Ой: https://www.youtube.com/watch?v=Jvve_dSCG4I

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портерт Д. Дэвидсона

Феминистская критика А. Баумгартена...

In this chapter, I intend to reconsider Alexander Gottlieb Baumgarten’s account of the “happy aesthetician” (felix aestheticus) using Sara Ahmed’s critique of happiness and the character of the feminist killjoy. Ultimately, I intend to perform a killjoy reading of Baumgarten’s texts by illustrating the ways that Baumgarten fails to define or thematize happiness—so much so that we must read the “happiness” of the happy aesthetician as a subversive character, perhaps even against Baumgarten’s own reliance on harmony and agreement in the happy aesthetician’s beautiful thinking

"I have a general distrust of thought experiments that, pretend to reveal what we would say under conditions that in fact never arise. My version of externalism depends on what I think to be our actual practice"
(Davidson, Epistemology Externalized, 199)

Дэвидсон о своем студенчестве:


From my point of view, Harvard was simply marvelous. When I was an undergraduate, I got really on very friendly terms with a lot of top-notch professors; the philosopher A. N. Whitehead took me under his wing; he would invite me to his apartment for afternoon tea all the time. I knew most of the people in the philosophy department: C. I. Lewis, Whitehead, later on Quine, Demos. I knew all the people in the classics department; I knew the chairman of the English department. I don’t, for the most part, spend nearly as much time with my students as my teachers spent with me. It’s just not in general done these days. I think it’s partly because we all do so much traveling; and also so much time is taken up with correspondence. But back then these people actually invited me into their homes, regularly.

И еще:

In fact I was spreading myself out through all this stuff. I also audited all the courses that there were on Greek art and architecture; and also on Romanesque architecture, and so in Greek I had a kind of advantage over others who were just classicists because I knew Greek philosophy, history, Greek art, and Greek architecture. I read all of Greek drama. I remember my senior year I persuaded Harvard to let me put on Aristophanes’ The Birds in Greek. I played the lead, Peisthetairos, which meant memorizing 700 lines of Greek. Leonard Bernstein, who was also a senior in the class of 1938–39 and a friend (we used to play four-hand piano together), wrote an original score for the production and conducted it. Some of the music he wrote for that score, resurfaced in his ballet, Fancy Free. I also had a great interest in music. I audited advanced seminars on Beethoven. Yes, it was a wonderful education, absolutely marvelous.

База

пишут что на сигме вышел в переводе текст одорно 1968 года "переосмысляющий отношения теории и практики"
по такому случаю цитирую листовку берлинских студентов 1967 года, переосмысляющую отношения с адорно:

Зачем нам дед Адорно со своей теорией? Она нам противна, потому что ничего не сообщает о том, как лучше всего поджечь этот сраный университет