This chapter contains sections titled: Introduction Kalâm Atomism Cosmology and Creation Can Humans Know the Superlunar Heavens? Conclusion further reading.

In lieu of an abstract, here is a brief excerpt of the content:Theories of Doctrinal Development: An AssessmentAndrew MeszarosMICHAEL SEEWALD’S book Dogma im Wandel1 is in some ways a new attempt at the project of Owen Chadwick’s From Bossuet to Newman.2 Chadwick offered a historical survey of approaches to development punctuated by a final epilogue reflecting on the enduring relevance of Newman. Seewald’s chapters too begin historically and end with a final reflection on where we are headed (or ought to (...) be headed). But the temporal frame that Seewald sets himself is far more ambitious. Whereas Chadwick was satisfied with chapters considering sixteenth-to eighteenth-century theology, ending with a prolonged engagement with Newman, and with Aidan Nichols taking up the baton from Chadwick in his From Newman to Congar, covering Newman again, and proceeding to the Modernists, some neo-Scholastics, and other key twentieth-century theologians (e.g., Rahner, Schillebeeckx, [End Page 653] Congar),3 Seewald’s book of seven chapters4 attempts something more far-reaching (even if his book is of similar length).Its ambitious scope has great potential. There is, to be sure, a great deal of reading that went into this work. And Seewald ought to be commended for not backing away from different historical epochs. As so much discussion about the development of doctrine is presented as a uniquely modern problem, Seewald’s foray into the patristic and medieval periods is most welcome, and invites others to continue this important work. Readers can learn something from each chapter. Interesting and relevant points of theological history and controversy are brought to the reader’s attention. There are, moreover, a number of sources, especially in the German original (whose notes are far more interesting and extensive), which it behooves scholars, especially in the English-speaking world, to engage with. Most importantly, however, we are indebted to Seewald for a sincere presentation of his understanding of development, an understanding which, in its general principles, is undoubtedly shared by many Catholics today, academics and nonacademics alike.Nevertheless, there are problems. Given the importance of development, especially today, it is important to address them in a charitable spirit. In what follows, I will engage with a series of issues brought up in the book. The first two, (i) history and contingency and (ii) the relationship between the Gospel and dogma, are perhaps the most theologically substantive, as they pertain immediately to our understanding of how revealed truth is communicated over time (i.e., doctrinal development). I will subsequently critically examine Seewald’s theological evaluations of particular auctoritates on development, which leads him to dismiss some and misappropriate others. The upshot is that the theological argument and historical scholarship are at times wanting. But first let us survey the book’s argument. [End Page 654]I. Summary of the ArgumentChapter 1 discusses the development of the concept “dogma” and the emergence of development theory, especially as a reaction to Protestant Dogmengeschichten. Chapter 2 highlights the dynamics of development already at play in the formation of Scripture and its theology, such as the emergence of paraclete theology in the New Testament.Chapter 3 discusses patristic approaches to doctrinal development (e.g., Augustine and Vincent). Seewald observes that historical circumstances, such as heresy, can drive development in a defensive way. He notes, however, that development can also be explained more positively as a part of divine pedagogy whereby the Church develops a teaching when it is, as it were, “ready” for it. For example, the pneumatology of Constantinople in 381 can be explained both defensively and positively: having already made progress in Christological doctrine at Nicaea, and in order to combat the pneumatomachians, the Church was ready to unpack the divinity of the Holy Spirit (65–67). Chapter 4 surveys key medieval contributions (e.g., Hugh of St. Victor, Thomas Aquinas) to development theory in, for example, the concept of fides implicita. There is also a brief but helpful discussion of Anselm, whose defense of the filioque put into sharp relief the role of the logically necessary inference in development (86–93). The Reformation is but touched upon, and the Baroque period (where Chadwick’s work begins) is essentially passed over.With the longer... (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means (...) of subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers—among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature , first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of (...) reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarme;, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language. (shrink)

What does social justice require in contemporary societies? What are the requirements of social democracy? Who and where are the individuals and groups that can carry forward agendas for progressive social transformation? What are we to make of the so-called new social movements of the last thirty years? Is identity politics compatible with egalitarianism? Can cultural misrecognition and economic maldistribution be fought simultaneously? What of the heritage of Western Marxism is alive and dead? And how is current critical social (...) theory to approach these and other questions? Much of the most productive work done in recent social theory has revolved around such issues, in particular, around those concerning the relationship between the politics of recognition and the politics of distribution. After the intense theoretical focus over the last fifteen years or so on the issues of recognition politics—multiculturalism, multi-nationalism, identity politics, group-differentiated rights, the accommodation of difference, and so on—some social theorists have worried that attention has been diverted from important issues of distributive equality—systematic impoverishment, increasing material inequality, ‘structural’ unemployment, the growth of oligarchic power, global economic segmentation, and so on. While some critics seem to have adopted a blunt ‘it’s the economy, stupid’ line of criticism,1 others have attempted to develop an overarching, integrative theoretical framework adequate to the diverse issues concerning both economic and cultural justice. For example, Axel Honneth proposes that a suitably developed and normatively robust theory of intersubjective recognition can adequately integrate an analysis of apparently diverse contemporary struggles: those for a just division of labor and hence, a fair distribution of resources and opportunities, as well as those for a culture free of identity-deforming disrespect and denigration. (shrink)

This book presents a history of the volitional theory of causation—the philosophical proposal that volition, or will, of the same or broadly the same stamp as that which we experience in our own deliberate and voluntary doings, should be taken as the basis for all causality. Few today know much about the volitional theory of causation, and even fewer have given it any serious attention. But if current opinion regards this suggestion as an unusual one, of (...) minor importance, the historical record shows otherwise, revealing that it is a theory which has been proposed and developed again and again throughout the modern era. Its obscurity is only a recent phenomenon. Starting at the beginning of the Early Modern period and progressing right up modern times, the historical discussion takes in both supporters and critics, as well as both famous and less well-known figures, to tell the story of a long-running debate which contemporary history of philosophy has forgotten. (shrink)

In his Ruffin Lecture, Bowie attempts to offer a Kantian theory of capitalism, and this strikes me as a constructive and important thing to do. Bowie’s proposal contributes to a new direction in research that I believe is critical: offering alternative interpretations of capitalism, specifically, theories based in moral concepts which are designed to make room for normative inquiry. In contrast, much of the work in business ethics has focused on the application of moral principles or ideas (...) to specific problems in business. These efforts work largely within the accepted meanings of “business” offered by economists, strategists and others, and then try to import moral concepts to identify and analyze various ethical problems. Several recent works in ethics suggest that this approach hasn’t addressed underlying assumptions about ethics and business which tend to make “ethical” approaches either directly conflicting with the logic of “business” or largely irrelevant to it. As such, the “problems” approach to doing ethics doesn’t address the substantial difficulties created by the conceptual terrain to which it was applied. Without more comprehensive and systematic attention to how researchers understand the conceptual underpinnings of capitalism, the contributions of such efforts will be limited and tenuous—that is, they will make projects which attempt to “apply” ethics onto business seem naive or implausible to people outside the community of business ethicists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Greening Paul: Rereading the Apostle in a Time of Ecological Crisis, and: The Bible and Ecology: Rediscovering the Community of CreationKristel ClayvilleGreening Paul: Rereading the Apostle in a Time of Ecological Crisis David G. Horrell, Cheryl Hunt, and Christopher Southgate Waco, Texas: Baylor University Press, 2010. 333 pp. $34.95The Bible and Ecology: Rediscovering the Community of Creation Richard Bauckham Waco, Texas: Baylor University Press, 2010. 226 pp. (...) $24.95Both Greening Paul and The Bible and Ecology are timely entries into the ongoing conversation about the use of the Bible in ecological ethics. Given this shared focus, the books have much in common. First, and most superficially, all four authors have academic posts in the United Kingdom; they have been [End Page 200] citing each other’s work for years and have published books with the same press. Second, all four authors are motivated by a deep concern for stemming the anthropogenic ecological crisis through a positive reformulation of Christian anthropocentrism, eschatology, and relationship to science. Third, the authors see biblical interpretation as having a central role in this reformulation. Even with these commonalities, the books approach the problem of using the biblical text in constructive Christian ethics from vastly different perspectives. David Horrell, Cheryl Hunt, and Christopher Southgate are openly skeptical about the impact biblical exegesis can have in ethical constructions, whereas Richard Bauckham writes under the assumption that his exegetical work will be efficacious in adjusting Christian ethical responses to the ecological crisis.In Greening Paul, the authors develop an ecological hermeneutical lens from an exegesis of two Pauline texts (Rom. 8:19–23 and Col. 1:15–20), a lens that they then use to read the entire Pauline corpus. What emerges from this reading is a focus on Paul’s own extension of the Christian community to include non-Christians, which, ecologically speaking, becomes a biblical warrant for ethical extensionism. Additionally, this reading emphasizes Christ’s kenosis, which is expanded and transformed by the authors into other-regard, the idea that humans can and even should place the survival needs of others above their own. Extensionism and other-regard are not radical or new ideas in ecological ethics, but rarely are they given a biblical foundation. Moreover, the authors’ development of an ecological hermeneutical lens for reading Pauline texts contributes much more to the discussion of the use of the Bible in ecological ethics than any particular readings it produces.Horrell, Hunt, and Southgate devote six of their eight chapters to the development of their ecological hermeneutical lens. They situate their lens both in context of and contradistinction to recent ecotheology and hermeneutical scholarship on the Bible, such as feminist hermeneutics, while also drawing on the strengths of these positions and incorporating the tools of critical biblical scholarship, such as narrative criticism. The authors identify a typology of ecologically motivated readings of the Bible: recovery of the Bible’s positive ecological meaning, resistance to the Bible due to its negative ecological message, and resistance to ecological ethics due to the Bible’s authority. The authors construct a revisionist lens and situate it between recovery and resistance, thereby “enabl[ing] a positive, creative, and critical rereading of tradition” (43). This rereading entails reconstructing the creation narratives behind the Romans and Colossians texts, comparing them to each other, and then limiting their normative reach by putting them in conversation with scientific narratives of the world. While the authors see Pauline theology and ethics as linked through the category of narrative, such that character formation is at the heart of Paul’s ethics, the question remains as to why the epistolary genre needed to be augmented for their analysis. The turn to narrative seems somewhat reductionistic [End Page 201] in a work that is so theoretically sophisticated, and it focuses attention once again on creation narratives as the source for thinking through human relationships to nature.Even at the end of their book, the authors of Greening Paul remain skeptical about the move from exegesis to ethics, but they have done the exegetical work of preparing Pauline texts for use in ecological ethics. On their reading of Bauckham’s work, The Bible and... (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual (...) artworks or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

