The Richness of Art Education. Howard Cannatella. Rotterdam/Taipei, Sense Publishers 2008. Pp. 136.Pbk. £35.

Hans-Georg Gadamer argues that consciousness not only historically constrains experience but also allows strangeness to intelligibly speak to it. This historically effected and effective consciousness features in Gadamer’s idea that a common language is unearthed for the interpretive horizons of those involved in dialogue with each other through a logic of question and answer. I argue, however, that this reveals a conceptual uncertainty about evaluating progress in interpretive understanding. Gadamer’s failure to escape from this uncertainty risks the possibility of a (...) problematic relativism. Effectively, even if sufficient interpretation occurs when horizons are infinitely structured, this does not preclude incoherence between a horizon’s elements. (shrink)

Hans-Georg Gadamer held that the chief task of philosophy today is to defend practical reason against the encroachments of techno-scientific rationality and thereby to ground the possibility for a philosophical ethics. Although this is well-known and much discussed in the secondary literature, there is curiously sparse discussion of just what Gadamer took ethical inquiry to be. The little discussion that exists tends either to neglect Gadamer's distinction between practical reasoning and philosophical ethics, or it accuses Gadamer himself of conflating the (...) two. This paper provides a sketch of Gadamer's understanding of ethics in a way that makes clear how it differs from practical reasoning. (shrink)

Dans la troisièmeCritique, Kant prétend que la beauté est le symbole de la moralité et que la réflexion sur cette relation est un devoir. Cet article présente l’argument de Kant comme un double argument. Premièrement, l’expérience de la beauté renforce notre sentiment moral. Deuxièmement, à travers le jugement sur le beau, nous supposons que la nature poursuit des fins indéterminées, sur la base de quoi l’on pourrait concevoir que la nature coopère à nos fins pratiques. Ainsi, dans l’intérêt de la (...) culture morale et de la motivation morale, il est nécessaire de traiter la beauté comme le symbole spécial de la moralité. (shrink)

Philosophy & Architecture special number of philosophy@LISBON (International eJournal) 5 | 2016 edited by Tomás N. Castro with Maribel Mendes Sobreira Centro de Filosofia da Universidade de Lisboa ISSN 2182-4371.

This article seeks the possibility of a genuine ethical dialogue based on Gadamer’s notion of a “fusion of horizons”. For Gadamer, the human being is blessed with the unique ability to understand, and understanding is modelled on the act of conversation in which we engage with others. The fact that different points of view of dialogue partners merge in the process of understanding leads them to a better and mutual understanding, which is a fusion of horizons. For some of Gadamer’s (...) critics, in the fusion, the more dominant horizon assimilates the other, which is why Gadamer’s notion of understanding seems to be unethical. To avoid this misinterpretation of the process of understanding, I will interpret Gadamer’s notion of understanding as the fusion of horizons based on his analysis of the concepts of “dialogue” and “play” (Spiel). By doing that, I aim at showing that Gadamer’s notion of the fusion of horizons is a dynamic process and that the latter requires an “openness” of participants to each other, which leads their encounter toward a genuine ethical dialogue. (shrink)

This paper investigates the phenomenological status of musical affordances through a Gadamerian focus on human communication. With an extra emphasis on Reybrouck’s much-cited affordance-driven theory, I locate fundamental premises in the affordance concept. By initiating a dialogue with Gadamer’s perspective, I suggest a slight yet important shift of perspective that allows us to see an autonomous, transformative, and intrinsically active ‘ideality’ potentially emerging in music. In the final section, I try to demonstrate how Gadamer’s perspective is supported by recent empirical (...) studies on communicative musicality and child development, and allows us to see how protoversions of the transformative ‘ideality’ are already present at the beginning of human life. (shrink)

Sport as the pursuit of competition and the achievement of ever greater records goes beyond the dimension of mere physical activity and has many similarities not only with play, drama and art, but also with religion. Symbolic representations of sporting activity are then interpreted in religious terms, e.g. that sport has the power to create a new kind of religion, that sporting and religious experiences are identical, that a specific sporting sacred can be defined. The paper accepts the position that (...) similar phenomenal resemblances (phenomenalism) are not sufficient proof of the essential correspondence of these modes of being (phenomenology), since they touch in different ways on the relation between transcendence and immanence. Sport may point to something beyond empirical reality, but it cannot be a presentation of the sacred. It can become a representation, a depiction, not a making present of it. Thus it is possible to adequately conceptualize the world of sport as an implicit, not explicit, religion. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

