At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

While Immanuel Kant is an epochal figure in a variety of fields, he has not figured prominently in the study of rhetoric and communication. This book represents the most detailed examination available into Kant's uneasy but often misunderstood relationship with rhetoric. By explicating Kant's complex understanding of rhetoric, this book advances the thesis that communicative practices play an important role in Kant's account of how we become better humans and how we create morally cultivating communities.

According to a common misconception, Kant rejects rhetoric as worthy of no respect and neglects popularity as a dispensable accessory. Two recent publications on the communicative dimension of Kant’s conception and practice of philosophy represent a very solid rebuttal of such criticism. The books in question are Kant’s Philosophy of Communication by G. L. Ercolini and A linguagem em Kant. A linguagem de Kant edited by Monique Hulshof and Ubirajara Rancan de Azevedo Marques, especially in light of the long (...) chapter “Kant e a Questão da Popularidade e da Linguagem da Filosofia” by Leonel Ribeiro dos Santos (pp. 17- 69). What Ercolini’s monograph and Santos’ chapter have in common, is that they both argue that Kant does indeed value and practice both rhetoric and popularity. However, they differ from each other in that Ercolini lets Kant’s reflection on popularity derive from occasional factors, while Santos locates its origin at the heart of Kant’s critical project. In order fully to appreciate their novelty, these two contributions call for an overview of the state of research on the subject of Kant’s conception of rhetoric. Thus, before closely examining them, I will briefly outline the relevant scholarship by dividing it into the three classes of those who interpret Kant (a) as a skillful rhetorician, (b) as dismissive of rhetoric, and finally (c) as according rhetoric a moral function. (shrink)

Publications in the Kant-Studien have a dual focus: firstly contributions to the interpretation, history and editorial questions of Kant’s philosophy, and secondly systematic debates on transcendental philosophy. In addition, there are investigations on Kant’s precursors and on the effects of his philosophy. The journal also contains a documentation section, in which the current state of research is indicated by means of a continually updated bibliography with reviews and references.

There are different narratives on mathematics as part of our world, some of which are more appropriate than others. Such narratives might be of the form ‘Mathematics is useful’, ‘Mathematics is beautiful’, or ‘Mathematicians aim at theorem-credit’. These narratives play a crucial role in mathematics education and in society as they are influencing people’s willingness to engage with the subject or the way they interpret mathematical results in relation to real-world questions; the latter yielding important normative considerations. Our strategy is (...) to frame current narratives of mathematics from a virtue-theoretic perspective. We identify the practice of mathematizing, put forward by Freudenthal’s ‘Realistic mathematics education’, as virtuous and use it to evaluate different narratives. We show that this can help to render the narratives more adequately, and to provide implications for societal organization. (shrink)

This article argues that Kant’s attack on the ars oratoria in §53 of the Critique of the Power of Judgement is directed against eighteenth-century school rhetoric, in particular against the ‘art of speech’ (Redekunst) of Johann Christoph Gottsched. It is pointed out that Kant suggests a revision of Gottsched’s conception of ‘true eloquence’, which was the predominant rhetorical ideal at the time. On this basis, and in response to recent discussions on ‘Kantian rhetoric’, Kant’s own ideal of speech (...) is adressed. It emerges that he favours a culture of speech embedded in moral cultivation, which excludes any disciplinary form of rhetoric. (shrink)

I examine the significance of the Stoic theory of pathē for Kant’s moral psychology, arguing against the received view that systematic differences block the possibility of Kant’s drawing anything more than rhetoric from his Stoic sources. More particularly, I take on the chronically underexamined assumption that Kant is committed to a psychological dualism in the tradition of Plato and Aristotle, positing distinct rational and nonrational elements of human mentality. By contrast, Stoics take the mentality of an adult human being (...) to be rational through and through, while recognising that this rationality is not normally in a state of health or excellence. I show how Kant’s account of affections—chiefly the “affects” and “passions” that he identifies as targets of a duty of apathy—draws substantive lessons from his Stoic sources, and how he accepts on his own terms the monistic principles of Stoic moral psychology. (shrink)