The book reconstructs the history of Western ethics. The approach chosen focuses the endless dialectic of moral codes, or different kinds of ethos, moral doctrines that are preached in order to bring about a reform of existing ethos, and ethical theories that have taken shape in the context of controversies about the ethos and moral doctrines as means of justifying or reforming moral doctrines. Such dialectic is what is meant here by the phrase ‘moral traditions’, taken as a name for (...) threads of moral discourse, made in turn of other interwoven threads, including transmission of shared codes, appeals to reform of prevailing custom, rational argument about the justification of some precept on the basis of some shared general teaching or principle, and rational argument about the ultimate basis for principles and justification of authoritative teaching. That is, the approach adopted to the reading of ethical texts depends on a firm belief in the fact that philosophers hardly created any ethical doctrine out of nothing. The main point this book tries to highlight is how different philosophical theories emerged and followed each other as a result of attempts at accounting for what was going on in the world of moral traditions. Changes were propelled by controversies between different schools, and highly abstract arguments were the unintended effects of moves made by controversialists forced to transform (and occasionally to turn upside down) their own doctrines in order to face the challenge posed by other arguments. This is the reason why the book examines not only texts that already enjoy pride of place in the history of philosophy (Aristotle, Kant, Hegel), but also other texts usually treated in the histories of religions (the Bible, the Talmud, the Quran), and others considered to be much less philosophical (Plutarchus, Pufendorf). -/- 1. Plato and a response to ethical scepticism. Two different traditions of morality in VI-V century Greece are described. The birth of philosophical questioning of traditional morality and temporal and spatial variation of custom is described within the context of the v century crisis, the demise of traditional aristocratic and tyrannical rule and the birth of democracy. Two conflicting answers to the challenge are reconstructed, namely conventionalist or immoralist theories formulated by the Sophists and the eudemonist and intellectualist Socratic theory. Plato’s own reformulation of Socrates answer to the Sophists is reconstructed. His psychological views, his classification of the four cardinal virtues and his political theory are described as parts of a unitary system, culminating in an extremely realist moral ontology identifying the idea of the good with the essence of the (moral and extra-moral) world itself. -/- 2. Aristotle and the invention of practical philosophy. Aristotle’s invention of practical philosophy as a field separated from first philosophy is shown to be an implication of his break with Plato moral ultra-realism. Aristotle’s agenda in his moral works is arguably dependent on a polemical intention, namely dismantling Socratic intellectualism. The semi-inductive or virtuously circular method of practical philosophy is illustrated, starting with the received opinions of the better and wiser individuals and trying dialectically to sift what is left of mistake and inconsistence in such opinions, finally trying to correct mistakes and make the overall practical science more consistent. The chapter illustrates then the relationship of individual ethics, or ‘monastics’, with the art and the science of the pater familias, or ‘economics’, and the science of the ruler and citizen, or politics. The nature of virtues, or better, excellences of character, is discussed, highlighting the basic role of hexis, or ‘disposition’. Prudence, or better practical wisdom, is the focus of the chapter. Its relationship with bouleusis or deliberation is examined, and its autonomous status vis-à-vis theoretical knowledge is stressed. -/- 3. Diogenes and philosophy as a way of life. The chapter provides an overview of Hellenistic ethics, which almost amounts to Hellenistic schools of philosophy, in so far as ‘philosophy’ became in these centuries primarily the name for a way of life. The typical character of the Cynical movement is highlighted, that of a school of life, not a school aimed at providing any kind of intellectual training was to be provided. -/- 4. Epicurus and ethics as self-care. The peculiar character of the Epicurean school is described, a combination of a science of well-being aiming, more than at pleasure as in the popular view, at reduction of useless suffering, of unnecessary needs, and at a balanced selection of pleasures of the best and most durable kind. -/- 5. Epictetus and ethics as therapy of the passions. The various phases of Stoicism are described, and the shifting place given to ethics in the Stoic system of idea, culminating in the paradoxical view of ethics, its impossibility in principle notwithstanding, as the only truly significant and necessary part of philosophy. Cicero is treated, showing how his own synthesis of various Hellenistic trends is as a truly philosophical enterprise, deserving serious consideration after one or two centuries when he was confined to the role of literate. Epictetus is chosen as the best example of what the Stoic tradition could yield, an art of living based on sophisticated introspection, in turn aimed at making a kind of cognitive therapy possible, dismantling obnoxious passions at their root by systematically correcting false representations. -/- 6. Philo and the reconciliation of Torah and Platonism. A reconstruction of basic ideas from a few books of the Hebrew Bible is provided, starting with the Prophetic tradition and the focus on God’s mercy as the source of motivation and standard for human behaviour. Then a comparative analysis is undertaken of a parallel tradition, namely the three codifications of the Torā (Law or, better, Instruction), highlighting how a core of moral ideas may be recognized as a basis and preamble of codification of civil law, cultural practice, and regulation of ritual purity. The importance of Leviticus is stressed as the turning point when emphasis mercy, typical of the Prophetic tradition, is combined with the legal tradition, yielding the change in sensibility of the Second Temple time. Philo of Alexandria is described as one of the three leading figures – together with Rabbi Hillel and Rabbi Yeshua – at the apex the emergence of the mentioned new sensibility, gradually including mercy as an essential part of justice and establishing the starting point of both the Rabbinic and the Christian tradition. This consists precisely in the precept of one’s neighbour’s love or of the golden rule, two eventually identical precepts whose meaning is arguably more sober and sensible than the long-lasting Christian tradition deriving from John and Augustine has made us believe and no novelty vis-à-vis so-called Ancient-Testament teachings. -/- 7. Augustine and Christianity as Neo-Platonism. The first section examines the moral doctrines of so-called 'ethical Treaties' from the Talmud, a group of treaties, among which the best known is Pirqé Avot, that were left out of the six "orders" of the canon as they did not fit in any of the six groups of issues ritual or legal on which the division was based. According to Maimonides, their peculiar theme is provided by the Deòt, 'opinions', i.e., mental dispositions, that is, the translation of the Greek term hexeis and Arab akhlak (in turn providing in this language the name for ethics as such). The three topics I reconstruct are: i) the notion of Torah: The Torah is understood as the world order itself, or as the ‘Wisdom’ that existed even before creation and was ‘the tool by which the world was built’; however, the Torah is an earthly and human entity, as it was "received" by humans, and from that very moment belongs to them; ii) the relationship between love of God and love of neighbour; the treaties require us to study and practice the Torah ‘for its own sake’, that is, require us to act out of love, not out of fear or hope of reward; iii) the idea of sanctification of daily life: having disappeared with the destruction of the Temple the possibility of any conflict between liturgical service and everyday life, the latter is assumed to be in itself divine service: to give food to the poor has the same value as sacrifices in the Temple, and as an implication, the insistence become recurrent on the goodness of created things in themselves along with a polemic against ascetic currents. The conclusions drawn are: i) the moral teachings of the Talmud and those of Yeshua are, rather than similar, virtually identical; one may safely say that the precept of love and the golden rule are central ones for all Talmudic rabbis, that mercy plays an indispensable role alongside with justice, and the latter is not a different thing from one’s neighbour’s love; ii) a peculiarity of Talmud rabbis facing Yeshua is the idea of study as worship, and knowledge as a source of justice; but this is an idea of Judaism after the Temple's destruction that cannot be attributed to the Pharisees of Yeshua’s time; iii) the relation of study and practice in the Talmud parallels that between faith and deeds in Paul's epistles, that is, respectively faith or learning are a necessary and sufficient condition to be recognized as righteous , but deeds are the inevitable effect of either faith or learning. The sayings ascribed to Yeshua are examined first, yielding the conclusion that a close equivalent may be found for every saying in Talmudic literature and yet the whole is ascribed to one rabbi, with rather consistent stress on God’s mercy and unconditional forgiving as the mark of true imitation of God. Thus, Yeshua’s teaching is pure Judaism. The third section describes briefly the galaxy of Gnostic currents and Manichaeism, trying to sketch the profile of moral teachings resulting from an encounter of Asian spiritual traditions, Hellenistic lore and sparks of teachings from apocalyptic Jewish currents. The last section summarizes the turbulent history of several encounters between Christian currents and Hellenistic philosophical schools. The first one was with late Cynicism. Recent, rather controversial, literature discovered the jargon and a few topics from the Stoic-Cynical popular philosophy in a few books from the New Testament itself. This, far from proving that Rabbi Yeshua had been influenced by cynic preachers, is a proof of the necessity felt by Christian preachers to translate the original ‘Christian’ teaching into a Greek lexicon deeply impregnated with cynic terminology. The second was with Platonism, yielding the mild and temperate moral teaching of Clemens of Alexandria, teaching the sanctity of nature and the human body, the joy of moderate fruition of ‘natural’ kinds of pleasures, and the beauty of the marital life – in short, the opposite of the standard picture of Medieval Christianity. Ambrose of Milan brings about a different kind of synthesis, namely with Middle Platonism, where Stoic themes prevail. The most shocking case is Augustine, where an early Manichean education is overcome in a former phase by a synthesis of Plotinian Neo-Platonism and Christian preaching, yielding a sustained polemic with the Manicheans and rather optimistic views on life and Creation, the body and sexuality, and Hebrew-Judaic tradition not far from Clemens of Alexandria. In a later phase, occasioned by controversy on the opposite front, with such Christian currents as the Pelagians and Donatists, Augustine comes back to heavily anti-Judaic and world-denying ascetic attitudes where is earlier Manichean upbringing seems to emerge again. The tragedy of medieval Christianity will be the later Augustine’s overwhelming influence. A final section is dedicated to the monastic tradition where a curious mixture of world-denying asceticism with an astonishingly penetrating ‘science’ of introspection emerges. -/- 8. Al Farabi and the reconciliation of Islam and Platonism. The Qurān and the qadit, that is, collections of sayings ascribed to the prophet Muhammad contain a wealth of precepts and catalogues of virtues mirroring moral contents from the Jewish and the Christian traditions, among them the basic notion of imitation of the Deity, where mercy is assumed to be its basic trait. An important tradition within Islam, namely Sufism, stressed to the utmost degree the role of mercy, turning Islam into a mystic doctrine centred on retreat from the world, abandonment to God’s will, and a peaceful and fraternal attitude to our fellow-beings. A secular literary tradition originating in the Sassanid Empire, the literature of advice to the Prince had for a time a widespread influence in the newly constituted Arabic-Islamic commonwealth. In a later phase, the legacy of Hellenic philosophy made its way into the intellectual elite of the Islamic world. The first important legacy was Platonic, and the Republic became the main text for Islamic Platonism. Al-Farabi wrote an enjoyable remake of the Platonic Republic, arguing that the citizen’s virtues were the basis on which the political building needs to rest. The secular lawgiver is enlightened by the light of reason in his everyday practice of governance, but room is made for the Prophet as the voice of revealed truth that confirms and completes the rational truth that philosophy may afford. In a second phase also Aristotelian and Stoic influence were assimilated. Miskawayh’s treatise was the masterwork at the time Arabic philosophy reached its Zenith. It is a treatment of the soul’s diseases and their remedies, combining the Aristotelian doctrine of the golden mean with the Stoic doctrine of the passions and elements of Galenic medicine. Towards the eleventh-twelve centuries a war raged among theologians and philosophers, finally won by the former with disappearance of philosophy as such. The newly established mainstream, yet, was no kind of intolerant fanaticism. It drew from the work of mystic theologian Al-Ghazālī, the best heir of Sufism, teaching a tolerant and peaceful attitude to our fellow-beings and a passive attitude to destiny as an expression of the Divine will. -/- 9. Moshe ben Maimon and the reconciliation of Torah and Aristotelian ethics. The encounter between the Talmudic tradition and Hellenic philosophy had taken place a first time in Alexandria at the time of Philo but the two traditions had parted way again. In fact, the kind of Platonic Judaism founded by Philo survived only within Christianity, in the fourth Gospel and then in writings by Clemens of Alexandria. The Talmudic literature had absorbed just less striking traits from the Hellenic Philosophy, namely an idea of ethics as care of the self and a role for the education of character as propaedeutic to theoretical knowledge. In the Arabic-Islamic world, a second round started when Jewish authors writing in Arabic undertook the task to prove the full compatibility of the tradition deriving from Torah and Platonic philosophy. The culmination of this attempt is provided by Moshe ben Maimon who tried to use Aristotelian ethics as a language into which the teaching from the Pirké Avot could be translated. -/- 10. Thomas Aquinas and the reconciliation of Christian morality and Aristotelian ethics. In the first section the fresh start is described of philosophical ethics in Latin Europe at the turn of the Millennium. In a first phase, Anselm and Peter Abelard built on a Platonic and Augustinian legacy. In this phase. remarkable innovations are introduced, including Abelard’s claim of the obliging character of erring consciousness. In a second phase, the rediscovery of Nicomachean Ethics thanks to Latin translation of Arabic versions gives birth to a new wave of ethical studies, recovering the very idea of Aristotelian practical philosophy, with the potential implication of full legitimization of natural morality, i.e. ethics without Revelation. Aquinas’s ethics is a theological ethics out of which it would be vain to try to extract a self-contained philosophical ethics. His treatment of topics in philosophical ethics, yet, does not boil down to repetition of Aristotelian arguments but is rather a creative reshaping of such arguments. For example, he introduces also in the practical philosophy a first principle parallel to the principle of non-contradiction; and he also carries out a synthesis of Aristotelianism, Stoicism, and neo-Platonism. Even though it is essentially moral theology, Aquinas’s doctrine - unlike Augustine – grants full citizenship to "natural" morality, firstly by rejecting the claim that the corruption of human nature due to the original sin is so radical as to leave "pure nature" incapable of moral goodness. The doctrine is presented in a more sophisticated formulation in a few of the Quaestiones, such as De Malo and De Veritate, in the Summa contra Gentes and in the commentaries to Aristotle than in the famous Summa Theologica, but the latter work includes the only or the largest exposition of some decisive part of the theory. Thus, the Summa Theologica should be read for what it is more than criticized for not being what it was not meant to be. It was not meant to be the brilliant synthesis of all that Reason he had been able to produce with what Revelation had added about which the Neo-Thomists used to dream, but rather a manual for the training of preachers and confessors, where theoretical claims are not too demanding and a few serious tensions are left. Besides a jump between the Prima Secundae and the Secunda Secundae, being the former an essay in virtue theory and the latter a handbook for confessors, the most serious tension is perhaps the one between the ethics of right reason presented in most of Ia-IIae and the eudemonistic ethics developed in quaestiones 1-5 of the same part; the alternative ethical theory which also may be found in Augustine, the Stoic view of a cosmic reason eventually coincident with the moral law, was believed by Anselm (followed by John Duns Scotus and William of Ockham) to be incompatible with eudemonism. It is questionable whether Thomas could reduce the tension proving that it is just an apparent tension, in so far as the right reason and bliss derived from knowledge of God tend to coincide, but this is just a conjecture. Thomas’s ethics is a virtue ethic, not a law-based one, and moral judgment focuses on the virtues, particularly charity, not on the commandments and even less on absolute prohibitions; Thomas, however, would not have considered a drastic alternative between law and the virtues such as the one which has been advanced in late twentieth-century philosophy to be justified. Nonetheless, when it discusses ‘special’ virtues, it ceases to be an ethics of virtue and becomes a disappointing and often contradictory discussion of legal and illegal acts. Such a discussion takes most of the time ‘reasonable’ middle positions on controversial issues but not the alternative approach that Aristotelianism would have made possible; even when some occasional Aristotelian claim shows up, such as money’s barrenness as a reason against usury, this seems to be made by an author who apparently ignores the Aristotelian Thomas of the Prima Secundae. It is an ethic of human autonomy which recognizes the binding character of the individual conscience and, potentially, even a duty to disobey unjust laws. It is true that what Thomas writes in his discussion of death penalty and persecution of heretics is simply disgusting, and yet we should blame Thomas the man, not Thomist ethical theory. Finally, Thomas’s ethics is not ethical ‘absolutism’, as both traditionalist Catholic theologians and secularist enemies of dogmatic morality tend to believe. It is instead an ethic of prudential judgment. Exceptions to this approach – or better results of logical fallacies – are such claims as the absolute character of negative precepts and of the existence of "intrinsically evil acts", claims that simply cease to make sense in the light of Thomas’s own distinction between human act and natural act, carrying consequences Thomas did not live long enough to draw or was not consistent enough to dare to draw. -/- 11. Francisco de Vitoria and casuistry. The first topic illustrated is the discussion about the notion of pura natura, namely the human condition after the original sin and before divine revelation. The core notion was already there in Aquinas but was later developed by Caietanus (Thomas de Vio) with a number of interesting implications: firstly a view of human nature as such much more positive than Augustine’s and his followers’ view, including both Calvinists and Jansenists; secondly, the implication that the philosopher’s morality, as opposed to the Christian’s morality, is a quite respectable kind of morality; thirdly, that