ABSTRACTAlthough grounded in different philosophical traditions, Alexander Nehamas and Hans-Georg Gadamer each return to Plato's idea of the beautiful, to kalon, in order to reclaim the relevance of beauty for our understanding of art today. Their appeal to Plato challenges the reign of aesthetics that both see inaugurated by Kant's aesthetic theory. Nehamas criticizes the Kantian notion of “disinterest” as a “pleasure bereft of desire” in order to reassert the passionate longing that draws us toward art. Gadamer criticizes Kant's analysis (...) for the way it divides the aesthetic from the cognitive, thereby alienating art and beauty from any claim to knowledge or truth. So Nehamas emphasizes the import of Platonic erōs to a phenomenological account of our experience of beauty. Love, so understood, elides any easy distinction between the sensual and spiritual, between the desire to possess and the passion to know—just as beauty cannot be captured in distinctions between what is and what appears. Gadamer draws out precisely the ontological dimension of the beautiful as self-presentation. In so doing he revives the intimacy of beauty and truth, alētheia, as the movement into unconcealment by which something comes forth into its presence. In the end, I suggest appropriating Nehamas's phenomenological analysis of the erotic to Gadamer's ontological understanding of the alethic in order to renew the relation of erōs and kalon into an account that recalls this Platonic legacy for a contemporary hermeneutics of art. (shrink)

Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the classical art paradigm: its autonomy, authorship, uniqueness (as opposed (...) to copies and series), and the social role of art. The analysis is aimed at Hungarian and Romanian online artistic projects from Transylvania region of Romania, relevant as intercultural communication endeavours. Our research question is the way they differ from the traditional artistic paradigm. (shrink)

ABSTRACT Gerald Early's remark that black people are seminally important to the modern world because they created the blues is examined as a contribution to the politics of recognition that deviates from the liberal model that dominates in political theory. Central to this deviation is the politics of honor and Paul Corcoran's distinction between formal and aesthetic recognition. The politics of aesthetic recognition is examined here through Hans-Georg Gadamer's discussion of hermeneutics in Truth and Method as well as through Martin (...) Heidegger's phenomenology and philosophy of Dasein, inspired by Aristotle's Rhetoric, and his writings on art. The significance of art and specifically of the blues to the politics of recognition goes beyond the representation or the relaying of others' voices, in that it calls forth modes of being-there over against difference. (shrink)

This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub-variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is (...) not among these. I conclude that the reference to mathematical beauty merely expresses the awe in the mathematician about the intricate complexities and simplicity of certain proofs, theorems or mathematical “objects.”. (shrink)

Can we gain knowledge by reading literature? This essay defends an account of reading, developed by Stanley Cavell and Hans-Georg Gadamer, that phenomenologically describes the experience of acquiring self-knowledge by reading literary texts. Two possible criticisms of this account will be considered: first, that reading can provide other kinds of knowledge than self-knowledge; and, second, that the theory involves illegitimately imposing subjective meaning onto a text. It will be argued, in response, that the self-knowledge gained in reading allows one to (...) gain other sorts of knowledge too, and that the reading process described by Gadamer and Cavell avoids excessive subjectivism. (shrink)

Gadamer claims that an essential form of truth is disclosed in the search for, and discovery of, a shared language in and through which the matter at issue between the participants in a conversation can come to presentation. He maintains in this regard that the thing itself is given in language. This contention is grounded in his account of the “belonging together” of word and thing. To help us understand this idea I turn to his discussion of the image, since—in (...) a comparison that Gadamer explicitly makes—here, too, the image “gives” the thing. (shrink)

In the Poetics of Aristotle there is a definition of the human being that perhaps has not yet been well considered in educational theory and practice. This definition calls into question a dynamism that according to Plato was unavoidable for an appropriate understanding of the educational process that turns a human being into a beautiful, good and just citizen: mimesis. The paper's intent is to reconsider the definition of the human being, centred on mimesis, presented by Aristotle in the Poetics (...) to demonstrate if, and how, it might establish new paradigms for human coexistence. Aristotle's anthropological statement is included in a much wider discourse concerning philosophy of art; but if isolated from the context, it is an essential definition of human beings that can be synthesised as follows: human beings are the mimetic animal par excellence, and their process of understanding has a fundamental connection with such excellence. Ignorance and/or negligence of how relevant mimesis might be in the educational process may have decisively contributed to separate human beings from this core aspect of their humanity and therefore produced painful consequences in human coexistence. As long as education does not pay attention to the pedagogical implications of the definition taken from the Poetics, how can human flourishing be safeguarded? I argue that recognition of the centrality of mimesis in the educational process allows human edification to proceed devoid of ideological basis, be it secular or confessional; and overcomes the risk of relativism. Mimesis, formerly recognised by Plato as a link between what is expressed and what really is, is masterfully reinterpreted by Aristotle. Aristotle recognised its positive pedagogic value in the Poetics, and nowadays we can recognise how it offers existential dynamics that restore the vital human relationship between self and other. The sense of this proposal lies in giving mimesis the role it deserves in education, by raising the significance of how coexistence might benefit from a vast human dimension, capable of recognising our humanity beyond our rational capacity. (shrink)

