In this state-of-the-field article, I examine some of the problems plaguing present-day analytic Hegel studies and try to find out what can be done to remedy the situation as scholars collectively (and finally) begin grappling with the metaphysico-logical core of Hegel’s thought. In so doing, I go over the various currents of Hegelian interpretation and describe some of the limitations behind the usual analytic approaches which have often tended to downplay key aspects of Hegel’s thought, like his dialectical logic, and (...) which have also partly helped create enthusiasm for metaphysically deflationary approaches to Hegel’s thought. I then propose three practical directives for the betterment of the field in terms of future research, ones which essentially advocate for the generalized adoption of a more historicist approach to certain matters, one that is not mutually exclusive with the overarching scholarly desire to extract something that is philosophically relevant or contemporarily useful from Hegel’s thought, which is what seems to drive analytic Hegel studies in general. (shrink)

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...) These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination. (shrink)

This essay focuses on the explosive claim Cavell inserts in the middle of The Claim of Reason that a narrative history of a certain style of philosophy should be called “Philosophy and the Rejection of the Human.” In order to understand the accusation, I shape interpretations of what Cavell means by nearly each of the terms of this dramatic sentence. I begin by comparing senses of “philosophy” by way of a comparison with Rorty’s critical review of The Claim of Reason; (...) I proceed by underlining how, in Cavell’s work, the notion “human” and its rejection also is entangled with that which Cavell describes as “skepticism.” It is necessary, therefore, to understand whether there is a specific characteristic difference between skepticism and the style of philosophy that is implicated in the “rejection of the human.” It seems as if there should be a difference, given Cavell’s notorious approval of the truth or the moral of skepticism and the apparent criticism of the philosophical style that rejects the human. I show that the difference can be discovered by focusing on Cavell’s understanding of criteria. In particular, I emphasize the space of a subject’s relation to criteria, a subjective claim to universality without objectivity, in pursuing and extending Cavell’s own appeal to Kant’s Critique of Judgment. It is this subjective component that is rejected in the style of philosophy that Cavell singles out. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Influential interpretations of Heidegger’s Origin of the Work of Art focus on the view that great art is massive and communal—typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh’s Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this way? (...) Heidegger himself says that great art of the past becomes either a relic of the past or a mere object of aesthetic experience, but his description of his own experience with a Greek temple seems to contradict this. To understand Heidegger’s views on art—including his explicit claims about the limited vitality of great art of the past and his unintentional case for the continued power of great art of the past—it is crucial to distinguish, first, between Heidegger’s notions of world and worldhood, and, second, between two senses of what makes art great—world disclosure and world gathering. Doing so allows us to make better sense both of the essay as a whole and the potential continued vitality of great art of the past. (shrink)

The following books have been received and many of them are still available for review. Interested reviewers please contact the reviews editor: [email protected], M., The Figure of This World:...

The paper aims at reevaluating a conception of the aesthetic that was developed by Kant and Hegel but that has been widely neglected due to the fact that their positions in aesthetics have been wrongly considered to be antagonistic to one another. The conception states that the aesthetic is a practice of reflecting on other human practices. Kant was the first to articulate this conception, but nevertheless falls short of giving a satisfying account of it, as he doesn’t succeed in (...) explaining its objective aspect. I claim that Hegel resolves this problem by understanding works of art as objects that thermalize essential orientations of historical-cultural practices. But his explanation fails to grasp the specificity of art as a reflective practice. However, Hegel’s position gives us a hint for how to deal with this problem: Reflection has to be understood in a practical, and not in a cognitive sense. (shrink)

Volume 2, Issue 4, December 2018, Page 355-364.