theocracy and prosecution of the unfaithful lacked justification, with more far-fetching consequences than Aquinas himself had dared to draw. The second topic is casuistry, a new name for a comparatively older way of thinking, which was already there in late Stoicism and Cicero as well as in the Talmudic literature. This is an approach aimed at yielding probable enough solutions for doubtful cases even in absence of completely safe staring points. The genre developed from medieval reference books for confessors and became by the sixteenth-century a sophisticated tool-box for dealing with various fields of applied ethics. Francisco Vitoria, the main authority of Baroque Scholasticism, was a controversial figure, among the proponents of the new discipline of casuistry and a consistent proponent of more separation between the religious and the civil authority, stricter limits to the legitimacy of war, innate rights of non-Christian nations in the New World based on the notion of pura natura, providing a standard of ‘natural’ goodness, previous to revelation, on which the Indian nations were judged to live in a naturally good condition, provided with the institutions of family, justice, and religion had accordingly a right to full respect by Christian sovereigns. Bartolomé de Las Casas, arguing along similar lines, was the leader of a historical battle in defence of the rights of the Indios. -/- 12. Michel de Montaigne and the art of living. A short description of one of the Renaissance Phyrronism, one of the classical philosophies revived in the fifteenth and sixteenth century. Montaigne combines the sceptical epistemology with an understanding of ethics – indeed of philosophy as a whole – in terms of an art of living inspired by two basic ideas, sagesse, that is, practical wisdom as the only kind of rationality available after theology, science, and tradition have declared bankrupt, and an aesthetic ideal of self-transformation through the art of writing and introspection. -/- 13. Pierre Nicole and neo-Augustinianism. The chapter illustrates first the vicissitudes of Augustinianism newly born after the late medieval triumph of Thomist Aristotelianism in the alternative Protestant and Catholic versions processed by the Calvinists and the Jansenists. Then it illustrates the doctrines of Pierre Nicole, Blaise Pascal’s best disciple, on the impossibility of introspection, on the ubiquity of self-deception, on the incurably evil character of the passion of love, and on the two moralities, the one of the man of the world, the morality of honesty which is indispensable for granting peace and order but devoid of any true value for eternal salvation, since the same external behaviour may be prompted by opposite motivations, and the morality of charity, the only true one but also useless to society. The third topic is Pierre Malebranche’s view of self-deception as a ubiquitous phenomenon accounting for human action and responsibility and his reformulated theory of self-love, no less ubiquitous than for Nicole and yet not as incurably evil, given the distinction between morally indifferent and even necessary amour de soi and vicious amour proper, a distinction on which the whole of Rousseau’s moral and political theory rests. -/- 14. Samuel von Pufendorf and the new science of morality. The chapter is dedicated to the discovery of the idea of a ‘new moral science’. Hugo Grotius is discussed first highlighting the real character of his project, much closer to the Thomist idea of a natural law accessible to non-corrupted human reason when human beings are living in a state of pura natura. Then Hobbes’s combination of scepticism, voluntarism, and conventionalism is described and both the continuity with Grotius’s new science, in the search for non-revealed rational morality, and the break with him, in the adoption of voluntarism and refusal of an intellectualist view of natural law, are illustrated. Pufendorf’s work is illustrated as a synthesis of the two previous attempts and the – up to Schneewind underestimated – paradigmatic example of the new science of morality. -/- 15. Richard Cumberland and consequentialist voluntarism. The chapter gives an overview of eighteenth-century Anglican ethics, noticing how the Cambridge tradition gave special weight to natural theology as opposed to positive or revealed theology – and how two Cambridge fellows, John Gay and Thomas Brown, elaborated on Cumberland’s (and Malebranche’s, as well as Leibniz’s) strategy for finding a third way between intellectualist view and voluntarist view of the laws of nature. The result of their elaboration was a kind of a rational-choice account of the origins of natural laws, where a law-giver God chooses among a number possible sets of laws on a maximizing criterion, and God’s maximandum is happiness for his creatures. The chapter notices also how such a solution aimed at solving at once the problem of evil and that of the foundation of moral obligation by proving how God’s choice was justified as far as it was the one minimising the amount of suffering in the world. 16. Richard Price and intuitionism. The chapter describes first the doctrines of the Cambridge Platonists, an example of hyper-rationalist reaction to Calvinism. Secondly it describes the sophisticated and universally ignored – from Sidgwick to Anscombe –version of what was later labelled ‘ethical intuitionism’ – showing how it escapes familiar objections and misrepresentations of intuitionism – from Mill to Rawls – in grounding its argument on transcendental arguments while carefully avoiding recourse to introspection and psychological evidence, which has been taken as a too easy target by critics of intuitionism. Thirdly, the chapter discusses Whewell’s ‘philosophy of morality’, as opposed to ‘systematic morality’, not unlike Kant’s distinction between a pure and an empirical moral philosophy. Whewell worked out a systematization of traditional normative ethics as a first step before its rational justification; he believed that the point in the philosophy of morality is justifying a few rational truths about the structure of morality such as to rule hedonism, eudemonism, and consequentialism; yet a system of positive morality cannot be derived solely from such rational truths but requires consideration of the ongoing dialectics between idea and fact in historically given moralities. Whewell’s intuitionism turns out closer to Kantian ethics than commentators have made us believe until now, and quite different from what Sidgwick meant by intuitionism. -/- 17. Adam Smith and the morality of role-switch. The chapter describes first, Hutcheson’s attempt at basing the ‘new science’ of natural law on different bedrock than Pufendorf and the English Platonists, namely a moral sense, a faculty whose existence is assumed to be proved on an empirical basis. The second step is a reconstruction of Hume’s rejoinder in terms of a new science of man including morality on an ‘experimental’ basis, that is, a ‘Newtonian’ hypothetical-deductive approach, distinguished from Hutcheson’s allegedly uncritical descriptive approach to human nature. The third step is a reconstruction of Adam Smith theory of morality understood as emerging from a spontaneous interplay of exchanges of situations (the most basic meaning of the word ‘sympathy’ as construed by this author). -/- 18. Jeremy Bentham and utilitarianism. The bulk of the chapter is dedicated to the doctrines of Jeremy Bentham. The Enlightenment spirit that suggested the idea of a new morality, free from religion, is illustrated. The notion of utility is illustrated as well as the subsequent formulations of the principle of utility. The idea of felicific calculus is discussed, showing how its inner difficulties prompted several reformulations of the principle of utility in order to avoid undesirable implications of proposed formulations. The role of the thesis of spontaneous convergence between interest and duty is discussed, showing how it left numberless questions open, and the distinction between the virtues of prudence, justice and beneficence is described as a way out of the deadlocks of classical utilitarianism. After Bentham, Mill’s reformed utilitarianism is reconstructed, showing how it is a kind of mixed system – as closer to common sense as it gives up Bentham’s claims to consistency and simplicity – resulting as unintended consequences from the controversies in which Mill was too keen to engage. The hidden agenda of the controversy between Utilitarianism and Intuitionism, going beyond the image of the battle between Prejudice and Reason, is described, showing how both competing philosophical outlooks turn out to be more research programs than self-contained doctrinal bodies, and such programs appear to be implemented, and indeed radically transformed while in progress thanks to their enemies no less than to their supporters. -/- 19. Immanuel Kant, practical reason and judgment. The chapter argues that Kant took from Moses Mendelssohn the idea of a distinction between geometry of morals and a practical ethic. He was drastically misunderstood by his followers precisely on this point. He had learned from the sceptics and the Jansenists the lesson that men are prompted to act by deceptive ends, and he was aware that human actions are also empirical phenomena, where laws like the laws of Nature may be detected. His practical ethics made room for judgment as a holistic procedure for assessing the saliency of relevant moral qualities in one given situation; this procedure yields the same results as the geometry of morals does for abstract cases but does so immediately and without balancing conflicting duties with each other, since what makes for the salient quality of a situation is perceived from the very beginning. Kant's practical philosophy is richer than the received image, making room for an ‘empirical moral philosophy’ or moral anthropology including treatment of commerce, needs, value and price, happiness and well-being; the overall social theory and philosophy of history is less different from Adam Smith's than the received image makes believe; the paradox of happiness is central to Kant's philosophy; a distinction between happiness and well-being is clearly drawn; the distinction plays a basic role in establishing a link between the economic and the moral life. -/- 20. Georg Wilhelm Friedrich Hegel and the critique of abstract universalism. The chapter describes first the Romantic movement and the implications some of its concerns, rescuing passions, community, tradition, the individual as the bearer of a unique destiny, and the longing for organic unity between the individual, mankind and nature. Hegel’s contribution is discussed then, highlighting how, on the one hand, he shared a number of these concerns and on the other he had more rationalist leanings. The notion of morality is the pivotal point of the reconstruction, highlighting how Hegel construes this notion as a key to his own diagnosis of the malaise of modernity – the separation of individual and Gemeinschaft – and how his attack on Kant turns around this very idea. -/- 21. Friedrich Nietzsche against Christianity and the Enlightenment. The chapter illustrates first the idea of deconstruction of the back-world of values. Nietzsche claims to be legitimate heir of the French moralists, Leibniz, Kant and Hegel, in so far as he allegedly carries out to its deepest implications their discovery of what lies behind traditional naïve belief in the existence of an objective realm of values just waiting for description by the philosopher. The two exemplars form which genealogy draws inspiration are the classical philologist’s historical reconstructions of lost meanings and the chemist’s decomposition of elements. Then the genealogy of the notions of good and evil carried out in the first dissertation of Genealogy of morals is illustrated with its paradoxical conclusion that will to power is in fact the only ‘genuine’ kind of goodness. The third point illustrated is the dialectic of ascetism and self-realization with its ambiguous outcome. The suggested interpretation of such outcome is that Nietzsche’s normative ethics is a kind of virtue ethics taking an aesthetic ideal as a normative standard -/- 22. George Edward Moore and ideal utilitarianism. The chapter discusses the ideas of common sense and common-sense morality in Sidgwick. I argue that, far from aiming at overcoming common-sense morality, Sidgwick aimed purposely at grounding a consist code of morality by methods allegedly taken from the natural sciences to reach, also in ethics, the same kind of “mature” knowledge as in the natural sciences. His whole polemics with intuitionism was vitiated by the a priori assumption that the widespread ethos of the educated part of humankind, not the theories of the intuitionist philosophers, was what was worth considering as the expression of intuitionist ethics. In spite of a naïve positivist starting-point, Sidgwick was encouraged by his own approach in exploring the fruitfulness of coherentist methods for normative ethics. Thus, Sidgwick left an ambivalent legacy to twentieth-century ethics: the dogmatic idea of a “new” morality of a consequentialist kind, and the fruitful idea that we can argue rationally in normative ethics albeit without shared foundations. Then it reconstructs the background of ideas, concerns and intentions out of which Moore’s early essays, the preliminary version, and then the final version of Principia Ethica originated. I stress the role of religious concerns, as well as that of the Idealist legacy. I argue that PE is more a patchwork of rather diverging contributions than a unitary work, not to say the paradigm of a new school in Ethics. I add a comparison with Rashdall’s almost contemporary ethical work, suggesting that the latter defends the same general claims in a different way, one that manages to pave decisive objections in a more plausible way. I end by suggesting that the emergence of Analytic Ethics was a more ambiguous phenomenon than the received view would make us believe, and that the wheat (or some other gluten-free grain) of this tradition, that is, what logic can do for philosophy, should be separated from the chaff, that is, the confused and mutually incompatible legacies of Utilitarianism and Idealism. -/- 23. Edmund Husserl and the a-priori of action. The chapter illustrates first the idea of phenomenology and the Husserl’s project of a phenomenological ethic as illustrated in his 1908-1914 lectures. The key idea is dismissing psychology and trying to ground a new science of the a priori of action, within which a more restricted field of inquiry will be the science of right actions. Then the chapter illustrates the criticism of modern moral philosophy carried out in the 1920 lectures, where the main target is naturalism, understood in the Kantian meaning of primacy of common sense. The third point illustrate is Adolph Reinach’s theory of social acts as a key the grounding of norms, a view that basically sketches the very ideas ‘discovered’ later by Clarence I. Lewis, John Searle, Karl-Otto Apel and Jürgen Habermas. A final section is dedicated to Nicolai Hartman, who always refused to define himself a phenomenologist and yet developed a more articulated and detailed theory of ‘values’ – with surprising affinities with George E. Moore - than philosophers such as Max Scheler who claimed to Husserl’s legitimate heirs. -/- 24. Bertrand Russell and non-cognitivism. The chapter reconstructs first the discussion after Moore. The naturalistic-fallacy argument was widely accepted but twisted to prove instead that the intuitive character of the definition of ‘good’, its non-cognitive meaning, in a first phase identified with ‘emotive’ meaning. Alfred Julius Ayer is indicated as a typical proponent of such non-cognitivist meta-ethics. More detailed discussion is dedicated to Bertrand Russell’s ethics, a more nuanced and sophisticated doctrine, arguing that non-cognitivism does not condemn morality to arbitrariness and that the project of a rational normative ethics is still possible, heading finally to the justification of a kind of non-hedonist utilitarianism. Stevenson’s theory, another moderate version of emotivism is discussed at some length, showing how the author comes close to the discovery of the role of a pragmatic dimension of language as a basis for ethical argument. Last of all, the discussion from the Forties about Hume’s law is described, mentioning Karl Popper’s argument and Richard Hare’s early non-cognitivist but non-emotivist doctrine named prescriptivism. -/- 25. Elizabeth Anscombe and the revival of virtue ethics. The chapter discusses the three theses defended by Anscombe in 'Modern Moral Philosophy'. I argue that: a) her answer to the question "why should I be moral?" requires a solution of the problem of theodicy, and ignores any attempts to save the moral point of view without recourse to divine retribution; b) her notion of divine law is an odd one more neo-Augustinian than Biblical or Scholastic; c) her image of Kantian ethics and intuitionism is the impoverished image manufactured by consequentialist opponents for polemical purposes and that she seems strangely accept it; d) the difficulty of identifying the "relevant descriptions" of acts is not an argument in favour of an ethics of virtue and against consequentialism or Kantian ethics, and indeed the role of judgment in the latter is a response to the difficulties raised by the case of judgment concerning future action. A short look at further developments in the neo-naturalist current is given trough a reconstruction of Philippa Foot’s and Peter Geach’s critiques to the naturalist-fallacy argument and Alasdair MacIntyre’s grand reconstruction of the origins and allegedly unavoidable failure of the Enlightenment project of an autonomous ethic. -/- 26. Richard Hare and neo-Utilitarianism. The chapter addresses the issue of the complex process of self-transformation Utilitarianism underwent after Sidgwick’s and Moore’s fatal criticism and the unexpected Phoenix-like process of rebirth of a doctrine definitely refuted. A glimpse at this uproarious process is given through two examples. The first is Roy Harrod Wittgensteinian transformation of Utilitarianism in pure normative ethics depurated from hedonism as well as from whatsoever theory of the good. This results in preference utilitarianism combined with a ‘Kantian’ version of rule utilitarianism. The second is Richard Hare’s two-level preference utilitarianism where act utilitarianism plays the function of eventual rational justification of moral judgments and rule-utilitarianism that of action-guiding practical device. -/- 27. Hans-Georg Gadamer and rehabilitation of practical philosophy. The post-war rediscovery of ethics by many German thinkers and its culmination in the Sixties in the movement named ‘Rehabilitation of practical philosophy’ is described. Among the actors of such rehabilitation there were a few of Heidegger’s most brilliant disciples, and Hans-Georg Gadamer is chosen as a paradigmatic example. His reading of Aristotle’s lesson I reconstructed, starting with Heidegger’s lesson but then subtly subverting its outcome thanks to the recovery of the central role of the notion of phronesis. -/- 28. Karl-Otto Apel and the revival of Kantian ethics. Parallel to the neo-Aristotelian trend, there was in the Rehabilitation of practical philosophy a Kantian current. This started, instead than the rehabilitation of prudence, with the discovery of the pragmatic dimension of language carried out by Charles Peirce and the Oxford linguistic philosophy. On this basis, Karl-Otto Apel singled out as the decisive proponent of the linguistic and Kantian turn in German-speaking ethics, worked out the performative-contradiction argument while claiming that this was able to provide a new rational and universal basis for normative ethics. An examination of his argument is some detail is offered, followed by a more cursory reconstruction of Jürgen Habermas’s elaboration on Apel’s theory. -/- 29. John Rawls and public ethics as applied ethics. Rawls’s distinction between a “political” and a “metaphysical” approach to one central part of ethical theory, namely the theory of justice, is interpreted as a formulation of the same basic idea at the root of both the principles approach and neo-casuistry, both discussed in the following chapter, namely that it is possible to reach an agreement concerning positive moral judgments even though the discussion is still open – and in Rawls’ view never will be close – on the basic criteria for judgment. -/- 30. Beauchamp and Childress and bioethics as applied ethics. The chapter presents the revolution of applied ethics while stressing its methodological novelty, exemplified primarily by Beauchamp and Childress principles approach and then by Jonsen and Toulmin’s new casuistry. -/- . (shrink)

