Michael Kelly

When summarizing the findings of his 1896 Matter and Memory, Bergson claims: “That every reality has... a relation with consciousness—this is what we concede to idealism.” Yet Bergson’s 1896 text presents the theory of “pure perception,” which, since it accounts for perception according to the brain’s mechanical transmissions, apparently leaves no room for subjective consciousness. Bergson’s theory of pure perception would appear to render his idealistic concession absurd. In this paper, I attempt to defend Bergson’s idealistic concession. I argue that Bergson’s account of cerebral transmissions at the level of pure perception necessarily entails a theory of temporality, an appeal to a theory of time-consciousness that justifies his idealistic concession.

Are things ugly or are they just not beautiful? The answer to this and many other questions can be found in this encyclopedia, the first large-scale comprehensive English-language reference on aesthetics and destined to be a classic in the field. Drawing from experts in the areas of philosophy, art, history, psychology, feminist theory, legal theory, and many more, the encyclopedia presents 600 signed essays alphabetically arranged. Most entries include a headnote clarifying the topic. Entries range from the philosophical essay on ugliness, to the more reality-based article on the impact of AIDS on the arts. Comprehensive coverage includes key figures, concepts, periods, theories, and movements in the history of aesthetics."--"Outstanding Reference Sources: the 1999 Selection of New Titles", American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA.

This essay contests the standard historical comparison that links Husserl’s account of time-consciousness to the tradition by way of Book XI of Augustine’sConfessions. This comparison rests on the mistaken assumption that both thinkers attribute the soul’s distention and corresponding apprehension of time to memory. While true for Augustine and Husserl’s 1905 lectures on time, Husserl concluded after 1907 that these lectures advanced the flawed and counter-intuitive position that memory extends perception. I will trace the shortcomings of Augustine’s and Husserl’s conflation of memory with perception. After developing Husserl’s maturely articulated distinction between memory and retention from 1911, I suggest chapters 10–14 of Aristotle’s Physics IV as a more apt anticipation of this second, more adequate half of the Husserlian story. A reconstruction of Aristotle’s definition of time as “the number of movement,” one that privileges the activity of “the mind pronouncing that the ‘nows’ are two,” intimates Husserl’s distinction between memory and retention. For Aristotle, the soul’s recognition of the ‘nows’ as two depends not on memory, but on the soul’s intentional activity of counting, itself dependent on the ability to, as Aristotle writes in his Metaphysics, “grasp mentally and [have] already grasped” at the same time.

Although philosophers have characteristically taken the view that art is a vehicle of some universal meaning or truth, art historians emphasize the concrete, historical location of the individual work of art. Is aesthetics capable of sustaining these two approaches? Or, as Michael Kelly argues: Is art actually determined by its historical particularity? His book covers the views of four philosophers--Heidegger, Adorno, Derrida, and Danto--ultimately iconoclasts, despite their significant philosophical engagement with the arts

This essay contests the standard historical comparison that links Husserl’s account of time-consciousness to the tradition by way of Book XI of Augustine’sConfessions. This comparison rests on the mistaken assumption that both thinkers attribute the soul’s distention and corresponding apprehension of time to memory. While true for Augustine and Husserl’s 1905 lectures on time, Husserl concluded after 1907 that these lectures advanced the flawed and counter-intuitive position that memory extends perception. I will trace the shortcomings of Augustine’s and Husserl’s conflation of memory with perception. After developing Husserl’s maturely articulated distinction between memory and retention from 1911, I suggest chapters 10–14 of Aristotle’s Physics IV as a more apt anticipation of this second, more adequate half of the Husserlian story. A reconstruction of Aristotle’s definition of time as “the number of movement,” one that privileges the activity of “the mind pronouncing that the ‘nows’ are two,” intimates Husserl’s distinction between memory and retention. For Aristotle, the soul’s recognition of the ‘nows’ as two depends not on memory, but on the soul’s intentional activity of counting, itself dependent on the ability to, as Aristotle writes in his Metaphysics, “grasp mentally and [have] already grasped” at the same time.

Table of contents : 1. The beginnings of phenomenology: Husserl and his predecessors Richard Cobb-Stevens, Boston College 2. Philosophy of existence 1: Heidegger Jacques Taminiaux, University of Louvain, Belgium 3. Philosophy of existence 2: Sartre Thomas Flynn, Emory University 4. Philosophy of existence 3: Merleau-Ponty Bernard Cullen, Queen's University, Belfast 5. Philosophies of religion: Jaspers, Marcel, Levinas William Desmond, Loyola College 6. Philosophies of science: Mach, Duhem, Bachelard Babette Babich, Fordham University 7. Philosophies of Marxism: Gramsci, Lukacs, Benjamin, Althusser Michael Kelly, University of Southampton 8. Critical theory: from Adorno to Habermas David Rasmussen, Boston College 9. Hermeneutics: Gadamer, Ricoeur Gary Madison, McMaster University 10. Italian idealism and after: Croce, Gentile, Vattimo Giacomo Rinaldi, University of Urbino, Italy 11. French structuralism and after: Barthes, Lacan, Lévi-Strauss, Foucault Hugh Silverman, State University of New York at Stony Brook 12. French feminism and after: de Beauvoir, Kristeva, Irigaray, Cixious Alison Ainley, Oxford Brookes University 13. Deconstruction Simon Critchley, Essex University 14. Derrida Timothy Mooney, Essex University 15. Postmodernist theory: Lyotard, Baudrillard Thomas Docherty, Trinity College, Dublin

