ArgumentThe famousCahiersof Paul Valéry cannot be reduced to a single scientific discipline, a specific philosophical tradition, or a literary genre. For today's reader these notebooks constitute a formatsui generis, one very often characterized by an “observation of a second order”: in theCahiersValéry uses writing, drawing, and calculating not only for purposes of argumentation; he also pays attention to the significance of such writing, drawing, and calculating processes for the production of knowledge. It is particularly thepracticeof note-taking and sketching in (...) Valéry's notebooks that documents, rehearses, or questions the medial and instrumental conditions of both scientific research and artistic production. This is especially true of the early stages of theCahiersin the years beginning around 1894 when Valéry was intensely searching for notation systems that would be conducive to his research interests. At the time the problem of how to write was intrinsically bound up with the way he established his notebooks as a specific scene of writing. By closely examining a number of pages from the early notebooks I hope to show that the emerging regulation of Valéry's writing in theCahiersresults from simple operations that are noted and repeated by the writer until they gradually become procedures. What Valéry'sCahiersshow us, however, is that procedures do not always work in favor of a final synthesis, but may also give rise to a format of eternal beginning. In the following I will present some of the constitutive procedures found in Valéry's early notebooks, procedures that range from a tentative gathering together and simple forms of recursion and variation to the rehearsing or invention of symbolic or graphic forms of notation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading History: On Jacob Burckhardt as Source-ReaderJürgen GroßeThere is a gap between the reputation Jacob Burckhardt (1818–97) has enjoyed among the educated public and among professional historians—a discrepancy that has become commonplace in the century-long reception of the Swiss cultural historian’s work. 1 Nevertheless, in the light of recent appraisals of Burckhardt as an ancestor of a different—perhaps a new—cultural history, and with the rediscovery of his contributions to (...) the history of art, aesthetics, and historical anthropology, the gap seems to be ever-narrowing. 2 However, let us keep it open in the following few pages.The chasm between assessments of Burckhardt as an historian-writer and as an historian-researcher appears roughly analogous to his above-mentioned respective reputations among laymen and professional scholars. As a historian Burckhardt did not want to be a scientific researcher. From the time he began writing history he admitted that he felt little commitment to the predominating concept of scientific progress as a continuous accumulation of facts and theories. Thus, as an outsider to the profession he had only one option, which was to [End Page 525] attain a place of honor as an esteemed writer of historical books for the educated public—a “master historian.” Yet it is precisely this characterization of Burckhardt that makes a curious fact appear all the more baffling: the act of writing books made Burckhardt feel thoroughly tormented. Throughout his career, he lamented historical authorship as a thankless occupation—a form of “slavery.” Just four years after finishing Die Cultur der Renaissance in Italien (1860) Burckhardt wrote to his friend Paul Heyse:I now consider my modest literary career as finally closed, and feel much better and content reading sources, as I only study and make notes for teaching and not for possible book-making. The historical market is tremendously overcrowded as things are, and it will be worse if peace lasts. 3Books like Die Zeit Constantins des Großen, Die Cultur der Renaissance in Italien, and Der Cicerone—works that gained the Basler historian fame that has endured to the present day—were either not prepared by the author for further editions or abandoned for colleagues to revise. Thus, Burckhardt seemed to regard himself neither as a researcher nor as a writer but rather as a reader of history. His dislike of research and authorship deserves our attention not only because it stands in sharp contrast to the mores of the scientific community, both in his and our times; for it might also elucidate yet another interesting paradox: Burckhardt, who celebrated the “reading of sources” and “the insights accessible from sources” as no other nineteenth-century historian, was soon to be charged with failing to meet the accepted standards of source-criticism. This essay examines these problems in terms of a series of questions concerning Burckhardt’s reading of history.Why Burckhardt Prefers ReadingBurckhardt clearly abhorred what he called the “history of the events.” Already as a student, he felt himself confronted with a barrage of events, not so much as matters of real history as rather as products of historical science—the ever-increasing facts that historians produced in relation to actual events. Unlike the humanistic and enlightenment paradigms of history, mainstream nineteenth-century scholarship no longer relied on the eyewitness to guarantee authenticity. The focus had shifted from remembrance to reconstruction; events were now narrated in terms of newly conceived abstractions like “development,” “process,” “spirit of an age,” and “spirit of a nation.” This increasing detachment from eyewitnessed experience paved the way for an endless production of information, [End Page 526] which had become an occupation in its own right. Every newcomer to the study of history now encountered a huge mass of mere historical facts, largely devoid of content—“a desperate prospect at the beginning of the study of history,” according to Burckhardt. Furthermore, the dynamism of modern history itself continued to produce more and more “events,” which were then to be reproduced as “facts.” This mire of facts burdened the reader of historiography even more than the student of history. “Even the most well-meaning of contemporary historians,” Burckhardt... (shrink)

Concerns that established temple Buddhism in Japan is in a state of crisis have been voiced by priests in various sectarian organizations in recent years. This article shows that there is a very real crisis facing Buddhism in modern Japan, with temples closing because of a lack of support and of priests to run them, and with a general turn away from Buddhism among the Japanese population. In rural areas falling populations have led to many temple closures, while in the (...) modern cities people are increasingly turning away from the prime area in which Japanese people have traditionally engaged with Buddhist temples — the processes of death and their aftermath. Partly this is due to competition from new secular funeral industries, but partly also it is because public perceptions of Buddhism — which has become over-reliant on death rituals in Japan — have become highly negative in modern times. Even practices which have often been seen as areas in which Buddhist temples have been able to attract people — such as pilgrimages — are proving less successful than in the past, contributing further to a sense of crisis that threatens to undermine Buddhism’s roots in Japan. (shrink)

John Hick is one of the most widely read and discussed living writers in modern theology and the philosophy of religion. This book offers students a one volume textbook on his thought. Extracts from his writings cover all the various themes for which Hick has become known: Faith and Knowledge, Philosophy of Religion, Evil and the God of Love, Death and Eternal Life, The Myth of God Incarnate, and Problems of Religious Pluralism. The extracts are preceded by an introductory essay (...) by Paul Badham on John Hick's philosophical theology, and on the integrity of his life and thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Becoming Nonviolent Peacemakers: A Virtue Ethic for Catholic Social Teaching and US Policy by Eli Sasaran McCarthyMarc V. RuganiBecoming Nonviolent Peacemakers: A Virtue Ethic for Catholic Social Teaching and US Policy Eli Sasaran McCarthy EUGENE, OR: PICKWICK PUBLICATIONS, 2011. XVII 1 259 PP. $32.00Contemporary US political discourse is generally couched in the language of rule-based rights analysis or utilitarian calculus, both of which limit the imagination of (...) decision-makers and society at large. In Becoming Nonviolent Peacemakers, Eli Sasaran McCarthy seeks to disrupt any complacency Americans and our representative leadership might have with these ethical approaches. Drawing on well-reasoned philosophical arguments and the witness of paradigmatic figures, McCarthy builds a case for public policies of nonviolent peacemaking created from and analyzed through the framework of virtue ethics. Such policies, he posits, would not only achieve a more comprehensive agenda of peacemaking but would also approach more closely the vision of Dr. Martin Luther King Jr.'s "Beloved Community."McCarthy's project is ambitious and multifaceted. He sets out to synthesize critiques of prevailing rule- and strategy-based assessments of nonviolent [End Page 204] peacemaking, making proposals for a virtue-based assessment from Christian, Hindu, and Muslim sources as well as with the best contributions of human rights theory in order to supplement a virtue approach. At the outset he states, "My thesis is that a virtue-based assessment of nonviolent peacemaking enhanced by aspects of human rights discourse largely resolves key limits of rule-based and strategy-based assessments of nonviolent peacemaking for public discourse and policy" (2). To prove this, he grapples with influential scholars on the subject, such as James Childress and Gene Sharp, to show how deontology and consequentialism too narrowly constrain the vision of what nonviolent peacemaking can achieve, both in effect and the formation of agents' character. Addressing the work of Bernard Häring, Stanley Hauerwas, and Lisa Sowle Cahill, he brings the fruit of Christian theological ethics to bear on the advantages of a virtue-based assessment of nonviolence. Though that is significant enough, McCarthy also presents the life and work of both Mahatma Gandhi and Abdul Ghaffar Khan to demonstrate the consonance of a virtue approach even across cultural and religious lines. He finally plots a way forward using the best of rights theory and virtue theory to show how nonviolent peacemaking fulfills the Catholic social tradition's vision of human dignity and the common good.McCarthy lends much to the argument that "we ought to consider nonviolent peacemaking a distinct virtue rather than merely subsuming it in the paradigmatic actions of other virtues" (75). With scripture at its foundation and positioned within the traditions of virtue ethics and the Catholic social doctrine, he weaves a tight argument for nonviolence within a Christian context while also aiming to be approachable and sympathetic to non-Christian perspectives. Because of the contemporary context of McCarthy's project, he does focus his attention almost exclusively on twentieth- and twenty-first-century sources; it would be helpful to be already familiar with virtue ethics and its classic sources, like Aristotle, Cicero, and Aquinas.McCarthy writes clearly and directly to readers, making the schema of his argument explicit in each chapter. His extensive referencing and ample bibliography engage both academic research and popular journalism, making this a great resource for those pursuing public theology and students in advanced undergraduate and professional study. His last chapter, which provides a case study regarding the Sudanese genocide in Darfur, applies his peacemaking proposals in a compelling thought experiment. One can hope McCarthy's continued research yields not only more case studies that invite creative problem-solving through the virtue of nonviolent peacemaking but also a book-length study that challenges US domestic policy as successfully as his investigation of US foreign policy here. [End Page 205]Marc V. RuganiThe Catholic University of AmericaCopyright © 2017 Society of Christian Ethics... (shrink)

“One is not born a woman, but becomes one”, Simone de Beauvoir A symbol of liberated womanhood, Simone de Beauvoir's unconventional relationships inspired and scandalised her generation. A philosopher, writer, and feminist icon, she won prestigious literary prizes and transformed the way we think about gender with The Second Sex. But despite her successes, she wondered if she had sold herself short. Her liaison with Jean-Paul Sartre has been billed as one of the most legendary love affairs of the (...) twentieth century. But for Beauvoir it came at a cost: for decades she was dismissed as an unoriginal thinker who 'applied' Sartre's ideas. In recent years new material has come to light revealing the ingenuity of Beauvoir's own philosophy and the importance of other lovers in her life. This ground-breaking biography draws on never-before-published diaries and letters to tell the fascinating story of how Simone de Beauvoir became herself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Hypatia 14.4 (1999) 186-191 -/- [Access article in PDF] Simone De Beauvoir: a Critical Reader. Edited by Elizabeth Fallaize. London and New York: Routledge, 1998. As this special volume attests, there has been a recent resurgence of interest in Simone de Beauvoir. A number of books on her have been published in the last several years. However, Elizabeth Fallaize's book, Simone de Beauvoir: A Critical Reader (...) (1998), occupies a special niche. Many of its essays are excerpts from studies done of Beauvoir's work before this latest renaissance. Some of these studies are not in print in the United States. Some are perhaps unfamiliar to present-day readers or those from different disciplines. In addition, the articles reprinted here are otherwise not easily accessible. Fallaize has performed an important service by gathering them all in one place and by carefully editing, presenting, and, in some cases, translating them. -/- The book is divided into three sections, the first entitled "Readings of The Second Sex." Aside from Judith Okely's piece that assesses Beauvoir's chapter on myths from an anthropological standpoint, the essays mainly address the philosophical aspects of this work. Beauvoir herself of course swore that she was not a philosopher and that Jean-Paul Sartre's Being and Nothingness (1953) was the sole philosophical foundation for all her work. Some recent analyses have attempted to turn this picture on its head by arguing that Beauvoir was a central influence on, or even the origin of, the philosophical doctrines put forward in Being and Nothingness. None of the writers in this book addresses this issue. But two emphasize Beauvoir's intellectual independence from Sartre. -/- The Swedish scholar Eva Lundgren-Gothlin argues that Beauvoir turned to G. W. F. Hegel to find a satisfactory theoretical model with which to explain the subjugation of women (Lundgren-Gothlin's essay is taken from her book [End Page 186] Sex and Existence [1996]) . In opposition to other scholars, she argues that the French Hegelian Alexandre Kojève, not Sartre, influenced Beauvoir's interpretation of Hegel. Following Hegel and Kojève, Beauvoir envisioned a possible resolution to the struggle for recognition—reciprocal recognition—whereas Sartre's view of self-other relations in Being and Nothingness rules such reciprocity out. However, Lundgren-Gothlin judges, Beauvoir was not critical enough of the sexist presuppositions of Hegel's thought, citing the same pronouncements Beauvoir makes that subsequent feminists have criticized. -/- Another piece that stresses Beauvoir's philosophical originality is "Beauvoir: The Weight of Situation," taken from Sonia Kruks's book Situation and Human Existence (1990). For some time, Kruks has been doing excellent work placing Beauvoir within the wider phenomenological tradition. In this piece, she argues that, starting with the early essay Pyrrhus et Cinéas (1944) and culminating in The Second Sex (1989), Beauvoir elaborated a more nuanced position on the nature and extent of human freedom than Sartre did in Being and Nothingness. According to Beauvoir, human freedom, which Sartre dramatically proclaims is absolute, can under some conditions, notably conditions of severe oppression, "be reduced to no more than a suppressed potentiality" (Fallaize 1998, 57). In The Second Sex, Beauvoir definitively breaks with the philosophical framework of Being and Nothingness by implying that a woman's situation is a general one, not individually self-constituted, and one that she cannot transcend by an act of free choice. The phenomenology of Maurice Merleau-Ponty provides a better foundation for Beauvoir's conception of subjectivity as socially mediated and embodied than does Sartre's philosophy, Kruks suggests. -/- Another piece in this section, Judith Butler's landmark essay "Sex and Gender in Simone de Beauvoir's Second Sex" (1986), highlights Beauvoir's philosophical originality in a different way. In her introduction, Fallaize points out how this essay served as a foundation for Butler's own subsequent work on a performative theory of gender. Butler argues that Beauvoir's claim that one is not born but becomes a woman implies that gender is socially constructed and not natural, as people have insisted for centuries. But to the extent that we become women, gender is not something... (shrink)

