Wittgenstein's work remains, undeniably, now, that off one of those few philosophers who will be read by all future generations.

Remarks on the Foundations of Mathematics. By L. Wittgenstein. Edited by G. H. Von Wright, R. Rhees and G. E. M. Anscombe. Translated by G. E. M. Anscombe. Pp. 400. 37s. 6d. 1956. (Basil Blackwell, Oxford)

Research" (1991) is informative for the overview it provides of scientific realism. At the outset House tells the reader that he will forgo comparisons between scientific realism and interpretivism, pragmatism, and critical theory in order to focus on "its [scientific realism's] introduction and explication" (p. 2). At the end he poses the question: "How does scientific realism compare with perspectives such as interpretivism, pragmatism, and critical theory?" (p. 9). A note of response is not the place to pursue such comparisons in detail, but a few comments, perhaps, may provide the basis for beginning such comparisons, in this case between pragmatism and scientific realism. Pragmatism and scientific realism share a number of assumptions about science, language, and the world. Both are also opposed to positivism/empiricism. Given their areas of agreement as well as some common opponents, it is surprising that these two schools of thought end up so far apart. The following comments profile a few of their affinities as well as a few dramatic differences that divide them.

https://www.jstor.org/stable/info/1176502

Notes on Pragmatism and Scientific Realism

Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that "contemporary art is postconceptual art," the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism.

Anywhere or Not at All: Philosophy of Contemporary Art

Central to much recent work in both anthropology and history is the concept of agency. This essay examines some problems with this concept that arise when we look for it across historical and ethnographic contexts. This study focuses on how agency is expressed in differences among the powers that people impute to spoken words and the kinds of subjects to which they attribute the authorship of words. In this article I want in particular to show how attention to the intersections between speech practices and speakers' beliefs about language can shed light on the historical and cultural worlds in which those speakers act.The problem of agency is often raised by anthropologists and historians in the effort to be inclusive, to take account of “all the players in the game” (Comaroff and Comaroff 1991:9). Furthermore, the question of agency increasingly reflects an ethical imperative. As Talal Asad has recently remarked, “The doctrine of action has become essential to our recognition of other people's humanity” (1996:272). The anthropologist's quest for local agency is often portrayed as an antidote to earlier assumptions about tradition-bound natives and timeless structures or to triumphalist narratives of empire and modernity.

https://www.jstor.org/stable/pdf/179364.pdf

From Fetishism to Sincerity: On Agency, the Speaking Subject, and their Historicity in the Context of Religious Conversion

Recent philosophical attention to fiction has focused largely on the phenomenon of imaginative resistance: the fact that readers are sometimes unable or unwilling to play along with an author's instructions to imagine certain, especially moral, contents or responses. The fact that readers resist in these cases appears puzzling, given that they are typically willing to imagine all sorts of highly implausible, even impossible things, including alterations to the laws of physics. Theorists have explained imaginative resistance in various ways. Richard Moran (1994) argues that resistance arises because evaluative and emotional engagement with fiction requires more than merely imaging certain contents: it requires having actual, robust responses of the relevant kind, and this is not the sort of thing readers can simply choose to do in response to an author's demands. Kendall Walton (1994), Steve Yablo (2002) and Brian Weatherson (2004) argue that resistance arises because what readers are able to imagine true in the fiction is fixed by invariant conceptual or metaphysical principles. And Tamar Szabó Gendler (2000) argues that resistance is driven by readers' unwillingness to 'export' certain moral principles or perspectives from fictions to reality. Because they focus on imaginative resistance, all of these theorists emphasize the limits of imagination, and specifically the ways in which engagement with fiction is constrained by one's sense of reality. Against this, I will argue that it is at least as notable how often readers' evaluative and emotional responses toward fictions differ from those they would have toward the same situation in reality. Thus, I find it funny rather than cruel that the Three Stooges bop each other over the head with heavy implements. I find the events in a Stephen King novel thrilling rather than disgusting. And I root for Conversations with Richard Wollheim were instrumental in developing the notion of perspectives. My debt to the work of Richard Moran and Tamar Gendler will also be apparent throughout.

Perspectives in imaginative engagement with fiction

Acknowledgments Introduction 1. The disenchantment of the world 2. The theory of the novel and the autonomy of art 3. Secularization and modernization 4. The subject and the state 5. Subjective desire 6. Possibilities of post-modernism Notes.

The subject of modernity

Acknowledgements 1. The consequences of enlightenment 2. Aesthetics as critique 3. The difficulty of art 4. Communication and transformation: aesthetics and politics in Habermas and Arendt 5. The role of aesthetics in the radicalisation of democracy 6. Infinite reflection and the shape of praxis 7. Feeling and/as force.

/pdf/consequences-of-enlightenment-2a1j33loa7.pdf

Consequences of Enlightenment

Preface Acknowledgments Note on texts and notes Introduction 1. La vida es sueno: Calderon's idea of a theatre 2. La dama duende 3. Calderon and Tirso: El galan fantasma 4. El secreto a voces: language and social illusion 5. Toward tragedy 6. El medico de su honra 7. Herod and Hercules: theatrical space and the body 8. El magico prodigioso and the theatre of alchemy 9. The illusions of history 10. Authority and illusion: En la vida todo es verdad y too mentira 11. The use of myth: Eco y Narciso 12. Prometheus and the theatre of the mind 13. Calderon's last play: the comedia as technology and romance Notes Index.

The Limits of Illusion: A Critical Study of Calderón

Chronology 1 Introduction Anthony J Cascardi Translations and editions List of Cervantes' works 2 Historical and political background B W Ife 3 Cervantes and the Italian Renaissance Frederick A de Armas 4 Don Quixote and the invention of the novel Anthony J Cascardi 5 The influence of Cervantes Alexander Welsh 6 Cervantes' other fiction Mary Malcolm Gaylord 7 Works for the stage Melveena Mckendrick 8 Humor and violence Adrienne L Martin 9 Psyche and gender Anne Cruz 10 Cervantes and the New World Diana de Armas Wilson Appendix: List of electronic resources Anthony J Cascardi

/pdf/the-cambridge-companion-to-cervantes-2vd1xd08eg.pdf

the-cambridge-companion-to-cervantes

Chronology 1. Introduction Anthony J. Cascardi Translations and editions List of Cervantes' works 2. Historical and political background B. W. Ife 3. Cervantes and the Italian Renaissance Frederick A. de Armas 4. Don Quixote and the invention of the novel Anthony J. Cascardi 5. The influence of Cervantes Alexander Welsh 6. Cervantes' other fiction Mary Malcolm Gaylord 7. Works for the stage Melveena Mckendrick 8. Humor and violence Adrienne L. Martin 9. Psyche and gender Anne Cruz 10. Cervantes and the New World Diana de Armas Wilson Appendix: List of electronic resources Anthony J. Cascardi.

The Cambridge Companion to Cervantes

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