Protestant traditions together, answers "No." The unqualified self-abandonment present in quietism and the radical self-denial of Samuel Hopkins are perverse and irrational (...) responses to the prospect of hell because they run counter to the Christian's deepest need to spend eternity with God. However, a qualified self-abandonment is intellectually defensible and offers a viable Christian piety. (shrink)

This essay details the history of an important debate in American evangelical Christianity over the problem of disinterested benevolence, the common expression for Christian love during the early decades of the nineteenth century. It focuses on the thought of Jonathan Edwards and Samuel Hopkins, who differed significantly in their opinions regarding the degree to which Christian love requires self-denial. Some concluding remarks will underscore the persistence of this debate in the wider historical tradition of American theological ethics, as (...) well as its normative importance. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

In Lands of Likeness, philosopher, theologian, and poet Kevin Hart utilizes the history of Christian thought and secular philosophy to develop a novel and profound hermeneutics of contemplation. Drawing in particular on the work of Arthur Schopenhauer, Samuel Taylor Coleridge, and Edmund Husserl, Hart traces the development of notions of contemplation in modernity and refines the approaches he finds there. Utilizing his refined approach, Hart trains our attention on modern poems from G. M. Hopkins, Wallace Stevens, A. R. (...) Ammons, Geoffrey Hill and others as sites for a kind of contemplative reading that phenomenology can make precise. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world. (shrink)

We cannot imagine two straight lines intersecting at two points even though they may do so. In this case our abilities to imagine depend upon our abilities to visualise.

In lieu of an abstract, here is a brief excerpt of the content:Waiting for Godot in New Orleans A tragicomedy in two acts, a project in three partsPaul Chan Click for larger view View full resolutionDrawing of “stage” (2007) (Page 2) Click for larger view View full resolutionOrganizing map of New Orleans 1 (2007) (Page 14) Click for larger view View full resolutionDrawing of bicycle for Pozzo (2007) (Page 28) Click for larger view View full resolutionDrawing of shopping cart for (...) Lucky (2007) (Page 40) Click for larger view View full resolutionDrawing of tree (2007) (Page 54) Click for larger view View full resolutionDrawing of disaster tour bus for boy (2007) (Page 68) Click for larger view View full resolutionStreet sign on St. Claude (2007) (Page 81) Click for larger view View full resolutionStreet sign in Lower Ninth Ward (2007) (Page 93) Click for larger view View full resolutionStreet sign in Gentilly (2007) (Page 107) Click for larger view View full resolutionFlyer (2007) (Page 124) Click for larger view View full resolutionDancing before the 1st Lower Ninth Ward Performance (2007) (Page 138) Click for larger view View full resolutionJ. Kyle Manzay and Wendell Pierce in Act I (2007) (Page 150) Click for larger view View full resolutionDrawing of entire project as a musical score (2007) (Page 165)ImagesPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum of Contemporary Art, New York (2008); Serpentine Gallery, London (2007); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and ICA Boston (2005). Group exhibitions include The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work / New Acquisitions, The Museum of Modern Art, New York; Eighth Biennale d’Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004). Chan is also well known for his political interventions—in 2002 he broke US sanctions and federal law to visit Baghdad, and in 2004 he garnered police attention for The People’s Guide to the Republican National Convention, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Most recently Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett’s play Waiting for Godot in New Orleans.Artist statementWaiting for Godot in New Orleans A tragicomedy in two acts, a project in three partsby Samuel BeckettEstragon Vladimir Lucky Pozzo a boy City of New Orleans in 2007ACT IEight months research. Four months teaching and street organizing. Five free site-specific performances.ACT IIA country road. A tree. Evening.Copyright © 2008 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literary Power and the Criteria of TruthThomas ReinertLiterary Power and the Criteria of Truth, by Laura Quinney; xx & 183 pp. Gainesville: University Press of Florida, 1995, $35.00.Given the predominance of cultural materialism and historical scholarship, literary studies no longer ascribe much of a distinct, autonomous role to literariness as such. Current critics are interested in the complicity of individual works in the propagation of social and political (...) power, but the notion of literariness as a power in its own right has for the most part dropped away. The decline of this concept is a real loss; how great a loss becomes evident when one reads a book like Laura Quinney’s Literary Power and the Criteria of Truth, which in a gripping and authoritative fashion recalls the seductiveness of the literary.Quinney writes with a deconstructionist’s sense of the shaping influence that the desire for literature exercises over claims about the world. For Quinney, the literary—not just individual works, but literariness as a distinct disposition of language—has power and solicits attention on its own terms. To explain her general view of the prevalence of the literary in human experience, she makes use of Wittgenstein’s account of language as an engrossing and primary activity, irreducible to other drives or aims. To discuss the special case of literature, she turns to Maurice Blanchot’s notion that literature constitutes a distinct, impersonal, absorbing, but also uncanny and desolate “space.” Her book aims to affirm and expand on this Blanchotian idea.Quinney is primarily concerned with what she calls the “tragic paradigm” whose basic premise is that grim and depressing depictions of life somehow tell a greater or deeper truth than happy and comic depictions do. Working from this premise, writers and readers tend to set tragedy and the sublime above comedy and the beautiful in the hierarchy of literary forms. Quinney both acknowledges the force of this preference and puzzles over its oddity; she tries here to explain its origins.Through an examination of some of its most compelling exponents, Quinney interprets the tragic paradigm as a symptom of the struggle between an attraction to and a recoil from the “literary,” understood in Maurice Blanchot’s sense as an impersonal elaboration of language—language as a motiveless, subjectless compulsion akin to repetition in Freud. According to Quinney, literature is necessarily oriented toward representation, and for this reason, a passion for literature expresses itself as a “love of mimesis.” But because there is an irreducible difference between representation and what it represents, and because the truth it tries to tell is bound to be distorted, the love of it leads to a feeling of loss and mourning; and in turn this feeling seems to reflect the deepest truth of literary experience. According to Quinney, works that obey the logic of the tragic paradigm see the world through the prism of this failure of mimesis, the failure of literature to coincide with the world, and as a result the world appears to them colored with the pain of that failure.After a preliminary discussion of the sublime and tragedy, focusing on [End Page 275] Aeschylus, Edmund Burke, and Simone Weil, Quinney devotes the bulk of her book to Samuel Johnson and Percy Shelley as major representatives of the tragic paradigm. Johnson embodies the paradigm in all its ramifications, Quinney argues. Shelley, conversely, offers an example of the peculiar, almost surreal desolation that takes over when an author tries to break with the paradigm—that is, to deny tragedy any special epistemological authority—yet remains compulsively under its spell.These are dense, riveting, illuminating, and groundbreaking chapters. Readers will admire Quinney’s range of reference, her sureness of judgment, her originality, and her power to fascinate. Her argument takes counter-intuitive, paradoxical turns, but always with deliberation and patience. The book is strange, but its strangeness never feels gratuitous or self-indulgent; it only recalls the strangeness that may after all be intrinsic to literature itself.Thomas ReinertWellesley CollegeCopyright © 1996 The Johns Hopkins University Press... (shrink)

