The scientific positivism of Michael Oakeshott

Seventeenth-century philosopher Margaret Cavendish wrote not only several philosophical treatises, but also many fictional works. I argue for taking the latter as serious objects of study for historians of philosophy, and sketch a method for doing so. Cavendish's fiction is full of conflicting viewpoints, and many authors have argued that this demonstrates that she did not intend her literary works to serve serious philosophical purpose. But if we consider philosophers more central to the canon, such as Plato or Kierkegaard, who sometimes used literary forms to do serious philosophy, we see that these arguments are unfounded. Like those philosophers, Cavendish had several philosophical motivations for pursuing value-theoretic issues through the flexible formats of literary genres. This suggests that Cavendish's literary corpus may be fruitful and largely unexplored ground for the history of philosophy.     

On the Philosophical Relevance of Marx＇s Views Today

This paper revisits some of Marx＇s central philosophical ideas with the attempt to understand the thinker＇s real place in the history of the Western philosophical tradition. It does not only show that the philosophical dimension is central to Marx＇s economic and political works, and therefore his contributions to philosophy merit special investigation, but it also argues that Marx is a descendant of classic German philosophy, and thus his views should be assessed in the context of the development of the philosophical ideas that emerged within that tradition.     

Style in Philosophy: Part I

In this article, I attempt to restore the philosophical significance of that nonformalizable, noniterable, "singular' element of natural language that I call "style." I begin by critically addressing the exclusion of such instances of natural language by both semantics-oriented logical analysis and a restricted variation of structuralist linguistics. Despite the obvious advantages – with regard to style – of "pragmatic"approaches to language, such pragmatism merely returns to rule-determination in the guise of "normativity." Although style by definition resists any kind of rule-determination – whether posed in terms of semantics or intersubjective regulations of speech-acts – there can be no consideration of language that ignores the persistence of style in natural language. In terms of cognition, any discursive agent understands more than allowed by either semantics or speech-act theory. I ascribe this element of excessive signification to the role of style. My principal thesis is twofold: (1) a hermeneutic approach (exemplified by Schleiermacher) to literature should reveal the heuristically decisive role played by style in philosophy; and, more radically still, (2) style, in fact, may be crucially determinative of philosophical discourse in general. I suggest that a closer scrutiny of the lesser-known works of Ludwig Wittgenstein, conventionally regarded as having dreamt of a "philosophy without style," may consolidate the restoration of style's philosophical import.     

Oracularity

Abstract: In contemporary North American contexts, to say that a claim is oracular is seriously to undermine its philosophical credibility. My thesis is that this negative judgement of oracularity is unwarranted and that it is rooted in an excessively narrow notion of what constitutes ‘good’ philosophy. More specifically, I argue that oracular utterance is appropriate to the expression of views that regard the phenomena towards which they are directed as radically, non‐systematically integrated wholes. Importantly, such views are falsifiable—or at least as falsifiable as scientific paradigms, which, in one important respect, they resemble. However, I argue further that there is good reason to think that such views cannot, without distortion, be expressed using the systematic‐analytic forms of argumentation that are frequently regarded as essential to the pursuit of philosophy. Yet the questions that they compass, concerning the way in which parts are related to the wholes that they constitute, fall squarely within the purview of traditional metaphysics. Thus, in proscribing oracular utterance we divest ourselves of the opportunity to contemplate world orders of potential philosophical interest that systematic‐analytic argument is incapable of conveying to us.     

Aesthetic Properties as Powers

Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about secondary properties such as colours. By contrast, I advance a novel realist position about aesthetic properties, which is based on a disanalogy between aesthetic properties and colours. Whereas colours are usually perceived as relatively steady features of external objects, aesthetic properties are perceived as unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic properties as causally efficient powers. Beauty is not merely in the mind of the observer; it is a power of an object to bring about a certain effect, as much instantiated in the object as its fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements.     

A metaphilosophical dialogue

Three philosophical attitudes in dialogue are suggested in answering the question posed by the Journal. An inviting, First Inner Voice undeerstands philosophy as a shareable theoretical task that can be explained and understood even across distant philosophical paradigms. A Second Inner Voice, sometimes termed in the dialogue as sceptic, distrusts any metaphilosophical definition of what philosophy is and what it should do, but would, nevertheless, aspire to retain a certain universalistic understanding of its own work, though it cannot be strongly and conceptualy rendered. A Third Inner Voice, regarded in the text as somewhat Hegelian, insists in the unavoidability of strong philosophical definitions both in historical and in conceptual terms. No proposal or conclusion is forwarded regarding what should be done in contemporary philosophy, though an analysis of harm experiences is taken as an example of philosophical work     

Hedonistic morality and the art of life: Jean-Marie Guyau revisited

The aim of this paper is to defend the position that aesthetics and ethics in sport are not two separate domains or aspects. In sport, the aesthetic and the ethical both arise from sport’s (aesthetic) attractiveness or from the pleasure sport offers to its activists and consumers. To think about sport philosophically, we should find a link and a principle beyond this division as a source of both the aesthetic and the ethical in sport. The philosophy and philosophical sociology of Jean-Marie Guyau is presented as a response to this problem. Two points of fundamental importance are considered critically here: his criticism of any reductionism, and life or the idea of life as key principle of a philosophical system which puts ethics and aesthetics together.     