This paper explores the meaning of interpretation in the works of Hans-Georg Gadamer and Glenn Gould, the Canadian pianist and intellectual. As a performing art, music illustrates the cognitive and practical dimensions of interpretation. While emphasizing the pre-interpreted character of musical reception and performance, both authors point to the fact that difference, alterity, and negativity lie at the heart of creative interpretation, cultivation and self-knowledge. The notion of ecstasy, understood as a type of self-forgetfulness that represents a radical form of (...) encounter with alterity, provides the basis for a conception of subjectivity as grounded on linguistic, historical and cultural conditions, albeit not reducible to them. I maintain that the notion of ecstatic subjects is a powerful alternative to both the self-centred notion of subjectivity and its anti-humanistic counterpart in accounting for human agency. (shrink)

The book develops the current hermeneutic discourse concerning the notions of beauty and Being. It includes a discussion of melancholic beauty and its interconnection with the act of art’s creation. According to M. Hołda, the writings of both authors demonstrate a treatment of beauty based on ancient Greek thought, especially from the times of Plato and Aristotle. Gadamer reaffirms the intimate relationship between beauty and Being, which is also revealed in Woolf’s literary work. ---------------------- Received: 08/04/2022. Reviewed: 13/05/2022. Accepted: 14/06/2022.

A critical phenomenology is paired with qualitative data in order to understand the character of subjective experiences of uncanniness through the encounter with art. We are confronted by art as the beings we have been, without recourse to the use of art as a way in which our beings might concretely improve themselves, either through rewriting themselves as part of the larger world or by giving ourselves a dedicated auto-history. It is this feeling of insubstantiality, borne on the currents which (...) move us away from all solid projects or monuments, that disconcerts us the most. The experience of this non-presence in art uncovers the absence of presence in being and world. We have been absented from ourselves in some ethically culpable manner, and to be fully present as beings who live on in the face of death, is to take into an interiority of being the Nothing which stands as our alterity. (shrink)

On 27 September 1943, Hans-Georg Gadamer published a brief but significant article in the conservative newspaper Leipziger Neueste Nachrichten und Handels-Zeitung, entitled ‘Wissenschaft als Beruf. Über den Ruf und Beruf der Wissenschaft in unserer Zeit’ (Science as Vocation: On the Calling and Profession of Science in Our Time). The article, which addressed the problem of the value and status of science and philosophy in the midst of the Second World War, was never reprinted in Gadamer’s work, neither in the ten (...) volumes of his collected writings published by Mohr Siebeck, nor separately in books or journals. I offer here a critical introduction to the context and main contents of this text due to its philosophical, political, and historical relevance. In particular, the introduction analyses Gadamer’s confrontation with his own time through explicit and implicit references to Max Weber’s 1917 lecture, ‘Wissenschaft als Beruf’ (Science as Vocation), and traces echoes in Gadamer’s later works that bear on contemporary challenges. Following that, I present the first English translation of Gadamer’s original German text. (shrink)

The following examines the concept of time in Gadamer’s work, looking specifically at the role of artwork and festival as focal points of his temporal analysis. It is argued that the usual way of understanding Gadamer’s reflections on time as either “empty” or “fulfilled,” while accurate, need to be supplemented by a third species of time which is neither “full” nor “empty,” pointing instead to the underappreciated role of eternity in his thought. Eternity in this instance is not the other (...) or the outside of time, as one finds in various traditional metaphysical determinations. It is rather intended as the vast and unending time of the cosmos, hinted at in the experience of artwork and festival. (shrink)

The influence of Husserlian phenomenology on Hans-Georg Gadamer’s philosophical hermeneutics has been the subject of some analysis in the secondary literature, with scholars emphasizing both Gadame...