What is sensory imagining and what role does it play in our lives? How does visualizing a castle, running through a tune in one's head, or imagining the taste of fish ice cream relate to perceiving such things, or to remembering them? What are the connections between imagining and agency, and how does it relate to emotion and other affect? The Profile of Imagining offers a theory that answers these and many other questions. It argues that sensory imagining involves the (...) redeployment of resources central to perception, though in a radically different context and to very different effect. The result is a view that explains central features of imagining's phenomenology and functional role, including its capacity to capture what it would be like to perceive its objects, while acknowledging the many and striking differences between imagining and sensing. Hopkins shows how the view can be extended to imagining in other forms, especially the imagining of affect; and uses it to argue for some surprising conclusions: that imagining something is not a way to engage with its aesthetic character; and that imagining provokes real feeling much less often than is usually assumed. -/- Table of contents: Introduction; Ch.1 Imagining and agency; Ch.2 To be given as a representation; Ch.3 Knowledge of sensory profiles; Ch.4 Profiles in imagination; Ch.5 Observation, overflow and attention; Ch.6 Episodic memory; Ch.7 Learning from imagining; Ch.8 Aesthetic engagement, imagining and the draw of the real; Ch.9 Reacting to imagining?; Conclusion. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be (...) fatal to resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) semantics for basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