Deweyan Multicultural Democracy,Rortian Solidarity,and the Popular Arts: Krumping into Presence

Curiously, while the efficacy of the arts for the development of multicultural understandings has long been theorized, empirical studies of this effect have been lacking. This essay recounts our combined empirical and philosophical study of this issue. We explicate the philosophical considerations that shaped the development of the arts course we studied, which was grounded in rather traditional humanist educational thought, informed by Deweyan considerations for pedagogy and multiculturalism. We also provide an overview of the course and of the study design: the ways in which the course worked to teach aesthetic theory through a combination of popular and canonical works, and the ways in which it sought to instill a sense of cross-cultural appreciation and solidarity among students through the inclusion of art from different cultures and generations. We then share our research findings and our return to the realm of philosophy to interpret them. Our postcolonial analysis incorporates emerging discussions of the arts as a tool for resistance and dialogue within the system of public education, and revisit and reconsider the very concept of education for pluralistic democracy. This approach problematizes traditional conceptions of pluralism, in which an attempt is made to dissolve difference in a common understanding, and instead advocates that works from among the contemporary popular arts and works drawn from the artistic “canon” alike must be considered and employed for their instrumental value to the educational process—especially for their ability to prompt an intersubjectivity that is accompanied by a heightened awareness of difference.     

The Viability of the Philosophical Novel: The Case of Simone de Beauvoir's She Came to Stay

This article begins by asking if the project to write a philosophical novel is not inherently flawed; it would seem that the novelist must either write an ambiguous text, which would not create a strong enough argument to count as philosophy, or she must write a text with a clear argument, which would not be ambiguous enough to count as good fiction. The only other option available would be to exemplify a preexisting abstract philosophical system in the concrete literary world. To move beyond such an impasse, this article turns to the work of Simone de Beauvoir. Beauvoir's unique aesthetic theory in “Literature and Metaphysics” envisions philosophy as an integral part of the literary text and sees the novel not as an argument but as something called a “philosophical appeal” (Beauvoir 2004b). In her first novel, She Came to Stay, such a concept of the philosophical novel allows Beauvoir to make an original contribution to the philosophical tradition—one in which Beauvoir rethinks the problem of solipsism—while still creating a stunning literary work (Beauvoir 1954). A study of the theory and the novel together thus provides a solid understanding of what philosophers stand to gain from the philosophical novel.     

Ernst Cassirer's Neo-Kantian Philosophy of Geometry

One of the most important philosophical topics in the early twentieth century – and a topic that was seminal in the emergence of analytic philosophy – was the relationship between Kantian philosophy and modern geometry. This paper discusses how this question was tackled by the Neo-Kantian trained philosopher Ernst Cassirer. Surprisingly, Cassirer does not affirm the theses that contemporary philosophers often associate with Kantian philosophy of mathematics. He does not defend the necessary truth of Euclidean geometry but instead develops a kind of logicism modeled on Richard Dedekind's foundations of arithmetic. Further, because he shared with other Neo-Kantians an appreciation of the developmental and historical nature of mathematics, Cassirer developed a philosophical account of the unity and methodology of mathematics over time. With its impressive attention to the detail of contemporary mathematics and its exploration of philosophical questions to which other philosophers paid scant attention, Cassirer's philosophy of mathematics surely deserves a place among the classic works of twentieth century philosophy of mathematics. Though focused on Cassirer's philosophy of geometry, this paper also addresses both Cassirer's general philosophical orientation and his reading of Kant.     

Investigative and Suspensive Scepticism

Sextus Empiricus portrays the Pyrrhonian sceptics in two radically different ways. On the one hand, he describes them as inquirers or examiners, and insists that what distinguishes them from all the other philosophical schools is their persistent engagement in inquiry. On the other hand, he insists that the main feature of Pyrrhonian attitude is suspension of judgement about everything. Many have argued that a consistent account of Sextan scepticism as both investigative and suspensive is not possible. The main obstacle to characterizing Pyrrhonism as both investigative and suspensive is the fact that it seems that the mature sceptics, after they have suspended judgement and thus reached tranquillity, have no motivation for further inquiry. Any inquiry they seem to be interested in after they have suspended judgement is the refutation of (relevant) beliefs needed for maintaining tranquillity. I try to show that the mature sceptics' removal of distress does not ipso facto mean removal of the desire for knowledge. This is because distress is not just a matter of unsatisfied desire, but of belief that one of the opposed appearances must be true, or, more generally, of belief that the truth is the only worthwhile epistemic goal. Having abandoned this belief, the sceptics can still engage in philosophical inquiries. This is because Sextus does not assume that philosophy is the search for truth: it is so only for the dogmatists. In a more general sense, applicable to the sceptics as well, philosophy is just an inquiry into certain things, and for the sceptics, its epistemic goal is still open.     