Money in the history of political thought, from ancient Greece to the Great Inflation of the 1970s In the wake of the 2008 financial crisis, critical attention has shifted from the economy to the most fundamental feature of all market economies—money. Yet despite the centrality of political struggles over money, it remains difficult to articulate its democratic possibilities and limits. The Currency of Politics takes readers from ancient Greece to today to provide an intellectual history of money, drawing (...) on the insights of key political philosophers to show how money is not just a medium of exchange but also a central institution of political rule. Money appears to be beyond the reach of democratic politics, but this appearance—like so much about money—is deceptive. Even when the politics of money is impossible to ignore, its proper democratic role can be difficult to discern. Stefan Eich examines six crucial episodes of monetary crisis, recovering the neglected political theories of money in the thought of such figures as Aristotle, John Locke, Johann Gottlieb Fichte, Karl Marx, and John Maynard Keynes. He shows how these layers of crisis have come to define the way we look at money, and argues that informed public debate about money requires a better appreciation of the diverse political struggles over its meaning. Recovering foundational ideas at the intersection of monetary rule and democratic politics, The Currency of Politics explains why only through greater awareness of the historical limits of monetary politics can we begin to articulate more democratic conceptions of money. (shrink)

The question of xing has received much attention in the revival of Neo-Confucian philosophy (called Contemporary Neo-Confucianism) in present-day Taiwan, Hong Kong, and China and among scholars of Chinese philosophy in the United States. It also has much to do with a critical consciousness of both the difference and the affinity between the Chinese philosophy of man and morality and the contemporary Western philosophy of human existence and moral virtues. The study of this has great meaning (...) for the development of a global onto-ethics and an onto-ethics of the future of humankind. (shrink)

In recent discussions of the Humean Theory of Motivation (HTM), several authors – not to mention other philosophers around the proverbial water cooler – have appealed to the simplicity of the theory to defend it. But the argument from simplicity has rarely been explicated or received much critical attention – until now. I begin by reconstructing the argument and then argue that it suffers from a number of problems. Most importantly, first, I argue that HTM (...) is unlikely to be simpler than even close competing theories, and second, it is unlikely that a plausible version of the theory will be very simple. Moreover, I argue that a convincing case for HTM is likely to have to show that it is more virtuous than defenders have done so far. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martin Heidegger and OntologyEmmanuel Levinas (bio)The prestige of Martin Heidegger 1 and the influence of his thought on German philosophy marks both a new phase and one of the high points of the phenomenological movement. Caught unawares, the traditional establishment is obliged to clarify its position on this new teaching which casts a spell over youth and which, overstepping the bounds of permissibility, is already in vogue. For once, (...) Fame has picked one who deserves it and, for that matter, one who is still living. Anyone who has studied philosophy cannot, when confronted by Heidegger’s work, fail to recognize how the originality and force of his achievements, stemming from genius, are combined with an attentive, painstaking, and close working-out of the argument—with that craftsmanship of the patient artisan in which phenomenologists take such pride. In this study, it is important for us to understand, above all, the true intentions of our author, to illuminate what he thinks really needs to be said, and to surmise what is most critical for him.To get to the heart of Heidegger’s system, it seems fitting to begin with a problem that is generally familiar. We choose the problem of knowledge, a deeper understanding of which takes us to the very threshold of Heidegger’s thought. For this problem, central to modern philosophy, is one of the main obstacles of modern philosophy that Heidegger wishes to surmount. Neo-Kantianism, which takes knowledge as the philosophical problem of the first rank, is the movement against which Heidegger rebels with all his strength. We have, thus, every chance of gaining access to his thought by the main door, so to speak. Once inside the system we will try to trace its outlines, 2 reserving, for a second part of our work, the determination of Heidegger’s place in the history of ideas, especially in the phenomenological movement, as well as of his relations with the philosopher to whom he owes so much—Edmund Husserl. 31In its most general form, the problem of the theory of knowledge has a critical significance. It consists in delineating a domain where knowledge can be certain and in determining the criteria for the legitimate scope of knowledge. But this problem, as normal and as simple as it may appear, has deeper roots. That knowledge should need a criterion at all presupposes that truth is not identical to all that is known and that the course [End Page 11] of things can fail to correspond with the course of thought. “How does knowledge correspond to being?” is a more profound formulation of the problem of knowledge.But we are not going to touch anymore on the primordial phenomenon that generates the problem. The problem of correspondence between thing and thought presupposes a free activity of thought and its isolation in relation to the object. It is precisely this presupposition which renders their harmony and even their contact problematic. “How does the subject take leave of itself to attain the object?” is what the problem of knowledge, in the last analysis, boils down to. Its true source is thus the concept of “subject” as elaborated by modern philosophy. The cogito presided over the subject’s birth. The cogito was the affirmation of the privileged nature of the subject’s immanent sphere, of its unique place in existence; hence, the cogito was the specificity of the subject’s connection to the rest of reality, the sui generis nature which opens up the passage from immanence to transcendence, the passage from ideas contained in the thinking substance to 4 their “formal existence.”The concept of the subject, understood as a substance having a specific position in the entire domain of being, presents us with difficulties of two kinds. First, how do we understand this leave-taking from the self which the thinking substance brings about and which displays an entirely original aspect? Indeed, we could say that thought, in reaching out toward objects, does not actually take leave of itself, since its objects—considered as ideas and contents of thought—are, in a certain sense, already within it. In order to make sense of this paradox, Descartes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.2 (2002) 39-59 [Access article in PDF] Response to My Critics Karen J. Warren Introduction In the Preface to my book, Ecofeminist Philosophy: A Western Perspective on What It Is and Why It Matters, 1 I describe as both "exciting and taxing" the process of writing the book over more than one decade (Warren, x). It was exciting because I was contributing to the still (...) nascent field of ecofeminist philosophy; it was taxing because I often found it difficult to know what I wanted to say about ecofeminism as a philosophical position. The book that emerged is my attempt to say, in my own voice and in a language and style amenable to a reflective lay audience, what I understand ecofeminist philosophy to be and why I think it matters.Ecofeminist Philosophy is premised on the conviction that ecofeminist philosophy has liberating potential to generate insights and recommendations for any theory, practice, or policy that is feminist, ecofeminist, or environmental. The version of ecofeminist philosophy I defend focuses on a variety of contingent interconnections—historical, empirical, socioeconomic, conceptual, linguistic, symbolic and literary, spiritual and religious, epistemological, metaphysical, political, ethical, and theoretical—among the dominations of women, other subordinated humans, nonhuman animals, and nature. It locates the commonalities of mutually reinforcing "isms of domination" (e.g., sexism, racism, classism, heterosexism, ageism, colonialism, [End Page 39] ethnocentrism, speciesism and "naturism," or the unjustified domination of nonhuman nature) in oppressive conceptual frameworks, institutions, and practices mediated and justified by a "logic of domination." Connecting these isms of domination to pressing contemporary feminist and environmental issues, I argue for a version of ecofeminist philosophy that provides both critical analyses of and creative solutions to the intersecting practices, policies, and structures of unjustified ("isms" of) domination.From my perspective, the book is bold and daring. It advocates positions (e.g., regarding spirituality) typically eschewed by feminist and ecofeminist philosophers. It takes positions (e.g., on moral vegetarianism) that are at odds with much mainstream ecofeminist literature on nonhuman animals (particularly ecofeminist animal rights literature). It defends unfamiliar or unpopular philosophical positions (e.g., on the moral considerability of nonhuman animals and nature, on the nature of social justice, on ethics as "care-sensitive," and on theory as theory-in-process). It provides an account of ecofeminist philosophy that is grounded in good science, though not in canonical ideals of objectivity and rationality. It uses cross-cultural empirical, historical, social, and cultural data to motivate and test the theoretical claims of ecofeminist philosophy. And it supports the need for and role of emotional intelligence (including the ability to care) in ethics, ethical-decision making, and the creation of life-affirming, nonviolent communities and social systems.Given the nature of the issues I address and the positions I advocate in Ecofeminist Philosophy, it is to be expected that critics will raise questions, offer criticisms, and encourage further reflection on my part about my conception and defense of ecofeminist philosophy. That is precisely what the three critics who have written commentaries on my book for this special Symposium of Ethics & the Environment—philosophers Chris Cuomo, Trish Glazebrook, and Jim Sterba—have done. It is a humbling and gratifying experience to have one's scholarship the focus of a special issue of a journal; it is even more so when the critics offer comments that are helpful and constructive. I am grateful for the time and philosophical energy all three critics have invested in writing their commentaries.In what follows, I comment on each essay separately. My hope is to provide each essay with the thoughtful attention it deserves, while offering clarifying remarks on what I attempted to do, and the version of ecofeminist philosophy I defend, in Ecofeminist Philosophy. [End Page 40] Trish Glazebrook's Essay It was a pleasure to read Professor Trish Glazebrook's essay. Glazebrook understands what I attempted to do in this book, while also providing useful, illuminating questions and suggestions for future work. I am grateful for her supportive sensitivity and scholarly attention to what I argued in Ecofeminist Philosophy and to ways I might improve my... (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns (...) representing specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 113 phers); nevertheless, I feel that the book would have been more effective pedagogically had they devoted more attention to them than they have. As a specific recommendation, I would suggest several short introductions at strategic places in the text devoted to a brief resum~ of the historical setting in which the philosophers to be discussed found themselves. Once again I should emphasize that, despite the (...) criticisms I have made, I think the book to be an excellent piece of work, which should prove quite successful as an undergraduate text in the history of philosophy. OLIVER JOHNSON University of California, Riverside Plato's Theory of Knowledge. By Norman Gulley. (London: Methuen & Co. Ltd.; New York: Barnes & Noble Inc. Pp. viii ~ 203.) Mr. Gulley gives an account of the development of Plato's theory of knowledge. The impetus to this development he finds in an inconsistency that underlies the attempt to combine an a priori method of analysis with a theory of knowledge based on the doctrines of recollection and the archetype-copy relation of Forms and sensibles. Only in the last chapter, "Mathematical Knowledge," does he suggest a theory of the relation of a priori to empirical knowledge which he thinks might have satisfied Plato. The major part of the work, the first three chapters, concerns the conflicts and readjustments occasioned by the underlying inconsistency. I shall discuss these chapters in terms of a few central points. In chapter I, GuUey attempts to get at the basis of the theoretical difficulties. He points out that Plato first considers philosophic method as independent of the theory of Forms and the theory of recollection (pp. 40 f). In the Meno it is a method of analysis, which is a forerunner of the Phaedo's method of hypothesis, of which the dialectical method is a further development. It is an a priori method. But the theories, which are first hypotheses examined by the method (Phaedo), become later "presuppositions for the effective practice of the method," as, for example, in the Republic. In "recollection" there is an intimate connection between Forms and sensiblcs, but in knowledge there is complete separation. This is what Gulley considers to be the source of the major difficulties. Since I do not find these difficulties, I shall concentrate on their exposition. Gulley notes in the Phaedo two meanings of "giving an account": (1) in terms of a method of propositional analysis; (2) in terms of participation of sensibles in Forms. His explanation of the first offers no difficulties, but of the second there are serious problems. His explication of the second is as follows: To "give an account" is "to explain one's possession of a Form by showing that it is necessarily implied by that judgment of the 'deficiency' of sensible characters which arises as soon as they are recognized" (p. 40). His argument for this interpretation is as follows: "... if to know a Form brings with it the ability 'to give an account', and if to know a Form is to be reminded of it by the sensibles which resemble it (74 b-c), the 'giving of an account' must be explicable within the conception of 'knowledge' implied in the use of the term in 74 b-c" (p. 46). He assumes that Plato is at least consistent. Now in 74 b-c Simmias agrees with Socrates that we have knowledge of equality "in and by itself" and that such things as equal logs and stones "lead us to conceive" of it. Only "recollection," not the preexistent knowledge of Forms is in question here. Since it is assumed that knowledge implies the ability to give an account of what is known, then this instance of knowledge, which occurs in conjunction with perception, implies a similar ability. But one cannot infer from this that the discussion of equality as Plato has discussed it, which is a discussion of it as an example of recollection, is the same thing as the giving an account of equality itself, much less that it is "the only type of account possible" within the theory of Forms. That it is the only possible type is in fact contradicted by the assumption of pre... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NAMING GOD: MOSES MAIMONIDES AND THOMAS AQUINAS NEIL A. 8TUBBENS The Methodist Ohurch Barnsley Oircuit, South Yorkshire MOSES MAIMONIDES (1135-U04) and Thomas Aquinas (c. U~5-1274), two of the greatest theologians of the Jewish and Christian faiths, had much in oommon.1 Like other Ohristian.writers, Aquinas made several criticisms of Maimonides' views on divine predication. In this article l will discuss these criticisms and evaluate them by means of a (...) detailed e:iq>0sition of Maimonides' position. I will ithen offer an account of Aquinas's justification of analogical predication and make some suggestions ais to the :role of causality in naming God. 1. Introduetion Moses Maimonides was the middle-man in the interaction of the three monotheistic faiths with Aristotelian philosophy. He was a great admirer of the ancient philosopher, claiming that Aristotle':s intellect reached the highest perfection attainable hy humanity-e:reept by the prophets and they WeTe divinely inspired. Maimonides :firrst work, the short Treatise on Logic, clewly reflects ihis own interest in logic and language and shows the influence of Afistotle mediated through the Ambs.2 It was The Guide or the Perplexed, his last major work, that introduced the mostly Christian West to the thought of the Islamic philosophers Alf.arabi, Avicenna, and 1 On some matters Aquinas refers to Maimonides as a:ii. authority, e.g., De potentia, q.7, a.4, c; Summa theologiae (ST), I, q.68, a.2 ad 1. 2 Treatise on Logic, translated by I. Efros, Proceedmgs of the American Academy for Jewish Research 8 (1938): 1-65. 230 NEIL A. STUBBENS Avermes.3 The Guide, however, is not so much a philosophical work as a iphilosoprucal interpretation of the Bible. Like the thinkers of the Christian monastic anrd later cathedral schools of the eleventh and rbwelfth centuries, Maimonides began his reflections with the wo;vds of Scripture. Soon after its publication in 1190, two Hebrew triansla:tions of the Guide were produced from,the original Arabic by Samuel Ibn Tibbon and Jehudah al-Harizi; Aquinas wo:rked with_ a Latin translation of the Harizi version.4 Feldman has complained that some of the scholastics misinterpreted Maimonides, foisting upon him views which were clearly not his own. According :to Feldman, Giles of Rome.(c. 1247-1316), in his ErrofJ'es Philosophorum, misformulates Maimonides' theory of negative ·attributes and suggests that he employs attributes ".by wa.y of causality." 5 Duns Scotus (c. 1264-1308) cites Maimonides and Avicenna ws ·advocating attributes of efficient causality. Henry of Ghent (d. 1293), in his Summa theologiae, moorrrectly construes actions as relations : "Indeed", writes Feldman, "he characterises them as ruttributes 'hy way of causality.'" Aquinas's translators and interp:veters come in d)or as much criticism from Feldman as :Aquinas himself, e.g., R. Garrigou-Lagrange,6 M. Penido,7 and R. Mulligan:8 all mistakenly say that a.ooording to Maimonides "God is good" means "God is the ca;use of good things.'' a See S. Pines, "Translator's Introduction: the Philosophic Sources of The Guide of the Perplwed," in The Guide of the Perplewed, trans. S. Pines (Chicago, 1963). 4 The chapters of the Harizi and Latin versions are enumerated one less than those of the Ibn Tibbon version. I shall use the latter scheme as is common practice. 5.S. Feldman, " A Scholastic Misinterpretation of Maimonides' Doctrine of Divine Attributes," in Studies in, Maimonides and St. Thomas Aquinas, ed. J. Dienstag (New York, 1975), pp. 58-59. 6 See The One God, (St. Louis, 1944), p. 404. 1 See "Le role d'analogie en theologie dogmatique," Bibliotheque Thomiste 15 (1931) : 149 and 169. s See his translation of De veritate, q.2, a.I, in The Disputed Question on Truth (Chicago, 1952). MAIMONIDES AND AQUINAS 2. Aquinas's Criticism of Maimonides There are five points of disagreement between Aquinas and Maimonides. First, Aquinas argues that if expressions such as " God is wise " and " God is angry " are used to indicate only a likeness of effect, i.e., we say " God is wise" or " God is angry " because in his effoots he acts lilre a wise or angry person, there would he no difference in the... (shrink)