Michael Kelly is the author of 68 entries altogether. The New Oxford Companion to Literature in French is far more than a simple revision of the original Oxford Companion to French Literature, published in 1959, and described by The Listener as the `standard work of reference for English-speaking enquirers into French literature'. As the change in title implies, this completely new work presents an authoritative guide not only to ten centuries of literature produced in the territory now called France, but also to the rich literary output of other French-speaking countries around the world. The scope of the Companion is deliberately open and inclusive, challenging and extending the traditional canon. Literature is understood in a broad sense, ranging from strip cartoon and pamphlet to tragedy and epic, and particular attention is devoted to francophone writing from outside France. Written by an international team of specialists, entries cover individual authors and works - over 3,000 of them - from the troubadours to Césaire, and from La Princesse de Clèves to La Vie mode d'emploi. Each is discussed in detail within their historical, cultural, and intellectual context. Among the new features of the Companion are the substantial essay-entries, reflecting up-to-date scholarship and theoretical debates on topics such as: - literary movements and genres - historical subjects such as chivalry, or Occupation and Resistance in wartime France - movements of thought from Scholasticism to feminism - linguistic topics - the sciences - the arts and media, including opera, cinema, and press

Noel Carroll’s A Philosophy of Mass Art is intended as a contribution to a “systematic” philosophy of mass art, but his more immediate aim is to clarify and criticize the principles and presuppositions that contemporary theorists bring—mistakenly, he argues—to their reflections on mass art. In a sense, Carroll offers to provide for the philosophy of mass art what he claims mass art can provide for morality, namely, clarificationism : “Logical argumentation and conceptual clarification are its major research tools”. The general result of this strategy is a classification of mass art that is ontological, as he explains what is unique about a mass artwork ; structuralist, as he claims there are common emotional, moral, and ideological structures of mass art ; and functionalist, as he argues that it is the function of mass art to be produced intentionally to be accessible to a mass audience. Moreover, Carroll’s ontological theory is essentialist, for he is committed to developing and defending “a series of necessary conditions that are jointly sufficient for calling something a mass artwork”. This commitment culminates in what he calls a “real” definition of a mass artwork, which is as follows

Contents: The Communist Party and the politics of cultural change in postwar Italy, 1945-50 / Stephen Gundle -- Writing and the real world : Italian narrative in the period of reconstruction / Michael Caesar -- The making and unmaking of Neorealism in postwar Italy / David Forgacs -- The place of Neorealism in Italian cinema from 1945 to 1954 / Christopher Wagstaff -- Tradition and social change in the French and Italian cinemas of the reconstruction / Pierre Sorlin -- Humanism and national unity : the ideological reconstruction of France / Michael Kelly -- Les Lettres Franca̜ises and the failure of the French postwar "Renaissance" / Nicholas Hewitt -- The reconstruction of culture : Peuple et Culture and the popular education movement / Brian Rigby. The chameleon rearguard of cultural tradition : the case of Jacques Laurent / Colin Nettelbeck -- German literature in 1945 : liberation for a new beginning / Helmut Peitsch -- Continuity or change? : aspects of West German writing after 1945 / Keith Bullivant -- West German theatre in the period of reconstruction / Ursula Fries

For all its subtle differences, Husserl scholarship on time-consciousness has reached a consensus that Husserl’s theory underwent a significant interpretiveimprovement starting around 1908 / 1909. On this advance, which concerned the intentional structure and directedness of absolute consciousness, I have cautioned against reading Augustine’s theory of time as a philosophical predecessor to Husserl’s. In a recent “confrontation” with my efforts, Roger Wasserman tried to defend a reading of Augustine’s influence on Husserl’s theory of time by criticizing my reading of Augustine and Husserl. This reply to Wasserman’s challenge (i) reestablishes my reservations about attempts to claim a relation between Augustine and Husserl on time-consciousness, (ii) defends the standard interpretation of the development of Husserl’s theory of time-consciousness, and (iii) raises several critical questions about Wasserman’s Neoplatonic or Augustinian reading of Husserl on time-consciousness.

The second edition of the Encyclopedia of Aesthetics is an unparalleled reference resource that surveys the full breadth of critical thought on art, culture, and nature, from classical philosophy to contemporary critical theory. The four-volume first edition, published in 1998, effected a revival of aesthetics that created a receptive context for the contemporary importance of the field. Spanning six volumes and 815 articles, the new edition of the Encyclopedia has been updated and expanded to reflect the rapidly evolving character of the discipline. Renowned contributors from diverse fields provide analyses of the major artists, movements, and theories that continue to inform scholarly research on aesthetics. The updated Encyclopedia of Aesthetics contains 250 new entries that incorporate innovative fields of inquiry, such as animal aesthetics and diaspora criticism, as well as significant new developments in art, including digital media and street art. Additionally, the second edition offers enhanced coverage of non-Western cultural areas and related issues, such as post-colonialism, globalization, and primitivism. In so doing, it extends the scope of critical aesthetics, seeking to create a more open environment for aesthetics in academia, culture, and art. With bibliographic references and images, the Encyclopedia of Aesthetics is an essential work that is of use to artists, scholars, students, and all others interested in art-from painting and sculpture to literature, music, theater, film, and more.

More than 700 alphabetically organized entries by an international team of contributors provide a fascinating survey of French culture post 1945. Entries include: * advertising * Beur cinema * Coco Chanel * decolonization * écriture feminine * football * francophone press * gay activism * Seuil * youth culture Entries range from short factual/biographical pieces to longer overview articles. All are extensively cross-referenced and longer entries are 'facts-fronted' so important information is clear at a glance. It includes a thematic contents list, extensive index and suggestions for further reading. The Encyclopedia will provide hours of enjoyable browsing for all francophiles, and essential cultural context for students of French, Modern History, Comparative European Studies and Cultural Studies