This paper analyses the hidden use of new axioms in set-theoretic practice with a focus on large cardinal axioms and presents a general overview of set-theoretic practices using large cardinal axioms. The hidden use of a new axiom provides extrinsic reasons in support of this axiom via the idea of verifiable consequences, which is especially relevant for set-theoretic practitioners with an absolutist view. Besides that, the hidden use has pragmatic significance for further important sub-groups of the set-theoretic community---set-theoretic practitioners with (...) a pluralist view and set-theoretic practitioners who aim for ZFC-proofs. By describing this, the paper gives a more complete picture of new axioms in set-theoretic practice. These observations, for instance, show that set-theoretic practitioners interested in ZFC-proofs use tools that go beyond ZFC. The analysis is based on empirical data that was collected in an extensive interview study with set-theoretic practitioners. (shrink)

My observations here are meant to address a current lacuna in discussions of Kant's aesthetics, namely the beauty of poetry. There are, I admit, numerous treatments of poetry considered in the light of Kant's aesthetic theory, but what may not be noticed is that in discussions of poetry and Kant's aesthetics, the topic of poetic beauty only rarely comes up. This virtual silence on the beauty of poetry is surprising, given that the beautiful is obviously one (...) of the two foundational aesthetic categories in Kant's aesthetics. This silence stands out all the more given that Kant himself explicitly mentions that poems can be beautiful and furthermore declares poetry to be the highest form of fine art. Why, then, is the beauty of poetry almost never discussed in relation to Kant's aesthetics? Ultimately, I will be arguing that this silence on the beauty of poetry is a motivated one, albeit an unintentionally motivated one, namely because Kant's conception of free beauty militates against its being applied to poetry. In other words, this lacuna in discussions of Kant's aesthetics rests on a lacuna in the field of products of fine art to which the Kantian conception of free beauty can be applied. It seems that this lacuna has been overlooked in the literature principally because Kant himself overlooks it; in addition, interpreters of Kant may well independently overlook it for the same reasons that Kant apparently did. Johann Gottfried Karl Christian Kiesewetter's book, Immanuel Kant's Critik der Urtheilskraft für Uneingeweihte (1804), serves to bring the discussion into higher focus. (shrink)

Translation from German to English by Daniel Fidel Ferrer -/- What Does it Mean to Orient Oneself in Thinking? -/- German title: "Was heißt: sich im Denken orientieren?" -/- Published: October 1786, Königsberg in Prussia, Germany. By Immanuel Kant (Born in 1724 and died in 1804) -/- Translation into English by Daniel Fidel Ferrer (March, 17, 2014). The day of Holi in India in 2014. -/- From 1774 to about 1800, there were three intense philosophical and theological controversies underway in (...) Germany, namely: Fragments Controversy, the Pantheism Controversy, and the Atheism Controversy. Kant’s essay translated here is Kant’s respond to the Pantheism Controversy. During this period (1770-1800), there was the Sturm und Drang (Storm and Urge (stress)) movement with thinkers like Johann Hamann, Johann Herder, Friedrich Schiller, and Johann Goethe; who were against the cultural movement of the Enlightenment (Aufklärung). Kant was on the side of Enlightenment (see his Answer the Question: What is Enlightenment? 1784). -/- What Does it Mean to Orient Oneself in Thinking? / By Immanuel Kant (1724-1804). [Was heißt: sich im Denken orientieren? English]. (shrink)

There can sometimes be weariness surrounding coordinated efforts to induce inclusion. Detractors of certain such efforts may cite coercion or a loss of autonomy as a concern. In their book Nudge, Thaler and Sunstein presented the idea of the “nudge.” Nudges change the context in which a decision is made to increase the likelihood that a certain choice is made by the decision maker. However, nudges are designed to be easy to avoid. Thaler and Sunstein laid out criteria such that (...) nudges can remain ethical. In this paper, I show that certain nudges that greatly increased inclusion in their respective communities do follow these criteria. In fact, subjected even to the relatively tighter constraints imposed by a prominent critic of Thaler and Sunstein’s philosophy, Wilkinson, these nudges remain unscathed. Thus, inclusion-promoting nudges are not necessarily unethical from the standpoint of manipulation or autonomy. (shrink)

There has been a persistent misunderstanding of the nature of cosmopolitanism in Immanuel Kant’s 1795 essay “Perpetual Peace,” viewing it as a qualitative break from the bellicose natural law tradition preceding it. This misunderstanding is in part due to Kant’s explicitly critical comments about colonialism as well as his attempt to rhetorically distance his cosmopolitanism from traditional natural law theory. In this paper, I argue that the necessary foundation for Kant’s cosmopolitan subjectivity and right was forged in the experience of (...) European colonialism and the (pre-Kantian) theory it engendered. It is in this context that we witness the universalization of subjectivity and the subjectivization of right, emerging from the justificatory needs of extra-national jurisdiction and resource appropriation. This form of cosmopolitanism, whose emergence necessarily tracks the rise of global capitalism, continues to exert great and often uncritical influence on theories and practices of peace today. (shrink)