Thomas Pogge has been challenging liberal thinking on global politics, often through critical engagement with John Rawls’ work. Pogge presents both normative and empirical arguments against Rawls: normatively, Rawls’ domestic Theory of Justice and global Law of Peoples are incompatible ideal theories; empirically, LP is too removed from the actual world to guide the foreign policy of liberal societies. My main purpose here is to contest the first, ideal theory criticism in order to direct more attention (...) to the second, non-ideal objection. I argue against Pogge that TJ and LP can be read as coherent, once one employs a Rousseauian rather than Pogge’s economic Kantian reading of TJ. The first two sections present Pogge’s view of TJ and contrast it with a Rousseauian alternative that is less cosmopolitan and economic and much more focused on the democratic and sovereign context of justice as fairness. The third section seeks to refute Pogge’s incoherence arguments, which encompass the identity of the parties to the international original position, their motivations and their decisions. Instead of a conclusion, the last section emphasizes LP’s non-ideal problems, and suggests that insofar as LP is the most robust liberal ideal theory of global politics, its empirical failure indicates the need to shift global justice theorizing even more to the non-ideal realm.Keywords: Rawls; Pogge; global justice; ideal theory; non-ideal theory; cosmopolitanism; statism; Rousseau; Kant; democracy. (shrink)

This work makes the revisionist claim that "the theory of mind in the Critique [of Pure Reason] is much more traditional and rationalistic than it at first appears, but that it is also more defensible than is generally recognized". Specifically, Ameriks aims to show that "Kant can be seen as wanting, above all else, to put... into a respectable form" the "core of the rationalist commitment" "to the idea that we have a special kind of identity that can (...) withstand all the kinds of change that ordinarily spell the end of ordinary objects". But, first, Ameriks's account of the "core of the rationalist commitment" is maddeningly vague and unstable--indeed, Ameriks's conception of rationalism is so ill-defined that at one point skepticism about the external world is treated as a part of rationalism rather than as the very much undesired consequence of certain Cartesian premises which Kant thought it to be!--and the discussion is damagingly ahistorical. Ameriks does emphasize the developmental dimension within Kant's own work, ranging over the whole of Kant's published corpus and mining the various lecture courses on metaphysics which have now been gathered together as volume 28 of the Berlin edition of Kants gesammelte Schriften. But his picture of rationalism itself and its characteristic arguments is undifferentiated and undocumented, and this leads to the misconception that Kant thought that some theoretical defense of rationalist theses could still be maintained while what are merely some possible arguments in their behalf were criticized; but some review of Leibniz, Wolff, Baumgarten and Meier would surely have shown that Kant was criticizing all of the chief arguments for the rationalist conception of the soul known to him, and attention to Kant's own claim for the completeness of his presentation of these natural and inevitable illusions of human reason could have suggested only that Kant himself thought that these were all the theoretical arguments for a rationalist philosophy of mind there could be. Second, it is questionable whether Ameriks's view really revises our standard reading of Kant's conclusions at all. The gist of Ameriks's argument is that in spite of Kant's specific criticism of the paralogistic arguments of pure psychology, Kant retained a favorable attitude toward the theoretical and not just practical postulation of such properties as immateriality and transcendental freedom at the noumenal level--but this turns out to mean little more than that Kant accepted his own transcendental idealism. This is hardly revolutionary, and the interest of the point is far from strengthened by Ameriks's own conclusion that transcendental idealism cannot be fully proved. (shrink)

The purpose of this paper is to review, clarify, and critically analyse modern mathematical cosmology. The emphasis is upon the mathematical structures involved, rather than numerical computations. The opening section reviews and clarifies the Friedmann-Robertson-Walker models of General Relativistic Cosmology, while Section 2 deals with the spatially homogeneous models. Particular attention is paid to the topological and geometrical aspects of these models. Section 3 explains how the mathematical formalism can be linked with astronomical observation. Sections 4 and 5 provide (...) a critical analysis of Inflationary Cosmology and Quantum Cosmology, with particular attention to the claims made that these theories can explain the creation of the universe. (shrink)

This article discusses Abū Isḥāq al-Naẓẓām’s (d. 231/845) (one of the first Muʽtazilī thinkers); understanding of Allah-world relationship, his theory of nature (tab‘) and his view on miracles. In a proposal form, Muʽtazilī scholars accept that the miracle, which is the actual confirmation, must occur, since it is not possible for Allah to confirm His messenger (prophet) in a way that everyone can hear and in a direct word. Since the Prophet's message can be authenticated only by a miracle, (...) Muʽtazilī thinkers paid great attention to this issue, organized and formed natural theories about the universe in a way that miracles can occur. Naẓẓām explains a kind of miracle that occurs under the power of Allah, by his theory of nature called latency and occurrence (kumūn-ẓuhūr). His view of miracles is rooted in the Muʽtazilī classification of miracles. Naẓẓām argues that in the theory of nature, things are infinitely divided. He also argues that all qualities considered accident (aʽrāḍ) by other Muslim theologians are different objects as only motion and rest are the only accidents. According to him, the universe consists of objects and accidents of motion only. In each object in the universe, an unlimited number of opposing objects (sub-components) that have different effects on each other is located in the same space. Those objects in the same space are intervened (tadākhul) with each other. Kumūn refers to sub-components that are located inside the object in a state of passing into each other, and a state of balancing each other through the push-pull motion (i‘timād). Ẓuhūr is an outward movement of the sub-component from where it is located when an impact imposed outside the object interacts with one of the sub-components contained in it. Naẓẓām says that too many opposing sub-components, such as heaviness-lightness, heat-coldness contained in the object, form an internal dynamic by providing balancing each other through inside the object with the push-pull motion. The state of balance inside the object is disrupted by an external factor affecting one of the sub-components. An external thing approaching the object interacts with one of the sub-components contained in the object. Then, the affected sub-component moves out of the object and thus the state of balance inside the object is disrupted. According to the theory of kumūn-ẓuhūr, change in objects occurs when the balance within the object is disturbed. The change in the balance also occurs not by the direct intervention of Allah and the creation of accidents, but by the disruption in the balance of natures within the object. Naẓẓām, who advocates the intrinsic natures in things, has been criticized for not leaving any room for Allah’s influence on objects at least through miracles. This criticism is not correct. Naẓẓām says that the nature of objects depends on God, and it is possible for God to intervene in them at any time. According to him, Allah can force opposing objects into a union that is not in their natures. In their natures, unification can separate those by applying pull and push. In this way, Naẓẓām sees the intervention of Allah as possible in the occurrence of a situation that is the opposite of what is present in the nature of objects. In Naẓẓām's theory of kumūn-ẓuhūr, there are suppressed natures and sub-components that are in a weak state inside the actual object. Furthermore, they cannot go out in any way from the actual object. One of these suppressed natures found in the object is removed from the nature of the object by the intervention of Allah when a miracle occurs in the hands of theProphet. In this case, the miracle is not something new that Allah has created, but that Allah has disclosed a hidden sub-component that is hidden in that thing that has never appeared before. Naẓẓām’s view of miracle is something occurring under the power of the created, which Muʽtazilī scholars accept in the classification of miracles in relation to, the theory of sarfa. He suggests that the Qur'an, which he accepts under the power of the created, would not be a miracle, if the Arabs could dispute it. However, according to him, the Qur'an is a miracle because Allah prevents them from the dispute. In his understanding of sarfa, the miracles occur directly as an act of God’s divine intervention with human beings. This study investigates Naẓẓām’s view of miracles along with his theory of nature and his understanding of sarfa. (shrink)