Critical posthumanism as a philosophical, antifascist nonhierarchical imagination for nursing offers a liberatory passageway forward amidst environmental collapse, an epic pandemic, global authoritarianism, extreme health and wealth disparities, over‐reliance on technology and empirics, and unjust societal systems based in whiteness. Drawing upon philosophical and theoretical works from Black and Indigenous scholars, Haraway's idea of the Chthulucene, Deleuze and Guattari's rhizomatic thought, and Kaba's abolitionist organizing among others, we as activist nurse scholars continue the speculative discussion outlined in prior papers. Here (...) we further imagine how we can engage a radical philosophical mission of care for all beings human and non, walking and working alongside the people and communities nurses accompany, connected as we are on this dystopian celestial orb. Discussion is centred on critical analyses of traditional justice framing in nursing, and on the praxis possibilities found within rhizomatic thought, making kin, and just episteme while knitting filaments of nursing theory and history, humming song lyrics from collective memory, and critically dismantling received wisdoms to stumble toward a more emancipatory present future. (shrink)

The main concepts of the free energy (FE) neuroscience developed by Karl Friston and colleagues parallel those of Freud's Project for a Scientific Psychology. In Hobson et al. ( 2014 ) these include an innate virtual reality generator that produces the fictive prior beliefs that Freud described as the primary process. This enables Friston's account to encompass a unified treatment—a complexity theory—of the role of virtual reality in both dreaming and mental disorder. In both accounts the brain operates to minimize (...) FE aroused by sensory impingements—including interoceptive impingements that report compliance with biological imperatives—and constructs a representation/model of the causes of impingement that enables this minimization. In Friston's account (variational) FE equals complexity minus accuracy, and is minimized by increasing accuracy and decreasing complexity. Roughly the brain (or model) increases accuracy together with complexity in waking. This is mediated by consciousness-creating active inference—by which it explains sensory impingements in terms of perceptual experiences of their causes. In sleep it reduces complexity by processes that include both synaptic pruning and consciousness/virtual reality/dreaming in REM. The consciousness-creating active inference that effects complexity-reduction in REM dreaming must operate on FE-arousing data distinct from sensory impingement. The most relevant source is remembered arousals of emotion, both recent and remote, as processed in SWS and REM on “active systems” accounts of memory consolidation/reconsolidation. Freud describes these remembered arousals as condensed in the dreamwork for use in the conscious contents of dreams, and similar condensation can be seen in symptoms. Complexity partly reflects emotional conflict and trauma. This indicates that dreams and symptoms are both produced to reduce complexity in the form of potentially adverse (traumatic or conflicting) arousals of amygdala-related emotions. Mental disorder is thus caused by computational complexity together with mechanisms like synaptic pruning that have evolved for complexity-reduction; and important features of disorder can be understood in these terms. Details of the consilience among Freudian, systems consolidation, and complexity-reduction accounts appear clearly in the analysis of a single fragment of a dream, indicating also how complexity reduction proceeds by a process resembling Bayesian model selection. (shrink)

‘Painting’ names both a practice and its products. Both practice and product can, but need not, be art. When painting is art, in what does its artistic interest lie? This is the question an aesthetics of painting seeks to answer. While that answer might be sought in features found in other arts, here we investigate whether painting is of distinctive interest, containing phenomena of artistic value not to be found in most, or perhaps any, other art forms.

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...) does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...) judgements, or about the responses that ground them. Getting the epistemology right here may help with the metaphysics, the semantics or the philosophical psychology. Investigating the legitimate sources of aesthetic belief may thus teach us something important about the aesthetic realm. (shrink)

Hopkins begins his study with Plato's written and unwritten theories of eidê and Aristotle's criticism of both. He then traces Husserl's early investigations into the formation of mathematical and logical concepts, charting the critical necessity that leads from descriptive psychology to transcendentally pure phenomenology. An investigation of the movement of Husserl's phenomenology of transcendental consciousness to that of monadological intersubjectivity follows. Hopkins then presents the final stage of the development of Husserl's thought, which situates monadological intersubjectivity within the (...) context of the historical a priori constitutive of all meaning. An exposition of the unwarranted historical presuppositions that guide Heidegger's fundamental ontological and Derrida's deconstructive criticisms of Husserl's transcendental phenomenology concludes the book. By following Husserl's personal trajectory Hopkins is able to show the unity of Husserl's philosophical enterprise, challenging the prevailing view that Husserl's late turn to history is inconsistent with his earlier attempts to establish phenomenology as a pure science. Contents: Introduction Part I Descriptive Psychology 1. Investigation of the Origin of Number 2. Investigation of the Origin of Logical Signification Part II Cartesian Transcendental Phenomenology 3. Investigation of the Origin of Objective Transcendence 4. Investigation of the Origin of Subjective Transcendence Part III Historical Transcendental Phenomenology 5. The Crisis of Meaning in Contemporary European Science 6. Historical Investigation of the Phenomenological Origin Part IV Husserl and his Critics 7. Fundamental Critiques of Transcendental Phenomenology 8. A Husserlian Response to the Critics. (shrink)