Penelope Maddy’s Second Philosophy is one of the most well-known ap- proaches in recent philosophy of mathematics. She applies her second-philosophical method to analyze mathematical methodology by reconstructing historical cases in a setting of means-ends relations. However, outside of Maddy’s own work, this kind of methodological analysis has not yet been extensively used and analyzed. In the present work, we will make a first step in this direction. We develop a general framework that allows us to clarify the procedure and (...) aims of the Second Philosopher’s investigation into set-theoretic methodology; pro- vides a platform to analyze the Second Philosopher’s methods themselves; and can be applied to further questions in the philosophy of set theory. (shrink)

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for (...) incorporating poetry into prose-dominated courses. In this chapter, I will suggest an alternate approach which recognizes and facilitates the agency of poets and poetry per se, which I term “empowering poetic defiance.” In brief, this approach consists of the following four steps: (1) challenge one’s own poetic self-loathing (2) position the course’s poetry’s content to challenge the course’s non-poetic contents (3) position the course’s poetry’s forms to challenge your class’s non-poetic forms (4) comport oneself as interlocutor toward the poets featured in the course as the intellectual equals of oneself and the course’s prose writers. My first section will elaborate on these four steps, and my second section will flesh out the method further with a new reading of one of the most powerfully defiant poets in the Western canon, the nineteenth-century French Symbolist poet Charles Baudelaire, in dialogue with one of the most formidable challengers to the power of poetry, the eighteenth-century Prussian philosopher Immanuel Kant. (shrink)

This is an essay on Kant's neglected late tract On a Recently Adopted Prominent Tone in Philosophy (RTP) and Derrida's oblique commentary on this work in his D'un ton apocalyptique adopté naguère en philosophie. The theme of the essay is metaphilosophical and considers issues concerning the nature of critical philosophy, fanaticism (Schwärmerei), and the use of religious tropes in philosophy. I am primarily interested in the ways in which RTP thematises the legitimacy of speaking in an exalted, quasi-religious tone apropos (...) of the authority of Reason as a self-legitimising capacity in philosophical speech. An important additional reason for taking a closer look at this text is because the late Jacques Derrida (1930–2004) took a great interest in this work of Kant’s and, indeed, emphasised, rightly I think, that despite its prima facie rhetorically charged, polemical nature this work—which might at first be taken to be merely a lampoon—is anything but insignificant in Kant’s œuvre. Derrida’s On a Recently Adopted Apocalyptic Tone in Philosophy, originally published in 1983, is an oblique commentary on Kant’s RTP, and aims to expose to view the alleged hidden underpinnings of Kant’s polemic against exaltation or fanaticism (Schwärmerei) in philosophy. Derrida tries to show that Kant’s appeal for tonal moderation in philosophy, for a measured speech, which should rein in exalted modes of speech, is itself not neutral and rather fundamentally biased against an exalted, quasi-religious, manner of thought. It is evident that, as he himself notes early on in RTP, Kant is predisposed towards a more Aristotelian, academic kind of philosophy, which adopts a “proper” tone or pitch in philosophical debate, but Derrida claims that Kant himself raises his voice precisely in lampooning exalted thinkers. I am particularly interested in the extent to which Derrida’s critique manifests a fundamental misapprehension of the Kantian mode of moderating critique. By expounding this misapprehension, Kant’s own reasons for his philippic against religious or quasi-religious talk in philosophy are foregrounded, thus showing the nature of properly critical thought. At the same time, I shall show how Derrida underestimates the self-reflexivity, and hence properly critical, self-authorising mode of thinking, underlying his own oblique references to the adieu as a trope for quasi-transcendental intentionality towards the so-called ‘Other’. (shrink)

