It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...) interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

The article clarifies the way in which ‘the aesthetic’ is conceptualised in relation to business ethics in order to assess its potential to inform theory building and developmental practices within the business ethics field. A systematic review of relevant literature is undertaken which identifies three ontologically based accounts of the relationship between the aesthetic and business ethics: ‘positive’ ones, ‘negative’ accounts and ‘Postmodern’ renderings. Five epistemologically based approaches are also made explicit: those in which the aesthetic is thought to develop (...) enhanced perceptual discernment, those in which the aesthetic catalyses emotional sensitivity, those in which the aesthetic contributes to imaginative capacity, those in which the aesthetic prompts integrative apprehension and those in which the aesthetic is seen to foster critical reflexivity. The review reveals two key findings: firstly, the dearth of empirically based research to substantiate claims made about the aesthetic’s ability to foster ethical capabilities, which leads to proposals for further research; secondly, the analysis indicates the significance of critical reflexivity both in resolving the apparent dichotomy between ontologically based perspectives asserting the aesthetic’s ability to lead to ethically sound or egregious behaviour, and in underpinning the capacities of perceptual discernment, emotional connectivity, imagination and integrative apprehension which epistemologically based approaches assert the aesthetic can foster. (shrink)

After noting some conditions of historical and contemporary context that favor a dialogue between pragmatism and East‐Asian thought, which could help generate a new international philosophical perspective, this essay focuses on several themes that pragmatism shares with classical Chinese philosophy. Among the interrelated themes explored are the primacy of practice, the emphasis on pluralism, context, and flux, a recognition of fallibilism, an appreciation of the powers of art for individual, social, and political reconstruction, the pursuit of perfectionist self‐cultivation in the (...) art of living, and the crucial role of embodiment in this melioristic pursuit. The last section defends this somaesthetic emphasis against some likely criticisms and closes with an example of how occidental and East‐Asian somatic thinking can be productively integrated. (shrink)

SHUSTERMANRICHARDCambridge University Press. 2021. pp. xvi+420. £23.

In lieu of an abstract, here is a brief excerpt of the content:Thinking Through the Body, Educating for the Humanities:A Plea for SomaestheticsRichard Shusterman (bio)IWhat are the humanities, and how should they be cultivated? With respect to this crucial question, opinions differ as to how widely the humanities should be construed and pursued. Initially connoting the study of Greek and Roman classics, the concept now more generally covers arts and letters, history, and philosophy.1 But does it also include the social (...) sciences, which are often distinguished from the humanities and grouped as a separate academic division with greater pretensions to scientific status? And should our pursuit of humanistic study be concentrated on the traditional methods and topics of high culture that give the humanities an authoritative aura of established nobility, or should it extend to new and funkier forms of interdisciplinary research such as popular culture or race and gender studies?Despite such questions and controversy, it is clear (even from etymology) that the meaning of the humanities essentially relates to our human condition and our efforts to perfect our humanity and its expression. But what, then, does it mean to be human? I cannot pretend here to adequately answer such a complex and difficult question. I will, however, argue that because the body is an essential and valuable dimension of our humanity, it should be recognized as a crucial topic of humanistic study and experiential learning. Though the truth of this thesis should be obvious, it goes sharply against the grain of our traditional understanding of the humanities. One striking example of such antisomatic bias is the very term that German speakers use to designate the humanities, "Geisteswissenschaften," whose literal English translation would be "spiritual (or mental) sciences," as contrasted to the natural sciences (Naturwissenschaften) that treat physical life, [End Page 1] with which, of course, the body is clearly linked. Hence, given the pervasive physical/spiritual opposition, the body is essentially omitted or marginalized in our conception of humanistic studies.2We humanist intellectuals generally take the body for granted because we are so passionately interested in the life of the mind and the creative arts that express our human spirit. But the body is not only an essential dimension of our humanity, it is also the basic instrument of all human performance, our tool of tools, a necessity for all our perception, action, and even thought. Just as skilled builders need expert knowledge of their tools, so we need better somatic knowledge to improve our understanding and performance in the arts and human sciences and to advance our mastery in the highest art of all—that of perfecting our humanity and living better lives. We need to think more carefully through the body in order to cultivate ourselves and edify our students because true humanity is not a mere genetic given but an educational achievement in which body, mind, and culture must be thoroughly integrated. To pursue this project of somatic inquiry, I have been working on an interdisciplinary field called somaesthetics, whose disciplinary connections extend also beyond the humanities to the biological, cognitive, and health sciences, which I see as valuable allies for humanistic research.3Somaesthetics, roughly defined, concerns the body as a locus of sensory-aesthetic appreciation (aisthesis) and creative self-fashioning. As an ameliorative discipline of both theory and practice, it aims to enrich not only our abstract, discursive knowledge of the body but also our lived somatic experience and performance; it seeks to enhance the meaning, understanding, efficacy, and beauty of our movements and of the environments to which our movements contribute and from which they also draw their energies and significance. Somaesthetics, therefore, involves a wide range of knowledge forms and disciplines that structure such somatic care or can improve it. Recognizing that body, mind, and culture are deeply codependent, somaesthetics comprises an interdisciplinary research program to integrate their study. Mental life relies on somatic experience and cannot be wholly separated from bodily processes, even if it cannot be wholly reduced to them. We think and feel with our bodies, especially with the body parts that constitute the brain and nervous system. Our bodies are likewise affected by mental life, as when certain thoughts bring a blush to... (shrink)

