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The discussion of art's promise provides a fitting conclusion to Sallis's important book on sense(s) in art, whose key aspect is the engagement of philosophical thought in concrete encounters with artworks, showing that more direct thinking through works of art is required for understanding how this promise of art, perhaps even its transfigurement, can be carried out.
Not only is `The Drowned Blackbird' written out of the aftermath of post-Cromwellian ethnic cleansing, the defeats at Boyne and Aughrim in 1690 and 1692, the Penal Laws of 1695, but is a perfect emblem for that cleansing, or transformation, for transfigurement.