What Is a Parergon?

Despite important recent work, the rehabilitation of parergon as a critical concept in the history of art has yet to be fully broached. From the time Jacques Derrida introduced the term into contemporary critical theory in The Truth in Painting, its character and function have been largely understood as referencing a threshold or boundary—in particular, that of the border of the artwork. Yet a review of the term's long history suggests a meaning that differs in significant ways from its current near‐univocal characterization as a synonym for a frame. In particular, premodern art theory and criticism identifies a parergon with matters such as the background action in a history painting, the inclusion in a landscape of picturesque embellishments, or, following Kant, the addition of ornament to a painting, a statue, or a building. This article therefore proposes we ask again: What is a parergon?     

What Is a Philosophical Analysis?

Philosophical Studies -     

What Is Music? Is There a Definitive Answer?

Philosophers frequently defend definitions by appealing to intuitions and contemporary folk classificatory norms. I raise methodological concerns that undermine some of these defenses. Focusing on Andrew Kania's recent definition of music, I argue that the way in which it has been developed leads to problems, and I show that a number of other definitions of interest to philosophers of art (and others) run into similar problems.     

What Is a Context of Utterance?

Philosophical Studies -     

What Is Ineffable?

In this essay, I argue, via a revision of Freud's notions of primary and secondary process, that experiences of resonant form lie at the root of many serious ineffability claims. I suggest further that Western European culture's resistance to the perception of resonant form underlies some of its present crises.     

What Is Dissent?

Res Publica - Dissent is a word we come across frequently these days. We read it in the newspapers, use it in discussions with friends and colleagues—perhaps even engage in the...     

What Is a Fact? Eva Rosenfeld and Historiography

Historians have disputed excessive speculative claims made on behalf of psychoanalytic interpretations. As psychoanalytic theory evolved, theorists sought to communicate the higher aspects of ego functioning which adapt our inner world to outer realities. Roazen's article discusses the question of what is a fact within the context of the history of analysis. He does this through the examples of Eva Rosenfeld's correspondences which explore the nature of historiography itself.     

What Is Ignorance?

This article offers an analysis of ignorance. After a couple of preliminary remarks, I endeavor to show that, contrary to what one might expect and to what nearly all philosophers assume, being ignorant is not equivalent to failing to know, at least not on one of the stronger senses of knowledge. Subsequently, I offer two definitions of ignorance and argue that one’s definition of ignorance crucially depends on one’s account of belief. Finally, I illustrate the relevance of my analysis by paying attention to four philosophical problems in which ignorance plays a crucial role.     

What Is Love?

SUMMARY

A theory to explain the phenomena of love is suggested. The construct of love is dissected into physiological and psychodynamic components. Love is explained first via its adaptive function, then by its physiological arousal which is interpreted as either anxiety or excitement, which is activated via goodness-of-fit of each individual's internal love model. The leap to love is contingent on the complex constellation of the above-mentioned idiosyncratic components finding synthesis within individuals and between mates. Intimacy can be nurtured, but love, similar to humans and life itself, appears to be greater than the sum of its parts.     

What Is Terrorism?

ABSTRACT My aim in this paper is not to try to formulate the meaning the word ‘terrorism’has in ordinary use; the word is used in so many different, even incompatible ways, that such an enterprise would quickly prove futile. My aim is rather to try for a definition that captures the trait, or traits, of terrorism which cause most of us to view it with moral repugnance. I discuss the following questions: Is the historical connection of terrorism with terror to be preserved on the conceptual level, or relegated to the psychology and sociology of terrorism? Does mere infliction of terror qualify as terrorism, so that we can speak of non-violent terrorism? If terrorism is a type of violence, does it have to be against persons, or should violence against property also count? In what sense can terrorism be described as indiscriminate violence? Should we use the word only in a political context? In such a context, can we speak of ‘state terrorism’, or should the word be restricted to actions not sanctioned by law? Is the terrorist necessarily oblivious to moral considerations, as those who define terrorism in terms of antinomianism imply? My answers to these questions lead up to the following definition: terrorism is the deliberate use of violence, or threat of its use, against innocent people, with the aim of intimidating them, or other people, into a course of action they otherwise would not take.     

What Is Social Construction?

In this paper I discuss the question of what it means to say that a property is socially constructed. I focus on an influential project that many social constructivists are engaged in, namely, arguing against the inevitability of a trait, and I examine several recent characterizations of social construction, with the aim of assessing which one is more suited to the task.     

What Is Wrong Indeed?

This is a critical response to Dr. Tamara Dobler's paper “What Is Wrong with Hacker's Wittgenstein? On Grammar, Context and Sense‐Determination.” It demonstrates that Dr. Dobler has no idea of what Wittgenstein meant by “grammar” or “rule of grammar.” She does not know what Wittgenstein meant by “grammatical proposition,” nor does she know what a compositional account of meaning or a category mistake is. She labours under the illusion that to say, as Wittgenstein did, that a rule of grammar excludes a form of words from use is incompatible with the claim that whether an utterance makes sense may be a context‐dependent issue. Unlike Dr. Dobler, Wittgenstein did not.     

What Is an Antique?

Antiques are undoubtedly objects worthy of aesthetic appreciation, but do they have a distinctive aesthetic value in virtue of being antiques? In this article we give an account of what it is to be an antique that gives the thesis that they do have a distinctive aesthetic value a chance of being true and suggests what that distinctive value consists in. After introducing our topic in Section I, in Section II we develop and defend the Adjectival Thesis: the thesis that the concept of being an antique is an adjectival concept. This provides us with the means to formulate our definition, which we do in Section III. In Section IV we further explicate and defend our definition. In Section V we conclude by briefly saying where we think our definition could be improved, by making a few comments about the aesthetics of antiques and by stating an interesting consequence of our definition: that it is not analytic that antiques are old.     

What Is Buddhist Transhumanism?

Abstract

The meeting of ancient Buddhism from Asia with modern orientation towards science and technology in the Western world has led to a burgeoning movement that combines these in new and innovative ways. Lacking much institutional structure, but with many shared goals among its adherents, this movement seeks to attain the traditional Buddhist goals of reducing suffering and realizing Awakening, but with the assistance of scientific knowledge and technological means.