In an earlier paper written in loving memory of Asher Peres, we gave a critical analysis of the celebrated 1935 paper in which Einstein, Podolsky and Rosen (EPR) challenged the completeness of quantum mechanics. There, we had pointed out logical shortcomings in the EPR paper. Now, we raise additional questions concerning their suggested program to find a theory that would “provide a complete description of the physical reality”. In particular, we investigate the extent to which the EPR argumentation could have (...) lead to the more dramatic conclusion that quantum mechanics is in fact incorrect. With this in mind, we propose a speculation, made necessary by a logical shortcoming in the EPR paper caused by the lack of a necessary condition for “elements of reality”, and surmise that an eventually complete theory would either be inconsistent with quantum mechanics, or would at least violate Heisenberg’s Uncertainty Principle. (shrink)

Chantal Mouffe har altid sat spørgsmålet om sociale bevægelser i relation til spørgsmålet om demokratisering. Hendes ideer om agonistisk og radikalt demokrati har fået gennemslag i den europæiske samfundsmæssige debat, men i den sammenhæng glemmer man måske, at hun først og fremmest er engageret i en radikalisering af det liberale demokrati. I hendes nuancerede debatstil kan de mange begreber, nogle af hvilke hun selv er ophavet til, godt få læseren til at fokusere på enkelte træer, som for eksempel netop agonistisk (...) og radikalt demokrati. Dermed kan selve skoven, det liberale demokrati og dets udvikling, forsvinde ud af fokus. Det gør det imidlertid ikke i dette interview, der fandt sted i hendes hjem i Hampstead, Nordlondon, primo 2012, omtrent samtidig med, at hendes seneste bog Agonistics blev afsluttet. (shrink)

In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto (...) existing theories about the nature of cinematic representation, whether issuing from classic sources such as the film theory of Andre Bazin or the post-structuralist synthesis of Lacanian psychoanalysis, Barthesian textual analysis and Metzean cine-semiotics. Casebier shows how a phenomenological account of representation will further the aims of any film theory. Developing a viable feminist film theory, legitimizing the documentary, answering the challenge of Derridean deconstruction, properly theorizing narrativity, Film and Phenomenology argues that theory of film must be Realist both with respect to epistemology and ontological issues. In this way, this work runs contrary to the whole course of contemporary film theory which has been deeply anti-Realist. (shrink)

Critics often situate "Les Liaisons dangereuses" within the tradition of the novel of libertinage. Many consider it to be superior to its predecessors but argue nonetheless that it is part of an established tradition, not the beginning of something new. Malraux demurs. While noting similarities with the novel of libertinage, he contends that Laclos’ novel links up much more significantly with the novel of the future, its descendants including Julien Sorel and even Raskolnikov.

Examines Malraux's theory of art and argues that it is neither aesthetics (philosophy of art) in the traditional sense, or history of art.

A brief discussion of André Malraux's concept of the musée imaginaire (Imaginary Museum or Museum without Walls) and a comment on the neglect of Malraux's theory of art. (Link provided).

One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...) to “imitate a gesture that is always anterior, never original”. This paper explains the understanding of artistic creation developed by the French art theorist André Malraux in his well-known book The Voices of Silence. Malraux argues that the true artist is involved in a creative act in the full sense of the term – creation ex nihilo – despite the debt he or she often owes to other artists. The paper also comments briefly on possible reasons why traditional post-Enlightenment aesthetics has said so little about the topic in question. (shrink)

After an initial period of popularity in the 1960s and 1970s, André Malraux’s works on the theory of art, "The Voices of Silence" and "The Metamorphosis of the Gods", lapsed into relative obscurity. A major factor in this fall from grace was the frosty reception given to these works by a number of leading art historians, including E.H. Gombrich, who accused Malraux of an irresponsible approach to art history and of "reckless inaccuracies". This essay examines a representative sample of (...) the art historians' arguments and contends that they reveal serious misreadings of Malraux’s texts and a recurring tendency to confuse matters of interpretation with matters of fact. The article suggests that the charge of irresponsibility might well be levelled at the critics themselves, and that the myth of Malraux as guilty of ‘reckless inaccuracies’ needs to be debunked. (shrink)

