This anthology focuses on “practical” forms and expressions of knowledge, like thinking through artistic media or by crafting things out of materials. The ten chapters follow and review various tracks in conceptions of contemporary knowledge, exploring human knowledge and experience from the perspective of human activities or practices, professional, artistic, domestic, or whatever. A guiding idea is that human knowledge seldom, perhaps never, fits into the traditional dualism between thinking and doing. -/- The chapters are written by philosophers and musicians (...) – some with a double experience as artists and theoreticians. The themes are philosophical, but above all, they touch on questions that are essential for how we understand ourselves as thinking and playing bodies, indeed as parts of nature. The book does not propose one single “theory of knowledge” but steps towards a more diverse and open attitude to the meaning of knowledge. -/- We hope that the texts will be of interest and useful in both disciplinebased and professional education: in philosophy, art schools, tea cher education, and in other programmes where tacit and practical knowledge are essential for the (future) practitioners. It is possible to independently read, and profit from, most of the chapters. (shrink)

Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their (...) necessity and so their redemptive conclusions; comic plots disintegrate into mockery and entertainment. In many cases, the dramas in question consequently fail to be art. This does not, however, mean that art ends: insofar as it inspires humans to a better understanding of their unity with the divine, it will continue to meet its mandate. But the lack of necessity in modern drama means we are free to prefer happy endings. Hegel’s seemingly arbitrary preference is, in the end, systematically justified. (shrink)

Immanuel Kant's description of humans' first encounter with each other depicts a peaceful recognition of mutual worth. G.W.F. Hegel's by contrast depicts a struggle to the death. I argue in this paper that Hegel's description of conflict results in an ethical theory that better preserves the distinctness of the other. I consider Christine Korsgaard's description of first encounters as a third alternative but conclude that Hegel's approach better accounts for the specific commitments we make--as family members, works, and citizens --in (...) ethical life. (shrink)

In his early and unpublished essay on Schiller’s trilogy Wallenstein, Hegel criticizes the plays’ denouement as “horrific” and “appalling” and for depicting the triumph of death over life. Why was the young Hegel’s response to Wallenstein so negative? To answer this question, I first offer an analysis of Wallenstein in terms of Hegel’s mature theory of modern tragedy. I argue that Schiller’s portrayal of Wallenstein’s character and death indeed render the play a particularly dark and unredemptive example of modern tragedy (...) as Hegel understands it. I suggest, however, that Hegel’s early objections are primarily motivated by his philosophy of history rather than by his theory of tragedy. Hegel accurately sensed the loss of faith in historical progress that Schiller experienced in the wake of the French Revolution; in essays written shortly before Wallenstein appeared, Schiller associates the tragic sublime with humans’ ability to act in the face of the meaninglessness of history. In his essay “The German Constitution,” composed during the same period as his Wallenstein review, Hegel instead formulates his familiar exhortation that we see history as meaningful. Hegel’s objection to Wallenstein’s darkness, then, is primarily an objection to the vision of history it portrays. Against the background of Peter Stein’s 2007 Berlin production of Wallenstein, I suggest that Wallenstein’s lasting appeal lies in its ability to allow audiences to experience the sublime as Schiller intended: as an assertion of our agency despite the cycles of history we so little control. (shrink)

Philip Roth’s novel 'The Human Stain' recounts an instance of racial passing: its protagonist, Coleman Silk, is African-American but light-skinned enough to pass as white. Coleman’s decision to pass and his subsequent violent death, I argue, confront us with complex ethical questions regarding unjust social roles, loyalty, and moral luck. I also argue, building on Hegel’s definition of tragedy, that 'The Human Stain' is a particularly modern tragedy. The novel highlights conflicting role obligations, inadequate conceptions of freedom, and the tensions (...) of cultural paradigm shifts—all characteristics typical of modern tragedy. I claim that parsing 'The Human Stain' as a tragedy deepens our understanding of the novel as well as drawing our attention to its philosophical significance. (shrink)

Christine Korsgaard attempts to reinterpret Kantian ethics in a way that might alleviate Bernard Williams’ famous worry that a man cannot save his drowning wife without determining impartially that he may do so. She does this by dividing a reflective self that chooses the commitments that make up an agent’s practical identity from a self defined as a jumble of desires. An agent, she then argues, must act on the commitments chosen by the reflective self on pain of disintegration. Using (...) Harry Frankfurt’s emphasis on love as a final end, I argue that disintegration as motivation is not a more acceptable motivation than impartiality and so does not adequately address Williams’ criticism. I also argue that the idea of a divided self either leads to an infinite regress or to an implausible description of how our commitments evolve and change. To make this last claim, I discuss a case from John Updike’s novel 'In the Beauty of the Lilies.'. (shrink)

Christine Korsgaard attempts to reinterpret Kantian ethics in a way that might alleviate Bernard Williams’ famous worry that a man cannot save his drowning wife without determining impartially that he may do so. She does this by dividing a reflective self that chooses the commitments that make up an agent’s practical identity from a self defined as a jumble of desires. An agent, she then argues, must act on the commitments chosen by the reflective self on pain of disintegration. Using (...) Harry Frankfurt’s emphasis on love as a final end, I argue that disintegration as motivation is not a more acceptable motivation than impartiality and so does not adequately address Williams’ criticism. I also argue that the idea of a divided self either leads to an infinite regress or to an implausible description of how our commitments evolve and change. To make this last claim, I discuss a case from John Updike’s novel 'In the Beauty of the Lilies.'. (shrink)

A fundamental assumption of theories of decision-making is that we detect mismatches between intention and outcome, adjust our behavior in the face of error, and adapt to changing circumstances. Is this always the case? We investigated the relation between intention, choice, and introspection. Participants made choices between presented face pairs on the basis of attractiveness, while we covertly manipulated the relationship between choice and outcome that they experienced. Participants failed to notice conspicuous mismatches between their intended choice and the outcome (...) they were presented with, while nevertheless offering introspectively derived reasons for why they chose the way they did. We call this effect choice blindness. (shrink)

Scholarly opinions vary on what language is, how it evolved, and from where or what it evolved. Long considered uniquely human, today scholars argue for evolutionary continuity between human language and animal communication systems. But while it is generally recognized that language is an evolving communication system, scholars continue to debate from which species language evolved, and what behavioral and cognitive features are the precursors to human language. To understand the nature of protolanguage, some look for homologs in gene functionality, (...) brain areas, or anatomical structures such as the supralaryngeal vocal tract; others point toward primates, their gestural, vocal, multimodal, and in later evolving hominins also their pantomimic communication systems; and still others draw parallels between the musicality that characterizes language and the pitch found in the numerous sounds produced by animals. Accordingly, protolanguage theories today are multiple and diverse, and protolanguages might have also been diverse. This special issue on Evolving (Proto)Language/s for Lingua bundles several of the protolanguage theories that were put forward at the sixth edition of the Ways to Protolanguage conference series, held at the Calouste Gulbenkian Foundation in Lisbon, in 2019. Not aimed at surveying all the different ways there are to conceptualize, study, and model protolanguage/s, this issue provides interested readers with good overviews on the role played in current theorizing on protolanguage/s by (paleo)anthropology, genetics, physiology, developmental, evolutionary, ecological, and pragmatic research lines. (shrink)