Beauty and Aesthetic Experience in Theravāda Buddhism

The following essay deals with the specificity of aesthetic experience and apprehension of beauty in the frame of Theravāda Buddhism. This essay is aimed, above all, to Western readers, since aesthetics and beauty, as an inherent quality of nature and works of art, are constitutive parts of the Western philosophical and cultural tradition. I consider texts written in Western languages and available in the Western debate. On the one hand, so far as aesthetics is concerned, as a philosophical reflection on beauty and art, Theravāda Buddhism may seem to be critical towards any kind of aesthetical experience. On the other hand, Theravāda Buddhism can offer a different and peculiar perspective on art and beauty. The aim is to demonstrate that there is a specific aesthetic experience in Theravāda Buddhism and this experience allows a different perception and use of the work of art and a different experience of beauty.     

Beauvoir‐in‐America: Understanding,Concrete Experience,and Beauvoir's Appropriation of Heidegger in America Day by Day

This paper reads Simone de Beauvoir's travel journal America Day by Day for its philosophical content. I argue that this work provides a unique approach to feminist, embodied philosophy, one that has been overlooked by the categorization of her writing into philosophical works and feminist ones. Such an approach, I contend, is enacted here through her use of Heidegger's concept of the everyday to inform her own treatment of understanding and experience.     

Normativity in the Philosophy of Science

This paper analyzes what it means for philosophy of science to be normative. It argues that normativity is a multifaceted phenomenon rather than a general feature that a philosophical theory either has or lacks. It analyzes the normativity of philosophy of science by articulating three ways in which a philosophical theory can be normative. Methodological normativity arises from normative assumptions that philosophers make when they select, interpret, evaluate, and mutually adjust relevant empirical information, on which they base their philosophical theories. Object normativity emerges from the fact that the object of philosophical theorizing can itself be normative, such as when philosophers discuss epistemic norms in science. Metanormativity arises from the kind of claims that a philosophical theory contains, such as normative claims about science as it should be. Distinguishing these three kinds of normativity gives rise to a nuanced and illuminating view of how philosophy of science can be normative.     

Methodology in aesthetics: the case of musical expressivity

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought.     

Metaphilosophy and the Role of Intuitions

The practice of appealing to intuitions as evidence has recently been criticized by experimental philosophers. While some traditional philosophers defend intuitions as a trustworthy source of evidence, others try to undermine the challenge this criticism poses to philosophical methodology. This paper argues that some recent attempts to undermine the challenge from experimental philosophy fail. It concludes that the metaphilosophical question whether intuitions play a role in philosophy cannot be decided by analyzing our use of the word ‘intuition’ or related terms, and what philosophers rely on may not be manifest on the surface of what they write. The question what intuitions are and what their role is in philosophy has to be settled within the wider framework of a theory of knowledge, justification, and philosophical methodology.

     

"中国马克思主义哲学"理论体系的实存应予肯定--兼答徐素华先生

徐素华先生文章把我提出的“中国马克思主义哲学”等同于他所说的“党的指导思想形态”,“在中国的马克思主义哲学”等同于他所说的“学术研究形态”,这不符合我的本意。“马克思主义哲学合法性问题”的讨论确实存在。“中国马克思主义哲学”是在中国实践中学习、运用,在总结实践经验、发扬中国优秀哲学文化、升华人民群众智慧的基础上发展了的马克思主义哲学。它是中国哲学的一个现代形态。它既是一个创新的哲学理论体系,又是党的指导思想的哲学基础。     

Is “Latin American Thought” Philosophy?

Abstract: A durable question in Latin American thought is whether it could amount to a characteristically Latin American philosophy. I argue that if, as is now widely conceded, there is a role for philosophical analysis in thinking about problems that arise in applied subjects, such as bioethics, environmental ethics, and feminism, then why not also in Latin American thought? After all, the focus of Hispanic thinkers has often been upon the issues that arise in their own experiences of the world, and they make up a diverse group of peoples related by very idiosyncratic ethnic and historical connections. I believe that, given some appropriate criteria, the existing corpus of works by Latin American thinkers is a part of a distinctive philosophy.     

Understanding Kant's Distinction between Free and Dependent Beauty

I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty is based upon non-aesthetic criteria (if the object is not freely beautiful), or else the judgement is superfluous for an account of aesthetic value. My analysis of the distinction allows both kinds of beauty to play a meaningful role in a theory of aesthetic value.