Ole Martin Skilleås

In this paper we investigate how knowledge and experience influence aesthetic perception. We begin with a discussion of recent evidence from perceptual research in wine tasting that turn out to have significant implications for aesthetic perception. We argue that these results suggest not only that knowledge and experience (what we call “competencies”) are central to determining what is tasted and how, but that this happens because such competencies are an important part of the type of “project” that is undertaken with respect to the object. Our analyses suggest that there must be a distinct aesthetic project for wine tasting, and that this project must include specific competencies. We believe this conclusion holds also for aesthetic experience more generally.

In his article “Category Independent Aesthetic Experience: The Case of Wine” in this journal, David Sackris presents arguments against Kendall Walton’s view in the famous article “Categories of Art.”David Sackris, “Category Independent Aesthetic Experience: The Case of Wine,” The Journal of Value Inquiry, 47 (2013), pp. 111–120; Kendall Walton, “Categories of Art,” in Steven M. Cahn and Aaron Meskin (Eds) Aesthetics: A Comprehensive Anthology. (Oxford: Blackwell, 2007), pp. 521–537. [First published in The Philosophical Review, 79 (1970), pp. 334–367.] He claims, with support in an argument about the immediate qualities of great wines, that for some kinds of aesthetic appreciation specific category knowledge is not necessary. We welcome the idea that wine appreciation is an aesthetic practice, and more importantly the view that the features of wine appreciation might shed light on, or even transform our understanding of aesthetic experience more generally. The article also draws welcom ..

This study examines the value of literary interpretation. A case is argued on the basis of the possibility of literary works being understood as 'about' diverse 'themes'. The process of understanding literature, it is argued, inevitably involves the concerns and the personal and historical situatedness of the interpreter. In the performance history of Shakespeare's The Tempest we see clearly how the thematic focus and the representation of the elements of the work changes, sometimes radically, over time. An interpretation of The Tempest with an emphasis on today's concerns is the basis for a discussion which shows the interdependence of the questions of why literary works have survived as valued objects of attention over time, and how literature can matter to the reader. Hans-Georg Gadamer's philosophical hermeneutics shows, in its emphasis on the historical situatedness of understanding, how the reader'S situation and concerns feeds into the process of making sense of literary works and thereby makes literary interpretation interact with the life of the interpreter. 'Themes', or what the work is seen to 'be about', is central to the process of literary interpretation. This, in particular, is where literature has its openness to accommodate application to diverse concerns and situations. To remedy the deficiency of Gadamer's hermeneutics on this point, the role of themes in literary interpretation is first illustrated by an interpretation of Conrad's Heart of Darkness and then analyzed. The study argues that while different literary interpreters may have different purposes, for their procedures to constitute interpretations three criteria need to be observed. In having to reach an equilibrium between the requirements of faithfulness to the literary work on the one hand, and the understanding of it through one's own situation and concerns on the other, the process of literary interpretation makes a valuable contribution to understanding.

Autobiographies are particularly interesting in the context of moral philosophy because they offer us rare and extended examples of how other people think, feel and reflect, which is of crucial importance in the development of phronesis (practical wisdom). In this article, Martha Nussbaum's use of fictional literature is shown to be of limited interest, and her arguments in Poetic Justice against the use of personal narratives in moral philosophy are shown to be unfounded. An analysis of Aristotle's concept of mimesis shows that Nussbaum's claims for fictional literature also apply to personal narratives. A case is then made for the importance of personal narratives in developing practical wisdom, and three sub-genres of autobiography are discussed: (1) the confession, (2) the apology and (3) the testimonial. These sub-genres exemplify some of the unique features of personal narratives.