This study provides a step by step explanation of André Malraux’s theory of art. Drawing on his major works, such as "The Voices of Silence" and "The Metamorphosis of the Gods," it examines topics such as the nature of artistic creation, the psychology of our response to art, the birth of the notion of “art” itself and its transformation after Manet, the birth and death of the idea of beauty, the neglected question of the relationship between art and the (...) passage of time, the emergence of our “first universal world of art,” the contemporary role of the art museum and the musée imaginaire, and the contentious question of the relationship between art and history. -/- Rejecting negative criticisms from writers such as Maurice Merleau-Ponty and E. H. Gombrich, the study argues that Malraux offers us a theory of art that is fully coherent and highly illuminating. In addition, the analysis shows that he presents a radical challenge to the traditional explanations of art inherited from the Enlightenment that have dominated Western thinking for some three hundred years. In short, the study unveils a way of understanding art that is nothing short of an intellectual revolution. -/- The book is the English version of a study entitled André Malraux et l’Art: Une Révolution Intellectuelle published in French by Peter Lang in April 2021. (shrink)

Cette étude présente une explication systématique des éléments clés de la théorie de l’art d’André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L’Irréel et L’Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l’art, la naissance de la notion d’« art » et sa transformation après Manet, la naissance et la mort de l’idée de beauté, la question cruellement négligée de la relation (...) entre l’art et le passage du temps, l’émergence de notre « premier monde de l’art universel », le rôle contemporain du musée d’art et du Musée Imaginaire, et la question épineuse du lien entre l’art et l’histoire. Contrairement aux critiques négatives parfois émises contre la pensée de Malraux, l’étude soutient qu’il nous offre une théorie de l’art mûrement réfléchie, entièrement cohérente et très éclairante. De surcroît, et malgré des allégations occasionnelles que la pensée de Malraux manque d’originalité, l’analyse montre que sa théorie de l’art est hautement originale et constitue un défi radical aux explications traditionnelles de l’art issues des Lumières qui ont dominé la pensée occidentale pendant quelque trois cents ans. En bref, l’étude dévoile une façon de comprendre la nature de l’art qui n’est rien de moins qu’une révolution intellectuelle. Le livre va être publie également en anglais. (shrink)

An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.

Discusses the function of action in Malraux's third and most famous novel.

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on (...) the pursuit of a transcendent world of nobility, harmony and beauty. Following an illness that left him deaf for life, Goya developed an art of a fundamentally different kind - an art, Malraux writes, ruled by ‘the unity of the prison house’ which replaced transcendence with a pervasive feeling of dependence and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, the etchings and black paintings are the first announcement of the death of beauty in Western art. (shrink)

Very little has been written in recent decades about the temporal nature of art. The two principal explanations provided by our Western cultural tradition are that art is timeless (`eternal') or that it belongs within the world of historical change. Neither account offers a plausible explanation of the world of art as we know it today, which contains large numbers of works which are self-evidently not timeless because they have been resurrected after long periods of oblivion with significances quite different (...) from those which they originally held, and which also seem to have escaped history because, though long-forgotten, they have `come alive' again for us today. In his two key works on the theory of art, "Les Voix du silence" and "La Métamorphose des dieux", André Malraux offers an entirely new account of the temporal nature of art based on the concept of metamorphosis. Unlike the traditional explanations, Malraux's account makes sense of the world of art as we now know it. He revolutionizes our understanding of the relationship between art and time. (shrink)

Modern aesthetics is divided into two branches – the Anglo-American and the Continental. A major cause of this division is their divergent views about the place of history in aesthetics, the first tending to minimize historical considerations, while the second readily embraces them. This article explores the place of history in André Malraux's theory of art and argues that his thinking quickly resolves this long-standing disagreement. (This text is a translation of the published French version.).

Choderlos de Laclos’s novel 'Les Liaisons dangereuses', first published in 1782, is regarded as one of the outstanding works of French literature. This article concerns a well known commentary by the twentieth-century writer André Malraux which, though often mentioned by critics, has seldom been studied in detail. The article argues that, while Malraux endorses the favourable modern assessments of 'Les Liaisons dangereuses', his analysis diverges in important respects from prevailing critical opinion. In particular, he regards the work as the (...) commencement of an important new stage in the French novel rather than, as often argued, the culmination of the existing libertine tradition. (shrink)

" Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...

Explains a key aspect of Malraux's theory of art – his explanation of the nature of artistic creation. The question is widely neglected in modern aesthetics.

Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample (...) evidence that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. (shrink)

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample (...) evidence that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. -/- My apologies: I entered this item twice by mistake. PhilPapers will fix this soon. (shrink)

A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. (...) -/- What is the nature of this power and how does it operate? The Renaissance decided that works of art are timeless, “immortal” – immune from historical change – and this idea has exerted a profound influence on Western thought. But do we still believe it? Does it match our experience of art today which includes so many works from the past that spent long periods in oblivion and have clearly not been immune from historical change? -/- This book examines the seemingly miraculous power of art to transcend time – an issue widely neglected in contemporary aesthetics. Tracing the history of the question from the Renaissance onwards, and discussing thinkers as various as David Hume, Hegel, Marx, Walter Benjamin, Sartre, and Theodor Adorno, the book argues that art transcends time through a process of metamorphosis – a thesis first developed by the French art theorist, André Malraux. The implications of this idea pose major challenges for traditional thinking about the nature of art. (shrink)

One of the most remarkable contributions André Malraux makes to the theory of art is his explanation of the relationship between art and time: his argument that art transcends time through a process of metamorphosis. This proposition, which replaces the traditional belief that art resists time because it is eternal or immortal, poses a major challenge to traditional aesthetics. This article examines the notion of metamorphosis and the challenge it represents.

How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...) that left a profound impression on Renaissance culture and often found expression in its poetry. Subsequently the same belief exerted a powerful influence on Enlightenment aesthetics and, in various forms, it still lingers on today. The nineteenth century, however, saw a major challenge to this thinking. Hegel, Marx and Taine stressed the historical embeddedness of art and for these three thinkers, as for a series of more recent theorists such as Sartre, Benjamin, and Adorno, art belongs within the world of historical change. To locate its essential qualities in a “timeless” realm removed from the flow of history would be an idealist illusion. The conflict between these two positions has resulted in an impasse, and today we appear to lack any viable account of one of art’s key features – its capacity to transcend time. André Malraux proposes an entirely new account of this unique power of art. For Malraux, as this article explains, art is neither exempt from history (timeless) nor wholly inseparable from it. Art overcomes temporal distance – transcends time – through metamorphosis, a process of continual transformation in significance in which history plays an essential, but not exclusive, part. “La métamorphose,” Malraux writes, “est la vie même de l’œuvre d’art dans le temps, l’un de ses caractères spécifiques.” This proposition, to which contemporary aesthetics has so far paid very little attention, is a revolutionary step in our thinking about art. -/- . (shrink)

This book examines some of the deepest questions in philosophy: What is involved in judging a belief, action, or feeling to be rational?

The first major publication in English on the bamboo slips excavated from a late fourth century B.C. Chu-state tomb at Guodian, Hubei, in 1993. The slip texts include both Daoist and Confucian works, many previously unknown. Thie monograph is a full account of the international conference held on these texts, at which leading scholars from China, the United States, Europe, and Japan analyzed the Laozi materials and a previously unknown cosmological text. In addition, the contents include nine essays on topics (...) such as the archaeological background of the discovery, conservation of the slip-texts, and the relation of the Guodian Laozi materials to the received Laozi text. An annotated edition of the Guodian Laozi materials and the cosmological text are included, as well as a critical bibliography with summary of Chinese scholarship on the Guodian texts in the year following the conference. (shrink)

Choices can be wise or foolish, and feelings can be apt or off the mark. So we judge, and it would be good to know what content these normative judgements carry. Gibbard offers an answer, and elaborates it. His theory explores what is at issue in narrowly moral questions, and in questions of rational thought and conduct in general.

In this surprising book, Allan V. Horwitz argues that our current conceptions of mental illness as a disease fit only a small number of serious psychological conditions and that most conditions currently regarded as mental illness are cultural constructions, normal reactions to stressful social circumstances, or simply forms of deviant behavior.

Chapter 1: Introduction to Social Work Values and Ethics -- Chapter 2: Managing Ethical Issues -- Chapter 3: Social Justice -- Chapter 4: Client Autonomy, Self-Determination, and Informed Consent -- Chapter 5: Privacy, Confidentiality, and Exceptions -- Chapter 6: Professional Competence, Incompetence, and Impairment -- Chapter 7: Cultural Competence, Humility, Awareness, and Responsiveness -- Chapter 8: Professional Boundaries, Dual Relationships, and Conflicts of Interest -- Chapter 9: Responsibilities in Practice Settings -- Chapter 10: Access to Services -- Chapter 11: Honesty (...) and Integrity -- Chapter 12: Social Work Accountability and Regulation -- Chapter 13: Risk-Benefit Management -- Chapter 14: Conclusion. (shrink)