To the venerable and devout man, Lord John of Gelnhausen,2 formerly abbot in Maulbronn, intercessor for one of his own. Most lovable Father, I was recently presented with Learned Ig- norance, which consists of three books (each incomplete in itself) and which is written in a sufficiently elegant style. It begins with the words “Admirabitur, et recte, maximum tuum et iam probatissimum ingeni- um” and ends “Eo aeternaliter fruituri qui est in saecula benedictus. Amen.” Having looked over [this work], I (...) feel called upon to write Un- known Learning. Here—by means of [a view] opposed to the points which the aforementioned Learned Ignorance deals with (in my judgment, harmfully) in regard to God, the universe, and Jesus Christ— an entrance opens unto the powers of the Lord so that we may be mindful of His justice.3 Those who lack the knowledge of this justice have disobediently established their own, as the apostle says in Romans 10.4 The promise of eternal life will perhaps lighten the burden of this work which I have undertaken. [ This promise] concerns the repayment of supererogation (Luke 10)5 and was made by God to the clarifiers of truth—[made] in what is written in Ecclesiasticus 24: “Those who explain me shall have eternal life.”6 From an innate desire for health the minds of my readers will be vigilant with regard even to this Unknown Learning. With spiritual weapons, however, I am going to rebut certain statements from Learned Ignorance-—[rebut them] as being incompatible with our faith, offensive to devout minds, and vainly leading away from obedience to God. At the head of what must be said comes the [command] in Psalms 45 (“Be still and see that I am God”)7 as being the legitimate enlistment of all our mental activity. For if I behold the mind of the prophet: after the elimination of malevolent wars. which are repugnant to our God, and, moreover, after the weapons of treachery have been broken8 and knowledge is to be had of Christ, our peacemaker and defender, then comes the command “Be still and see that.... (shrink)

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Straipsnyjc svarstornas Algio Micklino atsakas huscrliSkosios fcnorncnologijos kritikarns. Autorius iSrySkina tris svarbiausius IJusscrlio kritikq argurnen- tus: 1 .IHusscrlio fcnorncnologija yra toli graiu nc "rnohlas bc jokiq ikankstiniy prielaidq", ji suponuo- ja dckartiSkqj teiginj, jog bliti rciSkia "hliti paiintu". 2.1-Tusserlio tciginj apic fcnorncnologines duotics apo- diktiSkurnq susilpnina jo patics patcikiarni tokios duo- tics apra5yrnai. IS ju, prieSingai Husserlio ketinirnarns. i6aiSkcja fenorncnologincs rcflcksijos ncpajcgurnas "susidoroti" tiek su retencine 1;iikines patirties di- rncnsija, tiek su radikalia Kito patirtics kitokybe. 3.Husscrlio rnctodui ir rnqstyrnui apskritai (...) budingas eurocentrizrnas ir episterninis irnpcrializrnas - visus kultlirinius ir istorinills skirturnus jis susurnuojn savo fenornenologijoje, kuriy traktuoja kaip slaptq graiko- curopictiSko.jo irnogaus llikcsi.iij iksipildyrnn. Algiui Micktinui svarbiausias klausirnns yra Sis: Koclkl reiketq intcrpretuoti Husserli blitent iitaip? Micktinas, Husscrlio rnokiniy Eugcno Finko ir Lud- wigo Landgrebe's rnokinys, gcrai suvokc, jog ypa- tingas Husscrlio raSyrno stilius nesyk yra veikiau su- trrlkdes nei pacle,jysvisu radikalurnu atsiskleisti svar- biausiorns Mol\qto.jo @valgorns ir atradirnarns. Tatiau jam Sis triikurnas visuornct atrodes ncrciksrningas ly- ginant su rniliiniiku potcncialu, kuris Siuosc atradi- rnuose gltidi. laukdarnas tolcsnio iiplctojirno. Hus- scrlio filosofija Micktinui yra tarsi jminirno laukiantis rnjsliy rinkinps, ir Si jrninirnq jis laiko prasrningesniu uidaviniu ui pastangas padcrnonstruoti huserliSkos fenornenologijos nenuoscklurnus ir silpnqsiasvietas. Savo darbuose Micktinas parodo. jog, ncpaisant kri- tikq iipuoliu, Husscrlio fcnorncnologinio rnctodo vi- suotinurnas ir fundamentalurnas iilicka ncpancigti. Raktiniai iodiiai: fi.nornenologija, refleksijn, skirtis, jk~~orner~ns, ~~~~enntnn.spn.snrrli.s, pntirtis. (shrink)