This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in art and (...) in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does. (shrink)

This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaes-thetics but also those that challenge its bodily focus as a danger for feminism.

In this essay I examine the contributions of the pragmatist tradition to the philosophy of ethnicity. From the pragmatist philosophies of Dewey and Locke I derive a reconstructive model for the clarification and improvement of the life experiences of ethnic groups. Addressing various problems and objections, I argue that this Deweyan and Lockean reconstructive model rejects any sharp separation between race and ethnicity and avoids the pitfalls of the biologist race paradigm and the culturalist ethnicity paradigm. I explore some of (...) the social and political implications of this reconstructive model through a discussion of José Martí's inspiring account of Hispanic identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Dewey and the Question of Artful CommunicationScott R. StroudThe American pragmatist John Dewey included tantalizing sections of praise of the power of communication in his important work on community, experience, and their improvement, noting in 1925 that "of all aff airs, communication is the most wonderful" (1988a, LW 1:132) and in 1927 that communication plays an important part in the individual's attempt "to learn to become human" (1984, (...) LW 2:332).1 Some in the field of communication have sensed the important, but undeveloped, role that communication plays in his thought and have attempted to use Dewey's work in analyzing rhetorical practice, cultural studies, and the role of journalism in society.2 While such studies strive to clarify the value and process of communication in Dewey's thought, they fall short of explaining one seemingly simple thing that is implied in these passages—that communication can be experienced as aesthetic or artful. Nathan Crick identifies such a lacuna in the literature and notes that "beyond its utility as an argument against elite forms of academic criticism, the value of Dewey's aesthetic theory for communication studies remained underdeveloped" (2004, 303). Although he does an admirable job of tracing the relation of aesthetics to communication in Dewey's evolving thought, Crick comes no closer than others in answering the fundamental question of how communication can be artful or aesthetic—he merely argues for the general point that " communication, [End Page 153] whether it occurs in an oration, a conversation, or a television, is best understood as a form of art that has the potential to bring about aesthetic experience in its participants and open their eyes to the world of possibility embodied within each of us" (2004, 314). How exactly does this aesthetization of communication occur? Crick ends his article with the interesting claim that "in its aesthetic form communication becomes rhetorical. It turns communication into an art whose goal is a presentation that unites form and rhythm in a manner that can reach down into the experiences of the audience and literally transform them into something new" (2004, 317). How exactly does communication meet such standards? Does such a "high" art of communication as rhetoric fit everyday communication, the vast majority of human communicative practices?3 Although Crick's study is an important inquiry into the overall role of communication in Dewey's aesthetics, it still leaves open the fundamental question—How exactly can any given act of communication (beyond the eloquent and poetic oration) be rendered aesthetic or artful?This question was vitally important for Dewey, as he places artistic and aesthetic aspects of communicative practice at the very heart of his social and political philosophy. In describing the "Great Community," he announces that it will take place when two conditions hold: "The highest and most difficult kind of inquiry and a subtle, delicate, vivid and responsive art of communication must take possession of the physical machinery of transmission and circulation and breathe life into it.... Democracy will come into its own, for democracy is a name for a life of free and enriching communion.... It will have its consummation when free social inquiry is indissolubly wedded to the art of full and moving communication" (1984, LW 2:350). This is a vital passage for understanding Dewey's aims, as it clearly links a scientific method of thinking (his preferred method of "inquiry") with a form of communication that can be taken as an art.Yet scholars of communication systematically miss this part of the Deweyan equation. For instance, take Lary Belman's early study of Dewey's view of communication. He concludes by analyzing this same passage from Dewey on the two conditions of the Great Community and states, "The basic conditions for the creation of a Great Community... were, Dewey postulated, the presence of (a) vigorous, systematic, and continuous social inquiry to reveal the influential agencies at work in society and their mode of operation, and (b) widespread and rapid distribution of the findings of this inquiry in a form readily understood by those for whom these findings [End Page 154] have significance" (1977, 36–37). It is remarkable that the... (shrink)

