Originating from a confrontation with the contemporary French thought, especially with Jacques Derrida, the article discusses the question of the relation between text and interpretation. It receives the basic impulse for the deliberation on the theme from the tradition of hermeneutics and from the philosophy of Martin Heidegger, from his considerations upon the subjects of the circle of understanding and the phenomenon of language. What is the relation of the text towards the language? What comes from the language forth into (...) the text? What does understanding between speakers mean and what does it mean that there can be commonly given to us something like texts, or even that in mutual understanding something comes into being that is, like a text, one and the same thing for us? How has the concept of the text been able to undergo such a universal extension? In this theme more is at stake than reflections upon the methodology of the philological sciences. Text is more than a title for the subject matter of literary research. Interpretation is more than the technique of scientifically interpreting texts. (shrink)

This book covers all of Hans-George Gadamer major works, ideas and influences and provides a firm grounding in the central themes of Gadamer's thought. Students will discover information, analysis and criticism. A-Z entries include a clear definition of all the key terms used in Gadamer's writings and detailed synopses of his key works, including his magnum opus, Truth and Method. The Dictionary also includes entries on Gadamer's major philosophical influences, from Plato to Heidegger, and his contemporaries, including Derrida and Habermas. (...) It covers everything that is essential to a sound understanding of Gadamer's 'philosophical hermeneutics', offering clear and accessible explanations of often complex terminology. (shrink)

Essays discuss poetry, communication, television, form, aesthetics, bad taste, and art.

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

The Phenomenology of Aesthetic Experience was first published in 1953. In the first of four parts, Dufrenne distinguishes the "aesthetic object" from the "work of art." In the second, he elucidates types of works of art, especially music and painting. He devotes his third section to aesthetic perception. In the fourth, he describes a Kantian critique of aesthetic experience. A perennial classic in the SPEP series, the work is rounded out by a detailed "Translator's Foreword" especially helpful to readers in (...) aesthetics interested in the context and circumstances around which the original was published as well as the phenomenological background of the book. (shrink)

Hermeneutics has had a pervasive influence on contemporary philosophy, social and cultural theory, literary criticism, and aesthetics. In this book one of Europe's foremost contemporary philosophers provides hermeneutics with a fresh relevance and a substantive account of its philosophical meaning for science, ethics, religion, and art. Vattimo argues for a reading of hermeneutics that radicalises it according to what the author calls its 'nihilistic vocation', a term referring to the interpretive character of truth and taken from Nietzsche's statement that there (...) are, in the modern period, no facts, only interpretations. Modernity, for Vattimo, is conceived as the advent of nihilism, and the central question of the book is to ask what it means to take this nihilistic vocation seriously. This involves not simply accepting the current status of hermeneutics, but evaluating why it appears when, and where, it does. (shrink)

Grondin situates Gadamer's concerns in the context of traditional philosophical issues, showing, for example, how Gadamer both continues and significantly modifies Descartes' approach to the philosophical problem of method and advances rather than simply follows Heidegger's treatment of the relationship of thinking to language. In doing this Grondin shows that the issues of philosophical hermeneutics are relevant to contemporary concerns in science and history.