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In: Filozofski vestnik: FV, Band 22, Heft 2, S. 87-110
ISSN: 0353-4510
This essay takes the challenges posed by a definition of the baroque as model for thinking about the ways in which problems in aesthetic history can shape a philosophy of culture. Attempts to define the baroque as a period within art history have led to an astounding degree of confusion. The search for unifying stylistic markers amid this confusion has led critics to seek deep structures, while historical analyses of the deep structures fail to sustain their connections to style or form. Using the baroque as a model, this essay looks at examples from the visual arts & architecture in order to demonstrate the ways in which deep-structure theories of culture falter by presupposing a more rigid distinction between surface & depth than may be the case. Drawing in part on Deleuze's notion of the fold, this essay proposes that we look at culture as driven by forces that are both materialized in surfaces that are themselves part of any "deep structure.". 10 Figures, 39 References. Adapted from the source document.
In: Schriften zur Phänomenologie und Anthropologie Band 3
In: Telos: critical theory of the contemporary, Band 1994, Heft 101, S. 83-91
ISSN: 1940-459X
In: Palgrave Macmillan animal ethics series
In: The Palgrave Macmillan Animal Ethics Ser.
Exploring how animal suffering is made meaningful within Western ramifications, the book investigates themes such as skepticism concerning non-human experience, cultural roots of compassion, and contemporary approaches to animal ethics. At its center is the pivotal question: What is the moral significance of animal suffering?
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
In: American philosophy series
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
World Affairs Online
In: Science & society: a journal of Marxist thought and analysis, Band 74, Heft 1, S. 141-143
ISSN: 0036-8237
In: Studies in East European thought, Band 46, Heft 3, S. 197-222
ISSN: 1573-0948
In: Telos: critical theory of the contemporary, Band 1977, Heft 31, S. 202-220
ISSN: 1940-459X
In: Thesis eleven: critical theory and historical sociology, Band 160, Heft 1, S. 73-83
ISSN: 1461-7455, 0725-5136
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.
This is the first comprehensive examination of the implications of the messianic turn within contemporary thought. It will be of appeal to students and scholars working in the fields of cultural studies; philosophy; religious studies; politics and international relations and literary studies. This book was published as a special issue of the Journal of Cultural Research.