This paper examines the relationships between Romantic painting, poetry, and philosophy, historically tracing the circulation of images used to communicate sublimity (for example, images of ruins, storms, volcanoes, and so on). Kant's "Critique of Judgment" deployed the same vocabulary of images that appear in Coleridge and Shelly, in Church and in Turner. The discussion thereby places Kant's 3rd Critique within its cultural context. But it also reveals the massive shift from Enlightenment rationalism to 19th century historicism that Romanticism enacted, (...) and Kant's resistance to, and unwilling participation, in that shift. For the nostalgic logic of ruins, and the irruption of geological time, both of which were conceived and negotiated through sublimity, cannot be assimilated within Kant's philosophy. The treatment of the sublime in the "Critique of Judgment" represents Kant's philosophy straining at its own limits in the attempt to develop a philosophy of history and to articulate an historicized philosophical anthropology. Therefore, read through art history, Kant's 3rd. Critique represents a vital transition between Enlightenment rationalism/beauty and Romantic historicism/sublimity, along with the work of Beethoven, Goya, and the Marquis de Sade. (shrink)

According to recent scholarship, Kant’s "An Answer to the Question: What is Enlightenment?" and the introductory section to "The Conflict of the Faculties" are masterpieces of philosophical rhetoric. The philosophical significance of these texts lies in establishing the free public use of reason as a tool to discipline political power through pure practical reason, and the rhetorical mastery consists in presenting the free public use of reason as a means to satisfy the ruler’s pragmatic practical reason. Elaborating on this (...) interpretation, I flesh out three further aspects of the writings in question. First, I examine the four types of arguments that Kant crafts in defence of the public use of reason and show how their pragmatic practical character is fully in keeping with the foundation of politics on pure practical ideas. Second, contrasting Kant’s notion of the public use of reason with the classical liberal conception of free speech, I argue that the distinctive character of Kant’s notion of the public use of reason consists in adding to the liberal demand for freedom from state censorship the requirement of the self-discipline of the participants in the public use of reason. Third, I contend that Kant’s notion of the public use of reason goes beyond a mere non-coercive discursive procedure and conclude that, to qualify as public in the distinctive Kantian sense, publicly presented positions must uphold theoretical and moral criteria informed by critical philosophy. (shrink)

The public health crisis is started with emergence of new coronavirus on 11 February 2020 which triggered as coronavirus disease-2019 (COVID-19) pandemics. The causative agent in COVID-19 is made up of positively wrapped single-stranded RNA viruses ~ 30 kb in size. The epidemiology, clinical features, pathophysiology, and mode of transmission have been documented well in many studies, with additional clinical trials are running for several antiviral agents. The spreading potential of COVID-19 is faster than its two previous families, the severe (...) acute respiratory syndrome coronavirus (SARS-CoV) and the Middle East respiratory syndrome coronavirus (MERS-CoV). Apart from clinical manifestation, comorbid status is playing key role for prevalence of COVID-19 infection and mortalities. The comorbid effects associated with COVID-19 are diabetes, cardiovascular, digestive, hepatitis-B, cerebrovascular, hypertension, liver injury, coronary heart disease, cancer, rheumatoid arthritis, and neurological impairment. Antimalarial drugs (chloroquine and hydroxychloroquine), remdesivir, Tocilizumab, clopinavir/ritonavir, convalescent plasma therapy, spike protein-angiotensin-converting enzyme 2 (ACE2) inhibitors, human monoclonal antibodies, mRNA-1273, mesenchymal stem cells, Indian and Chinese traditional medicine, small molecules antioxidant, natural products and dietary supplements, high doses of vitamin-E, -C, -D, minerals, flavonoids,and IFN-beta are therapeutic intervention running to develop treatment against COVID-19. Although clinical usage of these therapeutic agents against COVID-19 is well documented, cytokine storms, absence of appropriate animal model have limited its therapeutic use. This review explores the clinical information currently available on COVID-19 on the mechanisms of infection, prevention, management, comorbid status, and current drug treatment options. (shrink)

This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several (...) dialogues, Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

In book X, Plato's rejection of mimetic poetry can be read as a parallel to rejecting the conventions of the poetic style contemporary to his time. This rejection can, owing to the premises derived and the analyses made in this paper, further be read as to suggest that Plato presses for a reformation of the poetic vocabulary. That is, as to suggest that Plato proposes that the non-rational imagistic tradition, embodied in mimetic poetry, get replaced by a rational (...) and noetic-aspiring rhetoric that opts for knowledge and truth. (shrink)

