Are philosophy and literature allies or enemies in Jorge Luis Borges's fictions? In this paper, I argue that Borges can satisfy membership in the allies camp because his fictions provide the imaginative scenarios the allies believe are so necessary to this coalition; however, because his stories question philosophy's hold on reality, they can also seem to fall into the enemies camp by countervailing any claim philosophy has on reality and truth; although, ultimately, the manner in which Borges forges an alliance (...) between philosophy and literature will be for reasons not traditionally accepted by those in either the allies or enemies camps. (shrink)

Immanuel Kant’s work on the sublimity of aesthetic experience lends itself to puzzlement, if not misclassification. Complicating matters, Kant distinguishes between two kinds of sublimity: respectively, the “mathematical” and “dynamical” sublime. More mystifying is that the sublime is ineffable, beyond the ken of human comprehension. These perplexities notwithstanding, Kant argues that sublime sentiment produces a feeling of supersensible comfort. Commentators identify this comfort emanating most strongly from the dynamical sublime. However, in this paper I draw from the unity of reason (...) thesis to offer a plausible account of how the mathematical sublime is equally capable of providing the same feeling of supersensible comfort. (shrink)

Ethics normally proceeds by establishing some kind of ground from which norms can be derived for human action. However, no such terra firma is found in Jean-Paul Sartre’s Being and Nothingness, which instead lays down a sedimentary soil consisting of a blend of nothingness and contingency. This paper aims to show how Sartre is able to build an ethical theory from this seemingly groundless mixture, and it proceeds in three sections. Section one aims to disentangle the relation between the for-itself (...) (pour-soi) and the in-itself (en-soi) from antithetical characterizations by placing them in a state of supervenience. Section two works to explain how both the in-itself and the for-itself are not divided ontologically, but are both in the same ontological state, namely, contingency. And in section three, it is argued that Sartre’s ethics reveals that because human beings share the same thrownness with Others in a world, they have to take title for such a world. Within a Sartrean ethics of nothingness, one’s nothingness leads one to the shared nothingness of Others, of which one must take responsibility. (shrink)

This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to this shortage, I (...) note that, while certainly not identical, Hugo and Hegel share an aesthetic family resemblance in how they hold similar ideas on architecture’s symbolic function, cognitive content, and, ultimately, how the artform’s ability to remain a standing paragon of meaning was razed by successive modes of cultural communication. Consequently, the essay works to show some congruent aesthetic affinities between these two great figures, but which appears to be overlooked in the literature. (shrink)

Necessity can be ascribed not only to propositions, but also to feelings. In the Critique of Judgment (KdU), Immanuel Kant argues that a feeling of beauty is the necessary satisfaction instantiated by the ‘free play’ of the cognitive faculties, which provides the grounds for a judgment of taste (KdU 5:196, 217-19). In contradistinction to the theoretical necessity of the Critique of Pure Reason and the moral necessity of the Critique of Practical Reason, the necessity assigned to a judgment of taste (...) is exemplary necessity (KdU 5:237). Necessity can also be assigned by employing the de re/de dicto distinction, namely, by ascribing entailments of what must necessarily hold to either a thing (de re) or to a proposition (de dicto). Although Kant does not use the distinction in any of the three Critiques, this omission has not prevented Kant scholars from applying the distinction in their analyses of the first two Critiques. In this paper, I examine the role that modality plays in Kant’s third Critique and I attempt to bring the de re/de dicto distinction to bear on Kant’s famous aesthetic theory. Ultimately, I perform a retrospective classification of the modality of taste by arguing that because a judgment of taste is not a statement about an objective fact, a judgment of ‘x is beautiful’ can only be read as de dicto necessary. (shrink)

G.W.F. Hegel argues that a philosophy of history should engender comprehension of evil in the world. And yet some commentators have charged his philosophy with transcending mere explication by justifying the existence of these evils. In defense of his words, Hegel famously characterizes evil as a modal mismatch; namely, as the incompatibility between what is given and what ought to be the case. Unfortunately, some readers of Hegel’s grand narrative either continue to struggle with or overlook this fine distinction. Against (...) such readings, I organize my paper into three sections that speak directly to these concerns. In §1, against the concern that Hegel’s view of the “actual world” justifies suffering, it is shown that his philosophy does not endorse the merely extant world, which is a whole world apart from the actual world. In §2, I articulate the premises of Hegel’s Doppelsatz to argue that the famous slogan is not, as some commentators take it, an endorsement of “things as they are.” And in §3, I expose a category error that mistakes an epistemological claim made by Hegel about contingency as a metaphysical assertion in support of evil. Ultimately, I argue that Hegel views evil as neither actual nor necessary nor justified. (shrink)

I aim to show how the enigmatic phrase 'Unánime noche' in the famous first sentence of “The Circular Ruins” is inextricably linked to the story’s last words. Toward this purpose, I argue—against plausible foundational interpretations of the story—for a nonfoundational reading of the text and, moreover, that Borges’s use of ‘unánime’ (one soul) can be understood as one character or one form; namely, as an archetype of “Dreamanity” that leads to a vertiginous Third Man regress.