Defining “criticism” is a simple—but bedeviling—task. No less a critic and theorist than Edwin Black begins with the simple statement that “criticism is what critics do.” While he admits that this seems like an empty definition, Black does note that it has one redeeming feature—“It compels us to focus on the critic” (1978, 4). Criticism and those who engage in it are integrally connected, and any account of critical activity must deal with both the activity and its actor. In this (...) way, it is much like art—one could easily utter that “art is what artists do.” Criticism is often tied to art and its products, so this appears to be a fair way to proceed in an investigation of criticism. Yet I would argue .. (shrink)

Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience, Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics. In this paper, I show that Dewey already refuses the gap between the practices of the ‘artworld’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our daily life have the same essential structure (...) as the experience of art. While Rorty has revised Dewey’s basic premises, Shusterman has rather restated them. Since the end of the 1980s, he has started developing his own philosophical project, named ‘somaesthetics’. Shusterman’s somaesthetics does not simply incorporate many Deweyan views, but also develops them further. Accepting a Deweyan framework, Shusterman rejects the sharp dualism of the so-called “lower and higher levels of art”. What is more, he considers philosophy as an art of the living, embracing in somaesthetics the ancient Greek and Asian traditions. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

Fashion is immediately associated with looks. Its popularity and its most consumerist sides thrive in our current culture of image, further highlighting the connection between fashion and an aesthetic that is quintessentially visual. While it is impossible to deny such a connection, this paper explores the relationship between fashion and touch and fashion and “feel”, two terms that, albeit related, deserve independent consideration. I will begin by emphasizing the importance of seeing fashion in relation to a performative understanding of identity, (...) which is experiential, embodied, situated, and, quite simply, “in movement”. Such an understanding, crucial for a better grasp of sartorial design, is inevitably linked to a tactile understanding of fashion: from the selection of fabrics to the silhouettes and cuts that allow a sketch to move to a garment in three dimensions. But, crucially, a performative understanding of identity is also the starting point for a reflection on touch and fashion in our everyday tasks and judgments, judgments that often move from the aesthetic sphere to other value areas and the broader socio-political context. To further cement my arguments, I will conclude the paper with two case studies: sportswear and maternity wear. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 104-117 MuseSearchJournalsThis JournalContents[Access article in PDF]Performative Somaesthetics: Principles and ScopeEric C. MullisJohn Dewey's aesthetic has been invoked in recent discussions because many have realized that it resists the pull toward conceptualism that characterizes a great deal of aesthetic theory. Further, Art as Experience—Dewey's chief work on the philosophy of art—is rich with ideas that call for development. Richard Shusterman's work does just (...) this as it suggests that Dewey's approach is a practical alternative to those that hinder a comprehensive understanding of art and/or ignore art's capacity to enrich the quality of lived experience. More specifically, Shusterman develops key Deweyan ideas by considering the aesthetic merits of popular music and by exploring Dewey's "somatic naturalism," that is, a naturalism that strives to understand the role played by the human body in aesthetic experience. Somaesthetics is the pragmatic discipline that explores somatic practices and ultimately demonstrates how they can lead to the attainment of fulfilling experiences. Shusterman argues that various disciplines can be taken up in order to improve the clarity of somatic functioning, perception, and thought as they "help us reconstruct our attitudes or habits of feeling to give us greater flexibility and tolerance to different kinds of feeling and bodily behavior." 1 Ultimately, Dewey's emphasis on the everyday origins of aesthetic experience is combined with his rejection of mind-body dualism in order to demonstrate how aesthetic experiences can be cultivated through such practices. One is not limited to going to museums and reading art criticism in order to have meaningful aesthetic experiences because somaesthetics shows how one's body can be transformed into a locus of aesthetic value.This said, we also find that similar techniques are used in the training of actors, dancers, and other performance artists. Performative somaesthetics explores the body disciplines that are instrumental to the performer's craft—that allow him or her to master the body and to enhance its expressive powers. In this article I would like to explore a few elements of this [End Page 104] craft in order to flesh out what the performance arts can reveal about the aesthetic body. In order to do so I will need to first say something about Shusterman's pragmatist aesthetic and the Deweyan foundation of that approach. After this is done I will discuss what I take to be a few core principles of performative somaesthetics and, with them in mind, will go on to discuss the relationship between practical and performative somaesthetics.Aesthetic MeliorismIn Art as Experience Dewey describes the process of "doing and undergoing," in which the energies and forces of the environment mix with those of the organisms that inhabit it. 2 For human beings life is lived to its fullest when difficult situations arise and are efficiently dealt with, that is, when the energies of particular situations are ordered and brought into accord with those of the individuals within them. This, in turn, renders experience meaningful as it simultaneously produces a sense of agency and solves particular problems. Ultimately, Dewey notes that the process of doing and undergoing is the foundation of aesthetic experience because it marks those intense organic moments that stand out from the broader context of humdrum or chaotic experiences: "Art... unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience." 3 Aesthetic experience, like any instance of doing and undergoing, involves the organization of energies, which solves a characteristically aesthetic problem. For artists this may be the problem of adequately expressing emotion and for observers it may be interpreting or judging the quality of a work. Regardless, for Dewey the aesthetic must not be conceptually or institutionally divorced from its broader context, for doing so not only ignores its natural origins but also limits its ability to imbue the world with meaning. Hence, Shusterman writes that for Dewey, "if anything is to have human value, it must in some way serve... (shrink)

