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By N. Y.) Metropolitan Museum of Art (New York, Maxwell K. Hearn, Judith G. Smith, Guo Li Gu Gong Bo Wu Yuan

Arts of the Sung and Yüan comprises papers ready for a six-session foreign symposium geared up through The Metropolitan Museum of artwork along with the exhibition, Splendors of Imperial China: Treasures from the nationwide Palace Museum, Taipei. Our realizing of the artwork and tradition of the Sung and Yüan dynasties has elevated and adjusted dramatically seeing that an identical exhibition came about on the Museum in 1961–62, Chinese artwork Treasures, including a range of 231 works additionally from the nationwide Palace Museum, Taipei. Given the presence of such a lot of infrequent early masterpieces from those sessions within the Arts of the Sung and Yüan exhibition and their formative function in shaping the advance of later chinese language tradition, the Museum has elected to take this chance to reexamine with a clean eye the most established monuments. This quantity is devoted to furthering the primary of cross-cultural interchange embodied within the exhibition. simply because the 1961–62 exhibition encouraged an entire iteration of China students within the West, the exhibition provided a becoming party for a bunch of students from Asia, Europe, and the us to take part within the scholarly trade that any such infrequent chance presents. purely via interactions that remind us of the varied issues of view and modes of figuring out that artistic endeavors engender throughout house, time, and cultural historical past, can new perceptions and interpretive constructions evolve. [This booklet was once initially released in 1996 and has long gone out of print. This variation is a print-on-demand model of the unique book.]

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Jeremy Gains and Paul Keast (Chicago: University of Chicago Press, 1997). 43. Wittgenstein, On Certainty, #422. 44. Wittgenstein, Culture and Value, p. 76. 45. Wittgenstein, On Certainty, #378. 46. “Indeed, out of a contrite fallibilism, combined with a high faith in the reality of knowledge, and an intense desire to find things out, all my philosophy has seemed to me to grow” (Peirce, Collected Papers, vol. 1, p. 14). , vol. 5, p. 583). 47. Ray Monk suggests that “for Wittgenstein, all philosophy, in so far as it is pursued honestly and decently, begins with a confession.

The extended family of philosophical traditions making up analytic philosophy are, contra Margolis, far from spent. In turn, the discontinuity between classical American pragmatism and contemporary analytic philosophy is, contra Bernstein, far from an illusion generated by historical myopia and parochial attachments. Put positively, the vitality of contemporary analytic philosophy cannot be gainsaid, while the continuity between American pragmatism and analytic philosophy can only be affirmed, at least in the manner insisted upon by Bernstein, by rendering inaudible the distinctive voice(s) of the pragmatist tradition.

Recall in this connection a remark by Wittgenstein quoted earlier, “my thoughts were soon crippled if I tried to force them on in any single direction against their natural inclination” (Wittgenstein, Philosophical Investigations, p. ix). 51. Wittgenstein, Philosophical Investigations, I, #432. 52. Wittgenstein, Culture and Value, p. 27. 53. , p. 28. 54. , p. 78. 55. Monk, Ludwig Wittgenstein: The Duty of Genius, chapter 26 (“A Citizen of No Community”); Scheman, “Forms of Life,” p. 404. 56. James notes: “‘Tone,’ to be sure, is a terribly vague word to use, but there is no other, and this whole meditation [on the social value of higher education] is over the question of tone.

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