Introduction: Debates on Experience and Empiricism in Nineteenth Century France

The lasting effects of the debate over canon-formation during the 1980s affected the whole field of Humanities, which became increasingly engaged in interrogating the origin and function of the Western canon (Gorak 1991; Searle 1990). In philosophy, a great deal of criticism was, as a result, directed at the traditional narrative of seventeenth-and eighteenth-century philosophies—a critique informed by postcolonialism (Park 2013) as well as feminist historiography (Shapiro 2016). D. F. Norton (1981), L. Loeb (1981) and many others1 attempted to demonstrate the weaknesses of the tripartite division between rationalism, empiricism and critical philosophy.2 As time went on, symptoms of dissatisfaction with what has been called the “standard narrative” ( Vanzo 2013) and the “epistemological par-adigm” (Haakonssen 2004, 2006) only increased. Indeed, at present, a consensus has been reached that the narrative of the antagonism between “Continental rationalism” and “British empiricism”, and the consequent Aufhebung provided by “German critical philosophy,” has been unable to make sense of the complexity, variety and dynamics of early modern.Fil: Antoine-Mahut, Delphine. Ecole Normale Supérieure; FranciaFil: Manzo, Silvia Alejandra. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Instituto de Investigaciones en Humanidades y Ciencias Sociales. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales; Argentin

Los estudios socioculturales: ¿hacia un nuevo canon?

D vez en cuando hay críticos renombrados que se con- uelan a sí mismos y a sus públicos descanando el de- ate sobre el canon como una absurdidad más entre las modas culturales contemporáneas, o a tribu yéndo l e un papel insignificante en l a historia intelectual. Hace poco, en una entrevista con Harper'sMagazine, Roger Shattuck afirmó que "el canon" era un fenómeno nuevo para él, y que en su carrera como distinguido historiador cu ltu ral había notado muy pocas indicaciones de la importancia de dicho concepto para la li teratura moderna

‘Process or paralysis? Revisiting the contemporary art canon’: Re-envisioning the Contemporary Art Canon: Perspectives in a Global World, edited by Ruth E. Iskin, London and New York: Routledge, 2017

Ruth E. Iskin’s new collection presents the artists and genres of a new global art and reflects on the challenges they offer the museum, gallery administrators, and scholars of the future. She and her contributors are particularly concerned with the likelihood of a new canon that will emerge in this global future, arguing that such a canon must be less exclusive, less centralized, and more self-conscious than any predecessor. The review is particularly concerned with how the findings of the collection relate to the larger history of canon formation in the humanities