Publication of the Vestiges and the rather primitive theory of evolution it expounded thus played a significant role in the careers of Darwin and Wallace. In addition, in spite of his poor opinion of the Vestiges, it presented Huxley with a convenient topic for critical discussion and the opportunity to focus more attention on the subject of evolution. The dynamic interactions among these leading figures of nineteenth-century natural science helped spur the development of more sophisticated models of (...) evolution.Darwin had a proper appreciation of Chambers's contribution to evolutionary thought, although he fully recognized the shortcomings of this work. He understood the importance of allowing fresh ideas about organic change to be ventilated. However, he was primarily concerned with his own theory and viewed all developments in evolutionary biology from this perspective. If he did not give full consideration to Chambers and his book early on, it was due mainly to his feeling that the concepts in the Vestiges were very different from his own; he was therefore reluctant to embrace them as the forerunners of his own theory. As a scholar, he was also troubled by the scientific errors in the book. However, the record demonstrates that he attempted to make amends for any oversight on his part. His generous letter to Chambers's daughter, and his gracious treatment of Chambers during the brief time the latter lived in London, are ample proof of that.The attacks of Huxley, Sedgwick, and other prominent natural historians and geologists at the time, the problems inherent in Chambers's evolutionary theory, and the publication of the Origin, are the major reasons why the Vestiges became a neglected work. Nevertheless, Chambers's contribution will always stand out because, together with those of other late eighteenth- and early nineteenth-century predecessors of Darwin, it laid the foundations of modern evolutionary thought and, more importantly, helped prepare the scientific community for the more fully developed ideas of Darwin and Wallace. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Bible, "Creation," and Mimetic TheoryLucien Scubla (bio)I would like to propose and defend three theses that are related to the main theme of creation.First thesis. Although the idea of creation ex nihilo seems to have been suggested by the Bible to some philosophers, it is not a religious theory but a philosophical one. In the book of Genesis, there is no creation in (...) the proper sense of the word.For biblical thought, as for the savage mind, the world is not created, but only put in order by gods or spirits; and, for both of them, this ordering action consists in dividing or separating1 from each other things that already existed (or were potentially present) but were mixed and confused in a primitive chaos, or linked to each other as the organs of an original sacrificial victim: the Purusha (in Vedic religion), the goddess Sedna (among the Inuit people), the larvae (in Aboriginal Australian religion), and so on.In the light of Girardian theory, this means that there are two kinds of cosmic myths: those that describe (in mythical or ritual terms, of course) the founding events starting from the apex of the undifferentiation crisis, and those starting from the killing of the surrogate victim. However, groups of people generally have both kinds of myth. The first book of Genesis belongs to the first; the creation of Eve from the body of Adam, in the second book of Genesis, belongs to the second. Ancient Greek mythology begins with Chaos, and the act of Prometheus sharing an ox with Zeus can be seen, according to Jean-Pierre Vernant, as making a permanent separation between men and gods by means of a sacrificial victim.The second kind of myths are often violent. They show, for example in Australia, the mythical ancestors, the Numbakulla, dividing the larvae with knives. The first kind of myth can take a more academic turn, as we see in 1 Genesis, which is much more civilized than Hesiodic mythology. But both follow the same pattern, going from an undifferentiated world to a more and more differentiated world. [End Page 13]If we try to distinguish the biblical myth from other myths of creation, we might be tempted to focus our attention on an obvious feature. In 1 Genesis, Yahweh appears as the principal agent, the only father of all the things and beings that he produces successively, while in Hesiodic theogony the earth and the sky, who are gods, can generate other gods, and so on. This feature may suggest that the Jewish God is properly creating the world, while Hesiodic cosmogony describes a kind of process of self-organization that, in this regard, resembles our scientific cosmology.But in fact, Yahweh is no more a creator than other gods or spirits who produce all things by dividing a victim whose organs become the various beings existing in the universe. What makes a real difference between the biblical cosmology and the others is rather the fact that, in 1 Genesis, the creating god is a transcendent god, the one true God. In Greek mythology, for example, the earth, the sky, and so on are also gods, whereas in biblical cosmology they are only natural phenomena. Here, the creator and his creatures are not at all of the same kind.In other words, biblical creation rests on an implicit, first and founding separation of God and the world, which is a model for the subsequent separations in which creation consists. By its nature, God is holy, sacred, kadosh, which means separated. And the creation is the image of its creator as soon as it is made of separated things. Here, I think, we are reaching the feature that really makes Genesis distinct from other cosmogonies. Although the biblical text does not take the idea of separation as its explicit topic, because it is not a philosophical treatise but a religious explanation of the world, this idea constitutes its main object, of which it displays the various aspects.I. SeparationAs Leo Strauss has shown, in a lecture delivered in 1957 at University College (Chicago) and published by Nicolas Ruwet in the French journal of... (shrink)

Corporations wield power in today’s economies, and political theories of the corporation argue about the legitimacy conditions of corporate power. This paper argues in favour of a double-fiduciary theory for corporations. Based on a concession theory of markets, it sees all markets as authorized by states (in the name of society), for the purpose of creating economic value, or wealth. Hence corporations, as much as non-incorporated firms, have a fiduciary duty to the state/society to create wealth, in (...) the competitive structure of the market. However, their pursuit of wealth often creates unbalanced relations of power between corporations and their stakeholders, which can at some point be classified as instances of domination. Therefore, corporations need to be subjected to a second fiduciary duty, i.e. not to dominate others in the economy. This duty is also, in the final instance, owed to the state/society. In an era when everyone can incorporate their business, states/societies can be interpreted as having, through corporate law, mandated shareholders as ‘proximate beneficiaries’, to incentivize corporations to create wealth. Now states/societies need to think about how to prevent corporations from dominating others. New mechanisms of accountability towards stakeholders and/or citizens as proximate beneficiaries are needed. Only in this way can corporations be effectively held to account for both of the fiduciary duties which characterize their normative status. (shrink)

Plato's antidemocratic theory of social justice is instructive once we distinguish between the abstract parts of his theory and the empirical or other assumptions he uses in applying that theory. His application may have contained empirical mistakes, and it may have been burdened too much with a prolific metaphysics and a demanding epistemology. An attempt is made to look at his theory of social justice in imaginary isolation from empirical mistakes and from his metaphysics and (...) epistemology. It is then argued that some of Plato's proposals and criticisms of democracy are well worth our attention, especially in the case of governing. His attempt to separate ruling and wealth and to establish economic floors and ceilings for his ideal city seems especially instructive in view of problems in these areas that modern democracies have experienced. Isolating his theory of social justice from his epistemology and metaphysics may be more problematic. Still, Plato's insistence that superior wisdom is the central virtue of rulers is instructive, and in this respect some modern defenders of democratic justice, such as J. S. Mill and John Rawls, have leaned some in Plato's direction. Finally, Plato's criticism of democratic free choice of occupation is less persuasive. Footnotesa I wish to thank the other contributors to this volume, and its editors, for many helpful comments. (shrink)

The Nyãya philosophy is primarily concerned with the conditions of valid thought and the means of acquiring true knowledge of objects. Its ultimate end, like that of the other systems of Indian philosophy, is liberation-a state of pure existence- which is free from both pleasure and pain. For the attainment of this liberation, a true knowledge of objects is the surest means. Hence the theory of knowledge is the very foundation of the Nyãya system. The Nyãya Theory of (...) Knowledge is the first systematic, critical and comparative treatment of the Nyãya epistemology. It reveals how, as a thorough-going realistic view of the universe, the Nyãya philosophy supplies an important Eastern parallel to the triumphant modern Realism of the West, and contains anticipations of as well as possible alternatives to many contemporary realistic theories. This book is important as much for the correct understanding of ancient Indian philosophy, as for the evaluation of modern Western philosophy. (shrink)

This article provides an Austrian overview of the inflation versus deflation debate which has captured the attention of the economics profession in the years following the US housing bust. Much of the Austrian analysis of this debate has focused on the massive expansion of the Federal Reserve’s balance sheet and attendant creation of new reserves. Several Austrian economists have predicted that the creation of new reserves will cause a massive increase in inflation. The money multiplier (...) class='Hi'>theory, on which these predictions are based, is criticized and an overview of the Austrian business cycle theory is provided to explain why banks are reluctant to issue new credit. Finally, an analysis of the politics of deflation is provided and a class theory is presented to explain why a policy of controlled credit deflation is more likely than a policy that would result in mass inflation or hyperinflation. (shrink)

Towards the end of his philosophical and political theorizations, the Greek-born French philosopher and thinker Cornelius Castoriadis turned his attention to artistic representation, in particular to Greek, or to use a term he preferred, “Athenian” tragedy. The aim of this article is to analyze the role played by his interpretation of tragedy in his understanding of democracy as a tragic regime. In order to address this interrogation, the article will be divided in three parts. The first part is devoted (...) to what Castoriadis deems the “Greek creation”. The second part offers an interpretation of Castoriadis’ formulation of tragedy as both a public institution and a “window to chaos”, emphasizing its connection to democracy, autonomy and judgement. In the final remarks, we critically assess his original conception of tragedy and its political implications for Castoriadis’ idea of democracy. (shrink)

Theories of Truth provides a clear, critical introduction to one of the most difficult areas of philosophy. It surveys all of the major philosophical theories of truth, presenting the crux of the issues involved at a level accessible to nonexperts yet in a manner sufficiently detailed and original to be of value to professional scholars. Kirkham's systematic treatment and meticulous explanations of terminology ensure that readers will come away from this book with a comprehensive general understanding of one of (...) philosophy's thorniest set of topics. -/- Included are discussions of the correspondence, coherence, pragmatic, semantic, performative, redundancy, appraisal, and truth-as-justification theories. There are also chapters or sections of chapters on the liar paradox, three-valued logic, Field's critique of Tarski, Davidson's program, Dummett's theory of linguistic competence, satisfaction, recursion, the extension/intension distinction, and an explanation of how theories of justification, properly understood, differ from theories of truth. -/- A persistent theme is that philosophers have too often failed to recognize that not all theories of truth are intended to answer the same question. When the various questions are made distinct, it is apparent that many of the "debates" in this field are really cases of philosophers talking past one another. There is much less disagreement within the field than has commonly been thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Moses Maimonides: The Man and His WorksAlfred L. IvryHerbert A. Davidson. Moses Maimonides: The Man and His Works. New York: Oxford University Press, 2005. Pp. x + 567. Cloth, $45.00Herbert Davidson is a scholar of exceptional brilliance whose previous studies of medieval Jewish and Islamic philosophy have been widely acclaimed. In the present work, he ventures beyond philosophical argument to encompass an analysis of every aspect of the (...) life and work of one of the most celebrated—and controversial—figures in Jewish history, Moses Maimonides (1138–1204). In so doing, Davidson discloses a formidable knowledge of Talmud and rabbinic literature, as well as of the history, science, astronomy, medicine and philosophy of Maimonides' day. Davidson offers elegant descriptions and often challenging evaluations of Maimonides' life, education, and work: the rabbinic oeuvre, philosophical and medical treatises, and miscellaneous epistles.Maimonides' accomplishments do not include a number of works commonly but mistakenly attributed to him, in Davidson's opinion. He offers persuasive reasons (though admittedly not always conclusive proof) for rejecting Maimonidean authorship of a "Treatise on Logic," and the Epistles "In Opposition to Astrology" and "On Religious Persecution." Davidson's rejection of the last named epistle abets his interpretation of the early period of Maimonides' life, according to which he was not compelled to convert or to dissimulate a faith in Islam, as many think. [End Page 484]It is a cardinal principle for Davidson, though he does not identify the term as such, that Maimonides never practiced dissimulation in any significant way, or as Davidson sees it, that he did not lie. Davidson's Maimonides, for all the personal failings he notes, is a figure of immense rectitude and religious sincerity, to be taken at his word.Davidson comes, then, to defend Maimonides against his past and present critics who see esoteric and heretical teachings lurking behind Maimonides' protestations of orthodox belief. Davidson is no simple apologist for Maimonides, however, and does not hesitate to identify places in Maimonides' writings where the Master nodded. Such places abound for Davidson in Maimonides' philosophical masterpiece (as it is commonly thought), the Guide for the Perplexed, raising the strong suspicion that Davidson hardly regards it as such (creation arguments apart). He is much more taken with Maimonides' rabbinic acumen and achievements than with his philosophical work, arguing that Maimonides did not, when writing the Guide, have the time and concentration he possessed when composing the Commentary on the Mishnah and the Mishneh Torah.Davidson is assured by the strong and traditional affirmations of faith expressed in Maimonides' rabbinic writings that he maintained the same beliefs in his philosophy. The reconciliation of faith and reason is a theme that runs through all of Maimonides' writings. For Davidson this issues in a religious philosophy both radical and conservative: radical in that the Jewish God assumes an Aristotelian mien; conservative in that a "measure of personality" (365) is expressed through the act of creation and the performance of other miracles, notably the revelation at Sinai, prophecy, and resurrection. Problematic as he acknowledges the latter notion is for Maimonides, Davidson yet believes he held it.This is typical of Davidson's iconoclastic posture towards much of contemporary Maimonidean scholarship. Davidson does not believe Maimonides knew all that much philosophy and was not as careful with his writing as he claimed; that he did not have a first-hand knowledge of Aristotle, using Avicenna mostly instead; that his vaunted secret "Accounts of Creation and of the Chariot" were thinly disguised common notions of medieval physics and metaphysics; and that his entire claim to secret or esoteric teachings has none of the significance scholars in the past or present have given it.Here Davidson's bête noir is Leo Strauss, whom he regards as projecting his own dissimulating tactics upon Maimonides, turning him into an atheist (400). Davidson sees Shlomo Pines, adopting Strauss' methodology, as foisting an agnostic posture upon Maimonides. Davidson does not consider a Deistic alternative, probably assuming it incompatible with a creator God. Yet Maimonides' God functions dispassionately in His governance of the world, not knowing individuals directly, and offering them only a collective immaterial immortality.Maimonides exempts Moses and... (shrink)

Cosmopolitans typically argue that the realization of cosmopolitan ideals requires the creation of global political institutions of some kind. While the precise nature of the necessary institutions is widely discussed, the problem of the transition to such an order has received less attention. In this paper, we address what we take to be a crucial aspect of the problem of transition: we argue that it involves a moral coordination problem because there are several morally equivalent paths to reform (...) the existing order, but suitably placed and properly motivated political agents need to converge on a single route for the transition to be successful. It is, however, unclear how such a convergence can take place since the duty to create global institutions does not single out any coordination point. We draw on the so-called theory of hegemonic stability to address this problem and conceptualize what we call the hegemonic transition. From an explanatory point of view, we rely on the theory’s insights to explain how a hegemon may contribute to the creation of a rules-based international order by providing salient coordination points and accordingly, enabling coordination among states. From the normative point of view, we identify necessary conditions for the hegemonic transition to be morally permissible. To the extent that these conditions obtain, other states have pro tanto moral reasons to follow the salient coordination point provided by the leading state. (shrink)

Much critical attention has been given to Isabella’s non-answer to Duke Vincentio’s marriage proposal at the conclusion of Measure for Measure. What critics have failed to notice is that Isabella’s non-answer is not a unique or singular moment in the play. In fact, this paper will apply the theories of Slavoj Žižek to argue that the logic of subtraction, the negative gesture of non-compliance to which Isabella gives especially pronounced form, is fundamental to the structure of the (...) play in its entirety. Two characters in particular, Isabella and Barnardine, demonstrate the possibility of occupying a subjective orientation that is at once under the sway of the law and aware of the law’s incomplete hold on the subject. Ultimately, I will show that the logic of subtraction and refusal has important implications for how the play understands the potential political power of various forms of labor, especially sexual labor. (shrink)

