Are we witnessing progress or regress in the recent increasing popularity and electoral success of populist politicians and parties in consolidated democratic nations? ... Is the innovative use of popular referendum in Great Britain to settle fundamental constitutional questions a progressive or regressive innovation? ... Similarly, is the increasing use of constituent assemblies to change constitutions across the world evidence of progress in democratic constitutionalism, or, a worryingly regressive change back toward unmediated popular majoritarianism? ... This paper reflects on some (...) of the perils and promise of framing such questions with the conceptual couplet of progress and regress. It considers four compelling critiques of the use of ‘progress’ and its cognates in sociopolitical theory, as well as arguing that such concepts are nevertheless ineliminable for our normative theories. The paper concludes by suggesting that we can avoid the most serious problems by employing only conceptions of political progress and regress that are piecemeal, pragmatic, and processual. (shrink)

Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or dead; nonetheless, (...) we use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction. (shrink)

A major part of Ordinary Aesthetics has been to include the traditionally marginalized aesthetic categories excluded when studying beauty, truth, and goodness. These “negative aesthetics” are implicated in the construction, presentation, and sustenance of marginalized identities. For the purposes of my article, I will be focusing on the effort to incorporate the aforementioned in the study of aesthetics, essentially arguing for them to be inherently valuable and not for the sake of producing a “positive.” To this end and keeping up (...) with the thrust to include other traditions within aesthetics, my article will explore certain strands of Sufi poetry, namely the tradition of Qalandariyat, which present marginalized social identities to our awareness and not for the sake of changing or improving them. I will present some samples from the Persian poetry of Hafez and Rumi, as well as Punjabi couplets of Bulleh Shah and Shah Hussain, for a hermeneutic study that grounds the aesthetics of their Qalandari-themed literature in the usage of “negative” aesthetic categories. This exercise contains the promise of expanding the horizons for our field of sensibilities, by engaging with those social identities that have remained outside them and that too on their own terms. (shrink)