Gatens, Moira. The Art and Philosophy of George Eliot
2009, Philosophy and Literature 33(1): 73-90.
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Added by: Alison Stone
Abstract: Much remains to be said about Eliot as a philosopher. I argue that her novels should be understood as attempts to practice philosophy in an alternative key. Her decision to write novels rather than conventional philosophy reflects her desire to actively engage the imaginative and affective, as well as the cognitive, powers of her readers. On her view the imagination grounds our disposition to feel sympathy for our fellow human beings. It is this disposition and its potential for refinement as moral knowledge that she sought to realize in her novels. An appreciation of her philosophical commitments is necessary in order to understand her efforts to construct an immanent ground for moral life. The parts played by the imagination, reason and emotion in the attainment of moral knowledge were of prime concern to both Spinoza and Feuerbach. Each philosopher offered an account of the relations between these capacities and argued for their reformation. This reformative task is one that Eliot attempted in her novels. The radical holism of Spinoza and Feuerbach resonates throughout her work. She had a deep suspicion of dualistic philosophies that separate reason and imagination. Like Spinoza and Feuerbach, she understood these ruptures within our capacities, indeed within our very being, to derive in large part from religion, especially Christianity. The reform of our habitual ways of understanding the world must therefore begin with critical reflection on religion.Gendler, Tamar. The Puzzle of Imaginative Resistance2000, Journal of Philosophy 97 (2):55-81-
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Added by: Andrea Blomqvist, Contributed by: Christy Mag Uidhir
Abstract: This chapter presents and discusses the puzzle of imaginative resistance: the puzzle of explaining our comparative difficulty in imagining fictional worlds that we take to be morally deviant. It suggests that the primary source of imaginative resistance lies not in our inability to imagine morally deviant situations, but in our unwillingness to do so. This diagnosis is then used to illuminate the nature of imagination itself: unlike belief, the contents of imagination are not restricted to those things we take to be true; but unlike mere supposition, imagination involves a certain sort of engaged participation on the part of the imaginer. The chapter also includes a brief discussion of the issue of truth‐in‐fiction. The author's views on the puzzle are contrasted with those of David Hume, Richard Moran, and Kendall Walton.Comment: Gendler argues here that there is truly a problem of imaginative restistance, and that it demonstrates something about the nature of imagination. This is a good introductory paper to the problem of imaginative resistance and the nature of imagination. It would be very suitable in a module focusing on philosophy of fiction.
Gendler, Tamar. Imaginative Resistance Revisisted2006, In Shaun Nichols (ed.), The Architecture of the Imagination. Oxford University Press. pp. 149-173 (2006)-
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Added by: Andrea Blomqvist
Summary: This chapter discusses the puzzle of imaginative resistance, partially defending and partially refining the account presented in the previous chapter. It explores imaginative resistance as a special case of a more general puzzle the author calls the puzzle of authoritative breakdown: that when an author follows standard conventions for fictionally asserting P, engaged readers typically imagine P—but in some cases this relation falls apart. The bulk of the chapter is devoted to systematically identifying and explaining where and why this breakdown occurs, and to drawing connections with the literature on metaphor and perspective‐taking. The author's views are contrasted with those of David Hume, Brian Weatherson, Gregory Currie, Stephen Yablo, and Shaun Nichols.Comment: This paper would compliment other papers on imaginative resistance well in a module where this is the focus.
Gendler, Tamar Szabó, Karson Kovakovich. Genuine Rational Fictional Emotions2006, In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell 241-253.-
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Added by: Simon Fokt
Abstract: The “paradox of fictional emotions” involves a trio of claims that are jointly inconsistent but individually plausible. Resolution of the paradox thus requires that we deny at least one of these plausible claims. The paradox has been formulated in various ways, but for the purposes of this chapter, we will focus on the following three claims, which we will refer to respectively as the Response Condition, the Belief Condition and the Coordination Condition.Comment: This paper introduces the paradox of fiction, briefly discusses some challenges faced by those attempting to solve it, and offers a solution grounded in Damasio's research into the role of emotions in guiding action. It provides only a limited discussion of the previous debate, which makes it less suitable as an introductory text; it is best used in senior aesthetics classes or as a further reading. Its engagement with psychological literature means it can inspire discussions on the relations between philosophical and empirical explanations.
Ginsborg, Hannah. Aesthetic Judgment and Perceptual Normativity2006, Inquiry 49(5): 403-437.-
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Added by: Ben McGorrigan, Contributed by: Christy Mag Uidhir
Abstract: I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of "perceptual normativity". Perceptual experience, on this proposal, involves the awareness of its own appropriateness with respect to the object perceived, where this appropriateness is more primitive than truth or veridicality. This means that a subject can take herself to be perceiving an object as she (and anyone else) ought to perceive it, without first recognizing the object as falling under a corresponding concept. I motivate the proposal through a criticism of Peacocke's account of concept-acquisition, which, I argue, rests on a confusion between the notion of a way something is perceived, and that of a way it is perceived as being. Whereas Peacocke's account of concept-acquisition depends on an illicit slide between these two notions, the notion of perceptual normativity allows a legitimate transition between them: if someone's perceiving something a certain way involves her taking it that she ought to perceive it that way, then she perceives the thing as being a certain way, so that the corresponding concept is available to her in perceptual experience.Comment: This paper will mainly be of relevance in relation to the antinomy or paradox of taste, a problem famously examined by Hume and Kant. It may also be of use in relation to topics in the Philosophy of Perception or Epistemology, or in teaching on Kant's Critique of Judgment. Ginsbourg presents a very thorough discussion of the notion that perceptions make concepts available by involving implicit claims to their own appropriateness; she uses this idea to make an interesting and plausible contribution to the debate regarding the antinomy of taste.
