Paul C. Taylor

It is an honor to comment on Carlin Romano’s fine and ambitious book. It is also something of a challenge, precisely because of Romano’s ambition. He has set himself the task of rebranding both the United States and philosophy. He has undertaken to compose and sell an image of the United States as a distinctly philosophical enterprise, and a picture of philosophy as something more democratic and diverse than the mostly white, mostly male, elite-aspirant academic discipline that most people associate with the name. This is a bold undertaking, requiring the kind of capaciousness that challenges the consumer of the analysis as much as it does the producer. This capaciousness, combined with the breezy playfulness...

Vida Guerra is a Cuban model from northern New Jersey. She made her name in hiphop videos and in "gentlemen's magazines" but quickly became in intermediate supermodel, with her own calendars, making-of-the-calendar DVDs, official website, fan websites, television show, and controversy over a "leaked" nude photo. . . . Vida's popularity has caused one writer to suggest "You may now move over J-Lo, and make way for Vida;" in short, tiene culo, to borrow the Spanish slang that adorns one of her virally distributed Internet images. . . .this information about Guerra's body explains her popularity by raising additional questions. If the shape of her body makes her popular, what makes that shape popular? Specifically, what accounts for the shift in body fashions that raises the stock of female cults--"rumps with bumps"--at the expense of "stick figures"? And what further shift requires J-Lo to "make way for Vida"? These are questions specifically about the conditions that make Vida Guerra a public figure and that constitute her body as beautiful

On Obama examines some of the key philosophical questions that accompany the historic emergence of the 44th US president. The purpose of the book is to take seriously the once-common thought that Mr. Obama had ushered in a post-historical age. Three questions organize the argument of the book. Has the US become post-racial? Does Obama’s pragmatism show the way to a post-partisan approach to politics? And does the reining in of US power and ambitions signal the emergence of a post-imperial moment? The book does not answer these questions directly, but considers how Mr. Obama’s public image and career raise the questions, and experiments with some lines of thought that emerge in their light

Contemporary analytic aestheticians have little interest in the old paradigm of expression theory. They observe that expression theorists tend to locate the essence of art in the externalization of emotion, and they argue persuasively that this tendency is unfortunate. Then they consign expression theorists like Dewey; Collingwood, and Croce to the dustbin of history. This dismissive posture has become standard in aesthetics, for some good reasons. But at least in the case of Dewey, the reasons don't apply. The burden of my dissertation is to make a case for this claim. ;While Dewey does help himself to the vocabulary of expressionism in Art as Experience, he uses it to make arguments less appropriate to a fin-de-siecle expression theorist than to a contemporary cultural critic. He never claims that art is essentially the expression of emotion; he doesn't even agree that emotion is what's expressed in art. His account of expression in art is about the production and reproduction of culture by means of individual agency. It is what Charles Taylor calls expressivism, not expressionism. ;My interpretation of Dewey's aesthetics diverges radically from the one in Alan Tormey's The Concept of Expression, which has become a kind of controlling precedent for the analytic approach to expressionism. I avoid and reject Tormey's reading by locating Dewey's musings on expression in the broader contexts of his conception of the aesthetic, his pragmatist philosophical system, and the tradition of expressivist thought that includes Hamann, Herder, Hegel and Marx. Proceeding in this way not only reveals certain motivations and themes that would otherwise remain obscure, but also highlights certain insights that point toward new, more culturally grounded modes of aesthetic theorizing. I try to recover Dewey's work as a step toward this new aesthetics, an approach that I call, following Cornel West, prophetic aesthetics