Socrates believes that living well is primarily an intellectual undertaking: we live well if we think correctly. To intellectualists, one might think, the body and activities related to it are of little interest. Yet Socrates has much to say about food, eating, and cookery. This paper examines Socrates’ criticism of ‘feeding on opson’ (opsophagia) in Xenophon’s Memorabilia and of opson cookery (opsopoiia) in Plato’s Gorgias. I argue that if we consider the specific cultural meaning of eating opson, we can see (...) that Socrates takes a nuanced stance on food and cookery: he recommends careful consumption and skillful production, not austerity or abstinence. This nuance in Socrates’ discussion of food changes our interpretation of Socrates’ criticism of rhetoric in the Gorgias: in comparing rhetoricians to opson chefs—not to pastry chefs, as many have assumed—Socrates evokes the dangers of indulging in speeches while acknowledging their necessity for Athenian public life. (shrink)

In the Netherlands, the poet Herman Gorter is mostly known as the author of the neo-romantic poem May and the “sensitivistic” Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an “open letter” to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and “bourgeois”, unconnected with what was happening in the real world. He wanted to put his (...) poetry on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan, two terms are rather prominent, namely heelal and kristal. These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter’s secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter’s work and the main objective of this paper is to demonstrate her influence on Gorter’s Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter’s Pan, highlighting important connections with Ada Prins’ research into liquid crystal chemistry. (shrink)

In the Netherlands, the poet Herman Gorter is mostly known as the author of the neo-romantic poem May and the “sensitivistic” Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an “open letter” to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and “bourgeois”, unconnected with what was happening in the real world. He wanted to put his (...) poetry on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan, two terms are rather prominent, namely heelal and kristal. These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter’s secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter’s work and the main objective of this paper is to demonstrate her influence on Gorter’s Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter’s Pan, highlighting important connections with Ada Prins’ research into liquid crystal chemistry. (shrink)

Kant’s Prolegomena is a piece of philosophical advertising: it exists to convince the open-minded “future teacher” of metaphysics that the true critical philosophy — i.e., the Critique — provides the only viable solution to the problem of metaphysics (i.e. its failure to make any genuine progress). To be effective, a piece of advertising needs to know its audience. This chapter argues that Kant takes his reader to have some default sympathies for the common-sense challenge to metaphysics originating from Thomas Reid (...) and his followers; this fact in turn explains his rhetorical strategies in the Prolegomena, particularly regarding the presentation of the problem of metaphysics. The chapter draws attention to the importance of Shaftesbury, who, with a nod to Horace, had argued for the deployment of humour to disarm fraudulent claims to epistemic and moral authority. Kant looks to Horace himself to poke fun at the common-sense challenge to metaphysics, and from there to indicate the general shape of the particular argumentative strategies of the Critique — that project that alone, in his view, can promise some kind of future for metaphysics. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is (...) meaning mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

Immanuel Kant’s political philosophy has enjoyed renewed attention as an egalitarian alternative to contemporary inequality since it seems to uncompromisingly reassert the primacy of the state over the economy, enabling it to defend the modern welfare state against encroaching neoliberal markets. However, I argue that, when understood as a free-standing approach to politics, Kant’s doctrine of right shares essential features with the prevailing theories that legitimate really existing economic inequality. Like Friedrich Hayek and Milton Friedman, Kant understands the state’s function (...) as essentially coercive and, in justifying state coercion, he adopts a narrow conception of political freedom that formally preserves the right to choose while denying that the range of choices one actually has can be a matter of justice. As a result, Kant cannot identify various forms of social pressure as potential injustices even as he recognizes their power to create and sustain troubling inequalities. For both Kant and the neoliberals, the result is that economic relations almost never count as unjust forms of coercion, no matter how unequal they are. Views that identify coercion as the trigger for duties of justice are thus particularly ill-suited to orient us to contemporary inequality. (shrink)

Kant scholars have paid relatively little attention to his raciology. They assume that his racism, as personal prejudice, can be disentangled from his core philosophy. They also assume that racism contradicts his moral theory. In this book, philosopher Huaping Lu-Adler challenges both assumptions. She shows how Kant's raciology--divided into racialism and racism--is integral to his philosophical system. She also rejects the individualistic approach to Kant and racism. Instead, she uses the notion of racism as ideological formation to demonstrate how Kant, (...) from his social location both as a prominent scholar and as a lifelong educator, participated in the formation of modern racist ideology. As a scholar, Kant developed a ground-breaking scientific theory of race from the standpoint of a philosophical investigator of nature or Naturforscher. As an educator, he transmitted denigrating depictions of the racialized others and imbued those descriptions with normative relevance. In both roles, he left behind, as one of his legacies, a worldview that excluded non-whites from such goods as recognitional respect and candidacy for cultural and moral achievements. Scholars who research and teach Kant's philosophy therefore have an unshakable burden to take part in the ongoing antiracist struggles, through their teaching practices as well as their scholarship. And they must do so with a pragmatic attention to nonideal social realities and a deliberate orientation toward substantial racial justice, equality, and inclusion. Lu-Adler pushes the discourse about Kant and racism well beyond the old debates about whether he was racist or whether his racism contaminates his philosophy. By foregrounding the lasting legacies of Kant's raciology, her work calls for a profound reorientation of Kant scholarship. (shrink)

This essay will criticize Peter Lamarque’s claim in The Opacity of Narrative that reading for ‘opacity’ is the way to read literature as literature. I will summarize the idea of ‘opacity’ and consider the plausibility of this claim through an examination of Lamarque’s related comments on translation. The argument for ‘opacity’, although it insists on the importance of attention to a work’s form in the apprehension of its content, involves, at the same time, a certain obliviousness to form, indicated in (...) the first instance by an unpersuasive conflation of lyric poetry and prose fiction. Through a comparison of opposing approaches to the translation of a novel written in verse, and an analysis of why the translation of poetry is generally understood to be more challenging than the translation of prose, I will argue that reading for ‘opacity’ does not adequately capture what it means to read literature as literature. (shrink)

Kant's speculative theistic proof rests on a distinction between “logical” and “real” modality that he developed very early in the pre-critical period. The only way to explain facts about real possibility, according to Kant, is to appeal to the properties of a unique, necessary, and “most real” being. Here I reconstruct the proof in its historical context, focusing on the role played by the theory of modality both in motivating the argument (in the pre-critical period) and, ultimately, in undoing it (...) as a source of knowledge of God's existence (in the critical period). Along the way I examine Kant's version of the now-popular “actualist” thesis that facts about what is possible must be explained by facts about what is actual. I conclude by discussing why the critical Kant claims both that there are rational grounds for accepting the conclusion of his theistic proof, and that such acceptance can not count as knowledge. This is important, I argue, because the same considerations ultimately motivate his prohibition on knowledge of things-in-themselves generally. -/- . (shrink)

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the (...) ‘paradox of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure. (shrink)

In the tenth book of the Republic, Plato famously writes: "There is an ancient quarrel between poetry and philosophy." In this essay I reflect upon this "quarrel" through an analysis of a passage from Dante's Inferno. I conclude by suggesting that, when employed well, poetry and philosophy complement each other in helping us reflect upon the deep issues of life. (This paper was originally presented at the 19th Annual Conference of Association for Core Texts and Courses) .

It is commonly held that Kant, with his 1798 essay The Conflict of the Faculties, relinquishes some progressive stances and retreats to conservative positions. According to several interpreters, this is especially evident from Kant’s discussion of moral progress and public use of reason. Kant avers that moral progress can only occur through state-sanctioned education “from top to bottom” and entrusts the emergence of a state endowed with the relevant resolution and ability to “a wisdom from above” (7:92-93). According to numerous (...) interpreters, this call for state intervention and the accompanying surrender to a superhuman wisdom manifest Kant’s retreat from initially republican to later conservative positions. In Kant’s previous writings, the notion of public use of reason indicates the unrestricted freedom to communicate one’s thoughts, provided that the communication does not take place in the exercise of one’s function as a state official, and potentially encompasses all adult men. Instead, in The Conflict of the Faculties, Kant contrasts university professors’ freedom to make public use of their reason with the other public officials’ obligation “to uphold whatever […] the crown sanctions for them to expound publicly” (07:08). Thus, according to several scholars, Kant ends up disenfranchising the vast majority of people from the public use of reason and adjusting an emancipatory notion to the absolutist conception of speech and civil service. On my reading, with The Conflict of the Faculties, Kant neither retreats to conservative positions nor softens any progressive tenets of critical philosophy. On the contrary, I intend to show that a) the project of a state-sanctioned education constitutes Kant’s republican rebuttal of conservative positions on their ground, and is fully in keeping with critical philosophy; b) Kant sets forth a new notion of public use of reason that reverses the order of moral progress presented in his previous writings, but retains all its emancipatory character. I intend to support my interpretation by a) conducting a rhetorical analysis showing how Kant’s rhetoric aims to persuade the ruler that his interests are best served by fostering the regulative ideas of pure practical reason as discovered by critical philosophy; b) analysing Kant’s use of the term ‘public’ (both as the adjective ‘öffentlich’ and the noun ‘Publikum’) and showing how it retains its wide scope and emancipatory function and even expands them to areas previously subjected to legitimate censorship. (shrink)