Critical responses to Wide Sargasso Sea have seized upon Rhys's novel as an exemplary model of writing back. Looking beyond the actual repetitions which recall Brontë’s text, I explore Rhys's novel as an expression of virtual difference and becomings that exemplify Deleuze's three syntheses of time. Elaborating the processes of becoming that Deleuze's third synthesis depicts, Antoinette's fate emerges not as a violence against an original identity. Rather, what the reader witnesses is a series of becomings or masks, (...) some of which are validated, some of which are not, and it is in the rejection of certain masks, forcing Antoinette to become-Bertha, that the greatest violence lies. (shrink)

This 'user's guide' to becoming a better person takes readers through a process of personal growth by means of modern-day vignettes that draw upon the Talmud's ancient wisdom. Readers of any or no faith learn what it takes to become a 'mensch' —- a decent and honorable human being.

Interpreters of Plato’s Parmenides have long agreed that it is a canonical work in the history of ontology. In the first part, the aged Parmenides presents a devastating critique of Platonic ontology, followed in the second by what purports to be a response to that critique. But despite the scholarly agreement as to the general subject matter of the dialogue, what makes it one whole has nevertheless eluded its readers, so much so that some have even speculated it to be (...) a patchwork of two dimly related dialogues. -/- In Becoming Socrates, Alex Priou shows that the Parmenides’ unity remains elusive due to scholarly neglect of a particular passage in Parmenides’ critique—a passage Parmenides identifies as the hinge between the dialogue’s two parts and as the “greatest impasse” facing Platonic ontology. There Parmenides situates the concern with ontology or the question of being within the concern with political philosophy or the question of good rule. In this way, the Parmenides shows us how a youthful Socrates first learned of the centrality of political philosophy that would become the hallmark of his life—that it, and not ontology, is “first philosophy.”. (shrink)

Contemporary society, according to Centore, is dominated by a post-modern philosophical world-view. Lacking until now, from the many works that have been written on post-modernism, is one that scrutinizes its fundamental assumptions and presuppositions. Being and Becoming attempts to fill this need by synthesizing the key developments in contemporary post-modernism. By taking the reader through the various historical periods and developments which have led to the current situation, Centore shows what is now taken for granted by the vast (...) majority of people is not necessary for either philosophical or theological reasons. (shrink)

Yi Hwang, better known by his pen name T'oegye, is generally considered Korea's preeminent Neo-Confucian scholar. The Ten Diagrams on Sage Learning is his final masterpiece, a distillation of the learning and practice of a lifetime, and one of the most important works of Korean Neo-Confucianism. In it he crystallized the essence of Neo-Confucian philosophy and spiritual practice in ten brief chapters that begin with the grand vision of the universe and conclude with a description of a well-lived day. In (...) To Become a Sage, Michael Kalton supplements a superb translation of this pivotal text with useful commentary that will greatly enhance its value and interest to the lay reader. The Ten Diagrams is the first complete primary text of Korean Neo-Confucianism to be translated into English. Korea's Yi Dynasty, the only East Asian regime founded exclusively under Neo-Confucian auspices, was unique in its allegiance to the orthodox Ch'eng Chu school, predominant in China, Korea, and Japan. Although the Ten Diagrams is a relatively short work, it fully presents the entire vision of Neo-Confucianism as framed in that school. Kalton provides a brief history of Neo-Confucianism in China and Korea as well as commentary that includes extensive passages from T'oegye's voluminous personal correspondence. These annotations expand the meaning distilled in each chapter. They help the uninitiated reader understand the basic elements of the complex Ch'eng Chu school of Neo-Confucianism, while enabling the scholar to distinguish characteristic aspects of Korean Neo-Confucianism as presented in the thought of the nation's leading philosopher of the time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Becoming Human: Matter and Meaning in an Antiblack World by Zakiyyah Iman JacksonBernabé S. Mendoza (bio)Zakiyyah Iman Jackson, Becoming Human: Matter and Meaning in an Antiblack World New York: By New York University Press, 2020, 320 pp. ISBN 978-1-4798-9004-0the radical work of black feminism is to upend Western dualistic ways of thinking that structure our understanding of what it means to be human. In Becoming (...) Human: Matter and Meaning in an Antiblack World, Zakiyyah Iman Jackson troubles the dominant dualistic distinction of the human and the animal. Jackson argues that antiblackness undergirds Enlightenment discourses on the human-animal divide such that blackness cannot be extricated from the very concept of the animal because both “are not only interdependent representations but also entangled concepts” (28). Central to Jackson’s argument on the animalization of blackness is the notion of “ontologized plasticity,” which posits the being of black(ened) people as infinitely malleable and mutable matter and further points to the fluidification of form and “fleshly existence.” Far from seeing the human as a category that has “ontological integrity,” as scholars in the fields of animal studies, new materialisms, and posthumanism presuppose, Jackson instead seeks to redefine the concept of the human through the theorization of blackness (16). She points out that such theorization has been, for such scholars, a lacuna and the “space of the unthought,” which thus marks her intervention in these fields. [End Page 211]The author offers a sustained engagement with the knowledge claims of science and philosophy, reading them through and against the intellectual contributions of black feminist writers and artists. She draws from such luminaries as Toni Morrison, Nalo Hopkinson, Octavia Butler, Audre Lorde, and the artist Wangechi Mutu to show the ways in which they reject an enclosed notion of the human that is defined only by keeping the racialized other at bay and in a degraded animalized and liquified state. As such, she showcases how black feminist visual and literary culture “theorizes and philosophizes” and reveals the faulty, antiblack premises upon which science and philosophy establish their claims of knowledge on the human.Offering a materialist theory of black ontology and temporality, Jackson poses three main arguments on the racialization of the human-animal distinction. The first is the aforementioned notion of ontologized and black(ened) plasticity that speaks to the constant modulation and manipulation of black matter as it relates to gender, sexuality, and sexual reproduction. Reading US slavery as an experimental playground for testing the limits of the human, Jackson argues that “black female f lesh... functions as the limit case of ‘the human’ and is its matrix-figure” (4). She defines plasticity as a “praxis that seeks to define the essence of a black(ened) thing as infinitely mutable in antiblack, often paradoxical sexuating terms as a means of hierarchically delineating sex/gender, reproduction, and states of being more generally” (11). There is, in other words, an inversion that takes place in that it is only through opposition and the imposed instability and illegibility of blackness—of black matter and the black mater(nal) situated as “chaos by design”—that such categories as “woman,” “mother,” and “female body” can themselves take hold and become intelligible forms (11). Jackson engages with the work of Hortense Spillers and Sylvia Wynter in order to argue that “Man,” as the object of analysis within liberal humanism, “produces an untenable dichotomy—‘the human’ versus ‘the animal,’ whereby the black(ened) female is posited as the abyss dividing organic life into ‘human’ or ‘animal’ based on wholly unsound metaphysical premises” (12). This claim on the centrality of the black female in the plasticization of blackness is given support in chapter 2, which focuses on Nalo Hopkinson’s speculative novel Brown Girl in the Ring, where plasticity gives way to opacity.In this chapter, Jackson explores the ways in which the black female body, as that which is opaque and nonrepresentable within the “dominant grammar of representation,” shatters what she argues is Heidegger’s metaphysical and hierarchical ordering of human, animal, and world. In exploring “how our received conceptions of being hinges on our im/perception of black mater... (shrink)

Wolf Totem is not a novel which advocates ‘molar’ wolf characteristics such as violence, brutality and bloodthirstiness, and ‘molar’ wolf laws such as the law of the jungle and the law of profiting at others’ expense, but a novel which reveals to readers a brand new life experience, different affects possessed by the ‘molecular’ wolf, and the becoming-wolf of human beings. Becoming-wolf is not to imitate the above-mentioned characteristics of the ‘molar’ wolf, but to see or imagine what (...) affects the ‘molecular’ wolf has, and make the life force or the assumed life force possessed by the ‘molecular’ wolf transverse a person, so that he or she can also have those affects. Becoming-wolf is to find a line of flight between man and wolf, to get rid of all the restraints imposed by the Confucian culture on the law-abiding, abjectly obedient people, and thus regaining the force of the ‘impersonal, inorganic’ life, so as to become different by endless desiring productions, and enhance mankind's power. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Becoming a Self: A Reading of Kierkegaard’s “Concluding Unscientific Postscript by Merold WestphalM. Jamie FerreiraMerold Westphal. Becoming a Self: A Reading of Kierkegaard’s “Concluding Unscientific Postscript.” West Lafayette, IN: Purdue University Press, 1996. Pp. xiii + 261. Cloth, $32.95. Paper, $16.95.The Purdue University Press Series in the History of Philosophy describes itself as attempting to provide insight into a philosopher by means of a focus on (...) a single major text. Such a focus is unusual for a series in the history of philosophy, and Westphal’s [End Page 144] accomplishment in this study is a fine example of how fruitfully this can be done. Commentary on over six hundred pages of Kierkegaard’s Postscript is presented in ten manageable chapters, which follow the order of the Postscript and deal with segments of it ranging from as few as twelve pages to as many as one hundred and seventy-five pages. The result is a commentary which can wonderfully guide students through the Postscript in its entirety, or through the assignment of individual chapters to accompany discrete reading selections. Westphal’s discussions are informed by an unusually wide-ranging knowledge of the history of philosophy—he considers the text not only in relation to Plato, Aristotle, Hume, Kant, and Hegel, as others commentators have, but also brings to this work his clear strengths in phenomenological, existential, and postmodern thought (so we get useful comparisons with Gadamer, Derrida, Levinas, Heidegger, Husserl, Merleau-Ponty, and Sartre, among others). Lying behind Westphal’s entire approach to the book is his desire to address the two most common major criticisms of Kierkegaard’s thought, namely, that it is individualist and irrationalist. Thus, the major perspective from which everything is approached is the tension between the fallible yet responsible self—more precisely, the tension between individual and society, and the tension between irrationalist (voluntarist, blind) and rationalist. Westphal does a superb job of laying out the diversity of protests Climacus is registering in the Postscript—against Platonic intellectualism, against systematic philosophical speculation, and against the rhetorical compromising embodied in the “priest-orator.” There are, of course (as one would expect), sensible, suggestive, illuminating, and detailed exegeses of passages concerning all the significant themes associated with Climacus (approximation, appropriation, leap, direct communication, second reflection, dialectic, etc). Westphal examines the Postscript in the light of the distinction between Socratic religion and the non-Socratic (Christian) alternative found in the earlier Philosophical Fragments, to which this Postscript is an admittedly peculiar postscript, and employs material from much of Kierkegaard’s other work, including journal entries. With respect to the (in)famous category of leap, Westphal incorporates contemporary discussions of volitionalism and presents a fine summary of ways in which willing (decision) can be viewed as indirect, yet allowing the relevance of an ethics of belief. In fact, regarding even the commentary on “Truth Is Subjectivity,” where one might feel nothing new could be said, he manages to be innovative, by identifying “four moments” in the presentation of a theory of subjectivity (a satire, a parable, a definition, and a portrait) which make the chapter much more manageable for teaching. After considering Climacus’s presentation of the relation between Religiousness A and Religiousness B, Westphal appends a discussion of his own creation, Religiousness C (Chapter XIV). But all of this discussion would be unhelpful to a reader who does not fully appreciate the role of pseudonymity and indirect communication in Kierkegaard’s works; so Westphal prefaces his entire discussion with a fine chapter on pseudonymity which can be used even in courses where the entire book is not required reading. This chapter, relating pseudonymity to twentieth-century discussions of themes such as the effacement of the author of a text and the forfeiture of the privilege of authorship, is part of a three-chapter introduction setting the Postscript in relation to Kierkegaard’s biography, pseudonymity, and the familiar theory of the aesthetic, ethical, and religious stages. This entire introduction is written in a remarkably [End Page 145] engaging style which will surely seduce readers new to Kierkegaard and his creation, Johannes Climacus. For example, Westphal announces that “the flow of Regina’s... (shrink)

Wilson introduces us to nine of his favorite authors through their lives, key works, and legacies. In doing so, he shows what good writing looks like-- and helps you become a better reader.

An educator, to climb up into academic ranking must take a longer route of getting formal education such as master’s or doctorate. In this paper, the authors discuss their journey, challenges, and aspirations in taking post-graduate studies like the Doctor of Education (EdD). Using autoethnography as the research design, which allow writers to narrate their personal experiences and used thematic analysis to analyze them. The authors experienced hardship in finding universities that would fit to their need especially that one of (...) them graduated with a non-thesis master’s degree. The other author, who is overseas found it also difficult to look for a university that would accept his situation and could offer flexibility in attending the classes due to the time zone difference and workday schedule. While both authors are enrolled in private education financing the studies could be a burden to one of the authors, so he sought support from his employer and agreed to render a service after, while the other one can cover the fees from his overseas job. (shrink)

One of the central questions in second language processing studies is whether native and second language readers process sentences relying on the same mechanisms or there are qualitative differences. As their proficiency grows, L2 readers become more efficient, but it is difficult to determine whether they develop native-like mechanisms or rely on different strategies. Our study contributes to this debate by focusing on constructions that were demonstrated to cause characteristic problems in L1 processing: a particular type of case errors in (...) Russian was taken as an example. We investigated how beginner and intermediate learners of Russian process such errors, measuring reading times and grammaticality judgment accuracy. At the beginner level, we found non-native-like patterns both in online and in offline measures. But at the intermediate level, native-like problems emerged in offline measures. In our view, this is a strong indication that these readers are using the same underlying mechanisms as in L1 processing. In online measures, L2 readers at both levels were, in general, much slower than native participants and exhibited characteristic non-native-like patterns, which we explained by delayed morphosyntactic processing. We conclude that our results are compatible with approaches, assuming that the mechanisms for L1 and advanced L2 processing are the same, but L2 processing is more cognitively demanding and therefore slower. (shrink)

Reviews the book, Relational being: Beyond self and community by Kenneth J. Gergen . The primary plea of the book is that psychology consider a relational rather than individual conception of its phenomena. Gergen encourages us to "treat what we take to be the individual units as derivative of relational process" . This notion of a fundamentally relational subject is one that the reader is invited to explore and to test against other, more traditional, ways of constructing being. It (...) is a proposition entertained and evaluated in terms of its implications but it is not presented as the real, true, or most factual account of human experience. Throughout the text, Gergen attempts to replace the individual or monological expositional style with a more dialogical, plural kind of textual negotiation. The book is constantly questioning and coming to terms with itself, its critics, and its limitations. The book is, as Bakhtin might have it, multivocal. Gergen invokes his own authorial voice, but also his voice as an embedded, historical being. Each chapter is peppered with anecdotes and personal reflections woven into the overall narrative as concrete counterpoint to the abstractions of theoretical argument. In the process, Gergen is surprisingly intimate, personal, and generous with his private life and history. The book also becomes something more human, narrative, and funny than is usual in theoretical exegesis. This style is quite inviting, partly because it is rooted in everyday life but also because it explicitly invites, and even voices, the critic, the question, and the doubt. Ultimately, what is compelling in the pages of Relational Being is what is fundamentally compelling about relationalism itself—namely, the way that it displaces abstract system as the core of meaning and replaces it with embodied relation. This displacement has the potential to redress some of the essential distortions at the heart of Enlightenment reason—particularly that venerable tradition of riding one’s chosen theoretical hobby horse into the face of concrete, lived experience . Relational practice moves us away from the distortions that inevitably come when we make everything we encounter instrumental to some idea that we cherish . Relational practice asks us, instead, to continually return to the lived relation and so continually rupture and remake the narratives by which we understand it. 2012 APA, all rights reserved). (shrink)

The transnational anti-gender movement often has a strong connection to conservative religious organisations. However, even if the anti-gender movement is easy to recognise in Sweden, it is impossible for it to propagate significant opposition to gender mainstreaming and gender studies by using the Church as a reference due to white Swedish people’s established and neo-colonial image of Sweden as exceptional, secular, modern, and a gender equal and tolerant nation. The aim of this article is to analyse how a transnational anti-gender (...) discourse transforms and produces fear in a Swedish context. In focus is the editorial writer for Svenska Dagbladet, one of Sweden’s most influential newspapers, Ivar Arpi and his critical articles and expressions in social media on gender studies and gender mainstreaming. The material shows that instead of connecting to religion in order to dismiss gender studies, gender studies is understood as the religion and conspiracy of our time, governing the state and its citizens. Drawing on Sara Ahmed, I argue that it is possible to follow how words and discourses act in affective ways and how gender studies, gender ideology and gender mainstreaming become a single body that inspires fear. (shrink)

Over the last year, many of us have found our hope to be tested. In this context, I think theoretical reflection can clarify the resilience required to acknowledge and address the challenges we face, both personal and political. Because that is the aim of my book, I am grateful for these responses from four readers whose work I admire. Although their comments diverge in important ways, they constellate around a question that I see as central: how does hope become concrete?

This article considers American writer and filmmaker Chris Kraus’s genre-bending, parodic book I Love Dick as a way to deconstruct divisions that persist between the female “hysteric” and th...

Children sometimes lose themselves in make-believe games. Actors sometimes lose themselves in their roles. Readers sometimes lose themselves in their books. From people's introspective self-reports and phenomenological experiences, these immersive experiences appear to differ from ordinary experiences of simply playing a game, simply acting out a role, and simply reading a book. What explains the difference? My answer: attention. -/- [Unpublishable 2007-2017. This paper was referenced in Liao and Doggett (2014).].

Ecce Homo is an autobiography like no other. Deliberately provocative, Nietzsche subverts the conventions of the genre and pushes his philosophical positions to combative extremes, constructing a genius-hero whose life is a chronicle of incessant self-overcoming. Written in 1888, a few weeks before his descent into madness, the book sub-titled 'How To Become What You Are' passes under review all Nietzsche's previous works so that we, his 'posthumous' readers, can finally understand him aright, on his own terms. He reaches final (...) reckonings with his many enemies-Richard Wagner, German nationalism, 'modern men' in general-and above all Christianity, proclaiming himself the Antichrist. Ecce Homo is the summation of an extraordinary philosophical career, a last great testament to Nietzsche's will. Book jacket. (shrink)

This paper explores the cultural value of desiring nature through reading the travel narratives of Val Plumwood and Alphonso Lingis with the writings of Deleuze and Guattari. As Game suggests this textual practice produces different ways of writing the social that undoes the nature/culture opposition informing popular discourses and much cultural theory. Rethinking the value of nature/culture relations has tended to be the domain of environmental philosophy. Yet a cultural analysis also has much to contribute to current debates around value (...) and identity, embodiment and representations of desire. Such a shift requires rethinking the sensory relation between self and nature through the mediation of language. Two quite distinctive experiences of awe provide texts for this analysis. In the desire to know non‐human nature as other, Lingis and Plumwood are moved by a wish to become nearer, to move beyond the bounds of an identity premised on a cultural relation of mastery over nature. These are compelling narratives, for they do not simply indulge the reader in a romantic appreciation of nature's wildness, as if nature was simply an object of aesthetic contemplation and background to the unfolding drama of human identity. These journeys involve disturbing transformations of self; Plumwood travels into the dangerous waters of the crocodile's territory in Kakadu National Park, Australia, while Lingis encounters the uninhabitable terrain of the Antarctic. The reverberating effects of awe produce a movement of becoming ‐ becoming‐animal, becoming‐nature, which contests the Hegelian desire for mastery of nature and the teleological structure of desire itself aimed at unity. Awe as a profoundly disturbing relation, threatens to undo the dominant fantasy of human identity as pure culture, separate from the realm of nature, body and materiality. (shrink)

ADP‐ribosylation is a post‐translational modification catalyzed by writer enzymes – ADP‐ribosyltransferases. The modification is part of many signaling events, can modulate the function and stability of target proteins, and often results in the recruitment of reader proteins that bind to the ADP‐ribosyl groups. Erasers are integral actors in these signaling events and reverse the modification. ADP‐ribosylation can be targeted with therapeutics and many inhibitors against writers exist, with some being in clinical use. Inhibitors against readers and erasers are (...) sparser and development of these has gained momentum only in recent years. Drug discovery has been hampered by the lack of specific tools, however many significant advances in the methods have recently been reported. We discuss assays used in the field with a focus on methods allowing efficient identification of small molecule inhibitors and profiling against enzyme families. While human proteins are focused, the methods can be also applied to bacterial toxins and virus encoded erasers that can be targeted to treat infectious diseases in the future. (shrink)

The paper discusses the preliminary results of a pilot exploratory study concerning on-record politeness strategies used by academics to soften criticism of scientific performance of other scholars and deal with judgmental opinions in relation to their own research findings. The study uses the apparatus offered by the politeness theory to get insight into the trans-cultural writer-reader communication in written academic discourse, namely, in reply to/response to articles. Methodologically, the study draws from the classic framework of linguistic politeness with (...) reformulations in order to identify ways of showing polite agreement in academic writing. The paper focuses on the general selection of and preference towards particular on-record politeness strategies used for conflict management and face redress in replies to. (shrink)

In his Lives, Giorgio Vasari mentions many artists who were talented at music when they were young, prominently Giorgione and Sebastiano del Piombo. Benvenuto Cellini resisted his father's pressure to choose music. Why? How rewarding was a musical profession in Renaissance Italy? It could be very lucrative, both for town musicians such as Cellini's father and for castratos. Moonlighting for banquets, dances, even spying, could bring in additional income. For gentlemen, music was a necessary social grace; they had private tutors, (...) such as Silvestro Ganassi dal Fontego, who was himself a painter as well as a printer. Amateurs could learn from cathedral choirmasters, who were often music theorists, the pinnacle of the profession. The theorist Pietro Aaron, choirmaster at Imola Cathedral, then tutor to the sons of Sebastian Michiel, Grand Prior of the Knights of St John of Jerusalem in Venice, had a wide acquaintance among humanists, noblemen and other musicians, and his letters open a window on the life of a musician. Among his many professions, the writer Antonfrancesco Doni counted music; a madrigal he wrote in 1560 is included in an appendix. The ability to improvise verses and music was much prized, ranging from star performers such as Serafino Aquilano to amateurs such as Niccolò Machiavelli. Portraits of musicians are discussed; they offer important evidence but are difficult to interpret. The theorist Lodovico Zacconi concluded in 1592 that being a musician was not only an honourable and lucrative profession but an enjoyable one. (shrink)

_Purpose._ The purpose of the research is to outline the strategies of desacralization of writers by means of merch, to determine the positive and negative aspects of the search for new meanings in the reproduction of cult figures. _Theoretical basis._ The article examines merch as a tool that encourages people to change sacred meanings and ideas about writers as bearers of the sacred for Ukrainians. The source base of the study is the works devoted to the problems of the sacred (...) in philosophical thought, as well as the process of desacralization in art and literature. The peculiarities of the destruction of tendencies regarding the notions in the perception of writers as idols of the nation, the formation and emergence of new meanings regarding sacred figures are highlighted and described. The relevance of this study is due to active searches in business, propaganda, agitation for the use of literary practice, transformation and new contexts of literary idols. _Originality._ Until now, the change in the processes of sacralization and desacralization of writers by means of merch has not been considered as a reversal of worldview in culture, vectors of changes in the dominants of spirituality in the world picture. It turned out that the metacategory of the sacred has been studied by many scholars, both foreign and domestic, in recent years. The problems of the sacred are in the centre of attention of sociologists, philosophers, literary critics, and culturologists, but merch as a basis for the desacralization of man was not considered in publications in the field of mass communication theory. Scientists considered the worldview vectors of the sacred and desacralization as processes that are inherent not only in postmodernity, but also those that accompanied Ukrainian culture during previous periods. It is determined that the most noticeable manifestations of desacralization are the reproduction of the figure of Kobzar, moreover, in quite unusual and even provocative images of him. However, the majority of Ukrainians positively perceive the updated images of the prophets of the Ukrainian nation and talk about the permanence of their worldview, despite the change and reinterpretation of many years of later development. _Conclusions._ Conscious desacralization of literary images is gradually gaining momentum. We observe a tendency to positive perception of merch with the figures of T. Shevchenko, I. Franko, H. Skovoroda, Lesia Ukrainka in a new interpretation: during the war, on the barricades – wherever the struggle for Ukrainian statehood is taking place. From the results of the survey it becomes clear that stereotypical perceptions of writers need to be changed, but only if it is an organic fusion with value imperatives, only emphasizes and affirms the spiritual greatness of Man and serves the growth of Ukrainian society and every Ukrainian. (shrink)

To explore literary silence is to explore the relationships between literary texts and the silence of the ineffable. It is to enquire what dynamics texts develop as they strive to 'say the unsayable', and it is to think literature as a silence that speaks itself. This study describes these literary and silent dynamics through readings of Pascal's Pensées, Rousseau's Rêveries, and Beckett's trilogy Molloy, Malone meurt, and L'Innommable. It contributes to our understanding of three major writers and challenges our idea (...) of what silence is. The subject of silence and of the ineffable has a long philosophical and critical tradition. A careful study of this tradition reveals the dominance of a limiting dualistic understanding of silence and its relationship to noise or language: silence becomes the negative other, the beyond, about which there remains nothing to say. The study of literary silence seeks rather to trace a language that becomes its own silence. It compromises the attempt to think a silence that moves within and through texts, that is inherent to the literary expression. Central to this theoretical endeavour are thinkers like Derrida, Deleuze, Gadamer, and Vattimo. The theoretical understanding of silence permits an effective methodology for reading literary silence. Notions of repetition, the aporia and the implosion, which are developed in reference to Kierkegaard and Bataille, describe textual strategies of literary silence and structure the readings. Finally, the reading of literary silence has its point of reference in writers like Mallarmé, Blanchot, and Beckett. It is their texts that have taught us to become topological readers, to move in and out of texts' movements; they have shown us how the literary expression is irreducible to linear, meaning oriented language. As readers of such texts we have been prepared to read the dynamics of the unsayable, and finally to start discerning the silences of the literary. (shrink)

Dagong writers – writers who are factory workers – engage in two kinds of labor, the physical labor that earns a living and the spiritual labor that comforts the soul. They are closely related. First, physical labor provides the raison d’être for spiritual labor, becoming an important theme for it. Second, spiritual labor alleviates the fatigue of physical labor, enabling the alienated labor to obtain poetic salvation. Because of their achievement in spiritual labor, many workers have made the leap (...) from assembly line to office, and from factory workers to contemporary writers. When they are no longer engaged in physical labor, there is a risk that the authenticity of their Dagong literature will fade. The reason why Dagong workers choose literature, especially poetry, as a means of their spiritual labor is closely related to the characteristics of the genre and their limited cultural education. (shrink)

Our article will take the reader on a tour through collected observations based on digital images, created both by the Syrian Al-Assad regime and anti-regime groups. The pool of digital images on which our observations and deductions are based, are scraped from social media such as Facebook and YouTube. We do not claim to have an entirely representative nor objective collection, but perceive the selected images as being valuable to understand and decode the current political situation since the Syrian (...) uprising started in early 2011. We trace the development and strategies connected to online image production and distribution. What began in 2011 as a euphoric and celebratory use of online images by anti-government protestors, soon became a web of propaganda. On opposing sides of the battle skilled Photoshoppers and hackers join forces in a virtual battle of images and data. Manipulated images, strategic false campaigns, identities and rumours became the norm. We contemplate the lack of identity of the Syrian opposition, as a result of vague and splintered fighters, activists and disappointing leaders. We speculate around the ways that historic images of leaders and childhood characters are re-inscribed to claim an important place online, where leaders and heroes are missing. (shrink)

Is it possible to venture beyond daily living and experience heightened states of awareness? Deepak Chopra says that higher consciousness is available here and now. “Metahuman helps us harvest peak experiences so we can see our truth and mold the universe’s chaos into a form that brings light to the world.”—Dr. Mehmet Oz, attending physician, New York–Presbyterian, Columbia University New York Times bestselling author Deepak Chopra unlocks the secrets to moving beyond our present limitations to access a field of infinite (...) possibilities. How does one do this? By becoming metahuman. To be metahuman, however, isn’t science fiction and is certainly not about being a superhero. To be metahuman means to move past the limitation constructed by the mind and enter a new state of awareness where we have deliberate and concrete access to peak experiences that can transform people’s lives from the inside out. Humans do this naturally—to a point. For centuries the great artists, scientists, writers, and many so-called ordinary people have gone beyond the everyday physical world. But if we could channel these often bewildering experiences, what would happen? Chopra argues we would wake up to experiences that would blow open your body, mind, and soul. Metahuman invites the reader to walk the path here and now. Waking up, we learn, isn’t just about mindfulness or meditation. Waking up, to become metahuman, is to expand our consciousness in all that we think, say, and do. By going beyond, we liberate ourselves from old conditioning and all the mental constructs that underlie anxiety, tension, and ego-driven demands. Waking up allows life to make sense as never before. To make this as practical as possible, Chopra ends the book with a 31-day guide to becoming metahuman. Once you wake up, he writes, life becomes transformed, because pure consciousness—which is the field of all possibilities—dawns in your life. Only then does your infinite potential become your personal reality. (shrink)

In every chapter of this dissertation---chapters which consider work by John Locke, Lord Shaftesbury, David Hume, Adam Smith, Samuel Richardson, Jane Austen and Sir Joshua Reynolds---I show that the appeal each of these authors makes to the "common sense" of the reader mounts a deeply persuasive appeal to a collective vision of how things ought to be. Within empiricist epistemology, moral philosophy, fiction, and the discourse of art and aesthetics, I find that by assuming a moral consensus that unites (...) that community of readers he or she addresses, each of these writers initiates the reader into such a consensus. A double moment underlies the ideal and description of a common sense: what enables the claim that one's judgment is commonsensical is the assumption that such a judgment would find general assent, general agreement. At the same time, judgments that make these claims model for the community the kind of judgments that ought to find agreement. The idea of community rests on the possibility that each and every agent is capable of an objective assent to its terms and conditions, and that, given this ability, each would arrive at the consensus which supports the community. ;One of the paradoxes of eighteenth-century British empiricist epistemology is that it suggests the clearest views are those offered through the arts. That is, the frame provided by the arts creates a space which abstracts from a common-sense view of things to things "as they really are"---which is, really, as they ought to be. I explain the much noted intensity of the interest in developing a discourse of the aesthetic in the eighteenth century, or the emphasis placed on the idea of a single "standard of taste," as a consequence of the impasse in Locke's empiricist epistemology on the matter of objective judgments. The ability of perceivers to share a clear view of facts and objects, the view of reason and common sense, predicates Locke's project, yet the very possibility of such a view becomes more and more remote as his Essay proceeds. The model of aesthetic judgment which developed in the wake of Locke's Essay prioritized detachment and disinterest, and therefore offered the possibility of a distanced, and therefore objective, point of view, the point of view invoked in the appeal to common sense. (shrink)

In his later lectures, published as The Hermeneutics of the Subject, Michel Foucault surveys different modalities of obtaining ‘truth’ about one's self and the world: from Socrates to the Cynics, Stoics, Epicureans and early church writers. Genealogically tracing this opposition between knowing self and world, he occasionally invites phenomenological enquiry into how this epistemic couplet bears on education. Drawing on three vignettes familiar to educators, my investigation explores modes of discovering self and world through counselling, distributed governance in the classroom (...) and the arts of writing. In each case we confront a paradox of freedom, in that agency is needed, already, to liberate the self from the world. An exegetical task is to show how Foucault worked through this philosophical problem, of relevance to many situations in education, by re-reading Kant, Nietzsche and Heidegger. (shrink)

Insightful and fascinating studies of great men of French literature introduce the reader to that wonderful dialogue that takes place between writer and works of literature. Here we find that creative conversation which enchants the mind and forces it to become more deeply aware of its own creative reality. The discovery of the mind as a creative entity is man's most precious acquisition. This book is devoted to this creative activity.

In lieu of an abstract, here is a brief excerpt of the content:Belief and Context Determinacy in Interpreting FictionChristine Richards (bio)1Context Determinacy and the Interpretation of FictionThe Pragmatics of ReadingThe basic pragmatic structure of the reading of fiction has been described as a communicative context which has a speaker who performs the speech acts represented by the text and a hearer (addressee) to whom the speech acts are directed [Adams 12]. This model is based on the assumption that the (...) class='Hi'>reader and the writer share not only a common language but a common context, which clearly presents problems for readers of fiction, where generic conventions as well as other cultural conventions of writing, such as satire and irony, or the separation of writers and readers by time, have to be contended with. The code model, which assumes that the writer and the reader share a common context, can be represented as shown in figure 1. Click for larger view View full resolutionFigure 1.W = writer, S = speaker, H = hearer, R = reader.However, it has also been argued [Eco, Role of the Reader 40; Eco, Semiotics 69; Richards 262] that no theory of a text is possible without a theory of contexts, since texts are processed and given meaning by a synthesis of propositions in them with those which originate in readers’ supplied contexts; and since the contexts of readers consist, first and foremost, of their background knowledge, beliefs, and culture, which are fundamentally interrelated, interpretation is inevitably determined by extralinguistic as well as linguistic factors. The context model might be represented as shown in figure 2. Click for larger view View full resolutionFigure 2.W = writer, N = narrator, R = reader.[End Page 81]The Extralinguistic ContextA good example of the role played by extralinguistic contexts in the interpretation of a text is to be found in the multiple interpretations of the sentence “The red sun was pasted in the sky like a wafer,” from Stephen Crane’s The Red Badge of Courage [64]. Susan Horton, in her discussion of accounts of this sentence [10–14], shows both how R. W. Stallman interprets Crane’s antiwar fiction as a Christian allegory where the word “wafer” functions as a symbol of the Eucharist [130], and how Marston La France rejects Stallman’s interpretation on the basis that Crane is not a Christian, and certainly not a Catholic [99–100]. La France’s rejection of Stallman’s Christian context for atheism is rooted in his interpretation of the sun as a repeated image in the co-text, which he believes signifies nature’s indifference to death, war and heroism. Here the lexemes “pasted” and “wafer” become images of a seal at the end of a legal document, implying the finality of death in war. Milne Holton interprets the image of the sun as a characteristic of the symbolic imagination of the character Henry Fleming rather than of the writer (Crane) [90–91].Horton documents but does not theorize the determining features of these contexts, but this problem can be tackled by applying Marcello Pagnini’s theory of “the introjection of the referent” [9] to explain how the contextual semes of readers, determined by different cultural systems, are introjected into texts. Following Jurij M. Lotman’s typology of cultural systems [Lotman and Uspenskij], Pagnini cites as relevant systems ethics, ideology, history, philosophy, myth, the law, anthropology, politics, ethnicity, literature, aesthetics, psychology, rhetoric and symbolism [34], which represent fundamentally interrelated complexes of systems that make up societies. If Pagnini’s model is taken with that of Richards [267], which conceives of interpretation as a synthesis of propositional inferences in texts with those drawn from readers’ contexts, these two models provide a methodological basis for explaining how the contexts of Stallman’s and La France’s conflicting interpretations derive from philosophically opposed belief systems within culture—Christianity and atheism. These models also help to explain Holton’s interpretation as one located within a different philosophical context, that of the convention of character analysis in fiction, which during the last few decades has developed into the more theoretically sophisticated field of narratology. It should be stressed, however, that interpretations themselves always take place within historical and interactive frameworks, which are influenced... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of juxtapositions and (...) comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)

It is not expected of critics that they should help us to make sense of our lives; they are bound only to attempt the lesser feat of making sense of the ways we try to make sense of our lives.At some very low level, we all share certain fictions about time, and they testify to the continuity of what is called human nature, however conscious some, as against others, may become of the fictive quality of these fictions.This is an age (...) of theory, and theory is both difficult and usually not related to anything that meets the wider interest I speak... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pericles' Anatomy of Democratic CourageRyan BalotIn his celebrated dissertation, Adam Parry (1988, 21) outlined the traditional relationship between intelligence and action in the following way: "The popular cliché, going from Hesiod through Solon and later writers, reveals a basic distrust of the intellect. The man of action is admired, the man of intelligence and words looked on with suspicion. The philosophic writers emphasized the split by turning the distinction (...) around. The man of intelligent words knows reality, the man of action becomes a brute or a fool. Gorgias, and much more profoundly, Thucydides, see and dramatize a possible equilibrium." Although schematic, Parry's formulation rightly points to Thucydides' status as a transitional figure in conceiving the evolving relationship between intellect and action. In this article, I examine specifically the vision of courage offered by Pericles in Thucydides' History. Pericles' analysis of courage illustrates certain innovations in the classical Greek conception of intellect and action. Understanding Pericles' analysis will help to specify Parry's insight and make it more concrete.A useful place to start is Pericles' well-known, but famously ambiguous, explanation of courage:(Thuc. 2.40.3)1the man who can most truly be accounted brave is he who best knows the meaning of what is sweet in life and of what is terrible, and then goes out undeterred to meet what is to come.(trans. Warner)For at least a century now, readers of Thucydides have argued that Pericles anticipates Plato's discussion of courage in the Laches, which [End Page 505] explores, among other things, the relationship between courage and knowledge.2 Plato's Nicias, for example, defines courage as "knowledge of what inspires fear and confidence (tēn tōn deinōn kai tharraleōn epistēmēn) both in war and in every other situation" (Lach. 194e11-195a1). Scholars have tended to take this connection too far, however, attributing to Thucydides a "Platonic unity of the virtues,"3 or a conception of courage that is, like Socrates', closely related or even equivalent to knowledge.4My contention is that Pericles develops a composite view of courage that requires both a properly habituated character and intellectual understanding.5 His emphasis on intellectual insight adds something new to the traditional notion of courage, but he combines the intellect with character rather than making courage equivalent to knowledge. Pericles reconfigures traditional associations between military valor and deliberation in a specifically democratic way. Speaking as he does in the traditional genre of the epitaphios, Pericles offers no explicit theoretical account of courage, but a coherent body of concepts can be extracted [End Page 506] from his rhetorical assertions. Pericles' democratic ideal of courage, finally, shows that Plato's later account of courage, in the Republic for example, is indebted to the Athenian democracy, however much Plato tried to distance himself from the democracy for the purpose of political criticism.Kenneth Dover has argued that "an archaic mode of indicating that a man was all that a man should be confined itself to two aspects of his character, his valour on the battlefield and his wisdom in discussion (sc. of tactics, organization, and other matters relevant to victory or survival in war)."6 These two aspects of the ideal could be connected as dual but largely unrelated attributes of an individual (as in Homer's Odysseus) or opposed to each other in a way that emphasized thinking (as in the philosophical tradition) or action (as in the popular tradition).7 Thucydides' Pericles develops these two facets of the ideal by showing how they are related to each other, how the Athenians exemplify them, and how the institutions and politicians of Athens, at least in the ideal case, educate and encourage the Athenians to exemplify a particular brand of democratic courage. By the end of the classical period, both Plato and Aristotle are firmly convinced that courage requires knowledge along with a properly habituated character.8In order to grapple with Pericles' connection between character and knowledge, we might return to his claim about how to evaluate the most courageous men. The sentence has led to a philological controversy on which hangs the question of whether courage is... (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another to describe the workings of (...) structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture. (shrink)

Through a series of exquisite encounters with children, and through a lucid opening up of new aspects of poststructuralist theorizing, Bronwyn Davies opens up new ways of thinking about, and intra-acting with, children. This book carefully guides the reader through a wave of thought that turns the known into the unknown, and then slowly, carefully, makes new forms of thought comprehensible, opening, through all the senses, a deep understanding of our embeddedness in encounters with each other and with the (...) material world. This book takes us into Reggio-Emilia-inspired Swedish preschools in Sweden, into the author's own community in Australia, into poignant memories of childhood, and offers the reader insights into:new ways of thinking about children and their communities; the act of listening as emergent and alive; ourselves as mobile and multiple subjects; the importance of remaining open to the not-yet-known.Defining research as diffractive, and as experimental, Davies' relationship to the teachers and pedagogues she worked with is one of co-experimentation. Her relationship with the children is one in which she explores the ways in which her own new thinking and being might emerge, even as old ways of thinking and being assert themselves and interfere with the unfolding of the new. She draws us into her ongoing experimentation, asking that we think hard, all the while delighting our senses with the poetry of her writing, and the stories of her encounters with children. (shrink)

Provides a wide-ranging introduction to aesthetic theory and philosophy of art for readers, particularly university students who seek an overview of major controversies, theories, and writers. The 44 readings are chosen for their capacity to provide a representative set of competing perspectives within the contemporary debate and are edited to be accessible to undergraduates. With 40 readings by contemporary authors and 4 classic texts that provide a solid foundation, Aesthetics: A Reader is both accessible and current.

History, Metaphors, and Fables collects the central writings by Hans Blumenberg and covers topics such as on the philosophy of language, metaphor theory, non-conceptuality, aesthetics, politics, and literary studies. This landmark volume demonstrates Blumenberg's intellectual breadth and gives an overview of his thematic and stylistic range over four decades. Blumenberg's early philosophy of technology becomes tangible, as does his critique of linguistic perfectibility and conceptual thought, his theory of history as successive concepts of reality", his anthropology, or his studies of (...) literature. History, Metaphors, Fables allows readers to discover a master thinker whose role in the German intellectual post-war scene can hardly be overestimated. (shrink)