Three Essays in Conversational Ethics
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Lure of Disillusion
The Lure of Disillusion RELIGION, ROMANTICISM & THE POSTMODERN CONDITION A manuscript submitted to Palgrave Macmillan Publishers, October 2010 © James Mark Shields, 2010 SHIELDS: Lure of Disillusion [DRAFT] i The Lure of Disillusion ii SHIELDS: Lure of Disillusion [DRAFT] [half-title verso: blank page] SHIELDS: Lure of Disillusion [DRAFT] iii The Lure of Disillusion Religion, Romanticism and the Postmodern Condition James Mark Shields iv SHIELDS: Lure of Disillusion [DRAFT] Eheu! paupertina philosophia in paupertinam religionem ducit:—A hunger-bitten and idea- less philosophy naturally produces a starveling and comfortless religion. It is among the miseries of the present age that it recognizes no medium between literal and metaphorical. Faith is either to be buried in the dead letter, or its name and honors usurped by a counterfeit product of the mechanical understanding, which in the blindness of self-complacency confounds symbols with allegories. – Samuel Taylor Coleridge, The Statesman’s Manual, 1839 [R]eligious discourse can be understood in any depth only by understanding the form of life to which it belongs. What characterizes that form of life is not the expressions of belief that accompany it, but a way—a way that includes words and pictures, but is far from consisting in just words and pictures—of living one’s life, of regulating all of one’s decisions. – Hilary Putnam, Renewing Philosophy, 1992 SHIELDS: Lure of Disillusion [DRAFT] v [epigraph verso: blank page] vi SHIELDS: Lure of Disillusion [DRAFT] CONTENTS Acknowledgments ix INTRODUCTION 1 Excursus One: Romanticism—A Sense of Symbol 6 PART ONE: ROMANTICISM AND (POST-)MODERNITY 1. Romancing the Postmodern 16 The Forge and the Flame A “True” Post-Modernism The Two Faces of Romanticism Romanticism as Reality-Inscription Romantic Realism 2. -
Seamus Heaney and American Poetry
DOCTOR OF PHILOSOPHY Seamus Heaney and American Poetry Laverty, Christopher Award date: 2019 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information. -
Merleau-Ponty in Contemporary Perspective Phaenomenologica
MERLEAU-PONTY IN CONTEMPORARY PERSPECTIVE PHAENOMENOLOGICA COLLECTION FONDEE PAR H.L. VAN BREDA ET PUBLIEE SOUS LE PATRONAGE DES CENTRES D'ARCHIVES-HUSSERL 129 MERLEAU-PONTY IN CONTEMPORARY PERSPECTIVE Edited by PATRICK BURKE and JAN VAN DER VEKEN Comite de redaction de la collection: President: S. IJsseling (Leuven) Membres: W. Marx (Freiburg i. Br.), J.N. Mohanty (Philadelphia), P. Ricreur (Paris), E. Straker (KOln), J. Taminiaux (Louvain-Ia-Neuve), Secretaire: J. Taminiaux MERLEAU-PONTY IN CONTEMPORARY PERSPECTIVES Edited by PATRICK BURKE and lAN VAN DER VEKEN ..... SPRlNGER-SCIENCE+BUSINESS" MEDIA, B.V. Library of Congress Cataloging-in-Publication Data Merleau-Ponty in contemporary perspective! edited by Patrick Burke and Jan Van der Veken. p. cm. -- IPhaenomenologica ; v. 129) Papers presented at the internatIonal sympasium on Merleau-Ponty. held in Nov. 1991 by the Institute of Philosophy and the Husserl Archives at the Kathol ieke Universiteit te Leuven. rncludes bibl iographical references and index. ISBN 978·94·010-4768·5 ISBN 978·94·011·1751·7 (eBook) DOI 10.1007/978·94·011·1751·7 1. Merleau-Ponty. Maurice. 1908-1961--Congresses. r. Burke. Patrick. II. Veken. Jan van der. III. Series, Phaenomenologica 129. B2430.M3764M4695 1993 194--dc20 92-38343 ISBN 978-94-010-4768-5 printed an acid-free paper AII Rights Reserved © 1993 Springer Science+Business Media Oordrecht Originally published by Kluwer Academic Publishers in 1993 Softcover reprint ofthe hardcover lst edition 1993 No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without written permission from the copyright owner. -
Teaching the Politics of Post-Modernism
UNIVERSITY OF NIŠ The scientific journal FACTA UNIVERSITATIS Series: Linguistics and Literature Vol.2, No 7, 2000 pp. 107 - 120 Editor of series: Nedeljko Bogdanović, e-mail: [email protected] Address: Univerzitetski trg 2, 18000 Niš, YU, Tel: +381 18 547-095, Fax: +381 18 547-950 http:// ni.ac.yu/Facta 'WHOM DO YOU SERVE WITH THIS?': TEACHING THE POLITICS OF POST-MODERNISM UDC 820.01 Lena Petrović Faculty of Philosophy, Niš, Yugoslavia Abstract. If Leavis's commitment to romantic individualism, inseparable from his tireless endeavour to ensure the continuity of resistance to the essentially totalitarian, depersonalising values of the technological-Benthamite civilisation and particularly to the growing menace of the American ethos, was a sheer mystification, concealing, as his post- modern critics now claim, his secret collusion with the Establishment, how is one to describe their own literary and cultural theory? What is one to make of the literary and cultural criticism which denies