Post-Modern Jurisprudence - Finally (Maybe)

A new book from Ronald Dworkin is more than a publication by an eminent legal philosopher; it is a signal for jurisprudential reflection, reassessment and wood-shedding

Immigration and Naturalization Service v. Chadha: A Legislative House of Cards Tumbles

In Immigration and Naturalization Service v. Chadha,\u27 decided June 23, 1983, the United States Supreme Court held unconstitutional an exercise by Congress of a legislative veto provision under section 244(c)(2) of the Immigration and Nationality Ac

The Art of Hegel's Aesthetics. Hegelian Philosophy and the Perspectives of Art History

This volume explores one of modernity’s most profound and far-reaching philosophies of art: the Vorlesungen über die Ästhetik, delivered by Georg Friedrich Wilhelm Hegel in the 1820s. The book has two overriding objectives: first, to ask how Hegel’s work illuminates specific periods and artworks in light of contemporary art-historical discussions; second, to explore how art history helps us make better sense and use of Hegelian aesthetics. In bringing together a range of internationally acclaimed critical voices, the volume establishes an important disciplinary bridge between aesthetics and art history. Given the recent resurgence of interest in ‘global’ art history, and calls for more comparative approaches to ‘visual culture’, contributors ask what role Hegel has played within the field – and what role he could play in the future. What can a historical treatment of art accomplish? How should we explain the ‘need’ for certain artistic forms at different historical junctures? Has art history been ‘Hegelian’ without fully acknowledging it? Indeed, have art historians shirked some of the fundamental questions that Hegel raised

Accelerating Medicines Partnership® Schizophrenia (AMP® SCZ): Rationale and Study Design of the Largest Global Prospective Cohort Study of Clinical High Risk for Psychosis

This article describes the rationale, aims, and methodology of the Accelerating Medicines Partnership® Schizophrenia (AMP® SCZ). This is the largest international collaboration to date that will develop algorithms to predict trajectories and outcomes of individuals at clinical high risk (CHR) for psychosis and to advance the development and use of novel pharmacological interventions for CHR individuals. We present a description of the participating research networks and the data processing analysis and coordination center, their processes for data harmonization across 43 sites from 13 participating countries (recruitment across North America, Australia, Europe, Asia, and South America), data flow and quality assessment processes, data analyses, and the transfer of data to the National Institute of Mental Health (NIMH) Data Archive (NDA) for use by the research community. In an expected sample of approximately 2000 CHR individuals and 640 matched healthy controls, AMP SCZ will collect clinical, environmental, and cognitive data along with multimodal biomarkers, including neuroimaging, electrophysiology, fluid biospecimens, speech and facial expression samples, novel measures derived from digital health technologies including smartphone-based daily surveys, and passive sensing as well as actigraphy. The study will investigate a range of clinical outcomes over a 2-year period, including transition to psychosis, remission or persistence of CHR status, attenuated positive symptoms, persistent negative symptoms, mood and anxiety symptoms, and psychosocial functioning. The global reach of AMP SCZ and its harmonized innovative methods promise to catalyze the development of new treatments to address critical unmet clinical and public health needs in CHR individuals

Hegel, Humour, and the Ends of Art

Art plays a fundamental role in Hegel's mature systematic philosophy, one of three principal forms of what Hegel terms ‘absolute spirit’, that is, a primary way in which humans cognize their nature and its role in the world (HW 10: 366-67). Notwithstanding this, Hegel's philosophy of art has received less attention than have his philosophy of religion, political philosophy, or philosophy of history, all of which were mainstays in the debates between the rival schools of Hegelianism directly after Hegel's death, and each of which exercised considerable authority in the nineteenth and twentieth centuries. There were no Right or Left Hegelians on questions of art. Of course, this is not to say that Hegel's philosophy of history and conception of dialectical reason did not have decisive impact on the founding of systematic art history and on the philosophy of art in the humanistic Marxism of Lukács, Adorno and Marcuse, but his specific views on aesthetics and the nature and history of the various arts were much less influential. If one were to broaden the scope of influence to include artists, Hegel is hardly worth mentioning next to figures like Schopenhauer and Nietzsche.Do Hegel's specific views on art have purchase nowadays? One set of doctrines has received a good deal of attention, at least among philosophers of art: Hegel's claim that art has ‘ended’. Much commentary focuses on Hegel's contentions that (A) the art of Attic Greece was the primary way for that culture to experience their form of life as binding, and that (B) art after a point in that culture can never play that role again, at least not progressively.</jats:p

The Terror End of Beauty

Notwithstanding well-known difficulties of fitting the concept of beauty to architectural form, beauty has been a mainstay when it comes to talking about classical and neoclassical buildings. The classical conception of beauty in the West is closely allied to ideas of moral goodness, imparting to classical and neoclassical architecture a positive ethical accent. This paper investigates another strand of ancient conceptions of beauty that has been impactful in architecture, archaic beauty. I argue that something like archaic beauty surreptitiously reenters twentieth-century architectural theory and practice and adapts classicism to it. That is, some forms of neoclassical architecture take a hybrid of archaic and classical beauty as their principle. This provides a worthwhile lens through which to consider German fascist architecture. The ideal of the good that fascist beauty expresses involves personal submissiveness to charismatic leadership and a deindividualized experience of awe. Fascist architecture, then, exists at the “terror end of beauty,” neoclassicism at the threshold of the archaic