There is a novel which presents a general scheme for the development of a poet but this paper presents a problem for it. The problem is: can a believer in the scheme both account for the universality of some poets and the association it makes between poetry and revolutions?

Ernst Jünger is known for his war writings, but is largely ignored by contemporary phenomenologists. In this essay, I explore his e Adventurous Heart which has recently been made available in English. is work consists of a set of fragments which, when related, disclose a coherent ow of philosophical thinking. Speci cally, I show that, beneath a highly poetic and obscure prose, Jünger posits how subjective experience and poetry allow individuals to realize truth. I relate parts of Jünger’s insights (...) to contributions by Husserl, Heidegger and Merleau-Ponty, arguing that Jünger o ers a unique and valuable contribution to the phenomenological discipline. (shrink)

This book on the topic of ethics and poetry consists of contributions from different continents on the subject of applied ethics related to poetry. It should gather a favourable reception from philosophers, ethicists, theologians and anthropologists from Africa, Asia, Europe and Latin America and allows for a comparison of the healing power of words from various religious, spiritual and philosophical traditions. The first part of this book presents original poems that express ethical emotions and aphorism related to a (...) philosophical questioning of the grounding of our values for life. The poems are written by twelve authors coming from four continents, for whom poetic emotions are sources of artistic inspiration and that can be used for conflict resolution. In the second part, which features short essays, nine authors tackle how poems, symbolic representations, metaphorical narratives and lies impact the space of possibilities, in which we are moved to action, knowledge formation, and how we imagine the world together. (shrink)

I argue for a perfectionist reading of Mill’s account of the good life, by using the failures of development recorded in his Autobiography as a way to understand his official account of happiness in Utilitarianism. This work offers both a new perspective on Mill’s thought, and a distinctive account of the role of aesthetic and emotional capacities in the most choiceworthy human life. I consider the philosophical purposes of autobiography, Mill’s disagreements with Bentham, and the nature of competent judges and (...) the pleasure they take in higher culture. I conclude that Millian perfectionism is an attractive and underappreciated option for contemporary value theory. (shrink)

In this article I discuss the moral-coherence reading of Kant’s moral argument offered by Allen Wood in his recent book _Kant and Religion_, display some of the challenges that it faces and suggest that a moral-psychological formulation is preferable.

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

Octavio Paz conceives of authentic philosophical reflection as ‘thinking a la intemperie’. This conception involves his idea that our contemporary historical and philosophical situation is one of intemperie espiritual. Based on the dual sense of the term intemperie for Paz, I propose that ‘thinking a la intemperie’ means: (i) Exposing our beliefs to the weathering effects of our vital, concrete experience; and (ii) apprehending reality in communion with others through poetic experience of the ever-flowing present. That is, authentic philosophical reflection (...) means making our home thinking and living without rigid, stifling ideological systems, in communion with our neighbors and with our places, here and now, in the unity of present place and present time that we create together. This mode of reflection belongs within a broad American tradition of philosophizing and, for Paz, responds to concerns compatible with those of the pragmatists. (shrink)

I argue that while moral exemplars are useful, we must be careful in our use of them. I first describe forgiveness exemplars that are often used to persuade victims to forgive such as Nelson Mandela, Martin Luther King Jr., and Jesus of Nazareth. I also explain how, for Kant, highlighting these figures as moral exemplars can be useful. I then explain two kinds of rhetorical strategies that are used when attempting to convince victims to forgive. Last, I explain (a la (...) Kant) how the use of exemplars does not empower but instead disempowers victims. My overall claim is that using exemplars to persuade victims to forgive is problematic. It is best if we rely on decisive reasons to forgive instead of focusing on people who have forgiven. (shrink)

