Jenny Bernstein

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from its still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis.

It has now been 10 years since the framework for public health legal preparedness was put forth as a model to meet new public health challenges in the 21st century. Public health legal preparedness is defined as the “attainment by a public health system of specified legal of standards essential to the preparedness of the public health system.” The framework has continued to develop over time and four core elements have emerged to make up the basis for public health legal preparedness. The four core elements are: laws and legal authorities; competency in using laws effectively and wisely; coordination of legally based interventions across jurisdictions and sectors; and information on public health laws and best practices.

Because of his preoccupation with the formal aspects of music and literature, Theodor W. Adorno is often regarded as the most aesthetically oriented thinker of the Frankfurt School theorists. It is Adorno’s perceived commitment to aestheticism—the study of art for art’s sake and the study of art as a source of sensuous pleasure, rather than as a vehicle for culturally constructed morality or meaning—that many scholars have criticized as hostile to genuine, concrete, substantive political, social, and ethical engagement with the arts. _Adorno and Ethics_—the first issue of _New German Critique_ to be published by Duke University Press—takes issue with Adorno’s critics. These essays reconsider Adorno’s unique brand of aestheticism, revealing a “politics of aestheticism” and exploring the political and ethical dimensions of his writings. One contributor links the ethical turn taken in Adorno criticism with related developments in American poetry and poetics. Another examines Adorno’s aphorism “Gold Assay” for the ways in which it anticipates one of his seminal works, _The Jargon of Authenticity_. Focusing on Auschwitz and the testimony of its survivors, one contributor explores the impact of the Holocaust on modern philosophy and reason, a relationship that he argues Adorno never specified. Another contributor considers the figure of the animal in the writings of Kant, Adorno, and Lévinas, exploring what it might mean to live, as Adorno suggests, as “a good animal.” _Contributors_. J. M. Bernstein, Detlev Claussen, Samir Gandesha, Alexander García Düttmann, Christina Gerhardt, Martin Jay, Robert Kaufman, Michael Marder, Gerhard Richter

"American Antinomianisms from Anne Hutchinson to Pragmatism" examines the epistemological and stylistic dimensions of antinomianism. The Antinomian Controversy began as a dispute about whether or not sanctification was proof of justification . Though the terms over which the colonists were arguing had social and theological connotations, the crisis itself was epistemological: it was focused on how we know we are saved and how we can prove we know we are saved. In the first part of my study, I demonstrate how Hutchinson exposed the weaknesses of the magistrates' and ministers' logic and brought them uncomfortably close to having to acknowledge that they were placing their faith in human knowledge and language. The label antinomian is not, I argue, completely inaccurate as a descriptive term since Hutchinson's obedience to God unsettled Puritan epistemology and its attempts to fix knowledge through systems of logic and language. ;In the following chapters, I place antinomianism in the broader context of American literary and philosophical discourse. Jonathan Edwards, Ralph Waldo Emerson, Henry David Thoreau, Charles Sanders Peirce, and William James theorized the ideas Hutchinson was struggling to articulate before she was banished and excommunicated. Edwards recognized that living life in obedience to the divine mind meant living with the awareness that no epistemological system or single act of perception could grant the human mind a permanent grasp of the "precise and stable...idea in God's mind." Emerson and Thoreau composed antinomian manuals for thinking which reflect their conviction that obedience to the higher laws of existence necessitates submitting to the ongoing process of creation and dissolution and resisting our tendency to rest in past acts. The pragmatic method was born out of Peirce's and James' understanding that the laws we are able to perceive are not eternal verities in which we can rest but are only approximations of greater truths that are in the process of becoming. These five thinkers developed even more radical ways of resisting the tendency to privilege law, or that which is fixed and settled

The concept of public health legal preparedness grew out of the public health emergency preparedness movement, but was conceptualized more broadly to be utilized to achieve full public health legal preparedness for all types of public health threats. This article analyzes the need to refocus public health legal preparedness to include all areas of public health law and presents a new model for the fourth core element that will aid in the development of legal benchmarks so public health systems can more effectively work towards attaining public health legal preparedness in all areas of public health practice

In lieu of an abstract, here is a brief excerpt of the content:Readymades, Monochromes, Etc.:Nominalism and the Paradox of ModernismJ. M. Bernstein (bio)If Schopenhauer's thesis of art as an image of the world once over bears a kernel of truth, then it does so only insofar as this second world is composed out of elements that have been transposed out of the empirical world in accord with Jewish descriptions of the messianic order as an order just like the habitual order but changed in the slightest degree.—T. W. Adorno, Aesthetic TheoryAdorno's philosophy as a whole, and his aesthetic theory in particular, is irrevocably bound to the tradition and achievements of high modernism. Although Adorno himself did not recognize American Abstract Expression as the apotheosis of high modernism in painting, that judgment now hardly seems contentious.1 And that raises a problem: it is the problem of R. Mutt, again, the problem of the porcelain urinal called Fountain, which was refused admittance to the Society of Independent Artists' Exhibition in April 1917 in spite of the Society's proclaimed democratic slogan "No jury, no prizes"—the work whose life or after-life begins with the beautiful photograph of it by Stieglitz set against the background of Marsden Hartley's The Warriors and that appeared shortly thereafter in the new avant-garde journal The Blind Man. Whatever the immediate repercussions of Fountain, there can be little doubt that much of what is most vital in art in the second half of this century is unthinkable without it; Duchamp's readymade offers an exemplary alternative to the tradition of high modernist painting that has continued to be generative. For a modernist like Adorno, for whom authentic art is that which best rises to the demands and necessities of artistic materials, for whom internal consistency and rigor would appear to be everything, for whom, finally, aesthetic form is the "objective organization within each artwork of what appears as bindingly eloquent" [AT 143; emphasis mine], Duchamp's gesture of simply naming or claiming artistic status for an ordinary bathroom fixture must be anathema. In this respect, Adorno's aesthetic theory would seem to be in the same predicament as Clement Greenberg's modernism: inextricably bound to a tradition that history has left behind. And while the option of refuting the claim of Fountain is certainly possible, and should not be too quickly suppressed (there is something in the claim that will forever be skeptically self-defeating), nonetheless there does appear to be an exemplariness to Fountain that exceeds the narrow provocation of Duchamp's nominalist gesture; something in the readymade, in fact, seems (art historically? aesthetically? conceptually?) irresistible. If so, then modernist [End Page 83] formalism must either find a way of accommodating the readymade without departing from its internal logic or find its claim to our attention forfeited.After laying out the bold outlines of Adorno's formalism, the remainder of this essay will seek to uncover an account of the readymade in the context of what I will eventually call "the paradox of modernism" in order to locate in what way the readymade can be accommodated to a defense of Adorno's late modernism. For the purposes of this argument, I am going to assume that the best overall defense of Duchamp's gesture, which makes it foundational for the understanding of modern art, is that offered by Thierry de Duve in his Kant after Duchamp. My elaboration of Adorno's late modernism will hence proceed, in part, through a charting of some of the fault lines in de Duve's Duchamp. My contention shall be that the generativity of Fountain as readymade not only belongs within modernism, but is only intelligible within a wholly modernist and formalist frame of reference.Adorno's Formalism and the Material MotiveAdorno opens the section of Aesthetic Theory entitled "Coherence and Meaning" with the drastic sounding thesis that "Although artworks are neither conceptual nor judgmental, they are logical" [AT 136]. He continues:In them nothing would be enigmatic if their immanent logicality did not accommodate discursive thought, which criteria they nevertheless regularly disappoint. They most resemble the form of a syllogism and its prototype in empirical thought. That in the temporal...