The artist Sandra McMorris Johnson once told me that, as much as she had always loved Gauguin, she had nevertheless become increasingly uncomfortable looking at his paintings because so many of them depict thirteen-year-old girls in an extremely sexualized way. I think about her discomfort with Gauguin whenever I consider my reaction to Balthus, an artist whose best paintings I find to be utterly beautiful.1 These paintings are, however, highly, if not obsessively, eroticized portraits of prepubescent girls. It should be (...) noted that Balthus—known to some as the "Lolita painter"—dismissed criticism of his subject matter by declaring an allegiance to formalism.2 But, as a pragmatist, I cannot hide behind a strict .. (shrink)

Many people claim that we can gain knowledge from reading novels and other forms of narrative fiction. In a trivial sense, this claim seems uncontroversial. There is no doubt that reading Pride and Prejudice can teach me, for example, what the novel is about or give me some insight into the character of Regency English. This is because a novel, like any other text, constitutes direct evidence for propositions about its own content and language. But it is widely questioned whether (...) such a work could ever give us knowledge of any of the general propositions it expresses about the world outside the text, for it is commonly held that fictional narratives do not have the resources to justify such propositions, however.. (shrink)

For much of its history, philosophy was not merely a theoretical discipline but a way of life, an "art of living." This practical aspect of philosophy has been much less dominant in modernity than it was in ancient Greece and Rome, when philosophers of all stripes kept returning to Socrates as a model for living. The idea of philosophy as an art of living has survived in the works of such major modern authors as Montaigne, Nietzsche, and Foucault. Each of (...) these writers has used philosophical discussion as a means of establishing what a person is and how a worthwhile life is to be lived. In this wide-ranging, brilliantly written account, Alexander Nehamas provides an incisive reevaluation of Socrates' place in the Western philosophical tradition and shows the importance of Socrates for Montaigne, Nietzsche, and Foucault. Why does each of these philosophers—each fundamentally concerned with his own originality—return to Socrates as a model? The answer lies in the irony that characterizes the Socrates we know from the Platonic dialogues. Socratic irony creates a mask that prevents a view of what lies behind. How Socrates led the life he did, what enabled or inspired him, is never made evident. No tenets are proposed. Socrates remains a silent and ambiguous character, forcing readers to come to their own conclusions about the art of life. This, Nehamas shows, is what allowed Montaigne, Nietzsche, and Foucault to return to Socrates as a model without thereby compelling them to imitate him. This highly readable, erudite study argues for the importance of the tradition within Western philosophy that is best described as "the art of living" and casts Montaigne, Nietzsche, and Foucault as the three major modern representatives of this tradition. Full of original ideas and challenging associations, this work will offer new ways of thinking about the philosophers Nehamas discusses and about the discipline of philosophy itself. (shrink)

Important work on the relation of pragmatic ethics and aesthetics, such as Steven Fesmire's _John Dewey and Moral Imagination: Pragmatism in Ethics,_ misses an important feature of the entire issue unless non-mimetic representation is invoked to explain the relation between what Dewey would call the "problem" and the "solution" presented in experience. This cannot be elaborated within a Rortyan neo-pragmatism, nor can it be addressed without attending to the "spiritual" aspect of moral agency.

Abstract Daniel H. H. Ingalls referred to Gaudap?da's M?nd?kya K?rik?, a very early Advaita text, as ? ... the most puzzling perhaps, of all Sanskrit philosophical texts?. This article shows that some of the philosophical quandaries associated with this text are the result of inappropriately imposing a graphic and prose model of textuality upon a text composed in the k?rik? (memorial verse) genre and in an oral cultural context. Developing a model of textuality consistent with the literary genre and cultural (...) context, the article is not only able to resolve some of the philosophical problems associated with the text, but also raises the possibility that this inappropriate hermeneutical process has contributed to mislabelling Gaudap?da as an idealist. (shrink)

Recognizing yourself in literature cannot only help you to get a clearer grasp of what you already think and feel. It can also deeply unsettle your vision of yourself. This article examines a hitherto neglected mechanism to this effect: learning by way of seeing yourself in others’ blindness. I show that In Search of Lost Time epitomizes this phenomenon. Confronting characters oblivious to their old age makes the protagonist realize that he, too, has aged without noticing it, and invites readers (...) to analogous insights. The paper contributes to the discussion on how you can learn from literature and adds a twist to Proust’s claim that the purpose of literature is that readers recognize themselves in it. (shrink)

Bien qu’il y ait une tradition bien établie qui oppose la fonction argumentative et systématique de la philosophie à l’approche narrative et fictionnelle de la littérature, il est indispensable de résister à la thèse discontinuiste (Nanay) pour souligner la contribution des œuvres littéraires à l’appréhension de la réalité et en particulier du monde humain. La littérature n’est pas un simple divertissement mais elle représente une forme de compréhension humaine et elle apporte à la philosophie des possibilités qui enrichissent son répertoire (...) potentiel d’actions efficaces, tant au niveau descriptif qu’à travers ses effets perlocutoires. (shrink)

This volume examines the phenomenon of the migration of philosophical texts and traditions into other cultures, identifies places where it may have succeeded, but also where it has not, and discusses what is presupposed in introducing a text or a tradition into another intellectual culture. -- Book Jacket.

Comparative philosophy is dependent upon translation, often translations that will help preserve some fundamental commitments: to linguistic mastery, to the recovery or preservation of an original, and to the protection of an authenticity that will ground these commitments. Such a view can sometimes obscure a nostalgia for questionable causes. Comparative philosophy, especially with continental affinities, often relies on two moves: first, a boundary must be found (or produced) between philosophy itself and other forms of writing (literature or fiction, say), to (...) ensure proper grounding. Second, it must be understood that this boundary depends upon an underlying philosophy of language: language speaks us, it speaks Being; to dwell in a different language is to dwell in a different house of being (Martin Heidegger). But how might this project – its historiography of return and grounding, and its mythologizing of linguistic and ontological recovery – be challenged by the very practice of translation itself? Perhaps this challenge is one of translation’s philosophical benefits. (shrink)

This article argues for four interrelated claims: Metaphilosophy is not one sub-discipline of philosophy, nor is it restricted to questions of methodology. Rather, metaphilosophical inquiry encompasses the general background conditions of philosophical practice. These background conditions are of various sorts, not only those routinely considered “philosophical” but also those considered biographical, historical, and sociological. Accordingly, we should be wary of the customary distinction between what is proper and merely contingent to philosophy. “What is philosophy?” is best understood as a practical (...) question concerning how members of different philosophical sub-communities identify what is pertinent to their respective activities and self-conceptions. Given –, understanding what philosophy is requires us to take more seriously the social-institutional dimension of contemporary philosophical practice. (shrink)

The quarrel between Plato and the poets in the Utopia and try to exclude them from there is a very important subject in the Republic. He in the book III explains the limits for poems and determines the poems that can be read for youths and the poems that cannot be read for them. This radical Platonic approach to the poets and their poems can be linked today to the many different media especially TV and its programs. In Plato's view, (...) our reaction to the different events in the everyday life is a copy of our reaction to the poem. This problem is today linked to the TV and other social media like cinema. TV in only an instrument for distribution and transmission, and does not present any new method for interpreting reality. In another word, TV only present reality as it is and TV is like the Platonic poet in this respect. We can recite the Platonic objection on poem, also on the TV and its functions. In the present article we will try to survey the nature and the functions of TV by the Platonic method of critiquing poets in the Utopia. (shrink)

A provocative examination of the artistic interpretation of twelve of Borges’s most famous stories.