Galen A. Johnson

This article explores the question of the cognitivity of the arts. It begins from Kundera’s argument that the novel, originating from Cervantes, offers a response toGalileo and solution to Husserl’s diagnosis of a “crisis of European sciences.” Expanding to the full range of literary arts, we next undertake a re-reading of Aristotle’s Poetics to assess Aristotle’s views of the origins of tragedy and press for a cognitive interpretation of the meaning of catharsis and emotions. Finally, turning to the abstract expressionism of Barnett Newman, we develop a cognitive interpretation of visual arts and the non-figurative aesthetic of the sublime.

These inquiries do not diminish or overshadow the power and importance of the gift that isThe Embers and the Stars. It must be counted among the richest, most eloquent, original, and challenging new works of philosophy to appear in recent years, standing alongisde the best of the authors Kohák admires most, like Marcel and Ricoeur. It must be read. Moreover, we must press Kohák for both the philosophical theology and philosophical inquiry into the moral sense of artifacts toward which this work points. Once there was a man, once there was a raccoon, once there was a work. That is the miracle, that is the point

This book is a philosophical inquiry into historical meaning and narrative understanding. Interpreting selected writings of Husserl and Merleau-Ponty, and stories of Kafka, Rilke, Sartre, and Camus, the author defends the narrative coherence of life and the irreducibility of narrative understanding and truth. The island imagery uncovered in these authors provides the parameters for a contemporary philosophy of history properly mingling earth and sky as natality and mortality, remembering and forgetting, wandering and homecoming, waking and dreaming, wealth and poverty. Johnson has pushed the life-world theme of Husserl's phenomenology out toward the wild-flowering world where it seems to have been headed.