Alasdair MacIntyre’s work in ethics follows in the footsteps of twentieth century efforts to put the ideals of Enlightenment and modernity on trial, and his book After Virtue diagnoses a wide-spread malaise in contemporary moral discourse. As a corrective to this condition, MacIntyre offers a remedy along Aristotelian-Thomistic lines. He specifically conceives of a recovery of these lines that would allow for a common ground in moral debates which would reveal the normative and teleological character of the human good. However, (...) within these pages, I argue that MacIntyre underestimates how his moral corrective is actually a re-inscription of the Enlightenment project, and thus equally doomed to failure. I do this by sketching out three different lines. First, I present MacIntyre’s appraisal of modern moral discourse, which has long since abandoned a reliance on Aristotelian principles of ethics. Second, I outline an informative disjunction MacIntyre sets up between having to choose between a Nietzschean or an Aristotelian model of ethical action. Last, I argue that MacIntyre’s own choice, simultaneously based on, but also diverging from, Aristotle fails because his revamped account of the virtue formation so necessary for modern human flourishing leaves open a space for its development according to contingent histories and traditions, which implies an attenuated account of the virtue ethics he seeks to recover, and vindicates, rather than condemns, the Enlightenment’s attempt to liberate moral theories from its strict teleological forbears. (shrink)

The Blumenberg-Löwith 'debate' over the 'secularization hypothesis' is an evocative clash that has remained a matter of discussion both inside and outside of the mid-twentieth century German tradition, which has yet to register fully the implications of Blumenberg’s work on the topic of modernity. On one side is Hans Blumenberg, who perceives modernity as justified on its own terms. On the other side is Karl Löwith, who does not recognize a substantive break between modernity and its epochal genetic precursors. My (...) reading recognizes the heart of this debate to be over an impulse either to espouse or oppose the sovereignty of philosophical modernity in its relation to worldmaking. In this paper, I argue that Blumenberg’s thesis of 'self-assertion' describes a re-establishing of the project of worldmaking in a sophisticated and nuanced language that is missed by Löwith’s diagnosis of modern philosophy of history. (shrink)

John Searle’s theory of social ontology posits that there are indispensable normative components in the linguistic apparatuses termed status functions, collective intentionality, and collective recognition, all of which, he argues, make the social world. In this paper, I argue that these building blocks of Searle’s theory are caught in a petitio of constitutive circularity. Moreover, I note how Searle fails to observe language in reciprocal relation to the institutions which not only are shaped by it but also shape language’s practical (...) applications. According to Searle, social theorists that tried to show a connection between society, culture, and language all failed to see the constitutive role of language in the making of social reality. Consequently, I believe that Searle is himself guilty of a certain kind of blind presumption, and argue that Hegel’s philosophy of culture, which Searle dismisses as implausible, offers a more cohesive account of the normative transactions between human beings and their social world. (shrink)

In his influential work on Kant and history, Yirmiyahu Yovel identifies a problem which he terms ‘the historical antinomy.’ The problem states that no possible mediation can take place between the atemporal realm of pure reason and the empirical realm of human history. In this paper, I aim to bridge this gap based on a two-aspect reading of the faculty of reason, and then proceed to show reason’s ability to apply transcendental ideas on empirical history for the sake of grasping (...) a rational idea of history in a single, mediated process. (shrink)

In the Critique of the Power of Judgment, Immanuel Kant argues that when we form a judgment of taste, the representation goes together with a demand that we require others to share. Some commentators note that the aesthetic feeling in a judgment of taste and its expectant universality seems to display a normative necessity in the explicit judgment itself, and that the expression of this normative component is sometimes stated as a claim to which everyone ought to conform. In this (...) paper, I argue that the normative component of taste and its concomitant demand should not be interpreted too strongly as an actual expectation, but rather as only a conceivable possibility. Toward this end, I examine several passages for the declaration of taste to call into view certain caveats which suggest that Kant’s description of an intersubjective demand arising concomitantly with a judgment of taste functions only as an “analogical ought,” i. e., that the demand of taste is expressed as if the satisfaction I feel in a judgment of taste can possibly demand universal assent. (shrink)

Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between Unamuno and (...) Kant is conflicted, ranging from clear indications of influence to expressions of antipathy, there has been relatively little comparative research done on these two thinkers. Moreover, this scant literature has mainly explored connections between Unamuno’s existential thought and Kant’s first two Critiques. In these works, however, feelings are regarded as inclinations and thus receive no serious consideration. In what follows, I therefore juxtapose Unamuno’s analysis of tragic feeling in The Tragic Sense of Life with Kant’s discussion of the feelings of beauty and the sublime in the Critique of Judgment. (shrink)