How does photography deal with, and co-opt, the element of chance that comes with any engagement with the material world around us? In his book ‘Photography and the Art of Chance’, Robin Kelsey brilliantly interweaves the history of photography with a broader history of art and an intellectual history of chance. This interdisciplinary approach helps Kelsey sidestep certain problematic moves in the historiography of art, which often result in a certain exceptionalism about photography as being qualitatively unlike other art forms. As reviewer Lauren Kroiz argues, Kelsey makes a persuasive case for the centrality of chance to the history of photography, starting from its early days and ending with a critique of our current enthusiasm for digital manipulation and posed photography, be it in the works of Cindy Sherman or in the — nowadays ubiquitous — “selfies” of individual consumers.
Carnap’s ideal of explication has become a key concept in contemporary philosophy, especially within the analytic tradition, and lies at the heart of a method of analysis that has sometimes been placed in opposition to various forms of naturalism. A new collection of essays, edited by Pierre Wagner, explores a range of issues in connection with ‘Carnap’s Ideal of Explication and Naturalism’. The essays in the book may be roughly divided into three parts: first, an exploration of the historical context of Carnap’s philosophy; second, a set of detailed case studies concerning explication and its evaluation; third, a critical assessment of recent claims (and counter-claims) concerning the dialectical nature of Carnap’s notion of explication. While not all essays aim for the same level of detail or historical depth, taken together, writes BRB reviewer Adam Tuboly, the essays point to fruitful new lines of research in Carnap studies and in the history of analytic philosophy more generally.
Vladimir Sergeyevich Solovyov (1853-1900) is widely considered one of Russian philosophy’s most ambitious figures. His magnum opus, ‘The Justification of the Moral Good’, ranges from a characterization of humans as spiritual creatures to discussion of the historical development of our socially situated consciousness, and on to questions concerning the morality of war and the moral organization of humanity. Contemporary readers may reject, or even mock, Solovyov’s musings, not least on account of their unabashed Christian roots. But, as Andre van Loon argues in his review of a new (and refreshingly unfussy) translation of Solovyov’s book by Thomas Nemeth, closer inspection of his Solovyov’s writings reveals a sophistication that eludes his critics and may vindicate him as ‘cleverer, more insightful and spiritual than his critics’.
Following in the footsteps of Alexis de Tocqueville, Denis Lacorne’s “Religion in America” brings a French sensibility to bear on social and political issues in the United States. But does Lacorne’s analysis measure up to the ambition of his predecessor? In some sense, Lacorne’s book offers an even richer dose of Frenchness by dedicating considerable also to other French writers. Lacorne distinguishes two concurrent narratives: a secular narrative derived from the philosophy of the Enlightenment, and a romantic/’Neopuritan’ narrative, which sees the establishment of the Puritan colonies in New England as the culmination of the movement that started with the Reformation. Yet, neo-Messianic overtones remain to the present day — one need only think of the message of ‘hope’, with which Obama won his first presidential election. On the whole, writes reviewer Hans-Dieter Gelfert, Lacorne’s book is a useful source of historical information and a well-balanced assessment of its subject matter, even if does not provides as close a look at the religious heart of America as one might have wished.
While a number of major surveys of European social history have been presented in recent decades, many of these are indebted to Western European perspectives and narratives. In his ‘A Social History of Twentieth-Century Europe’ (London: Routledge 2013), Béla Tomka, professor of history at the University of Szeged (Hungary), offers a modern synthesis, based on painstaking empirical data. As reviewer, Ferencz Laczó argues, the volume may be considered as a corrective to more established perspectives, as well as a contribution to post-communist attempts at revising inherited historical understandings especially regarding the supposedly notable successes of communist-era modernization. All in all, Laczó argues, Tomka’s book represents a towering achievement in the historiography of European social reality.