the individual any power to intervene in historical processes, which demonstrates relentlessly the ways culture entraps and expropriates the self, translating the individual into a subject, but marginalises equally tirelessly, almost perversely, the kind of literature whose theme was the reverse process - that of the transformation of the subject back into the individual - and yet declares its purpose to be social and political liberation? Perhaps, instead of defending the humanist critic from too many, often contradictory objections, one should begin to demystify his demystifiers: perhaps, rather than take them at their word, one should begin to ask what or whom they serve behind their confident democratic and revolutionary postures? This is the use of memory: for liberation T. -
PHILOSOPHY DEPARTMENT Pittsburgh, PA 15282
DEPARTMENT OF PHILOSOPHY DUQUESNE UNIVERSITY 600 FORBES AVENUE PHILOSOPHY DEPARTMENT PITTSBURGH, PA 15282 RETURN SERVICE REQUESTED 3 0 3 DUQUESNE GRADUATE PHILOSOPHY NEWS Spring 2013 • Volume 6, Issue 1 DEPARTMENT NEWS The Department is thrilled to announce the Dr. Schwebel’s publications include a chapter entitled “Monad hiring of Tom Eyers as Assistant Professor and Time: Reading Leibniz with Heidegger and Benjamin,” to PROOF Tuesday / April 30 / 2013 12:17 PM within the Philosophy Department. Dr. Eyers be included in the forthcoming book “Sparks Will Fly”: Martin received his Ph.D. from Kingston University Heidegger and Walter Benjamin, edited by Andrew Benjamin and in London and recently completed a Post- Dimitris Vardoulakis. Doctorate Fellowship at Washington University in St. Louis. Dr. Eyers specializes in contemporary French The department congratulates George Yancy on philosophy, psychoanalysis (particularly Lacan), and Marxism. his promotion to full Professor! Dr. Yancy has Dr. Eyers will start teaching classes in the fall, including a published prolifically since his hiring in 2007. course on Contemporary Philosophy as well as offering Basic He is the author of Look, A White!: Philosophical Philosophical Questions courses. Dr. Eyers’ published works Essays in Whiteness and Black Bodies, White include his books, Lacan and the Concept of the Real and the Gazes: The Continuing Significance of Race as upcoming Post-Rationalism: Psychoanalysis, Epistemology, and well as his recently released edited books: Race Marxism in Post-War France (May 2013). and Pedagogy: Scholars of Color Reflect on Exploring Race in Predominantly White Classrooms (2013), Pursuing Trayvon Martin: The department is also excited to announce Historical Contexts and Contemporary Manifestations of Racial NEWS FROM ALUMNI the hiring of Paula Schwebel as a visiting Dynamics (2012), Christology and Whiteness: What Would Jesus Assistant Professor within the philosophy Do? (2012), and Reframing the Practice of Philosophy: Bodies of department. -
Merleau-Ponty's Aesthetic Interworld: from Primordial Percipience to Wild
Penultimate version. Please cite the published version in Philosophy Today, DOI: 10.5840/philtoday20181024231 Merleau-Ponty’s Aesthetic Interworld: From Primordial Percipience to Wild Logos ‘…each brushstroke must satisfy an infinite number of conditions’ (Cézanne’s Doubt:65-66, Le Doute de Cézanne:28). Abstract: The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through his phenomenological interrogations of the creative process the broader issue of the viability of his relational non-dualist ontology is defended against accusations that it has not gone beyond dualism or that it has collapsed into a monism. Key words: Merleau-Ponty; ontology; aesthetics; intertwining; Kant; expression; Cézanne Since Plato’s infamous ‘banishment’ of the mimetic poets from his ideal city-state, the expressive arts have had a chequered history in philosophy, at times elevated to the divine and at other times treated with disdain for their purported inability to offer truth and with suspicion for their seductive charms. Neither of these extreme stances is finally defensible. There is both a mystery in the arresting power of great art and an opacity in the creative 1 process that defy ready explanations. The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. -
The Voice of Poetry in the Thought of Michael Oakeshott Efraim Podoksik
