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In this book, one of America's leading philosophers offers a sweeping reconsideration of the philosophy of culture in the twentieth century. Morton White argues that the discipline is much more important than is often recognized, and that his version of holistic pragmatism can accommodate its breadth. Going beyond Quine's dictum that philosophy of science is philosophy enough, White suggests that it should contain the word "culture" in place of "science." He defends the holistic view that scientific belief is tested by experience but that such testing is rightly applied to systems or conjunct

Questions of ethics and the study of culture are tightly interwoven. Are we to see ethics as one thread in the fabric created by human culture or does ethics rather transcend culture? The discussions in this volume take place within this spectrum. Eleven Wittgenstein scholars explore how ethics is embedded in everyday activities and speech. The topics dealt with range from the ways we speak about human practices and nature, religious belief, gender, and moral understanding to questions about ...

Tracing the trajectory of the author's philosophical career through a selection of his essays, this book addresses specific issues in American thought and culture. It constitutes a mosaic of his philosophy, showing its roots in an American conception of experience

The purpose of this paper is to determine the influence of theoretical approaches to the philosophical concepts of culture M. M. Bakhtin on the genesis and implementation of historical and anthropological concepts and renovations mentality and socio-cultural characteristics and behavior of individuals and societies of the past. Methodology. Methodological tools are methods of system and source analyses. Theoretical basis and results: analyzes the concept of the philosophy of culture such M.M. Bakhtin as a carnival, folk culture, culture of humor, doubleworld, concept social-cultural projection material and cultural bottom and its impact on the culture of laughter European Middle Ages and Renaissance. Methodological approaches Bakhtin recreated for historical and anthropological reconstruction mentality and socio-cultural realities of the high Middle Ages and the Renaissance. Investigated the perception of philosophical and cultural concepts M. M. Bakhtin, the scientific community and their impact on the historical and anthropological studies. It was also analyzed the influence of the respective ideas M.M. Bakhtin's historical and anthropological studies of the last quarter of XX - beginning of XXI century. in particular on the work of D. Likhachev, A. Gurevich, E. Thompson and other researchers. Conclusion: concept of the philosophy of culture, MM Bakhtin, in particular, the culture of humor, the popular perception of the world, carnival, social and cultural doubleworld, reconstruction of the domestic foundations of culture laughter Europe era high Middle Ages and the Renaissance were one of the most important conceptual elements in the study of the mentality of socially significant behavior and daily life as these periods, so or any other, from the early Middle Ages to the present.

As Professor of Philosophy at the University of Sydney for over 20 years (1978–2001), György Márkus exerted a profound influence on a generation of philosophers and students from many disciplinary backgrounds. His legendary lecture courses, spanning the history of modern philosophy from the Enlightenment through to the late 20th century, were memorable for their breadth, erudition, and philosophical drama. Always modest despite his mastery of the tradition, Márkus's approach to this history of philosophy never failed to emphasize its continuing role in shaping our inherited understanding of philosophy as 'its own time comprehended in thoughts' (Hegel). This is especially true of his contribution to the philosophical discourse of modernity, which we could summarize as comprising an original philosophy of cultural modernity. In what follows, I briefly reconstruct Márkus's account of the adventures of the concept of culture, focusing on his definitive essay 'The Path of Culture: From the Refined to the High, From the Popular to Mass Culture' (2013) but also referring to other relevant Márkus texts, offering some critical remarks on his account of culture and its relationship with modern aesthetics, both classical and contemporary.

The paper explores the paradoxes of the political philosophy of liberalism. Liberal conception of justice is incapable of providing grounds for an identity of liberalism. Liberals do not have a moral conception of their own. This is a source of a paradox. Political identity points to morality and moral identity points to politics. The aim of this paper is to clarify this paradox. Political liberalism is based on certain assumptions of a philosophy of culture. Liberals defend a conception of culture which justifies their inconsistencies. They lack any coherent conception of morality and politics. The article is an attempt to prove this by using the "final position" – an alternative to the Rawlsian "original position".

The paper explores the paradoxes of the political philosophy of liberalism. Liberal conception of justice is incapable of providing grounds for an identity of liberalism. Liberals do not have a moral conception of their own. This is a source of a paradox. Political identity points to morality and moral identity points to politics. The aim of this paper is to clarify this paradox. Political liberalism is based on certain assumptions of a philosophy of culture. Liberals defend a conception of culture which justifies their inconsistencies. They lack any coherent conception of morality and politics. The article is an attempt to prove this by using the "final position" – an alternative to the Rawlsian "original position".

The annual outbursts of controversy surrounding the presentation of the main film awards of the planet in the last few years (primarily around the Oscars) are important for cultural philosophy because they are indicators of tectonic shifts in the paradigm of modern cultural knowledge. The concept of 'high' culture is increasingly losing its ontological significance. Criticism fell upon this concept almost a hundred years ago, but so far this has been a fact of 'high' theory. Today, the denial of a 'high' culture has become the reality of mass communication. The pressure, which used to be a problem only for academic classrooms, has become an order of magnitude greater. This is the line on which we need a clear accounting of the results, the balance of pro et contra. The answer of the 'critical' philosophy is understandable in principle: the contradictions between the 'high' and 'low' cultures are not an insoluble conflict. The axiom of the death of a 'high' culture is incorrect. The modern theory of 'high' culture is possible. But its construction is cumbersome and not fast. You need to start by protecting the 'high' culture from reproach for violence. The assemblage point of radical criticism of the 'high' culture is W. Benjamin's treatise "A Work of Art in the Era of Its Technical Reproducibility". Therefore, the defense of 'high' culture cannot but begin with an answer to W. Benjamin. At the same time, thinking specifically about this small treatise, we need a careful analysis of the whole structure, the words of Benjamin as a whole. And this word is peculiar. It is thoroughly public and political. Benjamin's treatise is not a theoretical reflection. This is a manifesto, more precisely, two manifestos. The first is the manifesto of the new Marxism. The second is the manifesto of the artistic avant-garde. Benjamin saw the possibility of synthesizing these two ideologies and gave his model. It turned out, firstly, unfounded, and secondly, it was dangerous. It is dangerous because culture is the main barrier that holds back the advent of utopia. Having destroyed this barrier, we find ourselves defenseless against utopia.