Gaining momentum during the last third of the twentieth century, the philosophy of biology is now a distinct field with its own debates, journals, audiences, and professional societies. This professionalization came along with the forging of an intellectual identity based on the existence of disciplinary frontiers that demarcated philosophy of biology from neighboring disciplines such as philosophy of medicine, history of biology, or general philosophy of science. Here, I argue that the identity of this emerging philosophy of biology also excluded (...) Continental traditions often called “biological philosophy” or “historical epistemology of the life sciences”. Going back to the 60s and 70s, I explore the emergence of the philosophy of biology at a time when its identity was still in flux and its analytic orientation debated. To do so, I focus primarily on the works of David Hull and Marjorie Grene, and I draw on their unpublished correspondence. Although Grene’s intellectual contribution to the philosophy of biology has been widely acknowledged, her coming from a different philosophical universe created tensions with the identity Hull and others sought to establish. Overall, this chapter raises a question about the historical conditions that make fields such as the philosophy of biology possible, and calls attention to the exclusions that permeated the philosophy of biology from its inception and what this involves in terms of the proper relation between philosophy and science, especially biology. (shrink)

In Experiment, Right or Wrong, Allan Franklin continues his investigation of the history and philosophy of experiment presented in his previous book, The Neglect of Experiment. Using a combination of case studies and philosophical readings of those studies, Franklin again addresses two important questions: (1) What role does and should experiment play in the choice between competing theories and in the confirmation or refutation of theories and hypotheses? (2) How do we come to believe reasonably in experimental results? Experiment, (...) Right or Wrong makes a significant contribution to an important area in contemporary history and philosophy of science. Philosophers and historians of science, physicists, and advanced students in these areas will find much of interest in this engaging study. (shrink)

As far back as we know, there have been individuals incapacitated by memories that have filled them with sadness and remorse, fright and horror, or a sense of irreparable loss. Only recently, however, have people tormented with such recollections been diagnosed as suffering from "post-traumatic stress disorder." Here Allan Young traces this malady, particularly as it is suffered by Vietnam veterans, to its beginnings in the emergence of ideas about the unconscious mind and to earlier manifestations of traumatic memory (...) like shell shock or traumatic hysteria. In Young's view, PTSD is not a timeless or universal phenomenon newly discovered. Rather, it is a "harmony of illusions," a cultural product gradually put together by the practices, technologies, and narratives with which it is diagnosed, studied, and treated and by the various interests, institutions, and moral arguments mobilizing these efforts. This book is part history and part ethnography, and it includes a detailed account of everyday life in the treatment of Vietnam veterans with PTSD. To illustrate his points, Young presents a number of fascinating transcripts of the group therapy and diagnostic sessions that he observed firsthand over a period of two years. Through his comments and the transcripts themselves, the reader becomes familiar with the individual hospital personnel and clients and their struggle to make sense of life after a tragic war. One observes that everyone on the unit is heavily invested in the PTSD diagnosis: boundaries between therapist and patient are as unclear as were the distinctions between victim and victimizer in the jungles of Southeast Asia. (shrink)

This book claims that Aristotle followed an aspect theory of predication.

This book provides the reader with a detailed and captivating account of the story where, for the first time, physicists ventured into proposing a new force of nature beyond the four known ones - the electromagnetic, weak and strong forces, and gravitation - based entirely on the reanalysis of existing experimental data. Back in 1986, Ephraim Fischbach, Sam Aronson, Carrick Talmadge and their collaborators proposed a modification of Newton's Law of universal gravitation. Underlying this proposal were three tantalizing pieces of (...) evidence: 1) an energy dependence of the CP (particle-antiparticle and reflection symmetry) parameters, 2) differences between the measurements of G, the universal gravitational constant, in laboratories and in mineshafts, and 3) a reanalysis of the Eötvos experiment, which had previously been used to show that the gravitational mass of an object and its inertia mass were equal to approximately one part in a billion. The reanalysis revealed that, contrary to Galileo's position, the force of gravity was in fact very slightly different for different substances. The resulting Fifth Force hypothesis included this composition dependence and also added a small distance dependence to the inverse-square gravitational force. Over the next four years numerous experiments were performed to test the hypothesis. By 1990 there was overwhelming evidence that the Fifth Force, as initially proposed, did not exist. This book discusses how the Fifth Force hypothesis came to be proposed and how it went on to become a showcase of discovery, pursuit and justification in modern physics, prior to its demise. In this new and significantly expanded edition, the material from the first edition is complemented by two essays, one containing Fischbach's personal reminiscences of the proposal, and a second on the ongoing history and impact of the Fifth Force hypothesis from 1990 to the present. <. (shrink)