The paper attempts to show that Christian hope is not a product of religious fantasy. It finds today an ally in the dialogue with the natural sciences which started in recent years on the topic of the ultimate destiny of the world. The natural sciences have confirmed that the universe is doomed to physical annihilation. Humanity with its cultural riches, scientists say, is only an episode in universal history and doomed to perish. Hence, if the Earth is nothing more than (...) an island of rationality in a cosmic void, then the only thing we can do is to keep up a heroic attitude worthy of human beings towards our own fragile existence. Contemporary science’s visions of the future are pessimistic: abundant, though short-lived, evolution culminating in a sense of final futility and the ultimate destruction of all life in the universe. Such forecasts question religion’s claims for the eschatological transformation of all creation. Christian eschatology does not accept, however, reductionist presuppositions about the very nature of reality. The universe contains levels of meaning far richer than what we have been able to discover sofar. Theology’s task is not to provide easy consolation, or generate false hopes. It has a good reason to avoid catastrophism, and maintain calm in its strivings to keep up our faith in God’s concern for the destiny of all His creatures. Theologians have to take a serious stand on the very concept of finitude, furthered by natural and social sciences. This, in turn, will require critical review of such concepts as the world’s future in God, hope and new creation. This effort must be undertaken in dialogue with the scientific views of the world’s finitude. Both sides are prone to stereotype judgements and shallow answers which must be corrected in consideration of the complexity of the issue at hand. Christian theology has to justify its claim to truth, but certainly not by launching battles with science. Christian hope shows the new creation not as annihilation and destruction of the old but as its ultimate transfiguration and salvific transformation. It speaks about the paradox of continuity/discontinuity in this new universe’s emergence. Special attention is paid in the paper to the “logical” structure of matter. If the world ofultimate events is, in fact, to be a new world of the resurrection, created by transition into new reality, then certain scientific suggestions and data on the present world’s processes could prove helpful in grasping the truly cosmic dimensions of Christian hope. Crucial here will not so much be particular data but rather a sort of meta-science allowing the deduction of general concepts from the detailed achievements of scientific research. Such generalized insights include today the following elements: 1) the dynamic concept of physical reality, 2) the relationality of its processes and, 3) a deeper understanding of the complexity of matter/energy as carriers of a specific information-bearing pattern. It appears that there are some similarities in science’s and theology’s strivings for a deeper understanding of the truth of reality, which continues to evade our theories and teaches us modesty. Neither method nor concept has yet managed to explaineverything. There exists no universal key to a comprehensive interpretation. The postulate to avoid reductionism in approaching the manifold richness of reality is addressed to scientists and theologians alike. (shrink)

The paper attempts to show that Christian hope is not a product of religious fantasy. It finds today an ally in the dialogue with the natural sciences which started in recent years on the topic of the ultimate destiny of the world. The natural sciences have confirmed that the universe is doomed to physical annihilation. Humanity with its cultural riches, scientists say, is only an episode in universal history and doomed to perish. Hence, if the Earth is nothing more than (...) an island of rationality in a cosmic void, then the only thing we can do is to keep up a heroic attitude worthy of human beings towards our own fragile existence. Contemporary science’s visions of the future are pessimistic: abundant, though short-lived, evolution culminating in a sense of final futility and the ultimate destruction of all life in the universe. Such forecasts question religion’s claims for the eschatological transformation of all creation. Christian eschatology does not accept, however, reductionist presuppositions about the very nature of reality. The universe contains levels of meaning far richer than what we have been able to discover sofar. Theology’s task is not to provide easy consolation, or generate false hopes. It has a good reason to avoid catastrophism, and maintain calm in its strivings to keep up our faith in God’s concern for the destiny of all His creatures. Theologians have to take a serious stand on the very concept of finitude, furthered by natural and social sciences. This, in turn, will require critical review of such concepts as the world’s future in God, hope and new creation. This effort must be undertaken in dialogue with the scientific views of the world’s finitude. Both sides are prone to stereotype judgements and shallow answers which must be corrected in consideration of the complexity of the issue at hand. Christian theology has to justify its claim to truth, but certainly not by launching battles with science. Christian hope shows the new creation not as annihilation and destruction of the old but as its ultimate transfiguration and salvific transformation. It speaks about the paradox of continuity/discontinuity in this new universe’s emergence. Special attention is paid in the paper to the “logical” structure of matter. If the world ofultimate events is, in fact, to be a new world of the resurrection, created by transition into new reality, then certain scientific suggestions and data on the present world’s processes could prove helpful in grasping the truly cosmic dimensions of Christian hope. Crucial here will not so much be particular data but rather a sort of meta-science allowing the deduction of general concepts from the detailed achievements of scientific research. Such generalized insights include today the following elements: 1) the dynamic concept of physical reality, 2) the relationality of its processes and, 3) a deeper understanding of the complexity of matter/energy as carriers of a specific information-bearing pattern. It appears that there are some similarities in science’s and theology’s strivings for a deeper understanding of the truth of reality, which continues to evade our theories and teaches us modesty. Neither method nor concept has yet managed to explaineverything. There exists no universal key to a comprehensive interpretation. The postulate to avoid reductionism in approaching the manifold richness of reality is addressed to scientists and theologians alike. (shrink)

Roughly, the Central Dogma of molecular biology states that DNA codes for protein, not the other way around. This principle, which is still heralded as an important element of contemporary biological theory, has received much critical attention since its original formulation by Francis Crick in 1958. Some have argued that the principle should be rejected, on the grounds that it fails to fully capture the ins-and-outs of protein synthesis, while others have argued that the Dogma is (...) predicated on notions of information that are simply implausible. Yet, despite all this criticism, there is much about the Dogma that has not been said. Existing discussions, for example, gloss over the many distinct, logically independent readings of the Central Dogma that have been defended in the philosophical and biological literature, making it difficult to see which dogma is being criticized. Additionally, this oversight makes it unclear what the overall upshot of these discussions should be taken to be. My aim in this paper is to fix this. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 265 concluding chapter (pp. 150-52), Dr. Clair deals with "Comment lire l'oeuvre du P. Thomassin," providing much guidance to anyone who wishes to avail himself of the rich resources in Thomassin's writings. From the point of view of the history of philosophy, the most interesting aspects of Thomassin's thought seem to be (1) his "Cartesianism," that is, the extent to which he early imbibed Descartes' new (...) ideas, and played a role in the fusion of the views of Augustine, B6rulle, and Descartes that developed in the Oratory, (2) his attempt to find a viable theory of the nature of Grace somewhere between Arnauld and Malebranche, and (3) his efforts to formulate a philosophy of history within an Augustinian theology; a philosophy of history that would make historical research and understanding of genuine philosophical and religious value to man. Dr. Clair's too brief discussions indicate that Thomassin was definitely influenced by reading Descartes, but also that Thomassin was much too eclectic to be a Cartesian. With regard to the problem of Grace, where the Cartesian Arnauld fought with the semi-Cartesian Malebranche, Thomassin tried deftly to maintain an Augustinian position that was not quite as rigid as that of the Jansenists, nor as moderate as that of Malebranche (though Arnauld tried to use Thomassin's erudition and authority in his battles with Malebranche). Unfortunately Dr. Clair does not try to evaluate whether Thomassin really found a coherent and theologically acceptable middle-ground between the two antagonists. On the subject of the philosophy of history, Thomassin's views seem most interesting (at least to this reviewer). The short text that Dr. Clair includes on the difference of history from science reveals Thomassin trying to show that the investigation and comprehension of temporal particulars can have significant value for man's understanding of man and that there can be genuine certainty about past facts. Thomassin was writing in the period when modern historical method and outlook were born, when historical study changed from chronicles and ammunition in theological and political disputes to a basic way of understanding human nature. Those concerned with the role of Bayle, Hume, Gibbon, and Vico in developing an historical methodology and a rationale for art historical approach to human problems might well profit from considering Thomassin's writings in this area, and the influence they had on modern historiography and philosophies of history. Dr. Clair's short work certainly helps in filling a lacuna in our picture of the seventeenth century. It also makes one wish he had done more, and had provided a "complete" study of Thomassin's thought and influence. That, perhaps, is one of the major purposes of this new series, in that it will lead scholars to looking into the more hidden portions of the period, and will lead them to filling out in more detail and depth the history of the rise and fall of modern philosophy. It is to be hoped that future volumes in this series will continue to whet our appetites for further investigations, and will transform more of the names we run across into figures about whom we have some information and from whom we can still learn something. RICHARD H. POPKIN University of California, San Diego Berkeley's Theory of Vision..4 Critical Examination of Bishop Berkeley's Essay towards a New Theory of Vision. By D. M. Armstrong. (Melbourne: University Press; London and N. Y.: Cambridge University Press, 1960. Pp. viii + 106. $4.50). Berkeley's brilliant though disconcerting Essay has been rather neglected for some time, except for the able studies of C. M. Turbayne of Rochester University (N. Y.). Armstrong's book is welcome for that reason, also for its freshness, clearness, and rich brevity. A1- 266 HISTORY OF PHILOSOPHY though a slim volume, it is packed with close yet lucid argumentation, conducted throughout with good manners, and throughout exploratory, clarifying problems, exposing logical and empirical difficulties, not grandly telling us what the truth is but leaving us in a better position to carry on the exploration ourselves. It is an exemplary piece of philosophical discussion. He clears his ground by noting that the Essay, so far as... (shrink)

Although Judith Butler’s theory of the performativity of gender has been highly influential in feminist theory, queer theory, cultural studies, and some areas of philosophy, it has yet to receive its due from critical social theorists. This oversight is especially problematic given the crucial insights into the study of power – a central concept for critical social theory – that can be gleaned from Butler’s work. Her analysis is somewhat unique among discussions of power (...) in its attempt to theorize simultaneously both the features of cultural domination in contemporary societies and the possibilities of resistance to and subversion of such domination. Although I will maintain here that this attempt is not entirely successful, I nevertheless argue that Butler’s account makes crucial contributions to a feminist critical theory of power; as a result, it merits much more serious attention from critical theorists. (shrink)

Popper was also a critic of the idea that it was possible – or necessary – to give a positive response to the problem of induction. He was also a critic of many probabilistic theories of induction. He suggested that instead of seeking for a positive way of resolving the problem of induction – or, more generally, of trying to justify our claims that our ideas were true – we should, instead be concerned to make our claims open to criticism. (...) All this, and its strengths and weaknesses, have been much discussed. But it seems to me that not enough attention has been paid to what is distinctive about Popper’s work – and to the question of how it addresses our various problem-situations today. (shrink)

If Milton is the grand expositor of human culture as a middle realm, Williams can be seen as in many respects his secular heir, an heir careful to work out how the poetic imagination serves to make man's expulsion from Edenic origins bearable and even invigorating. Williams' poetics begins, as Riddel makes clear, in the awareness that there is no inherent or even recoverable correspondence between words and facts in the world, but Williams then devotes most of his energies to (...) denying the metaphysical alternative to that position—the claim that all language can do is reflect on and play with the emptiness or fictiveness of its signifiers. If words do not copy but produce meanings, then they can be used significantly to focus our attention on the activities of the artist and his constructed characters as they engage in that process of production. The act of producing meanings can be the process by which to achieve another kind of reference, for the act of expression can itself become the focus generating a poem's significance by calling attention to the various ways authors and characters station themselves in relation to specific situations. Fiction then is not so much a term describing the ontological status of certain kinds of language but a term characterizing a particular way of using language to reflect upon forms of behavior in which we are not fully conscious of the quality of our activities. Williams' position on the artist's language is clearest in his frequent metaphor of the artist as farmer. The initial activity of both men is a kind of violence, an assertion of the difference between human desires and indifferent "blank fields." But what begins as antagonism does not result in the creation of self-referential fictive structures or the gay wisdom of maintaining and disseminating differences. Rather antagonism is the precondition for what Williams richly labels "composition": the farmer-poet organizes the blank field into a fertile, life-sustaining set of relationships which are not simply linguistic.1 · 1. Williams, Imaginations, ed. Webster Schott , pp. 98-99. Williams' image of arts as antagonistic composing has important parallels with the Russian Formalist concept of "defamiliarization," but for Williams it is not simply a scene but a total human act that is revealed by this process. Charles Altieri teaches modern literature and literary theory in the English department at the University of Washington. The author of Enlarging the Temple: New Directions in American Poetry of the 1960s, he has just completed a study of literary meaning. "Culture and Skepticism: A Response to Michael Fischer" was contributed to Critical Inquiry in the Winter 1979 issue. (shrink)

Much recent attention has been paid to Kant’s account of the unity of space in the Critique of Pure Reason, not least because of the significant implications of that view for other key critical-period doctrines. But far less attention has been paid to the development of Kant’s account of the unity of space. This paper aims to offer a systematic account of Kant’s pre-critical account of the unity of space. On the view presented herein, Kant’s (...) early account of the unity of space is deeply rooted in his pre-critical cosmological views. In particular, I argue that Kant sees the unity of space as grounded in the cosmological unity of the world of substances, which is itself rooted in the divine conservation of all substances in relations of mutual causal dependence. I contend that the seeds of this view are present in the late 1740s and 1750s, but that this view receives its fullest and most complete expression in the 1770 Inaugural Dissertation. The final section of the paper considers the fate of Kant’s pre-critical account of the unity of space. I contend that the theory is excluded from the Critique of Pure Reason in light of the strict epistemological strictures adopted in that text. But considerable textual evidence shows that Kant continues to aver the theory throughout the 1770s and 1780s in the looser epistemic context of his lectures. I contend, then, that this theory is not abandoned at all. Rather, like Kant’s 1763 proof of the existence of God, it is epistemically demoted: it is Kant’s preferred view, but one that falls short of the demanding epistemic standards of the critical philosophy. (shrink)

Jürgen Habermas’s two-volume Theory of Communicative Action is at once an attempt to develop a socially-based theory of action as an alternative to the subjectivist and individualist underpinnings of much of social theory, a “two-level concept of society that connects the ‘lifeworld’ and ‘system’ paradigms,” a critical theory of modernity which retains the enlightenment ideal of rationally-grounded societies, and a theory of meaning rooted in a developmental logic of world­historical rationality. Habermas seeks to (...) find a via media between totalitarian closure and relativism, to show why the modernist project of a universal reason is still viable, and to propose a “public” discourse of rationally-grounded argumentative speech, or communicative action, as his answer. Despite the widespread attention Habermas’s work has received, and despite my sympathy for issues Habermas has raised, I show why his project is fundamentally flawed because of its uncritical assumption that only critical rationality can provide a legitimate standard for communicative reason: reasonableness is far more than that constricted view. These flaws become particularly evident in examining his analyses of myth, action, lifeworld, George Herbert Mead, and the “three spheres” of modernity. (shrink)

