Comment la critique de Q. Skinner adressée aux historiens essentialistes et contextualistes de la pensée politique lui permet-elle de justifier, à partir d’une certaine lecture de J. L. Austin, le recours à ce qu’il appelle l’« intention illocutoire » de l’auteur. La mise au jour d’une telle intention devant permettre de décrire positivement l’ensemble des relations existant entre un texte et son contexte. De quel contexte s’agit-il? Le critère de l’intention permet-il, valablement, de se substituer au critère de la convention (...) chez Austin? (shrink)

ABSTRACTThe ideological and methodological oppositions that divide philosophy generally into realisms and idealisms, objectivisms and subjectivisms, also pervade aesthetic theory. The question arises whether there was beauty in the world prior to the emergence of intelligent perceivers like ourselves, or whether beauty itself comes into existence only through the perceptual idiosyncrasies with which we happen to encounter the objects we happen to consider beautiful. The experience of beauty and its opposites under this description can easily seem to be an altogether (...) subjective phenomenon, available at most only to those psychological subjects conditioned or predisposed to recognize certain features as possessing specific aesthetic properties. The article examines topics related to the intentionality of expression in art. Intention is often rejected as a basis for aesthetic judgment. The present discussion, by focusing on the role of perception in art production and appreciation, considers ways of addressing those objections to restore an intuitive sense of the intentional expressiveness of art. The proposed solution also helps uphold an approach toward answering the question of whether aesthetic value generally is only subjective or also has a distinctively objective element. (shrink)