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Articles 1 - 9 of 9
Full-Text Articles in Philosophy of Language
Ineffability, Emptiness And The Aesthetics Of Logic, Andreas Kapsner
Ineffability, Emptiness And The Aesthetics Of Logic, Andreas Kapsner
Comparative Philosophy
In this essay, I explore the nature of the logical analysis of Buddhist thought that Graham Priest has offered in his book The Fifth Corner of Four (5of4). The paper traces the development of a logical value in- troduced in 5of4, which Priest has called e. The paper points out that certain criticisms I have made earlier still stand, but focuses on a recon- ceptualization of 5of4 in which these arguments carry less weight. This new perspective on the book, inspired by a response to my arguments by Priest himself, sees the logical analysis of Buddhism …
Aesthetics And The Philosophy Of Art, 1840-1900, Gary Shapiro
Aesthetics And The Philosophy Of Art, 1840-1900, Gary Shapiro
Philosophy Faculty Publications
The question can be raised whether the category or discipline of philosophical aesthetics existed before the eighteenth century. Unlike "logic:' "ethics:' and "physics:' a traditional Stoic division of philosophy with great staying power, "aesthetics" is clearly a product of modernity. As Paul O. Kristeller demonstrated in "The Modern System of the Arts:' it was in the eighteenth century that the idea of the aesthetic as a distinctive human capacity and the parallel consolidation of the notion of the fine arts crystallized in the writings of (mostly) French, German, and English philosophers and critics. The modern concepts of art and aesthetics …
Seeking An Aesthetics Of Metafiction, Erin J. Vachon
Seeking An Aesthetics Of Metafiction, Erin J. Vachon
Senior Honors Projects
According the Oxford English Dictionary, metafiction is ‘fiction in which the author self-consciously alludes to the artificiality or literariness of a work by parodying or departing from novelistic conventions…and narrative techniques.’ In short, metafiction announces itself as a textual artifact and examines the very nature of fiction. Metafiction has been defined as such, but I seek the effect of the text upon the act of reading and the reader: into what space is the reader initiated when the boundaries between author-text-reader become dismantled or confused? What does the act of reading become, beyond a mere analytic exercise? I am searching …
Foucault And Habermas, David Ingram
Foucault And Habermas, David Ingram
Philosophy: Faculty Publications and Other Works
The article is a comprehensive comparison of Foucault and Habermas which focuses on their distinctive styles of critical theory. The article maintains that Foucault's virtue ethical understanding of aesthetic self-realization as a form of resistance to normalizing practices provides counterpoint to Habermas's more juridical approach to institutional justice and the critique of ideology. The article contains an extensive discussion of their respective treatments of speech action, both strategic and communicative, and concludes by addressing Foucault's understanding of parrhesia as a non-discursive form of truth-telling.
From The Sublime To The Political: Some Historical Notes, Gary Shapiro
From The Sublime To The Political: Some Historical Notes, Gary Shapiro
Philosophy Faculty Publications
Let me document my suggestion that modernist poetics tends to give a privileged position to what has traditionally been known as the sublime by adducing two examples from rather disparate traditions. Martin Heidegger's ontological poetics can reasonably be viewed as a renewal of the aesthetics of the sublime -- although Heidegger never uses the term sublime, so far as I know -- and is explicitly hostile to the limitations of aesthetics, conceived as an autonomous study of a certain kind of experience. Harold Bloom does recur to the Romantic terminology of sublimity in his attempt to construct a poetics which …
3. Sources And References For Suki, Matthew Lipman
3. Sources And References For Suki, Matthew Lipman
Secondary School Curriculum
This sequential bibliography matches the 1978 edition of Suki page by page. It contains both sources—works that influenced Matthew Lipman in writing the novel, references to philosophical works he and Ann Margaret Sharp recommend to explore the novels’ philosophical themes, and brief commentary on them by Lipman.
2. Writing: How And Why (Instructional Manual To Accompany Suki, Matthew Lipman, Ann Margaret Sharp
2. Writing: How And Why (Instructional Manual To Accompany Suki, Matthew Lipman, Ann Margaret Sharp
Secondary School Curriculum
The aim of this program is to engage students in philosophical inquiry into aesthetics and related philosophical issues. The instructional manual includes short, accessible explanations of the philosophical concepts found in SUKI, the novel, as well as hundreds of exercises and discussion plans to prompt and assist the student's inquiry. As poetry is the primary aesthetic genre taken up in the novel, the explanations and activities in this manual offer numerous additional poems as objects of aesthetic inquiry. The manual also includes numerous activities that invite students to transform their thinking and dialogue into essays, poems and short stories, so …
1. Suki (Novel), Matthew Lipman
1. Suki (Novel), Matthew Lipman
Secondary School Curriculum
Suki, a young adolescent, loves poetry and its world of metaphor. Her friend Harry hates literature class and the idea of writing poetry frightens him. Their worldviews begin to converge as the two come to see logic and poetry as two ways of finding meaning in life experience, though not before they have confronted a number of problems of language, knowledge and aesthetics. As Suki, Harry and their classmates work through the obstacles they encounter in creative writing, they construct new understandings of concepts like friendship, freedom, integrity, originality, harmony, form, balance, personhood and meaning.
Intention And Interpretation In Art: A Semiotic Analysis, Gary Shapiro
Intention And Interpretation In Art: A Semiotic Analysis, Gary Shapiro
Philosophy Faculty Publications
Kant was perhaps the first philosopher to note the distinctive puzzle, verging on paradox, which marks our dealings with art. Works of art seem to place us under an obligation to interpret them and yet we are convinced that our interpretations will never be exhaustive. Kant attempts to account for this peculiar phenomenon by talking of "purposiveness without purpose" or of the aesthetic idea as "a representation of the imagination to which no concept is adequate." We are constrained to see some pattern or organization in a work of art and this is typically understood as a teleological or purposive …