In this article, I argue that speech act theory can be altered to accommodate art objects as evocative illocutionary speech acts that are aimed toward reaching understanding. To do this, I discuss the example of Zen Buddhism's use of the kōan, an aesthetic object that can be seen as evoking a given experience from its auditors for the purpose of reaching understanding on a point that the teacher wishes to make. I argue that such a reading of art as evocative (...) can be merged with hypothetical intentionalism insofar as it recognizes a certain orientation on the part of the auditor to approach art in a certain way. In the case of kōans and other artworks, the approach is one of considering what claim an author may want to convey through the auditor's experience of the artwork. (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)

Current philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to Art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of (...) fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of "somaesthetics," charting the complex network of bodily arts so prominent in contemporary life and self-styling. By blending concrete aesthetic analysis with insightful social critique, Shusterman, a well-known pragmatist philosopher, provides a rich menu and critical guide for today's pursuit of the art of living. (shrink)

My colleague E. D. Hirsch has skillfully developed the consequences for literary interpretation of a “realistic” epistemological position which he formulates as follows: “If we could not distinguish a content of consciousness from its contexts, we could not know any object at all in the world.” Given that premise, it is easy for Hirsch to infer that “without the stable determinacy of meaning there can be no knowledge in interpretation.”1 A lot of people disagree with Hirsch on the latter point, (...) and they look to philosophy for replies to the premise from which it was inferred. But it is not clear where in philosophy they should look: To epistemology? Ethics?2 Philosophy of language? What Jacques Derrida calls “a new logic, … a graphematics of iterability”?3 Where do we find first principles from which to deduce an anti-Hirsch argument?I want to argue that there is no clear or straight answer to this question and that there need be none. I shall begin by criticizing the strategy used against Hirsch and others by my fellow pragmatists Steven Knapp and Walter Benn Michaels. They think that one can start with philosophy of language and straighten things out by adopting a correct account of meaning. I share their desire to refute Hirsch, their admiration for Stanley Fish, and their view that “theory”—when defined as “an attempt to govern interpretations of particular texts by appealing to an account of interpretation in general”—has got to go . But they want to defend this position by exposing a mistake which they think common to all theory so defined: an error about the relation between meaning and intention. They assert that “what is intended and what is meant are identical” and that one will look for an “account of interpretation in general” only if one fails to recognize this identity . Such failure leads to an attempt to connect meaning and intention or to disconnect them . But such attempts must fail, for they presuppose a break “between language and speech acts” which does not exist . 1. E. D. Hirsch, Jr., The Aims of Interpretation , pp. 3, 1.2. See ibid., where Hirsch offers a “fundamental ethical maxim for interpretation” which, he says, “claims no privileged sanction from metaphysics or analysis” . Here and elsewhere Hirsch suggests that it may be ethics rather than epistemology which provides the principles that govern interpretation. There remain other passages, however, in which he retains the view, conspicuous in his earlier writings, that an analysis of the idea of knowledge is the ultimate justification for his approach.3. Jacques Derrida, “Limited Inc abc … , ” Glyph 2 : 219. Richard Rorty is Kenan Professor of Humanities at the University of Virginia. He is the author of Consequences of Pragmatism , among other works, and is currently writing a book on Martin Heidegger. His previous contribution to Critical Inquiry, “Deconstruction and Circumvention,” appeared in the September 1984 issue. (shrink)

In this article, I argue that speech act theory can be altered to accommodate art objects as evocative illocutionary speech acts that areaimed toward reaching understanding. To do this, I discuss the example of Zen Buddhism’s use of the koan, an aesthetic object that can be seen as evoking a given experience from its auditors for the purpose of reaching understanding on a point that the teacher wishes to make. I argue that such a reading of art as evocative can (...) be merged with hypothetical intentionalism insofar as it recognizes a certain orientation on the part of the auditor to approach art in a certain way. In the case of koans and other artworks, the approach is one of considering what claim an author may want to convey through the auditor’s experience of the artwork. (shrink)