Many of the contributions to this volume are based on research originally presented at the historic first meeting in the United States of Japanese and American phenomenologists that took place at Seattle University in the Summer of 1991. In addition, other contributions have been added in order to supplement and complement the themes of the work presented at this meeting. Owing both to the vagaries of fate and the finitude of time, the publication of these essays has taken much longer (...) than was originally intended. Nevertheless, this delay is more than offset by the inclusion in one volume of both phenomenological thematics and phenomenological authors who do not usually appear together. (shrink)

The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer.

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...) pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...) reflect differences in the objects’ themselves. A range of objections to this position is considered, but all are found wanting. (shrink)

Congenitally blind people can make and understand ‘tactile pictures’ – representations form of raised ridges on flat surfaces. If made visible, these representations can serve as pictures for the sighted. Does it follow that we should take at face value the idea that they are pictures made for touch? I explore this question, and the related issue of the aesthetics of ‘tactile pictures’ by considering the role in both depiction and pictorial aesthetics of experience, and by asking how far the (...) experience of those engaging with representations through touch can approximate to that of those engaging with them through sight. (shrink)

The title of this present volume tends to be misleading. For it suggests that Nicholas’s didactic sermons are to be distinguished from his non-didactic ones—ones that are, say, more inspirational and less philosophical, or more devotional and less theological, or more situationally oriented and less Scripturally focused. Yet, in truth, all 293 of Nicholas’s sermons are highly didactic, highly pedagogical, highly exegetical.1 To be sure, there are inspirational and devotional elements; but they are subordinate to the primary purpose of teaching. (...) Likewise, only occasionally2 do the sermons show signs of addressing local circumstances that are idiosyncratic to the respective churches in Koblenz, Trier, Mainz, Augsburg, Frankfurt, Brixen, and Rome. Rather, their Scriptural focus more often than not yields up interpretations that are allegorical—or otherwise figurative—in a general way that allows Nicholas to draw inferences about the relationship between the intellect and the senses, about the unity of the virtues, the two natures in Christ, human freedom of will, the gifts of the Holy Spirit, the inter-relationship of faith and reason, the triune nature of God, the role of conscience, the precepts of the natural law, time as the image of eternity, the four stages of a knowledge of God, Christ as Wisdom Incarnate, God as Beauty, the Holy Spirit as Love, … and so on. Each of the sermons contains more than one major theme, so that no sermon dwells at length upon a single topic so as to sound pedantic and inappropriately academic. On the contrary: in a limited measure Nicholas’s sermons tend to entice through their extensive display of original metaphor, of striking imagery, of fresh vocabulary, and of erudite knowledge of earlier writers such as Plato, Aristotle, Augustine, Anselm, Albertus Magnus, and Meister Eckhart. (shrink)

Introduction.--pt. I. The demonology of Thomas Aquinas.--pt. II. Thomas Aquinas as mediator between earlier and later beliefs.--Conclusion.--Bibliography (p. 185-188).

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

Some philosophers take Perky's experiments to show that perceiving can be mistaken for visualizing and so that the two sometimes match in phenomenology. On Segal’s alternative interpretation Perky’s subjects did not consciously perceive the stimuli at all. I argue that even setting this alternative aside, Perky's results do not prove what the philosophers think. She showed her subjects, not the objects they were asked to visualise, but pictures of them. What they mistook for visualizing was not perceptual consciousness of stimuli, (...) but pictorial consciousness. Once clear about the nature of the latter, we can see that Perky's results reveal nothing very surprising. (shrink)

Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...) be. I argue that episodic memory is active, in the way this view suggests. I clarify the idea that it is, as the view also implies, not a source of knowledge but an expression of knowledge the subject already has. And I suggest the view need not limit memories to states that are in any way experience-like. This position offers a way to articulate the relations between episodic memory and related phenomena: factual memory, generic memory, remembering-how and anticipation. And it allows us to explain how we know which aspects of our episodic memory states to take seriously and which (such as the shift to an observer perspective on the remembered events) to treat as merely incidental. (shrink)