Goehr, Lydia. Political music and the politics of music1994, Journal of Aesthetics and Art Criticism 52 (1):99-112.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: On September 24th, 1947, a composer with "an international reputation" became the first Holly wood artist to be called before the Committee on Un-American Activities [HUAC]. The charge against him was that his music had aided the Communist infiltration of the motion-picture industry.' A significant part of his defense con sisted in his claim that he was only a musician and thus not responsible for any part of a Com munist conspiracy. What is peculiar is that he almost got away with this unlikely defense, unlikely because he had spent much of his life developing a political music consistent with the ideals of Communism. In the end, the Commit tee caught him out on technical grounds: it found a history of inaccurate statements in his visa applications. The composer was deported. It was the second exile of his life: the first had been from Germany ten years earlier.Comment:
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music1992, Oxford University Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.Comment:
Goldberg, RoseLee. The Body: Ritual, Living Sculpture, Performed Photography2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 94-127.-
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Added by: Rossen Ventzislavov
Summary: Goldberg sees the human body in performance art as a transmitter of erotics, gender tensions, cultural norms and political deviations. While two of the notable early works of performance art featured fully clothed male artists using naked female bodies (Yves Klein's Anthropometries of the Blue Period from 1960 and Piero Manzoni's Living Scupture from 1961), the work of female artists like Shigeko Kubota and Yoko Ono addressed the gender imbalance soon after. Goldberg sees the recognition of the body as "prime, raw material" as one of the central accomplishments of performance art. Through numerous examples she demonstrates how this notion enabled a spectrum of physical signification - from regarding the human body as a mere lump of undifferentiated flesh to capitalizing on its biological intricacies. Because of the irreducible intimacy of shared bodily experience, all creative choices along this spectrum - from the disquietingly erotic, to the anachronistically ritualistic, to the viscerally sacrificial - have affected the way we see art and the world around us.Comment: This historical overview of the use of the human body in early performance art can be in any class on body aesthetics or performance art, and can offer an interesting background reading on erotic art.
Goldberg, RoseLee. The Art of Ideas and the Media Generation2001, in: Performance Art: From Futurism to the Present. New York: Thames & Hudson. 152-155.-
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Added by: Rossen Ventzislavov
Summary: In this brief historical note, Goldberg outlines the artistic response to the political upheavals of the 1960's. The general spirit of civic disillusionment offered the best conditions for the re-evaluation of art and its supporting social institutions. Not surprisingly, a new animosity emerged towards the objects of art and their claim to aesthetic pleasure. The farthest possible opposite, which many artists readily embraced, was found in conceptual art, which prioritized ideas, relations and experiences over traditional aesthetic categories. Goldberg sees performance art as a potent embodied application of these new artistic concerns, and thus as a rightful heir to conceptual art. Furthermore, each sub-genre of performance art - from body art to live sculpture to discussions and performative scripts - retains a conceptual core that finds its roots in that decade of strife and controversy.Comment: This text offers a historical note on the relationship between conceptual art and performance art, and could be used in aesthetics classes focusing on either of those arts
Goldberg, RoseLee. Identities: Feminism, Multiculturalism, Sexuality2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 128-145.-
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Added by: Rossen Ventzislavov
Summary: Goldberg provides a richly illustrated historical account of the intimate connection between identity and performance art. Starting from the feminist art of the 1960's, the recognition and assertion of identity was a fundamental bid for social visibility. The next frontier was social recognition, which concerned ethnic and sexual minorities as much as it did women. The final frontier - political equality - is one that is still out of reach. Still, according to Goldberg, performance art continues to chart new territories of identification. In fact, while at the outset performance art used early feminist writing as inspiration, Goldberg recognizes a gradual reversal - today's feminists are as likely to chart new philosophical directions as they are to follow the exploratory charge of their performance art counterparts.Comment: This text provides a historical background on the relationship between identity politics and art. It would be useful in classes on performance art, on the social context of art, as well as classes focusing on philosophy or race, gender and sexuality and ways to achieve social visibility.
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Comment: An article that explains the philosophical standpoint underlying George Eliot's fiction and argues that her fiction and her philosophical thinking need to be regarded as a whole. Could be used in a course covering nineteenth-century philosophy, either as supplementary reading or as a primary reading perhaps paired with a piece of writing by Eliot.