Robert Pippin

The emergence of abstract art, first in the early part of the century with Kandinsky, Malevich, and Mondrian, and then in the much more celebrated case of America in the fifties (Rothko, Pollock, and others) remains puzzling. Such a great shift in aesthetic standards and taste is not only unprecedented in its radicality. The fact that nonfigurative art, without identifiable content in any traditional sense, was produced, appreciated, and, finally, eagerly bought and, even, finally, triumphantly hung in the lobbies of banks and insurance companies, provokes understandable questions about both social and cultural history, as well as about the history of art. The endlessly disputed category of modernism itself and its eventual fate seems at issue.

In the long aftermath of such modernist suspicions about the still dominant "official" Enlightenment culture, the very title of the recently translated book by Hans Blumenberg is a bluntly direct invitation to controversy--The Legitimacy of the Modern Age. For Blumenberg, when Giordano Bruno, condemned to burn at the stake in 1600, defiantly turned his face from a crucifix offered him as a last chance at redemption, the heroic gesture should be seen as just that, heroic and historically decisive, a rejection of the reality of the Incarnation, and the expression of a decisively new form of thought. "The Nolan" did cross a real threshold that separates modernity from pre-modernity. The new, for Blumenberg is new, not belated, and what's more heretical still in our post-Nietzschean, post-Heideggerean world, better than the old. The "self-assertion" of modernity is, in a simple word, "legitimate."

This series makes available in English some important work by German philosophers on major figures in the German philosophical tradition. The volumes will provide critical perspectives on philosophers of great significance to the Anglo-American philosophical community, perspectives that have been largely ignored except by a handful of writers on German philosophy. The dissemination of this work will be of enormous value to Anglophone students and scholars of the history of German philosophy. This collection brings together in translation the finest post-war German language scholarship on Hegel's social and political philosophy, concentrating on the Elements of the Philosophy of Right. Many of the essays appear in English here for the first time; all are translated anew.

My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not quite moral distinctions (no one has a duty to be authentic), but they are robustly normative appraisals, applicable even when such falseness is not a case of straight hypocrisy but of lack of self-knowledge or of self-deceit. (A person can be quite sincere and not realize the extent of her submission to the other’s expectations and demands.) This sort of appraisal also has a long history in post-Rousseauist reflections on the dangers of uniquely modern forms of social dependence, and they are prominent worries in the modern novel.

The belated genre classification, “film noir,” is a contested one, much more so than “Western” or “musical.”2 However, there is wide agreement that there were many stylistic conventions common to the new treatment of crime dramas prominent in the 1940s: grim urban settings, often very cramped interiors, predominantly night time scenes, and so-called “low key” lighting and unusual camera angles.3 But there were also important thematic elements in common.Two are especially interesting. First, noirs were almost always about crime, usually murder, often cold-blooded, well-thought-out murder. Even more surprisingly, the larger social context for such deeds, the historical American world in which they take place, was itself just as bleak, amoral, and ugly as the individual deeds and the characters themselves. Secondly, and perhaps most distinctively, many films challenged, in sometimes startling ways, many of our most familiar assumptions about psychological explanation. In ways that seemed both mysterious and credible, characters who had been righteous, stable, and paragons of responsibility all their adult lives were seamlessly and quite believably transformed in a few seconds into reckless, dangerous, and even murderous types, all suggesting that anyone, in the right (or wrong) circumstances, was capable of almost anything, and that one’s own sincere avowals of basic principles could be ludicrously self-deceived.4 This last theme—that a virtuous character can be as much a matter of moral luck (of having avoided by mere chance the particular temptation that would reveal the fragility of one’s principles) as an individual accomplishment—is connected with an even larger philosophical issue.

These two powers or capacities cannot exchange their functions. The understanding can intuit nothing, the senses can think nothing. Only through their union can knowledge arise. But that is no reason for confounding the contribution of either with that of the other; rather is it a strong reason for carefully separating and distinguishing the one from the other. The passages are so well known because Kant laid such massive importance on them. His claims about the strict distinction between these two “sources,” even as he emphasized their necessarily intertwined, even inseparable role in knowledge, was the basis of his critique of the entire prior philosophical tradition, elements of which, he famously claimed, either “sensualized all concepts of the understanding” or “intellectualized” appearances.[i].

This important book argues that Henry James reveals in his fiction a sophisticated theory of moral understanding and moral motivation. The claim is that in his novels and short stories James is engaged in a distinctive kind of original thinking and reflecting on modern moral life. Sensitive to the precarious and extremely confusing situation of moral understanding in modern societies, James avoids skepticism and presents powerfully the full nature of moral claims and moral dependence. The book is written by one of the pre-eminent interpreters of the modern European philosophical tradition and will interest both philosophers and literary critics. However, the style is completely non-technical with no reliance on terms from contemporary literary or philosophical theory and will therefore be accessible to students and general readers of James.

As McDowell makes clear in ‘On Pippin’s Postscript’ and in many other works, the interpretive question at issue in this exchange—how to understand the relation between Kant and Hegel, especially as that concerns Kant’s central ‘Deduction’ argument in the Critique of Pure Reason1—brings into the foreground an even larger problem on which all the others depend: the right way to understand at the highest level of generality the relation between active or spontaneous thought and our receptive and corporeal sensibility and bodily embodiment. From Mind and World on, McDowell has indicated that this is in fact a problem so inclusive as to be common to theoretical and practical philosophy; that the issue of how thought informs our sensibility is at bottom the same (raises the same logical or conceptual issue) as the issue of how thought could be said to inform, to be active ‘in’, bodily action; that we can be in the grip of the same bad, misleading picture in accounting for executing an intention as in accounting for acquiring perceptual knowledge.2 I agree with, and follow his lead in, setting the basic framework for the particular issues in just this way. With matters so set out, there are two main areas of disagreement: (i) how to state the role of concepts and especially conceptual activity in the sensible uptake of the world and (ii) what to make of Hegel’s claim for a speculative ‘identity’ between inner and outer in action, or how to state the role of intentions ‘in’ bodily activity. In both cases, McDowell thinks I go too far; too far in terms of what is philosophically correct, and too far in attributing those positions to Hegel. It is the former topic that is in play in this exchange, although elements of the latter arise as well. There is first an issue lingering from the first exchange in Reading McDowell.

Kant says there is a duty to exit the state of nature, to enter into a civil state. He says this is a duty of right, not a duty of virtue. The article discusses the argument he gives to support this view, as well as the contemporary discussion on the relationship between this duty of right and the categorical imperative. The discussion is full of implications. Particularly significant is the view of the Kantian state emerging from it, which challenges the conventional account: instead of a state designed to protect pre-existing individual property rights, property rights are seen as something resulting from the very constitution of the state.