In this essay I examine the contributions of the pragmatist tradition to the philosophy of ethnicity. From the pragmatist philosophies of Dewey and Locke I derive a reconstructive model for the clarification and improvement of the life experiences of ethnic groups. Addressing various problems and objections, I argue that this Deweyan and Lockean reconstructive model rejects any sharp separation between race and ethnicity and avoids the pitfalls of the biologist race paradigm and the culturalist ethnicity paradigm. I explore some of (...) the social and political implications of this reconstructive model through a discussion of José Martí's inspiring account of Hispanic identity. (shrink)

In responding to the three creative interpretive discussions in the symposium on my book Philosophy and the Art of Writing, this paper explores the different styles of philosophical discourse and their role in the practice of philosophy as a way of life that extends beyond the discursive and that combines self-cultivation with care for others in the ethical-aesthetic pursuit of living beauty. In advocating this aesthetic model of philosophical life over a purely therapeutic model, I suggest how the former can (...) incorporate the latter's concerns for spiritual health and liberation. In developing my response to the symposiasts while elaborating on the themes of my book, I consider issues of ineffability, creative performance, embodiment, truth, heroism, vulnerability, possession, art, spirituality, love, and liberation. (shrink)

This study delves into the philosophy, aesthetics, and educational components of somaesthetics to highlight the art of living by practicing body awareness. Specifically, this study focuses on ‘educ...

Experiential Foundationalism, Linguistic Practice, and Historicity.

The essay attends to a paradox found in some crucial poetic efforts by Wallace Stevens and John Ashbery. In some of their most important poetic works Stevens and Ashbery take on the task of positioning the poem toward the plurality of reality, the plurality that is concentrated in the phenomenon of change. As they do so, they invariably encounter a tension within the poem itself: as the poem merges with the flow of changes in the external world-the physical changes in (...) time and space-it also calls up permanent forms of imaginative purposive capability of attending to change, envisioning it, or, indeed, of installing it. These forms must be more permanent than it is postulated by some theories of the poetics of transitiveness, which are polemically discussed in the text. The tension between the element of change and permanence is what allows the poems of Stevens and Ashbery-each poet finding his own aesthetic and epistemic strategy-to put the poem forward not as an external “representation” of change, but as the very source of the abundant possibilities of producing world descriptions in which the notion of change may be meaningful. Such positioning of the poem is what I am calling “the poetics of plenitude.” This poetic strategy makes the poem an aesthetic counterpart to the epistemic action of developing an inquiry, and I am building a definition of this term by reference to the classical pragmatist theory of inquiry. This move is related to my treating Stevens and Ashbery as the poets belonging to the Emersonian-pragmatist intellectual and aesthetic tradition. The paradoxes of change and permanence discussed in the text are treated as inherent in this tradition. (shrink)

Le but de cet article consiste à présenter des influences de l’évolutionnisme Darwinien et des idées de Frederick Matthias Alexander sur l’esthétique naturaliste de John Dewey. Ces influences menaient Dewey à sa propre version de l’esthétique naturaliste, c’est-à-dire une conception large, non cartésienne, dynamique d’un sujet, qui peut aussi inclure des animaux. Par conséquent John Dewey construisait une sorte d’anti-anthropocentrisme, ce qui décidait que son esthétique était en avance sur son temps.

