Legitimacy is a concept that has been largely forgotten by the deconstructive discourse on law and politics. This article seeks, on the one hand, to reassess the role of legitimacy in deconstruction and, on the other hand, to bring deconstructive thinking to bear on the concept of legitimacy. By re-reading Derrida’s “Declarations of Independence” through the lenses of his later texts on sovereignty and (counter)signature, it is argued that, rather than being deconstructible, legitimacy is deconstructing any self-founding of law and (...) power. As such, legitimacy functions not as an evaluative concept of law and order but as a constantly insisting demand that facilitates the principles of responsibility and responsiveness. (shrink)

This article reintroduces Fr. Zeferino González, OP (1831-1894) to scholars of Church history, philosophy, and cultural heritage. He was an alumnus of the University of Santo Tomás in Manila, a Cardinal, and a champion of the revival of Catholic Philosophy that led to the promulgation of Leo XIII’s encyclical Aeterni Patris. Specifically, this essay presents, firstly, the Cardinal’s biography in the context of his experience as a missionary in the Far East; secondly, the intellectual tradition in Santo Tomás in Manila, (...) which he carried with him until his death; and lastly, some reasons for his once-radiant memory to slip into an undeserved forgetfulness. (shrink)

The choice of this topic is a curious one, perhaps, for art seems to be such a personal creation that even its appreciation may be relative and most of the time considered as subjective or reliant on impressions. Whether this idea is rightfully founded or not is reviewed in this paper: Is art’s meaning simply an impression? Does it come to exist merely because of whims and ecstasies? Is the experience of art such that it cannot but be dominated by (...) personal ideas? In answering these questions, I present a synthesis of some of the works of Jacques Maritain (1882–1973), a Thomist who has important insights concerning aesthetic experience. -/- Since the experience of art starts from its causes to the work’s appreciation by other people, the progression of this discussion is presented as follows: first, the concept of inspiration, to which artists usually attribute their creations, is assessed; then the aesthetic experience is reviewed to understand art’s qualities; and finally, the purpose and meaning of the artwork are examined. (shrink)