On the surface Kant himself seems quite clear about who is deserving of respect: The morally relevant others are all “rational, free beings” or all “human beings.” It is clear, however, that Kant does not want to identify “human beings” in this sense with members of a particular biological species, for he is explicitly open to the idea that there might be non-biologically human rational beings. Thus, for example he is explicitly open to the possibility of extraterrestrial rational beings, who (...) would not be members of the same biological species as us, but who would, presumably be worthy of respect. And it would seem possible that there are members of our biological species who are not “human” in the morally relevant sense. Given these facts, a Kantian needs to give some account of how we are to recognize who or what counts as “human” in the morally relevant sense. I argue that to be “human” in the morally relevant sense is to have the capacity for morality, and that this involves: (a) the capacity to recognize others as ends rather than merely as means and (b) the capacity to enter into relations of ethical community with us. I defend a position I name moral reliabilism. According to this position: (a) We have a quasi-perceptual capacity to directly ascribe moral status to various bits of the world around us. I will argue that this capacity is best thought of in Gibsonian terms as a capacity to pick up on certain types of social affordances; morally relevant others have the capacity to engage in ethical interaction with us, and recognizing the humanity of others involves picking up on this capacity. Those beings who are “human” in the morally relevant sense, then, afford interaction based on mutual respect. (b) We should assume as a postulate of practical reason that this capacity is reliable (although fallible). (shrink)

Much contemporary political philosophy claims to be Kant-inspired, but its aims and method differ from Kant's own. In his recent book, Force and Freedom, Arthur Ripstein advocates a more orthodox Kantian outlook, presenting it as superior to dominant (Kant-inspired) views. The most striking feature of this outlook is its attempt to ground the whole of political morality in one right: the right to freedom, understood as the right to be independent of others’ choices. Is Ripstein's Kantian project successful? In this (...) research note I argue that it is not. First, I suggest that Ripstein's notion of freedom is viciously circular. It is meant to ground all rights, but in fact it presupposes an account of those rights. Second, I show that—independently of its inability to ground a whole political morality—such a moralized understanding of freedom is normatively unappealing. (shrink)

In §12 of his 1837 magnum opus, the Wissenschaftslehre, Bolzano remarks that “In the new logic textbooks one reads almost constantly that ‘in logic one must consider not the material of thought but the mere form of thought, for which reason logic deserves the title of a purely formal science’” (WL §12, 46).1 The sentence Bolzano quotes is his own summary of others’ philosophical views; he goes on to cite Jakob, Hoffbauer, Metz, and Krug as examples of thinkers who held (...) that logic abstracts from the matter of thought and considers only its form. Although Bolzano does not mention Kant by name here, Kant does of course hold that “pure general logic”, what Bolzano would consider logic in the traditional sense (the theory of propositions, representations, inferences, etc.), is formal. As Kant remarks in the Introduction to the 2nd edition of Kritik der reinen Vernunft , (pure general) logic is “justified in abstracting – is indeed obliged to abstract – from all objects of cognition and all of their differences; and in logic, therefore, the understanding has to do with nothing further than itself and its own form” (KrV, Bix).2. (shrink)

A look at the dynamical concept of space and space-generating processes to be found in Kant, J.F. Herbart and the mathematician Bernhard Riemann's philosophical writings.

Plato’s Protagoras contains, among other things, three short but puzzling remarks on the media of philosophy. First, at 328e5–329b1, Plato makes Socrates worry that long speeches, just like books, are deceptive, because they operate in a discursive mode void of questions and answers. Second, at 347c3–348a2, Socrates argues that discussion of poetry is a presumptuous affair, because, the poems’ message, just like the message of any written text, cannot be properly examined if the author is not present. Third, at (...) 360e6–361d6, it becomes clear that even if the conversation between Socrates and Protagoras was conducted by means of short questions and answers, this spoken mode of discourse is problematic too, because it ended up distracting the inquiry from its proper course. As this paper 2 sets out to argue, Plato does not only make Socrates articulate these worries to exhibit the hazards of discursive commodifi cation. In line with Socrates’ warning to the young Hippocrates of the dangers of sophistic rhetoric, and the sophists’ practice of trading in teachings, they are also meant to problematize the thin line between philosophical and sophistical practice. By examining these worries in the light of how the three relevant modes of discourse are exemplifi ed in the dialogue, this paper aims to isolate and clarify the reasons behind them in terms of deceit, presumptuousness and distraction; and to argue that these reasons cast doubts on the common assumption that the dialogue’s primary aim is to show how sophistical rhetoric must succumb to Socratic dialectic. (shrink)