The perception of logical empiricism and its influence on contemporary analytic philosophy is currently undergoing a re-assessment. The received view has been inculcated in generations of students through such influential works as A.J. Ayer’s ‘Language, Truth and Logic’ (1936). Yet the origins and gradual emergence of logical empricism as a philosophical movement are far more complex and extend well beyond the English-speaking world. A case in point is Eino Kaila’s ‘Human Knowledge’, which was first published in Finnish in 1939 and which has only now been translated into English. As BRB reviewer Adam Tuboly argues, the translation of Kaila’s book, which has been given the English subtitle ‘A Classic Statement of Logical Empiricism’, forces historians of analytic philosophy to rethink their assumptions — and to acknowledge Kaila as a thinker who demonstrates a remarkably systematic and comprehensive style.
Greg Frost-Arnold’s first book, ‘Carnap, Tarski and Quine at Harvard’ (Open Court, Chicago 2013), has as its subject matter a manuscript by Rudolf Carnap that was recently discovered in the University of Pittsburgh’s Archives of Scientific Philosophy. The original German manuscript is about the conversations of Carnap, Tarski and Quine (sometimes featuring Goodman) which took place at Harvard in the academic year 1940-41. That year marks a decisive point in the evolution of Carnap’s thought on semantics (one year later, he published his Introduction to Semantics). As Carnap and Quine reported in their intellectual autobiography, the dispute about analyticity played a crucial role in that highly productive year. ‘Carnap, Tarski and Quine at Harvard’, argues BRB reviewer Adam Tamas Tuboly, is a highly elegant edition and commentary of Carnap’s notes, claiming just as much as is warranted on the basis of the manuscript and other relevant texts. Its scholarly assumptions are carefully formulated and manage to unify three co-existing historiographical strategies: narrative, argumentative and micro-historical. The micro-history, in this case, consists in the conversations between Carnap, Tarski and Quine, yet the overall story fits with an emerging bigger narrative concerning the history of logical empiricism and analytic philosophy.
Whereas most historians and commentators have thought of the history of Hungarian philosophy as a history of the reception of Western ideas, a new book by Tamas Demeter sets out to identify a distinctively ‘Hungarian’ strand within twentieth-century philosophy in Hungary. What gives Hungarian thought its distinctive flavour, Demeter argues, is a keen awareness that many of the most pressing philosophical problems are deeply connected to problem of society and sociality. So thoroughgoing is this strand that one might plausible speak of ‘Hungarian sociologism’ (by analogy with ‘German idealism’ and ‘British idealism’). As reviewer Akos Sivado argues, the book succeeds in establishing “a framework that provides the interpretational basis for a coherent narrative of twentieth-century intellectual life” in Hungary and, as such, contributes to a continuation of the very tradition it identifies.
In his new book, ‘Florence and Baghdad: Renaissance Art and Arab Science’, German art historian Hans Belting re-examines the dual use of perspective, as a transformative device of depiction in Western Art and as a form of geometrical abstraction in Middle Eastern Islamic art. While the theory of perspective was first formulated in eleventh-century Baghdad by Ibn al-Haithan (Alhazen), it was in Florence that its potential as a mirror of the human gaze was fully explored. However, writes reviewer Jerry Brotton, in re-evaluating the origins of perspective in Western art, Belting stays clear of clichéd arguments about how Arab and Islamic thinkers ‘got there first’ in the discovery of perspective. Instead, he asks the more profound question of why Alhazen developed the visual principles of perspective but did not translate them into an artistic theory. Central to his answer is the recognition that, on Alhazen’s account of vision, images were thought to originate in the imagination, not the eye: In other words, they could not be made visible because they did not occur in the external world.
Love and Evil are the driving forces of most, if not all, plots of dramatic and fictional literature. Yet, in discussions of aesthetics, evil has often been given short shrift. In his ‘Ästhetik des Bösen’ (Beck, Munich 2010), Peter-André Alt embarks on an in-depth study of the aesthetics of evil. From the Biblical myths of Lucifer’s and Adam’s Fall, through the 19th-century’s fascination with the social construct of the ‘criminal mind’, to the genocidal horrors of the 20th century, Alt ploughs his way through (mainly literary) material of intimidating scope and completeness. Yet, writes reviewer Hans-Dieter Gelfert, Alt’s attempt to rectify the omission of evil in discussions of European literary history is hindered by a strangely parochial blindness to outside (esp. British) influences on Continental Europe’s fascination with the topic.