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Abstract

This article presents the problem of understanding Heideggerian ‘turn’ (Kehre) in the context of the most important aspects of his later philosophy. Since Heidegger had written (secretly) Contributions to Philosophy, he departed from his original philosophical assumptions, which had been presented in Being and Time. Heidegger’s turn was conceived as a discovery of truth of Being, as a project of another beginning, as proper asking about Being as such, as well as a discovery of a hidden aspect of being that is revealed in an event (‘enowning’).

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Jacek Surzyn
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Abstract

The paper examines the special historiographic evidence: the lost last book by the well-known Polish historian and methodologist Professor Jerzy Topolski entitled “Methodology of History at the Beginning of the 21st Century”. Only its working outline in the form of an extensive table of contents has survived, but this does not prevent the author from making interesting hypotheses as to its meaning.

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Jan Pomorski
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Abstract

This article considers what might have happened had the 3rd Earl of Shaftesbury lived long enough to see his planned book of art theory, Second Characters, into publication. It suggests that Second Characters would have challenged, and perhaps supplanted, Jonathan Richardson the Elder’s Theory of Painting (1715) as the first substantial and original British contribution to the theory of art. Much of the article consists of a comparison between Richardson’s Theory of Painting and the ‘Plasticks’ section of Second Characters, for which Shaftsbury’s notes survive. This comparison suggests that the theory of painting which Shaftesbury would have offered to his compatriots would have differed from that offered by Richardson in certain important respects. Primarily addressing his text to his fellow aristocratic patrons rather than to painters, Shaftesbury’s vision for the future of British art was both more high-minded and more narrow than that offered by Richardson. For Shaftesbury the moral subject matter of painting was all-important, and the artistic traits he most admired, including historical subjects, grandeur of scale and austerity of style, were those he saw as best placed to transmit that moral subject matter. Richardson, by contrast, was for more tolerant of the extant British taste for portraits and more sensual styles and offered a theory of art which was in part formalist. The article also stresses the importance of the equation Shaftesbury made between the social and political health of a society and the quality of its art, and suggests that had Second Characters been published at the time when it was written we might now consider Shaftesbury, rather than Winckelmann, as the father of the social history of art. The article ends by considering two possible outcomes had Second Characters been published in the early eighteenth century, in one of which it had a profound impact on British art and British attitudes to art, and in the other of which Shaftesbury’s refusal to compromise with current British tastes condemned his text to no more than a marginal status.
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Authors and Affiliations

Harry Mount
1

  1. Oxford Brookes University

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