But that which remains the poets have founded.In contemporary rhetorical theory, the relationship between rhetoric and art tends to be articulated in terms of aesthetics. This increasingly popular discourse on “aesthetic rhetoric,” however, is characterized by a remarkable diversity. The rhetoric of fiction, poetry, and other literary genres, for example, has been explored in these terms (e.g., Booth 1983), as has the rhetoric of film (Haskins 2003), photography (Hariman and Lucaites 2007), and even natural landscapes (Clark 2004). From a different (...) perspective, aesthetics has been distilled to a range of “features” or “elements” that a given text is said to possess. Nathan Crick and Jeremy Engels, for example .. (shrink)

In this article, we discuss some of the linguistic features of hermeneutic-phenomenological writing and, in so doing, we point to the close connection between lived experience and the ethical-aesthetic traits of writing the experience. Our exploration starts by contemplating texts written by the so-called Utrecht School. We reflect on their orientation as it has been understood, developed, and advocated by Max van Manen. The literary style of the Utrecht orientation is sometimes misunderstood and questioned. This article aims to explicate why (...) and how hermeneutic phenomenology needs an expressive language to "write the lived experience" rather than to simply write "about" the lived experience. Lived experiences are always past experiences that we try to bring into the present, and so the difference between recollections and memories are discussed in connection to writing the experience. We argue that what is being told and not seen is, metaphorically speaking, an event in sound, which can have ethical and aesthetic virtues of truth and beauty. Lived experiences, whether written as anecdotes or as other kinds of experiential accounts, can shine forth through the use of expressive language. But is this kind of language poetry? Can such an account be regarded as poetic writing? If it is poetic writing, exactly how does it differ from academic writing? Our exploration of questions like these leads us to the tentative conclusion that, as hermeneutic phenomenological researchers, we dwell in the borderland between a "poetic attitude" and a utilitarian writing style. (shrink)

ABSTRACT In this study, the learning experiences of four elementary school teachers who were basketball coaches were explored. Specifically, the learning experiences gained through observing professional basketball coaches’ sessions were examined by employing van Manen’s hermeneutic-phenomenological approach, which focuses on the thematic analysis of lived experiences. Previous coaching studies that have focused on the professional development of coaches have revealed that observing elite coaching sessions could be a major source of practical coaching knowledge because coaches could learn from experienced coaches. (...) Quantitative studies of this learning effect have revealed that observers learn new coaching methods from a general perspective. However, this study revealed that teachers give specific meaning and value to observed phenomena from the perspective of personal interest based on their coaching or teaching beliefs. This learning was interpreted from a multifaceted perspective, which was evident from their coaching interests and questions. This study disclosed that teachers reflect on their coaching philosophy, methods and attitude. Furthermore, even if teachers generally tend to highlight their coaching methods, this has a qualitatively complex nature because the meaning and value given to coaching methods varied in each teacher’s reflection. The perspective of problem-solving highlighted how to answer their personal questions based on practical coaching problems by observing a coaching session. Discovering the methodological differences between the observation session and the daily coaching session were highlighted. (shrink)

This essay explores the ontological movement of poetry, its language and words, by establishing a dialogue with the thought of three Japanese thinkers, Ki no Tsurayuki, Motoori Norinaga and Fujitani Mitsue, and the German philosopher Martin Heidegger. The overall purpose, as we progress from one to the other, is to present, explore and disclose a horizon where poetry gradually becomes the locus of a philosophy of language that places it at the genesis of mutual understanding, ethics and, thus, of community.

This article presents Gadamer’s interest in temporality as his strategy for advancing hermeneutics as philosophy of experience, a strategy becoming significantly more salient with the appearance of his 1992 essay, ‘Wort und Bild’. I demonstrate how temporal categories readily demarcate the problem of ontological imbalance so central in Gadamer’s philosophical project, a demarcation that removes any illusion of compatibility between Gadamer and the hermeneutics of Paul Ricoeur. The article also considers some common misunderstandings of Gadamer resulting from a failure to (...) take full account of his interest in temporality, misunderstandings that prohibit recognizing the radical potential of Gadamer’s hermeneutical philosophy for our understanding of human finitude. A full account of this orientation must begin with a grasp of the exemplariness of art in his philosophy, and in this connection, the article raises the question of Gadamer’s late interest in the distinct exemplariness, not of lyric poetry, but of narrative art. (shrink)

Journal of Philosophy of Education, Volume 56, Issue 2, Page 227-237, April 2022.