If I had read Ted Nannicelli’s (2020) thoughtful and wide-ranging book before writing my own, I would not have written the same book that I did, and my book almost certainly would have been better for it. Ted Nannicelli’s 2020 book has many keen insights, and I learnt much from reading it.There is a great deal of overlap in our philosophical interests as well as in our views. Our books were written at the same time—at least, our writing times (...) overlapped significantly—and by the time Nannicelli's was published, mine was already finalized, and it was too late for me to incorporate his insights into my own book. So I welcome the opportunity, however belated, to think carefully about Nannicelli’s ideas in conversation with my own.The first and most important thing to emphasize is my agreement with Nannicelli on many significant matters. Both Nannicelli and I are critical of the overwhelming focus in the ethical criticism of art on what Nannicelli calls ‘perspectivism’, the view that works of art should be judged morally on the basis of the perspective they take up (or attitude they prescribe, or similar). We are also both sceptical about the strength of the arguments concerning the moral-cognitive benefits of art. Both of us think that we need a more expansive toolkit for thinking about art and morality, including attention to the circumstances under which an artwork is produced. (The latter is something that I discuss only briefly, but Nannicelli is right that it is deserving of more careful attention.) Both of us are neutral about specific normative ethical theories. Nannicelli and I are both worried about the problem of relativism and how that affects how we think about moral judgements of artworks. And I think Nannicelli shares my scepticism about the search for easy answers to hard moral questions about the value of art. (shrink)

The physical, mathematical, and philosophical foundations of the quantum theory of free Bose fields in fixed general relativistic spacetimes are examined. It is argued that the theory is logically and mathematically consistent whereas semiclassical prescriptions for incorporating the back-reaction of the quantum field on the geometry lead to inconsistencies. Still, the relations and heuristic value of the semiclassical approach to canonical and covariant schemes of quantum gravity-plus-matter are assessed. Both conventional and rigorous formulations of the theory and (...) of its principal predictions, cosmological particle creation and horizon radiation, are expounded and compared. Special attention is devoted to spacetime properties needed for the existence or uniqueness of the relevant theoretical elements , renormalization of the stress tensor). The emergence of unitarily inequivalent representations in a single dynamical context is used as motivation for the introduction of the abstract $\rm C\sp{\*}$-algebraic axiomatic formalism. The operationalist and conventionalist claims of the original abstract algebraic program are criticized in favor of its tempered outgrowth, local quantum physics. The interpretation of the theory as a wave mechanics of classical field configurations, deriving from the Schrodinger representations of the abstract algebra, is discussed and is found superior, at least on the level of analogy, to particle or harmonic oscillator interpretations. Further, it is argued that the various detector results and the Fulling nonuniqueness problem do not undermine the particle concept in the ways commonly claimed. In particular, arguments are offered against the attribution of particle status to the Rindler quanta, against the physical realizability of the Rindler vacuum, and against the more general notion of observer-dependence as to the definition of 'particle' or 'vacuum'. However, the question of the ontological status of particles is raised in terms of the consistency of quantum field theory with non-reductive realism about particles, the latter being conceived as entities exhibiting attributes of discreteness and localizability. Two arguments against non-reductive realism about particles, one from axiomatic algebraic local quantum theory in Minkowski spacetime and one from quantum field theory in curved spacetime, are developed. (shrink)

For twenty years, D. H. Mellor has promoted an influential defence of a view of time he first called the ‘tenseless’ view, but now associates with what he calls the ‘B-theory.’ It is his defence of this view, not the view itself, which is generally taken to be novel. It is organized around a forcefully presented attack on rival views which he claims to be a development of McTaggart's celebrated argument that the ‘A-series’ is contradictory. I will call this (...) attack ‘Mellor's McTaggart.’ Although it has received much critical attention, it has not been well understood. For one thing, it has changed over the years in a way that is little appreciated. Whereas Mellor's original version amounts to a dilemma each horn of which contains a single strand of argument, later statements of the first horn contain a second strand of argument unannounced. I shall be concerned to disentangle these strands. I shall also show them to have been largely anticipated by Gareth Evans. However, my main aim is not the clarification of Mellor's McTaggart, but its refutation. I shall show that there is a rival to Mellor's view of time against which the first horn of the dilemma begs the question both as originally presented, and as supplemented. This rival is a ‘Priorean’ version of the ‘presentist’ doctrine that only what is present exists. Although Prior himself gave McTaggart's own argument short shrift, in refuting Mellor's development of it I do not merely resurrect Prior's moves. Mellor's McTaggart introduces specifically semantic considerations. It focuses not as McTaggart did on presentness and futurity etc., but on the truth-values of tokens of propositions in which presentness and futurity etc. are ascribed. Consequently, its refutation requires an answer, from the perspective of a presentist metaphysics, to a question which came to the fore only after Prior's death. The question is this: How should semantic theory be developed in the light of the need for a theory of linguistic understanding? Though Evans flirted with the issue of how this question should be answered from a presentist perspective, the answer he articulates is wrong. I shall do no more than sketch the correct answer. That is all a refutation of Mellor's McTaggart requires. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joseph Priestley's Criticisms of David Hume's Philosophy RICHARD H. POPKIN ONE OF HUME'S MOST FAMOUS CRITICS, the great scientist Joseph Priestley (1733-1804), is scarcely mentioned or studied in the Hume literature.' Perhaps because of the course philosophy followed after Hume, the Scottish Common Sense critics and the German ones connected with Kant are given almost all of the attention. In this paper 1 shall try to correct this (...) oversight, and examine the background of Priestley's critique of Hume, both in terms of Priestley's scientific and religious views and in terms of Hume's influence at the time. I shall then evaluate the merits of Priestley's critique and attempt to determine whether it deserves further study or should be returned to the obscurity it has been in for almost two centuries. 2 Joseph Priestley was a nonconforming minister whose progressively radical views caused him to lose various posts. Eventually he became a millenarian, convinced that crucial signs of the end of the world were at hand: the events of the French Revolution; the purported discovery of the Lost Tribes in Afghanistan by Sir William Jones; plans or hopes for the Jews to return to Palestine and join forces with the Christians. After years of religious wanderings Priestley ended up a millenarian Unitarian, much in the tradition of Sir Isaac Newton, whose religious writing he used extensively, and of Newton's successor, William Whiston? Priestley taught science in various schools and was immensely influenced by David Hartley's Observations on Man. He found in Hartley's theory of association of ideas a naturalistic way of explaining human mental life. And in Hartley's millenarian views he located the sort of theology he was seeking. Priestly later reedited Hartley, including introductory essays about some of the more difficult aspects of his mechanistic psychology.' (Coleridge, who was deeply impressed by ' T. E. Jessop, A Bibliography of David Hume and of the Scottish Philosophy from l-)'ancis Hutcheson to Lord Balfour (New York, 1966), lists the titles of Priestley's works relevant to Hume. However, there appear to be no discussions of Priestley on Hume listed in this work or in Roland Hill, A Bibliography of David Hume from 1930 (York, 1971). E. C. Mossner, The Life of David Hume (Edinburgh, 1954), mentions Priestley's criticisms of Hume, but only as these were made in connection with criticisms of Beattie. Joseph Priestley, Memoirs of Dr. Joseph Priestley to the Year 1795, written by Himself, with a Continuation to the time of his decease by his son, Joseph Priestley, ed. T. Cooper (London, 1806). It is also of some interest that Priestley attacked Reid, Beattie, and Oswald a few years before challenging Hume. He seemed to think that he had disposed of the Scottish Philosophy for all time. Thus Priestley was certainly no part of the mainstream of Hume's opponents in Britain. See Memoirs, pp. 78-79n, and n. 16 below. ' On Priestley's career, see his Memoirs. Modern biographies deal principally with his scientific achievements and ignore or play down his theological concerns. For an extended discussion of Priestley's millenarian views, see Clarke Garrett, Respectable Folly (Baltimore, 1975), pp. 126-143. " Priestley, Hartley's Theory of the Human Mind, on the Principle of the Association of Ideas... (London, 1775). [437] 438 HISTORY OF PHILOSOPHY Hartley, probably read Priestley's edition of his works.) For the most part, Priestley wrote long and controversial works on theology. His scientific achievements stem from his friendship with Benjamin Franklin and Richard Price, who encouraged him to write a history of discoveries in electricity. Franklin provided the resources for making the equipment. On the basis of the new material in his work, Priestley was nominated to the Royal Society by Franklin and Price. s Priestley's most famous scientific works came thereafter--his discovery of oxygen and his work on how the human body used oxygen. Later still, he became entangled in a controversy with Lavoisier over the phlogiston theory, Priestley upholding it, the French chemist opposing it. 6 Priestley was also active in politics, supporting radical causes. He supported John Wilkes, of whom Hume thoroughly disapproved, and was an early... (shrink)

Much critical attention has been given to Alan Gewirth’s argument concerning agents’ move from prudential to moral right-claims. Less ink has been spilled on the question of why prudent agents should claim rights to goods needed by agents in general rather than to goods needed for the realization of their individual and particular purposes. In this paper, I intend to show that Gewirth’s concept of prudence makes it necessary for agents to identify with the role of a (...) generic agent and that this identification provides them with rationally valid reasons not only to claim prudential rights to freedom and well-being but also to recognize a moral principle stating that all agents have these rights. More generally, my argument points to the central role played by the concept of prudence in his theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ignorance, Knowledge, and Omniscience: At and Beyond the Limits of Faith and Reason after Shinran:Reflections on The Boundaries of Knowledge in Buddhism, Christianity, and Science, with Special Attention to Dennis HirotaAmos YongAlthough published in the series Religion, Theologie und Naturwissenschaft, Paul Numrich's edited volume is really about epistemology in religion and science, in particular about human knowing in Buddhist and Christian traditions shaped by the world of science (...) on the one hand, and how such knowing might also inform scientific knowledge on the other hand.1 The panoply of positions is presented by both Buddhist and Christian thinkers.From the Buddhist side, the following arguments are sketched:• that religion and science are complementary modes of knowing and that "understanding the true nature of the physical world" opens up "the way to enlightenment" (Trinh Xuan Thuan).2• that Buddhism is both continuous with (and hence deserving of serious consideration amidst) the epistemic discourses of modernity in many respects and yet also discontinuous with (and hence capable for critically interrogating) modernity's epistemology in other respects as well (David L. McMahan).3• that a Shin Buddhist approach to human knowledge—which in this chapter is brought into dialogue with Martin Heidegger's (1889-1976) notion of truth—opens up to a Kuhnian philosophy of science that emphasizes how paradigmatic shifts occur when new perspectives replace older frameworks (Dennis Hirota).4• that the questions raised by theoretical and quantum physics provide a scientific framework for discussing fundamental epistemological, ontological, and metaphysical questions that Buddhists and Christians might otherwise disagree about (Mark T. Unno).5From the Christian side, the following theses are explored: [End Page 201]• that boundary constraints confront not only working scientists but also Buddhists and Christians, and that these constraints can thus serve as a springboard for a science and religion "trilogue" (Paul O. Ingram).6• that the mystery of creative becoming (God, in traditional Christian terms) is the dynamic backdrop to the ongoing human quest for knowledge (Gordon D. Kaufman).7• that it is at the boundaries of knowledge that genuine creativity occurs (not only scientific creativity but also theological creativity emerges, i.e., the apophatic tradition of Eastern Orthodoxy or the theory of coincidentia oppositorum of Nicholas of Cusa [1401-1464]), and where, as a result of such creative approaches, distinct fields of inquiry open up and different domains of knowledge emerge (Antje Jackelén).8• that theological discourse is paradoxical precisely because such discourse marks the fluid boundaries demarcating sense and nonsense (Tom Christenson).9And, befitting a volume on the encounter between religion (i.e., Buddhism and Christianity) and science, there is a concluding chapter from a physicist on the limits of scientific knowledge that both is encouraged by the gains made by science (presuming a critical realist approach to science's modeling of reality) and yet also is honest about there being much more to learn on small and big questions (John R. Albright).10The foregoing summaries do not do justice to the complexity and sophistication of the chapters in the book. However, they provide a broader context for my interactions with Dennis Hirota's chapter on Shinran's (1173-1263) epistemology and its implications for both religious and scientific knowledge. As an evangelical Christian, I am particularly intrigued by the challenges confronting a Shin Buddhist approach to the sciences, even as I am hopeful that such a consideration will precipitate creative insights both for the Buddhist-Christian encounter and for the religion-science dialogue. I am all the more motivated since I have long been convinced that the religion-science dialogue has been dominated by generically religious approaches and that it is time for more particularistic or even confessional positions to be registered in the discussion.11 I am optimistic that the specificity of the Shin tradition will provide both complementary and contrasting perspectives to the contemporary Buddhist encounter with science that has so far been dominated by the broadly Tibetan approaches of His Holiness the Fourteenth Dalai Lama (1935-) and those in his circle of dialogue partners,12 and that this will in turn open up new trajectories—even initiate new paradigms, as Hirota suggests—for the Buddhist... (shrink)

Since the publication of my "Are Theories of Imagery Theories of Imagination? An _Active Perception_ Approach to Conscious Mental Content,", a good deal of published material has appeared or has come to my attention that either provides additional support for the Perceptual Activity Theory PA theory) of mental imagery presented in ATOITOI, or that throws further doubt on the rival theories that are criticized there. Other relevant evidence was not mentioned in ATOITOI because I lacked the space (...) for a proper explanation of its relevance. I hope eventually to write and publish a new account of " PA " theory, that will make use of much of this material. In the meantime this page provides citations to the "new" support, and discussion sections that briefly explain the relevance of the cited material. Quite apart from presenting new lines of supporting evidence and argument, I hope this page will help to clarify many aspects of. (shrink)