The Voice of Poetry in the Thought of Michael Oakeshott Efraim Podoksik Journal of the History of Ideas, Volume 63, Number 4, October 2002, pp. 717-733 (Article) Published by University of Pennsylvania Press DOI: https://doi.org/10.1353/jhi.2003.0010 For additional information about this article https://muse.jhu.edu/article/39297 Access provided by Bilkent Universitesi (25 Jan 2019 06:40 GMT) The Voice of Poetry in the Thought of Michael Oakeshott Efraim Podoksik The British philosopher Michael Oakeshott (1901-1990) is mostly known as a political thinker of conservative persuasion, and his general philosophy is usually analyzed only in connection with the social and political aspects of his thought, with most attention being paid to his discussion of practical wisdom, rationalism, and tradition.1 Yet social theory and politics were by no means Oakeshott’s only preoccupation. Among the subjects of his books and essays are philosophies of history, science, and aesthetics.2 A close look at these writ- ings exposes a different Oakeshott, not a conservative defender of the impor- tance of practice and tradition but a radical thinker familiar with the trends of his own time and deeply influenced by them. Among those philosophies aesthetics is perhaps the most obscure one. In- deed, the significance of aesthetics for Oakeshott is readily recognized by com- mentators. His thought is often portrayed as having a strong aesthetic dimen- sion. Thus, the influence of the Renaissance and Romanticism on his worldview is emphasized, he is sometimes compared with European existentialists, and one commentator even described his life as “poetic, not prosaic.”3 But, there I would like to thank Raymond Geuss, Derek Matravers, and David Runciman for their suggestions. -
Perception and Painting in Merleau-Ponty's Thought
PERCEPTION AND Painting in Merleau-Ponty’s THOUGHT Perception and Painting in Merleau-Ponty’s Thought Carolyne Quinn Paris III, Université de Sorbonne-Nouvelle/University College Dublin Abstract Maintaining that “the perceived world is the always presupposed foundation of all rationality, all value and all existence” (1964/1964: 13), Maurice Merleau- Ponty sought to develop a descriptive philosophy of perception, our kinaesthetic, prescientific, lived-bodily experience and cognition of the world—the unification of our affective, motor and sensory capacities. For Merleau-Ponty, ‘perception’ is an expressive and creative instance intimately linked with artistic practice, and although he wrote about all kinds of art, painting was the art form he considered in most depth. This paper seeks to elaborate upon the links between perception and painting in his thought, examining his three main essays on the topic of painting. We begin with the descriptive phenomenology of “Cézanne’s Doubt” under the influence of Edmund Husserl (1945), to structuralism in “Indirect Language and the Voices of Silence” (1952), and finally to his formulation of an original ontology in “Eye and Mind” (1961). Keywords: Perception; painting; Merleau-Ponty; art; phenomenology In the lexicon of Maurice Merleau-Ponty, ‘perception’ has an idiosyncratic meaning and drawing attention to and describing the role of this notion in human experience may be said to be one of the main aims and contributions of his phenomenology to philosophy today. Arguing perception to be an expressive -
Derrida's Reading of Levi-Strauss Udc 82.09+
FACTA UNIVERSITATIS Series: Linguistics and Literature Vol. 3, No 1, 2004, pp. 87 - 96 REMEMBERING AND DISMEMBERING: DERRIDA'S READING OF LEVI-STRAUSS UDC 82.09+[82:001.8] Lena Petrović Faculty of Philosophy, Niš, Serbia and Montenegro Abstract. The excitement about poststructural theories has subsided, yet a proper critical assessment of their significance is still lacking. In order to question the revolutionary potential still attributed to deconstruction, I propose a close reading of Derrida's deconstruction of Levi-Strauss in his 'Structure, Sign and Play in the History of Human Sciences'. My purpose is to draw attention to the ways in which Derrida, the champion of difference, ends up by re-affirming a thoroughly repressive logic of the same, a gesture which, in my opinion, makes Derrida guilty of the Eurocentrism of which he accuses Levi-Strauss. I will argue further that his radical suspicion and injunction against reminiscence are comparable to a forced conversion recorded in the myth of Orpheus. The dismemberment of Orpheus may be understood as an outward projection of the violent interruption of his mourning for the past, of the inner fragmentation resulting from forgetting, and Derrida's recommendation of free-play, like all other poststructuralist endeavors to 'de-originate' the individual, are the latest version of this ancient cultural crime. Now that the poststructuralist and postmodern literary and cultural theory, or Grand Theory, is slowly receding into the past, it is, I believe, important not to allow it a quiet exit: instead of treating it as a passing intellectual fashion, or even an interesting aberra- tion, one should recognize it for what it really was. -
Poems: the Centenary Edition Free