One of the more ambitious and yet fruitful attempts in recent years to untangle general questions about the nature of aesthetic phenomena and their socially constituted nature rests in Lambert Zuidervaart’s critical hermeneutical theory of artistic truth. In this paper, I explore one part of Zuidervaart’s project, namely his conception of “aesthetic validity as a horizon of imaginative cogency.” I seek to develop Zuidervaart’s conception by bringing his thesis into dialogue with phenomenological analyses of “horizon” and the collective intentional approach (...) to institutional and social objects. Zuidervaart relies primarily on Gadamer’s view of horizon, but does not offer very much by way of clarification as to exactly what a horizon is. Phenomenological analysis of horizon should serve to add content to the idea of horizon. I contend that the Husserlian notion is both more informative and has more utility for Zuidervaart’s project. (shrink)

Labyrinths have held the fascination of people since ancient times. Although walking a labyrinth can simply be an interesting recreation, it has increasingly been seen as an intentional tool for personal or spiritual growth. Religious and spiritual experience is generally understood to be a product of the kinds of evidence given within the experience as well as the person’s cognitive and emotional attributions. This article offers a phenomenological perspective which identifies a set of critical elements in the generation of the (...) person’s experience. These include the individual narrative of the participant, the place narrative of the labyrinth, the geometric structure of the place, and the person’s internal and behavioral practice within the place. Through the exploration of each of these elements and their interactions, it is shown that the potential for personal and spiritual experience when walking the labyrinth is related to several processes. The first is simply the walker’s ongoing intentional participation in the experience. The second is the interaction between the place narrative and the individual’s narrative, particularly as it relates to the person’s relevant concern. This interaction affects the person’s expectations and attributions during and after the experience. Two final processes, however, the individual practice and the place geometry, create the evidentiary basis for the labyrinth’s deepest experiences. The embodied, cognitive, and emotional resolution of the unexpected dynamic uncertainty regarding place, movement, and outcome created by the geometric and informational nature of labyrinths, can prove experientially potent. (shrink)

ABSTRACT This article explores the complexity of classroom interaction between teachers and unaccompanied teenagers seeking asylum in Norway. These teenagers find themselves within legal and political ‘grey areas’ where educational goals specific to their extreme situations are unavailable to them, and they end up being either forgotten in the system or closely monitored for possible failure. Their teachers encounter these teenagers in their realities; new to a culture, new language, new ways of being and doing, in addition to past traumatic (...) experiences and overt monitoring by authorities. These unaccompanied teenagers have varied school experiences, lacking in many ways the cultural and educational knowledge in addition to language competencies needed to be in a high school. We explore what it might mean to teach in such circumstances where unresolvable dilemmas exist within a political school system that is ambivalent towards them and seems to be setting them on an exclusion trajectory within schools. Based on interviews with teachers and observations in two high schools on the west coast of Norway, we describe and interpret anecdotal narrative examples in the light of the continental phenomenology of practice methodology. We explore the existential educational possibilities that lie in moments when teaching appears to have failed, teachers seem not to know what to do, what kind of responsibility to take, or what kind of repercussions their actions might have on their students. The article argues that when education is controlled to the degree of possible outcomes, it thwarts meaningful encounters that would have been possible between the teachers and their young students. (shrink)

The concept of God is studied using the ontological argument of Anselm of Canterbury that proves God’s existence using a syllogism based on ontology. Unlike metaphysical arguments that demonstrate the existence of God through the study of being and its attributes, the ontological argument aims to reach this same goal based on a concept of God by means of the idea of an entity “greater than anything that can be conceived”. Descartes’ influence highlighted some of the philosophical difficulties with the (...) inherent dualism implicit in ontology. Logic does not say whether ideas are true or false, as Logic is concerned with right or wrong inference. We take a non-dualist approach in contrast to some of the approaches reviewed. To investigate belief and faith, a modal logical formalization is used, especially modal logic S5, which we find appropriate for presenting arguments. While mathematics and logic can convince, they do not help one to believe in God. This can make us think that reason is not enough to accept God, one must have faith to have access to Him. The relation between reason and faith needs clarification, and the ontological argument requires an unsustainable dualism. (shrink)

What is a moment? While Heidegger considers the moment (Augenblick) hermeneutically in the first division of Being and Time, he abandons the thoroughly hermeneutic account in an ecstatic analysis of time in the second. In this paper, I explore the moment in the direction of hermeneutic temporality and finite comprehensibility. I begin by describing how Heidegger’s ecstatic analysis by its very nature forecloses the possibility of the average, everyday constitution of the moment. I then attempt a broader recovery of hermeneutic (...) temporality, specifically instantiated in Gadamer’s temporality of the festival. In so doing, I hope to re-establish the Augenblick as the moment of finite comprehensibility. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)