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Habermas and the Idea of Progress
Between Reason and History examines the role of the idea of progress both in Ju¬rgen Habermas’s critical social theory and in critical social theory in general. The reception to Habermas’s magnum opus, The Theory of Communicative Action, has tended to downplay the theory of social evolution it contains, but there are no in-depth examinations of this aspect of Habermas’s critical theory. This book fills this gap by providing a comprehensive and detailed examination of Habermas’s theory of social evolution, its significance within the wider scope of his critical social theory, and the importance of a theoretical understanding of history for any adequate critical social theory.
Philosophy and American Slavery
Using the writings of slaves and former slaves, as well as commentaries on slavery, Between Slavery and Freedom explores the American slave experience to gain a better understanding of six moral and political concepts—oppression, paternalism, resistance, political obligation, citizenship, and forgiveness. The authors use analytical philosophy as well as other disciplines to gain insight into the thinking of a group of people prevented from participating in the social/political discourse of their times.
Between Slavery and Freedom rejects the notion that philosophers need not consider individual experience because philosophy is "impartial" and "universal." A philosopher should also take account of matters that are essentially perspectival, such as the slave experience. McGary and Lawson demonstrate the contribution of all human experience, including slave experiences, to the quest for human knowledge and understanding.
The Ethical Nature of the Arts in Hegelian Aesthetics
Between Transcendence and Historicism explores Hegel’s aesthetics within the larger context of the tradition of theoretical reflection to emphasize its unique ability to account for traditional artistic practice. Arguing that the concept of the ethical is central to Hegel’s philosophy of art, Brian K. Etter examines the poverty of modernist aesthetic theories in contrast to the affirmation by Hegel of the necessity of art. He focuses on the individual arts in greater detail than is normally done for Hegel’s aesthetics, and considers how the dual constitution of the ethical nature of art can be justified, both within Hegel’s own philosophical system and in terms of its relevance to the dilemmas of modern social life. Etter concludes that the arts have a responsibility to represent the goodness of existence, the ideal, and the ethical life in dignifying the metaxological realm through their beauty.
Heidegger, Klee, and Gadamer on Gesture and Genesis
Engagement with the image has played a decisive role in the formulation of the very idea of philosophy since Plato. Identifying pivotal moments in the history of philosophy, Dennis J. Schmidt develops the question of philosophy's regard of the image in thinking by considering painting—where the image most clearly calls attention to itself as an image. Focusing on Heidegger and the work of Paul Klee, Schmidt pursues larger issues in the relationship between word, image, and truth. As he investigates alternative ways of thinking about truth through word and image, Schmidt shows how the form of art can indeed possess the capacity to change its viewers.
The Sacred Quest for Confusion
Why do we travel? Ostensibly an act of leisure, travel finds us thrusting ourselves into jets flying miles above the earth, only to endure dislocations of time and space, foods and languages foreign to our body and mind, and encounters with strangers on whom we must suddenly depend. Travel is not merely a break from routine; it is its antithesis, a voluntary trading in of the security one feels at home for unpredictability and confusion. In Bewildered Travel Frederick Ruf argues that this confusion, which we might think of simply as a necessary evil, is in fact the very thing we are seeking when we leave home.
Ruf relates this quest for confusion to our religious behavior. Citing William James, who defined the religious as what enables us to "front life," Ruf contends that the search for bewilderment allows us to point our craft into the wind and sail headlong into the storm rather than flee from it. This view challenges the Eliadean tradition that stresses religious ritual as a shield against the world’s chaos. Ruf sees our departures from the familiar as a crucial component in a spiritual life, reminding us of the central role of pilgrimage in religion.
In addition to his own revealing experiences as a traveler, Ruf presents the reader with the journeys of a large and diverse assortment of notable Americans, including Henry Miller, Paul Bowles, Mark Twain, Mary Oliver, and Walt Whitman. These accounts take us from the Middle East to the Philippines, India to Nicaragua, Mexico to Morocco--and, in one threatening instance, simply to the edge of the author’s own neighborhood. "What gives value to travel is fear," wrote Camus. This book illustrates the truth of that statement.
Science, Hermeneutics, and Praxis
Drawing freely and expertly from Continental and analytic traditions, Richard Bernstein examines a number of debates and controversies exemplified in the works of Gadamer, Habermas, Rorty, and Arendt. He argues that a "new conversation" is emerging about human rationality—a new understanding that emphasizes its practical character and has important ramifications both for thought and action.
John Dewey and the Neopragmatists
Perhaps the most significant development in American philosophy in recent times has been the extraordinary renaissance of Pragmatism, marked most notably by the reformulations of the so-called "Neopragmatists" Richard Rorty and Hilary Putnam. With Pragmatism offering the allure of potentially resolving the impasse between epistemological realists and antirealists, analytic and continental philosophers, as well as thinkers across the disciplines, have been energized and engaged by this movement. In Beyond Realism and Antirealism: John Dewey and the Neopragmatists, David L. Hildebrand asks two important questions: first, how faithful are the Neopragmatists' reformulations of Classical Pragmatism (particularly Deweyan Pragmatism)? Second, and more significantly, can their Neopragmatisms work? In assessing Neopragmatism, Hildebrand advances a number of historical and critical points: Current debates between realists and antirealists (as well as objectivists and relativists) are similar to early 20th century debates between realists and idealists that Pragmatism addressed extensively. Despite their debts to Dewey, the Neopragmatists are reenacting realist and idealist stands in their debate over realism, thus giving life to something shown fruitless by earlier Pragmatists. What is absent from the Neopragmatist's position is precisely what makes Pragmatism enduring: namely, its metaphysical conception of experience and a practical starting point for philosophical inquiry that such experience dictates. Pragmatism cannot take the "linguistic turn" insofar as that turn mandates a theoretical starting point. While Pragmatism's view of truth is perspectival, it is nevertheless not a relativism. Pace Rorty, Pragmatism need not be hostile to metaphysics; indeed, it demonstrates how pragmatic instrumentalism and metaphysics are complementary. In examining these and other difficulties in Neopragmatism, Hildebrand is able to propose some distinct directions for Pragmatism. Beyond Realism and Antirealism will provoke specialists and non-specialists alike to rethink not only the definition of Pragmatism, but its very purpose.
Each of the five volumes in the Stone Art Theory Institutes series—and the seminars on which they are based—brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, Beyond the Aesthetic and the Anti-Aesthetic focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or non-aesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether or not artists and academicians are free of this choice, in practice, in pedagogy, and in theory. Aside from the editor, the contributors are, Stéphanie Benzaquen, J. M. Bernstein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beata Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach.