In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.4 (2001) 337-338 [Access article in PDF] On Kimura's Écrits de psychopathologie phénomenologique John Cutting This book is a French translation of six articles that the Japanese psychiatrist, Kimura Bin, wrote in the 1970s and 1980s. There is the usual long introduction in such books by the translator. There is also the mandatory explanation of the whole matter as a postface by philosopher Henry (...) Maldiney as if the meaning of anything these days has to be in the form of a sandwich.The first article by Kimura Bin deals with the meaning of certain Japanese words pertaining to self and inter-subjectivity. The critical Japanese word is aida, which means something like interpersonal bonding and is that primordial state of the human being that founds both everyday sociality and the individual self, the latter both in its external and internal composition and orientation: "From time immemorial, the Japanese understood interpersonal social existence, the being between, life in the aida of itself and of others, as the essential trait of an individual human. The interpersonal aida is in some sense the quintessence of known individuality." Schizophrenia, for Kimura, stems from a disturbance in this aida at the most fundamental level, and all its manifestations follow from this.The second article is entitled "Time and Anxiety (Angoisse)." This sets out his major psychopathological thesis—judging from these six articles—which is that schizophrenia and depressive illness differ fundamentally in their temporality. In schizophrenia the subject is geared toward the future: "Subjects with a schizophrenic tendency give sufficient proof in their daily life of a marked inclination to imagine future possibilities or ideas whose feasibility is impossible or implausible." In depressive illness there is a preoccupation with the past: "The lived time of the melancholic type of person has a preponderance towards the past, or, more precisely, towards lived being up to the present."The third article, entitled "Schizophrenic Temporality," amplifies this thesis and introduces his terminology for these, respectively, as the Latin terms, ante festum and post festum. The French translation gives the meaning of the latter as "apres la fête" and "trop tard"—after the holiday, too late. (I shall deal with the potpourri of languages involved below.) This article is the most elaborate, and in it Kimura attempts to derive the core characteristics of the two nosological entities from these two underlying anomalous temporalities.The fourth article is about borderline states, a nosological entity that I have no sympathy for, and I shall not discuss it.The fifth article is entitled "Reflection and Self in Schizophrenia." Again, it concerns a fundamental difference between the mode of reflection in schizophrenia and that in depressive illness, but I cannot say, despite numerous readings, [End Page 337] that I understand it. The reason for this may be my poor French, an inadequate translation, or a confused formulation in the first place, or all three. The gist of it seems to be that in schizophrenia the "other" is a "stranger" projected by the thinking self, whereas in depressive illness the "other" is a "familiar" inhabitant of the sociality adherent to this condition.The sixth article, "Pathology of Immediateness," is an attempt to seek philosophical, theoretical, psychopathological, and even nosological and biological backing for what Kimura has set out earlier, particularly in the third article. Hegel, Lacan, Bergson, Heidegger, Derrida, and Husserl are brought in as philosophical support. Blankenburg and Binswanger provide psychopathological backing. A third prong is the nosological tradition, prevalent in Germany and Japan in the twentieth century, of promoting the concept of an atypical or third type of psychosis with a biological resemblance to epileptic psychosis. All this is then brought together and complicated by a discussion of language and 'mediation' to support the notion that there is a third psychopathological principle—in addition to the ante festum pertaining to schizophrenia and the post festum pertaining to depressive illness—which is that of an intra festum: a preoccupation with the now, characteristic of atypical psychoses with an epileptic basis.These articles tax one's linguistic and conceptual repertoire to the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joanne Cutting-Gray HANNAH ARENDT'S RAHEL VARNHAGEN Hannah Arendt fled Nazi Germany in 1933, a year she called the end of Jewish history. She was 27 years old at the time and carried with her a manuscript that was later to become the peculiar biography of an eighteenth-century German-Jewish "pariah," Rahel Varnhagen (1771-1833). The Life of a fewish Woman, subtitle of the biography by Arendt, distills the largely unpublished (...) Varnhagen correspondence and marks the impact of that life upon German-Jewish history.1 Published more than "half a lifetime" later in 1957, it assays the politics of form in a highly unusual manner. By expunging all detail in order to analyze Varnhagen's introspection, Arendt implicitly questions selfhood as the form for identity and as the appropriate form for biography. She reveals that seeking to preserve the self determines the blank dumbness of an unnarratable life. Rahel Levin (Antonie Friederike Robert) Varnhagen, or simply "Rahel " as Arendt calls her, lived a life as complicated as her many names. The tortured relation she had to her identity, her insatiable preoccupation with self, reflects an effort to eradicate herJewishness by baptism and marriage and becomes a paradigm of a story about a woman lost to a sense of others and herself. Neither rich, cultivated, nor beautiful, Rahel lived her unhappiness fervently, with an ecstasy that made her appear to others as startlingly original. This helps to explain how she came to preside over the most important intellectual salon in Germany during the late eighteenth century. Princes, intellectuals, and artists flocked to her attic apartment, attracted by the impenetrable spectacle of her despair. Rahel's intensity pulled others into her orbit—including, one-hundred years later, the intense and self-absorbed Arendt at the beginning Philosophy and Literature, © 1991, 15: 229-245 230Philosophy and Literature of her university education.2 Each woman suffered the private failure of a love affair complicated by the broader, historical issue of racial identity that connected their lives. Prewar Nazi Germany taught Arendt what Varnhagen learned during the period of German-Jewish assimilation in the nineteenth century—"one does not escape Jewishness."3 It is no wonder that, in analogous moments of personal and civic upheaval, Rahel Varnhagen and Hannah Arendt "corresponded," the one by writing letters about her life, the other by giving that life to a world. Like Arendt, Varnhagen was unclassifiably exotic, an unattached, Jewish female seemingly without a history, aligned with no one and nothing. If"Jewishness" meant letting life "rain upon" her, Rahel Varnhagen let it strike her "like a storm without an umbrella." And like Arendt, she refused to hide the traits and talents of her personality under cover of morality and convention. Her letters are not self-congratulatory, for she never wittingly chose notoriety. Indeed, she spent much of her life trying to escape the stigma ofJewishness that marked her destiny. Notwithstanding the milieu of nineteenth-century German romanticism that drew the biographer toward her subject, various events surrounding the text make more compelling narratives than Varnhagen 's life: how the manuscript survived World War II, Arendt's emigration to the United States, and, especially, the public and private influence of Martin Heidegger.4 At the age of 18 (1925), Arendt had discovered Varnhagen during her brief love-affair with the 35-year-old philosophy professor at the University of Marburg. Though Heidegger would later call Arendt the "passion of his life" and inspiration for his work—he was writing Being and Time during that period—his brush with Nazism precipitated their breach. Since the Heidegger-Arendt correspondence remains closed, much about their youthful relationship and life-long intellectual affair remains a mystery open only to speculation. From Arendt's biographer, Elisabeth Young-Bruehl, we know that Varnhagen's story became a consolation to her in her sorrow, a means ofgiving significance to the ambiguities of a private relationship as it was caught up in public history.5 Certainly Heidegger's retreat from political events for the sake of thinking was as strong an influence on Arendt's political development as was Varnhagen's retreat from her Jewish destiny. Nonetheless, it would be a mistake to expect... (shrink)

This essay examines the reception of Ivan Pavlov’s work on conditioned reflexes in early to mid-twentieth century Britain. Recent work on the political interpretation of biology has shown that the nineteenth-century strategy of “making socialists” was undermined by August Weismann’s attacks on the inheritance of acquired characters. I argue that Pavlov’s research reinvigorated socialist hopes of transforming society and the people in it. I highlight the work of Pavlov’s interpreters, notably the scientific journalist J. G. Crowther, the biologist Lancelot Hogben, (...) and the science writer H. G. Wells, who made Pavlov’s work accessible to a British audience and embraced the socialist implications of his research – especially the idea that people could be persuaded to become socialists through science writing for a nonspecialist audience and through use of a simplified language such as Basic English. They saw, in the followers of National Socialism, how Pavlovian conditioning could create a national movement, and believed that this could be used for their own more democratic form of socialism. In the final part of the essay, I suggest that this broad socio-cultural movement to reshape humanity proved controversial, especially in the post-war period and in light of Soviet use of brainwashing. The likes of Aldous Huxley and F. A. Hayek feared that conditioning could only lead to totalitarianism, while the historian E. P. Thompson put forward a socialist humanism that left room for human agency. (shrink)

What happens when the world around us feels fragmented? How can a person continue to respond positively to their environment when it seems to have lost its internal coherence? These questions lie at the heart of this innovative interpretation of some of the most influential German philosophers of the twentieth century. The key figures in this study are the young Georg Lukács (1885-1971), Ernst Jünger (1895-1998), Ernst Bloch (1885-1977), Theodor Adorno (1903-1969), Max Kommerell (1902-1944), and Siegfried Kracauer (1889-1966). By establishing (...) an intellectual dialogue among these otherwise diverse thinkers, this study identifies a common interest: the question whether an unworldly, fragmented universe can nonetheless elicit a creative response from individuals. Together, these authors offer an alternative to what is considered the dominant trend in twentieth-century German philosophy: the phenomenological emphasis on humans' lived interactions with a shared and unified lifeworld. Special attention is given to six distinct interpretations of Miguel de Cervantes's novel Don Quixote and the unworldly actions of its main character. Unworldliness in Twentieth Century German Thought will appeal to researchers and advanced students interested in twentieth century continental philosophy, German intellectual history, critical theory and literature and philosophy. (shrink)

This paper examines how Kant's Copernican shift in philosophy had a decisive influence on philosophical religious thought; reflection on the nature of subjectivity shaped how the question of God was approached and understood. I examine three interrelated issues at the forefront of nineteenth and twentieth-century thought on subjectivity and the problem of God. These are a) the ontological nature of subjectivity and what it reveals about the conditions of possibility of a subject's relation to the Absolute; b) interiority and (...) subjectivity with respect to the subject's relation to God, and c) the theme of the "unhappy consciousness" and how its development led to important attacks on theism. I look at these issues as they were worked out by F. Schleiermacher, G.W.F Hegel, S. Kierkegaard, Nietzsche, P. Tillich, and K. Rahner. (shrink)

Twentieth Century Political Theory brings together 47 thinkers who form and expand the "canon" of contemporary political thought. It will be of value to students and all those interested in the development of a richer public life.

This book is the first major account of political thought in twentieth-century Europe, both West and East, to appear since the end of the Cold War. Skillfully blending intellectual, political, and cultural history, Jan-Werner Müller elucidates the ideas that shaped the period of ideological extremes before 1945 and the liberalization of West European politics after the Second World War. He also offers vivid portraits of famous as well as unjustly forgotten political thinkers and the movements and institutions they inspired. Müller (...) pays particular attention to ideas advanced to justify fascism and how they relate to the special kind of liberal democracy that was created in postwar Western Europe. He also explains the impact of the 1960s and neoliberalism, ending with a critical assessment of today's self-consciously post-ideological age. (shrink)

_Columbia Companion to Twentieth-Century Philosophies_ is the first guide to cover both the Anglo-American analytic and European continental traditions. Organized thematically, the volume thoroughly discusses the major movements and fields of each tradition and features the contributions of highly distinguished specialists in their fields. This book is divided into three sections. The first is devoted to highlighting the multidimensional work of philosophers identified with the analytic tradition, with Nicholas Rescher writing on neoidealism, Josephine Donovan commenting on feminist philosophy, Tyler (...) Burge discussing the philosophy of language and mind, and Robert Hanna reflecting on Kant's legacy. The second section presents the thought of those who identified themselves with the continental tradition, featuring Jean Grondin on hermeneutics, Leonard Lawlor on phenomenology, Charles Scott on postmodernism, and Babette Babich on the philosophy of science. This volume also covers logical positivism, naturalism, pragmatism, aesthetics, existentialism, Marxism, the Frankfurt School, structuralism, psychoanalysis, political philosophy, ethics, and the philosophy of religion. The final section addresses concurrent trends in Indian, Chinese, Japanese, and African philosophy, and a comprehensive introduction by the editor not only provides a thorough outline of the problems and issues of the analytic and continental traditions but also boldly challenges the conviction that the two approaches must be rivals. _Columbia Companion to Twentieth-Century Philosophies_ is an invaluable overview of the ideas that have shaped a monumentally important century in the history of philosophy, offering an unusually panoramic perspective that allows readers to form their own interpretations of original materials. (shrink)

This text provides a unique and compelling account of Wittgenstein's impact upon twentieth century analytic philosophy, from its inception at the turn of the ...

There are nine chapters: Chapter 1 introduces an analogy between philosophy and sherry-making to show that the historical tradition flavors the new analytic one. It then takes note of the difficulty of any general definition of analytic philosophy, and thus introduces the book’s methodology: examining the positions of some notable analytic philosophers so that the reader can grasp the family resemblance concept of analytic philosophy. Chapter 2 deals primarily with the role of Russell’s logic, touching on ideal languages, definite descriptions, (...) Frege and the problem of identity, and logical atomism. Chapter 3, “Logical Positivism and the Tractatus,” curiously devotes fifteen pages to Russell before turning to its eponymous topic, the Tractatus, and to Carnap. Chapter 4 is devoted to Moore, chapter 5 to the later Wittgenstein, chapter 6 to Ryle and Austin, chapter 7 to Quine, chapter 8 to direct reference theories. The concluding ninth chapter evaluates the contribution of analytic philosophy; argues that Wittgenstein alone will be history’s great philosopher of the century; considers briefly some current trends, identity theory and functionalism; and finally predicts that philosophy will continue to play an important role in the humanities in the twenty-first century. (shrink)

This essay is part of a special issue celebrating 50 years of Political Theory. The ambition of the editors was to mark this half century not with a retrospective but with a confabulation of futures. Contributors were asked: What will political theory look and sound like in the next century and beyond? What claims might political theorists or their descendants be making in ten, twenty-five, fifty, a hundred years’ time? How might they vindicate those claims in their future contexts? How (...) will the consistent concerns of political theorists evolve into the questions critical for people decades or centuries from now? What new problems will engage the political theorists (or their rough equivalents) of the future? What forms might those take? What follows is one of the many confabulations published in response to these queries. (shrink)

Maurice Meisner was an important scholar of twentieth-century Chinese history, whose work focused on the ideological and bureaucratic dimensions of the People’s Republic and its origins in the upheavals of the first half of the century. This review considers aFestschriftincluding contributions from eight former students of Meisner, with articles on a wide array of topics across the period from the 1920s to the early twenty-first century. Strengths and limitations of Meisner’s work and his legacy are presented in conjunction with reflections (...) on the underlying issues of the nature of contemporary China and its role in the world, and some related recent scholarly debates on the Left. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forest Recollections: Wandering Monks in Twentieth-Century ThailandSulak SivaraksaForest Recollections: Wandering Monks in Twentieth-Century Thailand. By Kamala Tivavanich. Honolulu: University of Hawai’i Press, 1997. 410 pp.History and anthropology professors at Cornell University were very impressed with this Ph.D. dissertation written by a student of Southeast Asian history at this prestigious institution. And rightly so, for Forest Recollections is a valuable study of twentieth-century wandering ascetics in northeast Thailand.The author includes (...) minibiographies of Ajaan Man Phurithat (1871–1949) and nine of his disciples, who also are now no longer in this world. The nine, all ethnic Laotians from the Isaan, are Waen Sujinno, Dun Atulo, Fan Ajaro, Thet Thetrangsi, Li Thammatharo, La Khempatato, Cha Photiyan, Juan Kulachettho, and Wan Uttamo. Her account of the lives of these holy men is woven into a history of Siam, beginning in the middle of the Fifth Reign as King Chulalongklon implemented a series of sweeping reforms, including centralization of the bureaucracy. The increase of central authority over outlying regions of the kingdom had a direct impact on the Sangha (the community and hierarchy of Buddhist Monks) and the forest tradition (which is a fusion of Buddhism, animism, and local customs that had been practiced for centuries). The book provides a background account of how regional Buddhist traditions were affected by various Sangha reforms in the twentieth century and is divided into three sections: forest communities prior to 1957; the “forest-invasion” [End Page 235] period (1957–1988); and the “forest-closure” period (1989 to the present).For centuries, wandering monks had acted as both physical and spiritual healers for villagers they encountered on their travels. The changing political situation, however, resulted in wandering monks being co-opted and used by the elite. In the name of development, monks endorsed the construction of dams and wide modern roads, the wearing of Buddhist amulets, and the erection of ever more elaborate temple buildings. Many were eventually to lose the influence they had once exerted over rural people. With the notable exception of Ajaan Man Phurithat, however, most of them did not realize the very real threat posed to their way of life by an increasingly powerful centralized administration.Tiyavanich has utilized Thai-language sources extensively, an effort that is hardly matched by any previous Western scholar. But despite the excellent research and the obvious care she took in writing her dissertation, Tiyavanich has failed to fully grasp the complexity of the Sangha order and the reality of the wandering monks themselves. What we get instead is a wide-angle portrait that lacks depth. It is rather unfortunate, for example, that she did not interview wandering monks who are still alive, such as Ajaan Maha Bua and Ajaan Viriyang, or foreign-born monks who are practicing in this same tradition, such as Pannavaddho Bhikkhu (of English birth) and Ajaan Sumedho Bhikkhu (an American). Some important figures have been left out, too. There is no mention, for instance, of Ajaan Bunnag, and this is a great pity for his life story reflects the failed attempts of a wandering monk to gain independence from the centralized power of the state. Conservationist monk Phra Prajak Khuttajitto gets only a brief mention, and even the world-famous Buddhadasa Bhikkhu receives scant attention. If the author had been acquainted with the Sekiya Dhamma group of monks or if she had ever read Sanitsuda Ekachai’s excellent Seed of Hope, her account would have been strengthened. Another weakness is that her English spellings of Thai Buddhist names for monks are often not true to their Pali origins.Nonetheless, reservations aside, Forest Recollections is to be commended because it provides a lucid introduction to an influential Buddhist tradition, which may now well be on its way out, to those with little or no background knowledge of the subject.Sulak SivaraksaSanti Pracha Dhamma InstituteCopyright © 1999 The University of Hawai’i Press... (shrink)

Among the most striking aspects of modern literature—expecially of modern German literature—are its frequent references to a notion called ‘reality’. The philosophical question this raises, ‘What is reality?’, is to one side of this enquiry, and so is the question whether or not this is a sensible question: this essay is intended as a contribution not to philosophy but to its connections with literary history and criticism. My present purpose, which determines my procedure, is to outline the (...) various closely related meanings of the word ‘Wirklichkeit’ throughout its very long history; to describe the polarization of meanings which occurred in the course of the nineteenth century, and Nietzsche's part in making the new polarity available to his literary heirs; to illustrate the way German literature became involved in this process in the first decade of our century; and, finally, to point to some of its political implications. My argument is part of a much larger topic, one that is not confined either to the German-speaking countries or indeed to literature. The topic, the ideologizing of ‘ reality ’, is relevant to all modern cultures. The present paper offers no more than a sketch of this development in one cultural area of our world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 161-163 [Access article in PDF] Avrum Stroll. Twentieth Century Analytic Philosophy. New York: Columbia University Press, 2000. Pp. ii + 302. Cloth, $32.50. Analytic philosophy has entered the history of philosophy since the greatest twentieth-century philosophers of that tradition are dead or retired. It is appropriate then to have a book that clearly and accurately explains the main theories and identifies (...) its character. Avrum Stroll has written such a book, and more. He explains and evaluates where analytic philosophy is today and speculates about where it might go from here.Reserving the first and last chapters for discussion later, I will begin with the seven intervening ones: 2. "Philosophical Logic," 3. "Logical Positivism and the Tractatus," 4. "G. E. Moore: A Ton of Bricks," 5. "Wittgenstein's Later Philosophy: 'The Stream of Life,'" 6. "Ryle and Austin: the Golden Age of Oxford Philosophy," 7. "W. V. O. Quine," and 8."Direct Reference Theories." Chapter 2 deals mostly with Frege and Russell, and Chapter 8 deals mostly with Kripke and Putnam. As the titles and contents indicate, Stroll inclines to a great man understanding of philosophical history, a sensible [End Page 161] approach given the consensus that four or five philosophers have dominated analytic philosophy in the last century, with another four or five being especially talented.Among his expositions of the various philosophical "isms," such as logical atomism and positivism, Stroll intersperses biographical matters that give the book rhythm—he demolishes the widespread idea popularized by Ray Monk that Wittgenstein was anti-Semitic—and charm—he quotes a letter that Wittgenstein wrote to Moore shortly after learning that a certain piece of work could not count as his bachelor's thesis at Cambridge: Dear Moore: Your letter annoyed me. When I wrote Logik I didn't consult the Regulations, and therefore I think it would only be fair if you gave me my degree without consulting them so much either!... If I am not worth you making an exception for me even in some STUPID details then I may as well go to HELL directly... (pp. 91-2). In Chapter One, "The Solera System," Stroll lays out the controlling analogy of his book. The system refers to a way of making sherry. A quantity of wine, drawn from the oldest and best barrel, is replaced by the same quantity drawn from the next oldest, and so one for each successive barrel. The old wine improves the new, and the new refreshes the old. Likewise, "old philosophy has the power to educate and improve new philosophy," according to Stroll. He then continues: "And new philosophy not only preserves the quality and character of old philosophy but has the capacity to refresh it" (246).Also in Chapter One, Stroll observes that "philosophy is essentially a humanistic activity" (3). As such philosophy is tied to its history in a way that science is not. I would put his underlying point differently. Philosophy is humanistic because its problems are timeless and universal; these include what it is to exist, what it is to be conscious, what causation is, and what is the good life. Further, its solutions rarely hang on technical devices.But something has been amiss. Most of the theories distinctive of analytic philosophy, from the theory of descriptions, to modal logic, the causal theory of names, and functionalism, seem to approach these problems obliquely. Also, some of the most respected analytic theories are 'evasion' theories. Eschewing the need to give a substantive account of relations, analytic philosophers hold that relations are n-tuples of objects, which themselves are reducible to unordered sets of objects. Notwithstanding its formal adequacy, the substantive issue seems to be left begging. Loving, causing, being taller than, and being the square of are all relations, but is it illuminating to treat all of them in the same way? Moderating his normal optimism, Stroll says, "I wonder whether the very conception of the role of philosophy has not changed recently. It strikes me that the classical problems that the solera model presupposes are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Twentieth-Century French PhilosophyRonald ShustermanTwentieth-Century French Philosophy, by Eric Matthews; 232 pp. New York: Oxford University Press, 1996, $13.95 paper.Pace the habitual proverb, one of the best things about this volume is indeed its cover: a picture of Sartre lighting his pipe, in some Parisian cafe, in the midst of an animated discussion with Simone de Beauvoir and Mr. and Mrs. [End Page 188] Boris Vian. There is an (...) “arty” dimension to French philosophy which has mostly disappeared from English thought since the time of Russell. One could hardly imagine illustrating a history of recent English philosophy with (say) a picture of P. F. Strawson sitting in a bar with some rebellious trumpet-player-cum-novelist. Matthews manages to give the reader an exceptionally clear idea of the thought of those whom he considers to be the most significant French philosophers of our time. Perhaps the selection is too restrictive; some of the major figures who are completely—or almost completely—absent from this volume include Jacques Maritain, Michel Serres, Paul Ricoeur, Vladimir Jankélévitch, and Gilles Deleuze. Matthews’s work, however, is intended as an introduction, so his survey is necessarily light. The justification for the selection is that the essence of twentieth-century French thought involves an emphasis on subjectivity. This emphasis is examined in the work of Bergson who was the first of many to underline the role of the self and the body in our dealings with the world. Direct quotations of the major texts are infrequent; this, however, is probably for the best—or so one feels when one encounters examples such as “Value is the self in so far as the self haunts the heart of the for-itself as that which the for-itself is” (p. 76). Matthews excels at “translating” the ideas of Sartre, Merleau-Ponty, Lacan, Foucault, Derrida and others into an English acceptable to even the most pedestrian ordinary language philosopher.Many readers may, however, be dissatisfied with some of Matthews’s classifications. Structuralism, for example, is represented here by Lacan and Foucault. Matthews correctly underlines Foucault’s “suspicion of a priori theorizing” (p. 149) but one has to remember that many of the great literary structuralists such as Barthes or Genette did base their work on abstract reasoning. In their hands, structuralism was hardly anti-scientific, so for someone coming to philosophy from literary theory, Matthews’s definition and examples are confusing. But perhaps these classifications are not essential to Matthews’s argument about the growth of subjectivity. It is indeed this subjectivity which emerges not only as Matthews’s thesis but as his target as well. He notes in Lacan’s philosophy the “lack of any serious argumentative support” and a “failure to offer empirical evidence for what looks like an empirical account” (p. 147). After a brief discussion of Foucault’s overall project, Matthews concludes that “one may feel a lingering suspicion that it is fatally flawed” (p. 156). This is frustrating and unfair; there is no point mentioning this flaw if one does not go on to work it out. Other philosophers get the same treatment. For example, Matthews argues against Lyotard’s picture of science as discredited: “Society might... find it hard to believe in science any more, without it being true that science was unbelievable” (p. 186). One may agree with Matthews on this point, but all of these rapid end-of-chapter dismissals remain rather superficial.Unfortunately, Matthews rarely builds the necessary bridges to make his study more illuminating. There is a passage on Bergson’s distinction between [End Page 189] “analysis” and “intuition” which is quite close to Russell’s distinction between “knowledge by description” and “knowledge by acquaintance.” Other such bridges could be built between Merleau-Ponty and pragmatism, or Saussure, Lévi-Strauss, and the Sapir-Whorf hypothesis. There is a reason for the absence of these connections: Matthews’s basic premise is that there is something specific about French philosophy; too many obvious bridges to other thinkers would undermine his entire argument. One of Matthews’s goals is to demonstrate that it is “important to the understanding of works of philosophy... (shrink)

Philosophy plays an integral role in French society, affecting its art, drama, politics, and culture. In this accessible, chronological survey, Matthews offers some explanations for the enduring popularity of the subject and traces the developments that French philosophy has taken in the twentieth century, from its roots in the thought of Descartes to key figures such as Bergson, Sartre, Marcel, Merleau-Ponty, Foucault, Derrida, and the recent French Feminists.

Paul Gorner must be commended for a masterful exposition of some of the major trends and thinkers of the German tradition of the twentieth century. He seeks out what would comprise a unique mode of philosophizing of the German tradition. He finds this mode to consist of a specific influence and reading of Kant at the level of transcendental philosophy and its attendant debates. Indeed, the author constantly refers various trends and thinkers to Kantian problematic of the constitution of transcendental (...) conditions of experience, ethics, and the thing in itself. This includes the issues of egological solipsism, the problems of communal participation in various epistemic ventures, and the question of presuppositions. While the text is written to emphasize the transcendental trend, it also shows the intrinsic issues and challenges to this trend in German tradition, specifically with respect to the questions of transcendental consciousness, Being, history, interpretation, and language. (shrink)

After the French Revolution, when “Left” and “Right” came to designate the two main political orientations in Europe, “modernity” became the dominant metaphysical horizon within which almost all political questions have been formulated. As Panajotis Kondylis has shown in Konservatismus and other works, earlier “pre-modern” conservative visions lingered on, buried mostly in fading institutions, but their time was up. In the 20th century, the major political ideologies—Bolshevism, fascism, Nazism, liberalism, etc.—have all been alternative modernist proposals for social reconstruction, concerned primarily (...) with how to modernize society in what these ideologies postulate as the most efficient, just and rational way. Most…. (shrink)

Analytic philosophy is difficult to define since it is not so much a specific doctrine as a loose concatenation of approaches to problems. As well as having strong ties to scientism -the notion that only the methods of the natural sciences give rise to knowledge -it also has humanistic ties to the great thinkers and philosophical problems of the past. Moreover, no single feature characterizes the activities of analytic philosophers. Undaunted by these difficulties, Avrum Stroll investigates the "family resemblances" between (...) that impressive breed of thinkers known as analytic philosophers. In so doing, he grapples with the point and purpose of doing philosophy: What is philosophy? What are its tasks? What kind of information, illumination, and understanding is it supposed to provide if it is not one of the natural sciences? Imbued with clarity, liveliness, and philosophical sophistication, Stroll´s book presents a synoptic picture of the main developments in logic, philosophy of language, epistemology, and metaphysics in the past century. It does this by concentrating on the individual thinkers whose ideas have been most influential. Major themes in Twentieth-Century Analytic Philosophy include: · the innovation of mathematical logic by Gottlob Frege at the close of the nineteenth century and its independent development by Bertrand Russell; · the impact of advancements in science on the world of philosophy and its importance for understanding such doctrines as logical positivism, philosophy of language, philosophy of mind, and eliminative materialism; · the refusal by such thinkers as Wittgenstein, Moore, and Austin to treat logic as an ideal language superior to natural languages; and · a conjecture about which, if any, of the philosophers discussed in the book will enter the pantheon of philosophical gods. Along the way, Stroll also covers the theories of Rudolf Carnap, W. V. O. Quine, Gilbert Ryle, J. L. Austin, Hilary Putnam, Saul Kripke, John Searle, Ruth Marcus, and Patricia and Paul Churchland. Stroll´s approach to his subject treats the critical movements in analytic philosophy in terms of the philosophers who defined them. The notoriously complex realm of analytic philosophy emerges less as an abstract enterprise than as a domain of personalities and their competing methods and arguments. The book´s inventive presentations of complex logical doctrines relate them to the traditional problems of philosophy, seeking the continuity between them rather than polemical distinctions so as to bring the true differences of their respective achievements into sharper focus. (shrink)

In the last third of the twentieth century, humanists and social scientists argued that attention to genetics would heighten already‐existing genetic determinism, which in turn would intensify negative social outcomes, especially sexism, racism, ableism, and harshness to criminals. They assumed that laypeople are at risk of becoming genetic essentialists. I will call this the “laypeople are genetic essentialists model.” This model has not accurately predicted psychosocial impacts of findings from genetics research. I will be arguing that the failure of the (...) model can be traced to its inability to recognize the complexity of laypeople’s attitudes; its incorrect theory of how beliefs, attitudes, and discourse function; and its blindness to how academics’ own interests can override the available evidence. More specifically, I suggest that the substantial data about laypeople’s deployment of genetics supports what I will call the “laypeople are strategic essentialists model” better than the “laypeople are genetic essentialists model.” The strategic essentialists model holds that people tend to store multiple categories, including multiple causal forces, that they deploy “strategically” to serve context‐dependent goals. It will be difficult for academics to reorient ourselves to model laypeople as sophisticated strategic essentialists rather than as naïve genetic essentialists. Perhaps a little shift, however, will be of value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Found in Translation: “New People” in Twentieth-Century Chinese Science Fiction by Jing JiangYingying HuangJing Jiang. Found in Translation: “New People” in Twentieth-Century Chinese Science Fiction. New York: Columbia University Press, 2021. 144 pp. Paperback, ISBN 9780924304941.One of the Association of Asian Studies’ Asia Shorts series, Jing Jiang’s monograph is a delightful 130-page read including notes and a bibliography. It contributes new and cross-cultural perspectives to the Chinese SF (...) scholarship that has recently been invigorated by a plethora of translations into English, animated discussions at conference panels and themed lectures, and book-length studies such as Nathaniel Isaacson’s Celestial Empire: The Emergence of Chinese Science Fiction (2017), which focuses on China’s early twentieth century, and Hua Li’s Chinese Science Fiction during the Post-Mao Cultural Thaw (2021), which deals with works published between 1978 and 1981, to name just a couple. Jiang’s book covers both periods and the time in between with a purpose to investigate “how Chinese science fiction participates and intervenes in Chinese conceptualizations of the modern at critical junctures over the last century” (1), which Jiang achieves through comparative readings of texts brought into dialogue via translation. A shared theme of the texts studied is, as the book title suggests, the creation of a “new people,” either through edification or high-tech means such as bioengineering. Therefore, the interventions by science fiction that this study is concerned with are chiefly in debates about modern citizenry, subjectivity, and humanity in China’s twentieth century, when science fiction enjoyed its first two “booms.”This book has an introduction, four chapters, and an epilogue. The introduction offers a brief history of Chinese science fiction and announces the author’s intention to “situate Chinese science fiction within a dynamic model of world literature” (2). Jiang makes two crucial points: first, Chinese science fiction is a product of translation and transculturation, which [End Page 591] requires an intertextual and comparative study; second, contrary to its designation as a popular genre in the West, science fiction in China has been a form of elite literature and even a part of statist thinking. While this introduction may seem a bit long for a short book with “conciseness” as one of its marketing guidelines—the account of Lu Xun’s early life and turn to literature, for example, may be a little too elaborate for its purpose (10–12)—it lays a solid foundation for discussions about science fiction’s translingual dimensions and role in China’s nation-building discourse to develop through the chapters.The expansive first chapter, “Medicine for the Mind, Panacea for the Nation: How Did the Stories of Science and Fiction Become One?” is yet another historical survey, occasionally repeating points from the introduction, but this time of the background, genesis, and early growth of science fiction in China from the mid-nineteenth to the early twentieth century (i.e., the late Qing dynasty [1644–1911] and early Republican era [1912–49]). Jiang gives a detailed account of occurrences deemed important to the rise and confluence of fiction and science within China’s nation-building discourse, including literati intellectuals’ promotion of “new fiction” and the dissemination of scientific knowledge, highlighting the roles played by central figures like Liang Qichao, Lu Xun, and John Fryer. Jiang makes the illuminating observation that Fryer’s stipulation of a “new novel” for a fiction contest he organized in Shanghai in 1895 foreshadowed China’s literary realism and the vernacular movement (30), and her remarks about translation, Chinese science fiction’s inherent hybridity, and its mission to cure the nation well echo the book’s central argument about the genre’s interventions.A shorter chapter follows, entitled “Scientifically Formed or Reformed: Bioengineering and Other Fantasies about a New Species of National Subjects,” which examines early science fiction stories about manufacturing humanity and argues that these texts “gave rise to a literary vision that believed literally in the malleability or programmability of the soul” (39). During the first boom of Chinese science fiction in the 1900s, translations of and sequels to Western stories showcase the debate about science’s power of shaping the soul... (shrink)

Patterns in Twentieth-Century European Thought contains interpretive essays in the history of the century's Marxism, psychoanalysis, quantum physics, logic, language theory, philosophy, art, literature, and theology. A concluding essay argues that the philosophy and social theory - not to mention the physics and theology - constitute a twentieth-century Counter-Enlightenment that has replaced the Cartesian- and Newtonian-based Enlightenment of the eighteenth century.

This is an illuminating account of the relations between Wittgenstein’s writings and teaching and the main strands of contemporary analytic philosophy. Although begun as a synoptic epilogue to Hacker’s massive four-volume commentary on the Philosophical Investigations, it became, as the author notes, “an independent historical study in its own right”. While there are frequent summaries of discussions in the longer work, the present volume is self-contained and includes a good deal of material that is not in the commentary.

One of America's foremost philosophers challenges the lost generation of the American Left to understand the role it might play in the great tradition of democratic intellectual labor that started with writers such as Walt Whitman and John Dewey.

This article defends the principle of non-establishment against 21st-century projects of political religion, constitutional theocracy and political theology. It is divided into two parts. The first part, published in special issue 39.4–5 of Philosophy and Social Criticism, proceeds by constructing an ideal type of political secularism, and then discussing the innovative American model of constitutional dualism regarding religion that combined constitutional protection for the freedom of religious conscience and exercise with the principle of non-establishment. It then critically assesses the (...) integrationist approach –disguised as a concern for pluralism and fairness – as an alternative to this framework. The integrationist approach challenges ‘separation’ and political secularism in a subtle attack on the non-establishment principle, aimed at drastically narrowing its scope. Successes of this approach in recent Supreme Court jurisprudence and politics, have triggered a response by liberal egalitarians. I address this response – the equal liberty model – in this second part, arguing that although on the right track, it fails to find a middle ground between political secularism and integration. Instead, by abandoning the discourse of separation, it plays into populist integrationist hands without delivering on the promise of providing a coherent standard for deciding cases. The article proposes a third approach, one that does not throw out the non-establishment baby with the strict separationist bathwater and that wholeheartedly endorses political secularism, a sine qua non for 21st-century constitutional democracy. Equal liberty properly construed can help provide criteria for determining when an accommodation, a regulation or no regulation of religion by the state is appropriate. But it must be supplemented by other values – democratic and civil republican. The article concludes with a typology of the forms of regulation that are warranted under the conditions of the contemporary regulatory state, now the target and prize of politicized religion. (shrink)

Who am I? How do I live a good life? What is reality? Such perennial questions may seem remote from the pleasures of playing videogames for entertainment and fantasy. yet gamers too, in the midst of having fun, are potentially embarked upon a quest for understanding and for meaning. Missions for thoughtful gamers presents a sequence of 40 challenges, ranging from thought experiments to design exercises, each one inviting players to become more creatively curious and self-aware."--Back cover.

This latest in attempts to collect statements from living American philosophers presents thoughts and interests of those writing in the "middle decades," the fifty years from 1920 to 1970. The editor has restricted himself to America’s senior philosophers asking each to reflect on "the things that matter most," or "to share the motifs in their work and to present concerns about their world". Although some influential elders are missing from this collection, an interesting variety of viewpoints and styles of American (...) philosophizing are represented. Especially interesting are the reflections of Brand Blanshard, Edwin Burtt, Herbert Feigl, Charles Hartshorne, Stephen Pepper, Roy Wood Sellars, and Herbert Spiegelberg. Blanshard traces his development from the influences upon him of Bradley, and describes his own rationalist ethics and humanist religion. Herbert Feigl in an even more autobiographical vein relates how he came under the important influence of Moritz Schlick and to be a member of the Vienna Circle. Also included in his article is a summary of his views on the issues of induction, scientific explanation, the mind-body problem, determinism, and some matters of practical philosophy. Pepper explains how he originated the idea of world hypotheses, and how he believes these hypotheses themselves originate and function, and Spiegelberg sketches an intriguing "ethics for fellows in the fate of existence." In his essay Hartshorne mixes comments on pragmatism, idealism, and the "linguistic turn," with explanations of his own "neoclassical metaphysics."—B.M. (shrink)

This text is a dynamic new translation of Wittgenstein' s most famous work -- one of the most influential philosophy works of the Twentieth Century. Kolak' s translation is the first to read like an original work written in English and is the first to restore the poetical and lyrical qualities of the original Tractatus as intended by the author.

This article examines the rise and decline of the enthusiasm for intelligence testing in early twentieth-century China, focusing on the appeal, the challenges, and the critiques revolving around this psychological instrument. The introduction of intelligence testing reflected not only China’s urgent needs in modernizing its merit system, but also Chinese psychologists’ aspirations for pursuing exactitude and redefining the racial characteristics of their compatriots against foreign interpretations. But despite psychologists’ endeavors, the political and geographical fragmentation of Republican China troubled the epistemic (...) imperative of uniformity demanded by Euro-American psychometrics and therefore undermined the validity of measurement. Subsequently, the legitimacy of intelligence testing began to be questioned by several influential Chinese psychologists in the late 1920s and 30s. The difficulties in standardization and the hostility within the psychology community formed a vicious cycle, impeding the progress of nationwide testing. Through this history, the article demonstrates not only the elevation of measurement to epistemic authority in modern China, but also how its promise was challenged by a diverse and rapidly changing society. (shrink)

A Political Life is the compelling autobiography of Norberto Bobbio, one of the foremost political thinkers in postwar Italy. In dramatic and lively prose, Bobbio guides us through some of the most significant events of the twentieth century, charting their influence on his life and work. Born in 1909, Norberto Bobbio's early life was marked by the experience of growing up in Mussolini's Italy - an experience that helped to shape his passionate commitment to the anti-fascist cause. As a result (...) of these early experiences, Bobbio has tirelessly emphasized the fundamental, unassailable importance of democratic rights in the modern state. He has been a voice of reason and moderation in a political context where democratic values have often been threatened by extremes. This masterly autobiography traces the development of Bobbio's political thought, providing a penetrating analysis of the changing political landscape of Italy. At the same time, it represents an intimate account of Bobbio's personal experiences, giving a rare insight into the life and work of this distinguished thinker.A Political Life will be of great interest to students and scholars of social and political theory and of Italian politics, as well as to a general readership interested in political biography and contemporary politics. (shrink)

In this paper I consider Benedetto Croce’s interpretation and critique of Hegel’s dialectic in Ciò che è vivo e ciò che è morto della filosofia di Hegel (1906)and I compare it with a very similar critique elaborated by Gilles Deleuze around sixty years later (in Différence et répetition, 1968, Nietzsche et la philosophie,1962 and Qu’est-ce que la philosophie? 1991). Even if they are two very different authors, belonging to very different traditions and contexts, both Croce andDeleuze criticise Hegel with a (...) very similar argument, namely by saying that Hegel did not adequately take into account the concept of difference, and subordinated it to opposition (or negation). In addition, albeit by taking different roads, both Croce and Deleuze thought that philosophy has its own specific logic, and this logic is a logic of concept. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.2 (2000) 25-42 [Access article in PDF] What is Political Feeling? Bernadette Meyler Anthony Cascardi. Consequences of Enlightenment. Cambridge: Cambridge UP,1999. As disaffection with poststructuralism increases, but new paradigms have not yet emerged, theorists have begun to reconsider the ties that current thought maintains with the tradition it critiques, in particular, its affiliations with the Enlightenment. Focus has inevitably fallen on the writings of Immanuel Kant, which in (...) the act of codifying Enlightenment rationality simultaneously initiated its dissolution. Disputes tend to arise, however, over the precise nature and cause of the hairline fracture that prevents Kant's Critiques from attaining the unity to which they aspire. Even greater controversy centers on the advisability of possible responses: should we set the bones, break open the gap, or provide an entirely new limb? In Consequences of Enlightenment, Anthony Cascardi undertakes a detailed discussion of how various theoretical schools interpret the fissure, and the problems posed by their accounts. Not simply remaining content with this critique of critiques, Cascardi presents his own stance, advising that we embrace Kant's recourse to "feeling" in the Critique of Judgment as an inevitable entailment of the Kantian system. Whereas Horkheimer and Adorno's Dialectic of Enlightenment argues that the opposition between Kantian reason and Nietzschean irrationalism represents the undoing of the Enlightenment, Cascardi responds that Kant's own writings encompass the duality. As an essential moment of what he terms the Enlightenment's "aesthetic critique," the resistance that feeling poses to "the unity of experience"--or to the unity of the Critique of Pure Reason and the Critique of Practical Reason--should be embraced. Cascardi further maintains that this "should" entails political consequences, although his text does not itself fully elaborate a vision of what these might be.The fact that such a rich suggestion remains relatively undeveloped is perhaps inevitable in a book of such comprehensive scope. Consequences of Enlightenment is a text that seems to call the reader to the task of continuing the multiple projects that Cascardi has initiated. I will attempt to articulate what those endeavors might be, and to propose points in his work upon which future inquiry could be focused. Because Cascardi's goals are two-pronged--to examine twentieth-century thinkers' Kantian inheritance and to engage directly with the "aesthetic critique" of Kant--it is sometimes difficult to ascertain whether Consequences of Enlightenment attributes certain positions to Kant or to his interpreters. Although this difference might not seem significant given Cascardi's claims about the persistence of Kantian aporias in the work of his inheritors, returning to Kant may allow us to ask how we should proceed in developing the political potentials of aesthetic critique. Two principal questions arise in this regard. The first inquires whether and how one can think aesthetics with politics; in other words, [End Page 25] what is political feeling? The second question provides a more limited point of entry into the same problem by focusing on the Critique of Judgment itself; what politics are entailed respectively by the beautiful and the sublime?Cascardi discusses the Kantian sublime only twice in detail during the course of Consequences of Enlightenment, once in chapter 4, "Communication and Transformation: Aesthetics and Politics in Habermas and Arendt," and for the second time, and most provocatively, in chapter 7, "Feeling and/as Force." In treating Hannah Arendt, who, in her 1970 Lectures on Kant's Political Philosophy, attempted to derive a Kantian account of the political from the Critique of Judgment, Cascardi explains that she tried to complete the Enlightenment by erroneously "turning from the indeterminacy of the aesthetic in Kant to a politics that designates democratic community as its field or object-domain"; he then asserts that, "Specifically, the politics that Arendt would claim to derive from Kant's aesthetics is a democratic politics of the beautiful..." [156]. Subsequently elaborating on the reasons that Arendt overemphasized the beautiful, seemingly at the expense of the sublime, Cascardi writes, "Arendt's tendency to privilege the beautiful over the sublime must be seen as part of her larger effort to construct a rational politics. For this effort, she takes... (shrink)

While various interpretations are allowable, questions do arise as to what treatments are legitimate, and what criteria of legitimacy may be invoked. Surely one can demand that an interpreter state his intentions clearly, that he respect the texts, and that--if he possibly can--he heed the spirit in which they were written. Spirit is hard to capture, but the consensus of informed opinion about the texts and their setting should be some help. An introductory account of Aristotle involves the difficult feat (...) of meeting these requirements while remaining fairly simple and presenting its subject in a favorable light. (shrink)

Selections representing a wide range of 20th century thought, in a book intended primarily for introductory courses in contemporary philosophy. Individual selections are generally well chosen. The short editorial commentaries on the various thinkers and positions are both fair and perceptive.--P. F. L.

Continental philosophy is one of the twentieth century's most important and challenging philosophical movements. This major volume includes fourteen chapters on its major representatives and schools, including phenomenology, existentialism and postmodernism.

In eighteenth‐century Britain, there was more than one way of thinking about poverty. For some, poverty was an essentially moral problem. Another way of conceiving of poverty was in economic terms. In this article, however, I want to consider some eighteenth‐century versions of the idea that poverty might be a political issue. What I have in mind is the idea that a society containing a large proportion of very poor people might be, just for that reason, an unstable and disordered (...) society. I argue, first, that this idea is central to Smith's treatment of poverty in The Wealth of Nations. Then, after a brief account of how Paine and Godwin imagined the end of poverty, I describe the further development and refinement of Smithian lines of thought in Burke and Malthus. My conclusion is that Smith, Burke, and Malthus constitute evidence that present‐day ideas of social justice derive more from the nineteenth century and subsequent developments in moral and political thought than from the early modern period. (shrink)

Professor Macquarrie, now of Union Seminary, New York and noted as a specialist student of existentialist theology, has bravely faced a laborious undertaking in this careful survey of the varieties of religious thinking in Europe and North America during the past sixty years of our century. His scholarly addition to the valuable Library of Philosophy and Theology of the Student Christian Movement covers the wide field of Western theology, natural and supernatural, believing and unbelieving, from the formal system of Absolute (...) Idealism dying in the first decade with its attendant personal idealism and philosophies of spirit, through a new pragmatism and a realism to be confronted by a new positivism, a sociology and philosophy of history, a new challenge from logical empiricism and analysis, and positive replies from a new theology of the Word, neo-Thomism and existentialism. (shrink)

Starting with Gareth Evans, there’s an important tradition of theorizing about perception-based demonstrative thought which assigns necessary epistemic conditions to it. Its core idea is that demonstrative reference in thought is grounded in information links, understood as links which carry reliable information about their targets and which a subject exploits for demonstrative reference by tokening the mental files fed by these links. Perception, on these views, is not fundamental to perception-based demonstrative thought but is only the information link exploited in (...) these cases. Evans himself assigns a further epistemic condition, while more recently Imogen Dickie has expanded the reliability requirement into a more complex account centered around justification. In this paper I synthesize three central proponents of this approach and show that the epistemic conditions they place on perception-based demonstrative thought are not actually required. My argument gives two examples in which there is perceptual contact with an object but this perceptual contact fails to do the epistemic work in question. The first case is stimulus-incorporating dream experiences, the second involves multimodal binding failures. I argue that this perceptual contact still affords demonstrative thought in these cases. (shrink)

Medieval theology had an important influence on later philosophy which is visible in the empiricisms of Russell, Carnap, and Quine. Other thinkers, including McDowell, Kripke, and Dennett, show how we can overcome the distorting effects of that theological ecosystem on our accounts of the nature of reality and our relationship to it. In a different philosophical tradition, Hegel uses a secularized version of Christianity to argue for a kind of human knowledge that overcomes the influences of late-medieval voluntarism, and (...) some twentieth-century thinkers, including Benjamin and Derrida, instead defend a Jewish-influenced notion of the religious sublime. Frank B. Farrell analyzes and connects philosophers of different eras and traditions to show that modern philosophy has developed its practices on a terrain marked out by earlier theological and religious ideas, and considers how different philosophers have both embraced, and tried to escape from, those deep-seated patterns of thought. (shrink)

_One Hundred Twentieth-Century Philosophers_ offers biographical information and critical analysis of the life, work and impact of some of the most significant figures in philosophy this century. Taken from the acclaimed _Biographical Dictionary of Twentieth-Century Philosophers_, the 100 entries are alphabetically organised, from Adorno to Zhang Binglin, and cover individuals from both continental and analytic philosophy. The entries have an identical four-part structure making it easy to compare and contrast information, comprising: * biographical details * a bibliography of major works (...) * a listing of relevant secondary and critical literature * an appraisal of the philosopher's thoughts and achievements. A separate glossary provides an introduction to the origins, development and main features of major philosophical schools and movements and offers select bibliographies to guide the reader to further research. (shrink)

Offering an overview of challenges and questions, the essay situates contemporary directions and developments in Reformed thought about political ethics by considering whether four well-known slogans from the tradition of Reformed political thought are still meaningful and credible under changed conditions today. The four slogans, integrally related to one another, are the lordship of Christ, the prophetic role of the church, the love for justice, and the importance of calling. The essay draws primarily on recent South African experiences, where the (...) Reformed tradition was deeply involved in both apartheid theology and the church struggle against apartheid. It engages with the North American Reformed philosopher Nicholas Wolterstorff as main interlocutor, since his own interest in political theology and his own convictions about justice and rights also developed in direct engagement with his own South African experiences. (shrink)