FREE POEMS: THE CENTENARY EDITION PDF Elizabeth Bishop | 368 pages | 17 Feb 2011 | Vintage Publishing | 9780701186289 | English | London, United Kingdom Poetry Antiquarian & Collectible Books Emily Dickinson for sale | eBay Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh Poems: The Centenary Edition try again. Open Preview See a Problem? Vincent Millay. Details if other :. Thanks for Poems: The Centenary Edition us about the problem. Return to Book Page. Preview — Selected Poems by Edna St. Selected Poems by Edna St. A magnificent anthology of the finest works of Edna St. Vincent Millay, perhaps the premier American lyricist of the twentieth century. Get A Copy. Paperbackpages. More Details Other Editions 8. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Selected Poemsplease sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of Selected Poems. Dec 06, Rita rated it really liked it Shelves: owned-bookspoetry. My candle burns at both ends; It will not last the night; But ah, my foes and oh, my friends It gives a lovely light! Edna St. Vincent Millay's poetry came as a surprise to me. I had heard of her before but never read anything by her. I found her to appeal to something within me. I had just finished a book of poems by Robert Frost but found I wasn't as smitten with him as I used to be so I went looking for other poets. -
MERLEAU-PONTY and BARTHES on IMAGE CONSCIOUSNESS: Probing the (Im)Possibility of Meaning
MERLEAU-PONTY AND BARTHES ON IMAGE CONSCIOUSNESS: Probing the (Im)possibility of Meaning NATASHA BEAUDIN PEARSON or bothδιανοια Maurice Merleau-Ponty and Roland Barthes, images are not merely Fobjects in space; they belong to the realm of the metaphysical. Paintings “move” us, according to Merleau-Ponty: their “quality, light, color, depth […] awaken an echo in our bod[y] and […] our body welcomes them.”1 To encounter a painting is to apprehend it through one’s body. We constitute “brute meaning” by drawing upon the “fabric of the world” in which our bodies are inextricably caught.2 Conversely, for Barthes, poignant photographs “wound” us: they contain an “element [the punctum] that rises from the scene, shoots out of it like an arrow, and pierces” us.3 Unlike Merleau-Ponty, Barthes believes that pictures resist meaning-making. They provoke an “internal agitation,” an “animation” in the viewer. Yet this “affect” cannot wholly be reduced or explained.4 Hence, I think the crux of Merleau-Ponty’s and Barthes’ disagreement about the ontology of image consciousness has to do with the possibility of meaning-making (or lack thereof). While Merleau-Ponty believes that a painting can be meaningful and express the essential “indivisible whole[ness]” and “imperious 1 Maurice Merleau-Ponty, “Eye and Mind,” in The Merleau-Ponty Aesthetics Reader, ed. Galen Johnson (Evanston, IL: Northwestern UP, 1993), 125. 2 Ibid., 123. 3 Roland Barthes, Camera Lucida, trans. Richard Howard (New York: Hill and Wang, 1981), 26. 4 Barthes, Camera Lucida, 19-20. 8 Merleau-Ponty and Barthes on Image Consciousness unity” of the world,5 Barthes contends that “since every photograph is contingent (and thereby outside of meaning), photography cannot signify (aim at a generality) except by assuming a mask.”6 In this paper, I outline Barthes’ critique of Merleau- Ponty’s phenomenology of painting—and his phenomenology more generally—and propose how we might explain the two philosophers’ disagreements on the subject. -
Art and Phenomenology Today
The University of Maine DigitalCommons@UMaine Honors College 5-2014 Somaesthetics and Aesthetic Transactions: Art and Phenomenology Today Monique Boutin University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Art and Design Commons, and the Art Practice Commons Recommended Citation Boutin, Monique, "Somaesthetics and Aesthetic Transactions: Art and Phenomenology Today" (2014). Honors College. 154. https://digitalcommons.library.umaine.edu/honors/154 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. SOMAESTHETICS AND AESTHETIC TRANSACTIONS: ART AND PHENOMENOLOGY TODAY by Monique J. Boutin A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Art History and Studio Art) The Honors College University of Maine May 2014 Advisory Committee: Justin Wolff, Associate Professor of Art History, Advisor Michael Grillo, Associate Professor of Art History and Chair, Department of Art Kirsten Jacobson, Associate Professor of Philosophy James Linehan, Professor of Art Andy Mauery, Associate Professor of Art © 2014 Monique Boutin All Rights Reserved Abstract This thesis inquires into the application of Richard Shusterman’s somaesthetics with respect to contemporary art, through an analysis of the work of Yann Toma and Tatiana Trouvé included in the exhibition Aesthetic Transactions, 2012. In exploring somaesthetics in relation to art, this thesis addresses John Dewey’s aesthetics and idea of the consummatory experience, and Maurice Merleau-Ponty’s phenomenology with respect to art and experience as parts of the foundation of Shusterman’s ideas of somaesthetics.