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Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries.
Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West.
Originally published in 1990.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Eco-ontology and the Aesthetics of Existence
The Human Eros: Eco-ontology and the Aesthetics of Existence explores themes in classical American philosophy, primarily that of John Dewey, but also in the thought of Ralph Waldo Emerson, George Santayana, and Native American traditions. The primary claim is that human beings exist with a need for the experience of meaning and value, a “Human Eros.” Our various cultures are symbolic environments or “spiritual ecologies” within which the Human Eros can thrive. This is how we inhabit the earth. Encircling and sustaining our cultural existence is nature. Western philosophy has not generally provided adequate conceptual models for thinking ecologically. Thus the idea of “eco-ontology” undertakes to explore ways in which this might be done beginning with the primacy of Nature over Being, but also including the recognition of possibility and potentiality as inherent aspects of existence. I argue for the centrality of Dewey for an effective ecological philosophy. Both “pragmatism” and “naturalism” need to be contextualized within an emergentist, relational, non-reductive view of nature and an aesthetic, imaginative, non-reductive view of intelligence.
Wittgenstein, Anxiety, and Performance Behavior
In this highly original study of the nature of performance, Spencer Golub uses the insights of Ludwig Wittgenstein into the way language works to analyze the relationship between the linguistic and the visual in the work of a broad range of dramatists, novelists, and filmmakers, among them Richard Foreman, Mac Wellman, Peter Handke, David Mamet, and Alfred Hitchcock. Like Wittgenstein, these artists are concerned with the limits of language’s representational capacity. For Golub, it is these limits that give Wittgenstein’s thought a further, very personal significance—its therapeutic quality with respect to the Obsessive Compulsive Disorder from which he suffers.
Underlying what Golub calls “performance behavior” is Wittgenstein’s notion of “pain behavior”—that which gives public expression to private experience. Golub charts new directions for exploring the relationship between theater and philosophy, and even for scholarly criticism itself.
Aesthetic Philosophy after Early Modernity
Philosophers working on aesthetics have paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on the emergence of aesthetics as a branch of philosophy over the course the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to one another. Rather than take art as a stand-in for or reflection of some other historical event or social phenomenon, this book treats art as a phenomenon in itself. The contributors suggest ways in which artworks and practices of the early modern period make aesthetic experience central to philosophical reflection, while also showing art’s need for philosophy.
It is commonly supposed that certain elements of medieval philosophy are uncharacteristically preserved in modern philosophical thought through the idea that mental phenomena are distinguished from physical phenomena by their intentionality, their intrinsic directedness toward some object. The many exceptions to this presumption, however, threaten its viability._x000B__x000B_This volume explores the intricacies and varieties of the conceptual relationships medieval thinkers developed among intentionality, cognition, and mental representation. Ranging from Aquinas, Scotus, Ockham, and Buridan, through less familiar writers, the collection sheds new light on the various strands that run between medieval and modern thought, and bring us to a number of fundamental questions in the philosophy of mind as it is conceived today. _x000B__x000B_
Current Debates on Aesthetics and Interpretation
Japanese Hermeneutics provides a forum for the most current international debates on the role played by interpretative models in the articulation of cultural discourses on Japan. It presents the thinking of esteemed Western philosophers, aestheticians, and art and literary historians, and introduces to English-reading audiences some of Japan's most distinguished scholars, whose work has received limited or no exposure in the United States.
In the first part, "Hermeneutics and Japan," contributors examine the difficulties inherent in articulating "otherness" without falling into the trap of essentialization and while relying on Western epistemology for explanation and interpretation. In the second part, "Japan's Aesthetic Hermeneutics," they explore the role of aesthetics in shaping discourses on art and nature in Japan. The essays in the final section of the book, "Japan's Literary Hermeneutics," rethink the notion of "Japanese literature" in light of recent findings on the ideological implications of canon formations and transformations within Japan's prominent literary circles.
Contributors: Amagasaki Akira, Haga Toru, Hamashita Masahiro, Inaga Shigemi, Kambayashi Tsunemichi, Thomas LaMarre, John C. Maraldo, Michael F. Marra, Mark Meli, Ohashi Ryosuke, Otabe Tanehisa, Graham Parkes, J. Thomas Rimer, Sasaki Ken'ichi, Haruo Shirane, Suzuki Sadami, Stefan Tanaka, Gianni Vattimo.
More than twenty years after his death, Paul de Man remains a haunting presence in the American academy. His name is linked not just with deconstruction,but with a deconstruction in Americathat continues to disturb the scholarly and pedagogical institution it inhabits. The academy seems driven to characterize de Manian deconstruction,again and again, as dead. Such reiterated acts of exorcism testify that de Man's ghost has in fact never been laid to rest, and for good reason: a dispassionate survey of recent trends in critical theory and practice reveals that de Man's influence is considerable and ongoing. His name still commands an aura of excitement, even danger: it stands for the pressure of a text and a theorythat resists easy assimilation or containment. The essays in this volume analyze and evaluate aspects of de Man's strange, powerful legacy. The opening contributions focus on his great theme of reading; subsequent chapters explore his complex notions of history,materiality,and aesthetic ideology,and examine his institutional role as a teacher and, more generally, as a charismatic figure associated with the fortunes of theory.Because the notion of legacy immediately raises questions about the institutional transmission of thought, the collection concludes with two appendixes offering documentary aids to scholars interested in de Man as an institutional presence and pedagogue. The first appendix lists the courses taught by de Man at Yale; the second makes available a previously unpublished document, almost certainly authored by de Man: a course proposal for the undergraduate course Literature Zthat de Man and Geoffrey Hartman began teaching at Yale in the spring of 1977.