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and (...) post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge. (shrink)

Performance-as-philosophy and Philosophy-as-performance. Interdisciplinary Approaches to Understand Dance Performance Philosophy refers to an international network of researchers, practitioners, scholars, and activists who investigate new forms of thinking, performing and practicing philosophy through international conferences and events. An independent journal and a book series of the same name also aim to define the perimeter of an emerging international interdisciplinary field of thought....

Philosophy of art presupposes differences between art and other cultural activity. Philosophers have recently paid more attention to this excluded activity, particularly to the range of cultural production known as popular art. Three issues have dominated these discussions. First, there is debate about the basis of the distinction. Some philosophers contend that fine art is essentially different from popular art, but others hold that the distinction is entirely social in origin. Second, philosophers disagree on the degree of continuity or discontinuity (...) that holds between fine and popular art. Third, there is controversy about the relative value of the two, and about the basis for the supposed superiority of fine art. (shrink)

This article puts forward the thesis that in the age of multiculturalism, global communication is rooted in cross-cultural understanding as shown in McLuhan's late communication theory. The American philosopher Ernest Fenollosa went to Japan during the Meiji Restoration when it started in earnest full-scale Westernization. He became fascinated with the poetics of sinography manifested in etymosinology. Etymosinology reveals the depth of the Sinic cultural soul, which is this-worldly, practical, concrete and specific. Sinism (i.e. Confucianism, Daoism and Chan/Zen Buddhism) is a (...) species of relational ontology which is predicated upon the conception of reality as social process. This social process is always already embodied. With the aid of Merleau-Ponty's phenomenology of embodiment, I critically explore and examine the connection between embodiment and `new media' theory. (shrink)

: This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaesthetics but also those that challenge its bodily focus as a danger for feminism.

This article offers an alternative to classical hermeneutics, which focuses on discursive products and grasps meaning as the play of difference between linguistic signs. Pragmatist hermeneutics reconstructs meaning through an indefinite triangulation, which brings symbols, icons, and indices to bear on each other and considers a meaningful occasion as an embodied semiotic process. To illuminate the word-body-action nexus, the discussion identifies three basic types of signifying media: (1) the symbolic-discursive, (2) the somatic-affective, and (3) the behavioral-performative, each one marked by (...) a special relationship between signs and their objects. An argument is made that the tension between various type-signifying media is unavoidable, that the pragmatic-discursive misalignment is an ontological condition, and that bridging the gap between our discursive, affective, and behavioral outputs is at the heart of ethical life. (shrink)

Official Dutch food information apparently tries to avoid images but is implicitly shaped by the metaphor that food is fuel. The image of food as fuel and its accompanying view of the body as a machine are not maximally helpful for integrating two important human desires: health and pleasure. At the basis of the split between health and pleasure is the traditional mind–body dichotomy, in which the body is an important source of evil and bodily pleasure is sinful and dangerous. (...) In the search for alternatives, new metaphors are proposed that integrate mind and body as well as pleasure and health. The relevance of metaphors for ethics is at least twofold. (1) Moral thought and theory are at least partly shaped by metaphors. In the light of this growing recognition, the analysis of morality needs innovation. (2) With regard to food, new metaphors, such as slow food, or the image of enjoyment as an art, enable a new search for morally responsible forms of hedonism, based on more love and respect for human as well as animal bodies. But new metaphors are specific and selective, just like old ones. I argue that a search for the best overall metaphor would be misguided, but that more diverse forms of attention to bodily aspects of life, including experiences related to food, will result in richer vocabularies of the body, the mind, and body–mind relations. This holds a promise of moral progress. (shrink)

The Poem as Icon: A Study in Aesthetic Cognition FREEMANMARGARET H.oup. 2020. pp. 216. £64.00.

The anthology gathers the results of a symposium held on the occasion of Hans Joas' 60th birthday in November 2008 at the Max-Weber-Kolleg in Erfurt. Its clear systematic focus on the integration of the historicist and the pragmatist legacy in current social theory marks a pleasant difference from the eclecticism of a typical festschrift. The editors succeeded in obliging all contributors to each take up and develop a specific aspect of the comparison of both theories. As a result, the contri...