The culture wars that simmer within any nation may have been escalating recently;but regardless of their national settings or milieus,many of these wars are informed by two opposing paradigms of culture.This paper ana...The culture wars that simmer within any nation may have been escalating recently;but regardless of their national settings or milieus,many of these wars are informed by two opposing paradigms of culture.This paper analyzes two of these leading paradigms,designated here as Regressivism and Progressivism.Other theorists have long chronicled the differing strengths and weaknesses of these paradigms,taking the former as expressing more conservative,traditional,and nationalistic values,and the latter as expressing more liberal,pluralistic,and cosmopolitan values.Going beyond these perennial distinctions,I argue that Progressivism is more benign and beneficial than the former-by meeting basic human needs better and supporting more effective adaptation to changing exigencies.I also argue that Progressivism does not express merely subjective or relativistic preferences and values,but objectively preferable and quantifiable ones,that benefit not only our personal lives more but also our global village and communal lives more.展开更多
This study stems from the understanding of a particular difference between art in ancient times and contemporary art,for while ancient and traditional art were an integral part of one’s daily life,contemporary art is...This study stems from the understanding of a particular difference between art in ancient times and contemporary art,for while ancient and traditional art were an integral part of one’s daily life,contemporary art is detached and viewing and responding to it is a matter of choice.Another difference lies in the alienation that can exist in contemporary art,which is often not understood by those who do not engage in art as a profession or are not versed in the field of art.As a result,a situation has arisen in today’s modern world in which art tends to be the property of a limited public only,and the curatorial work is ostensibly directed at them.This study seeks to change this situation through a method defined here as“pluralistic curatorship”,based on the principle of pluralism in Israeli society.A pluralistic approach already exists to some extent on the Israeli art scene,but pluralistic curatorship still requires a defined,cohesive,and structured outline.This study presents five approaches to achieving such pluralistic curatorship,with the first three sections discussing the theoretical aspects and the last two sections discussing its practical implementation.展开更多
In the actual political philosophical debate terms as dialectic, emancipation, social conflicts seem＇to have lost every actuality and the attempts to revitalize them often assume a nostalgic tone. in that tradition, ...In the actual political philosophical debate terms as dialectic, emancipation, social conflicts seem＇to have lost every actuality and the attempts to revitalize them often assume a nostalgic tone. in that tradition, only the term ＂criticism＂ is not looked with suspicious, hut rather it is associated in an automatic way to every analysis of the society, that has some normative claims and doesn＇t limit itself to a mere empirical description of the social reality. One of the few exceptions in this scenario is the attempt of Axel Honneth to connect the category of recognition to the original idea of the critical theory, without depriving it of his theoretical pregnancy, but at the same time eliminating his premises of philosophy of history. This study will start from the Honneth＇s reading of the first critical theory to analyze, secondly, the limits individualized by Honneth from the Habermas＇ sociological perspective, particularly those referred to his two levels model of society. The study will finally analyze the actuality of the category of recognition in relation to three problematic spheres： the cultural pluralism, the normativism, the connection between political philosophy and social theory.展开更多
文摘The culture wars that simmer within any nation may have been escalating recently;but regardless of their national settings or milieus,many of these wars are informed by two opposing paradigms of culture.This paper analyzes two of these leading paradigms,designated here as Regressivism and Progressivism.Other theorists have long chronicled the differing strengths and weaknesses of these paradigms,taking the former as expressing more conservative,traditional,and nationalistic values,and the latter as expressing more liberal,pluralistic,and cosmopolitan values.Going beyond these perennial distinctions,I argue that Progressivism is more benign and beneficial than the former-by meeting basic human needs better and supporting more effective adaptation to changing exigencies.I also argue that Progressivism does not express merely subjective or relativistic preferences and values,but objectively preferable and quantifiable ones,that benefit not only our personal lives more but also our global village and communal lives more.
文摘This study stems from the understanding of a particular difference between art in ancient times and contemporary art,for while ancient and traditional art were an integral part of one’s daily life,contemporary art is detached and viewing and responding to it is a matter of choice.Another difference lies in the alienation that can exist in contemporary art,which is often not understood by those who do not engage in art as a profession or are not versed in the field of art.As a result,a situation has arisen in today’s modern world in which art tends to be the property of a limited public only,and the curatorial work is ostensibly directed at them.This study seeks to change this situation through a method defined here as“pluralistic curatorship”,based on the principle of pluralism in Israeli society.A pluralistic approach already exists to some extent on the Israeli art scene,but pluralistic curatorship still requires a defined,cohesive,and structured outline.This study presents five approaches to achieving such pluralistic curatorship,with the first three sections discussing the theoretical aspects and the last two sections discussing its practical implementation.
文摘In the actual political philosophical debate terms as dialectic, emancipation, social conflicts seem＇to have lost every actuality and the attempts to revitalize them often assume a nostalgic tone. in that tradition, only the term ＂criticism＂ is not looked with suspicious, hut rather it is associated in an automatic way to every analysis of the society, that has some normative claims and doesn＇t limit itself to a mere empirical description of the social reality. One of the few exceptions in this scenario is the attempt of Axel Honneth to connect the category of recognition to the original idea of the critical theory, without depriving it of his theoretical pregnancy, but at the same time eliminating his premises of philosophy of history. This study will start from the Honneth＇s reading of the first critical theory to analyze, secondly, the limits individualized by Honneth from the Habermas＇ sociological perspective, particularly those referred to his two levels model of society. The study will finally analyze the actuality of the category of recognition in relation to three problematic spheres： the cultural pluralism, the normativism, the connection between political philosophy and social theory.
