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A cinematic response to pessimism
Davide Panagia

in Modern Philosophy,” in Must We Mean What We Say?, passim. 16 Wittgenstein, Philosophical Investigations , para. 144. 17 Wittgenstein, Philosophical Investigations , p. 142e, para. 524

in Cinema, democracy and perfectionism
Open Access (free)
The life and times of Jean-Jacques Rousseau
Mads Qvortrup

.S. Eliot, ‘is someone who establishes a culture’ (Eliot 1975: 402). Few others than Plato, Virgil and Christ (and the latter, arguably, had unfair parental support!) can lay claim to this status. As one scholar has put it, ‘In our time Rousseau is usually cited as a classic of early modern political philosophy. He is more than that: he is the central figure in the history of modern philosophy and perhaps the pivotal figure in modern culture as a whole’ (Velkley 2002: 31). Rousseau belongs to the noble few. Reviled and ridiculed, liked or loathed, the Swiss vagabond, who

in The political philosophy of Jean-Jacques Rousseau
Sarah Hale

Macmurray saw his purpose as being to challenge the starting point of modern philosophy, the idea that people are individuals first who then choose how to relate to others. He insisted that people exist only in relation to others . . . he argued that the liberal self was incomplete, because people’s personalities are created by their

in The Third Way and beyond
Meanings, Limits, Manifestations
Patrick Hayden and Kate Schick

discussions of multiculturalism, religious conflict, social justice and the politics of identity. Although not the first figure to introduce the theme of recognition into modern philosophy – aspects of the concept of recognition can be found in Hobbes, Rousseau and Kant – Hegel undoubtedly presents the most systematic and famous account of its social and political ubiquity. Borrowing from the philosophy of

in Recognition and Global Politics
Andrew Bowie

the two, not least because neither can be thought of as a natural kind. The real question here has to do with the consequences that are drawn from the historical changes in the understanding of music in relation to language, and this is where the assessment of modern philosophy’s significance for the rest of culture divides responses to the rejection of representationalism. De Man says of Rousseau’s conception of the musical sign: the musical structure obeys an entirely different principle from that of structures resting on a ‘full’ sign, regardless of whether the

in Aesthetics and subjectivity
Open Access (free)
An introduction
John J. Joughin and Simon Malpas

that, in its indefatigable opposition to the formal constraints of the aesthetic, cultural criticism continued to deploy the cognitive import of the truth potential of the aesthetic against its own implication in disciplinary division, embroiled within what deconstructionists might term the problem of closure. Crucially, as Robert Burch notes: To the extent that such a [post-aestheticist] strategy challenges the fixed dichotomies and hierarchies upon which modern philosophy’s claim to purity depends, it also threatens the firm distinction between the theory per se

in The new aestheticism
Andrew Bowie

pre-existing truth beyond itself, and can be used to oppose metaphysics, because it is non-representational and discloses aspects of the world which would not exist as such without music. Because music resists wholesale appropriation in scientific terms – acoustic frequencies or any other quantifiable, conceptualisable aspect of music are necessary, but not sufficient, for something to be music – it keeps alive issues which are germane to the role of aesthetics in modern philosophy. Nietzsche’s main objection to Wagner – and this is one of the few constants in the

in Aesthetics and subjectivity