This article explores the central themes in Mohsin Hamid’s Exit West (2017) by focusing on the complexities of finding oneself placeless and seeking refuge in an unwelcoming global world with porous borders. It examines different aspects of the experience of time, such as transience and waiting, by drawing on postcolonial and refugee studies and theoretical approaches to vulnerability, time, and being. Set in an unnamed city in an unnamed country on the verge of war, Hamid portrays the shattering of (...) everyday life in the city by following the lives of Saeed and Nadia, their growing love relationship, and the impact of their subsequent escape through “magic doors” to several places of refuge on their relationship and understanding of the world. Their story is interspersed with vignettes on several secondary characters who also become refugees by being transposed through magic doors to new locations. By using magic doors and by accelerating, compressing and conflating events and times—the effect of which universalizes the theme of transience and proximity of death—Exit West exposes us to the global history of suffering and invites us to bear witness to the suffering of others and to become aware of our own finitude and the obligations our common vulnerability places on us. (shrink)

One strand of recent philosophical attention to Marcel Proust's novel À la Recherche du Temps Perdu, exemplified by Martha Nussbaum and Rae Langton, claims that romantic love is depicted in the text as self-regarding and solipsistic. I aim to challenge this reading. First, I demonstrate that the text contains a different view, overlooked by these recent interpreters, according to which love is directed at the partially knowable reality of another. Second, I argue that a better explanation for Proust's narrator's ultimate (...) renunciation of romantic love appeals not to his impossible epistemic standard for knowledge of another person, but to his demanding evaluative standard for the permanence of love. This interpretation takes into account the broader scope of the novel, connecting with its larger themes of lost time and the desire for stability, and is more charitable, connecting to familiar worries about transience and constancy in loving relationships. (shrink)

Mellor’s theory of time includes the doctrines that (a) objectively, time does not embody tense or temporal properties other than those contained in the B-series, (b) particular objects are endurers, and (c) objectively, time does not flow. I show that these theses cannot all be true together, and that one must be rejected. Since (a) is basic to Mellor’s approach, then assuming that he would not adopt a perdurantist ontology, it follows that he should give up (c). Denying (c), however, (...) is compatible with the essentials of his position. The falsity of (c) does not imply any version of the A-theory, and the B-theory can allow for the motion of diachronically identical entities through the dates over which their careers extend. (shrink)

The standard view of metaphysical necessity is that it is truth in all possible worlds, and therefore that the correct modal logic for metaphysical necessity is S5, in models of which all worlds are accessible from each other. I argue that S5 cannot be the correct logic for metaphysical necessity because accessibility is not symmetric: there are possible worlds that are accessible from ours but from which our world is not accessible. There are (or could be) some individuals who, if (...) they had not existed, could not have existed. Once the possibility of such individuals is lost, it is gone forever. (shrink)

Sigmund Freud’s reflections on transience left him surprised that someone could revolt against the process of mourning. In Jonathan Lear’s interpretation of transience, the revolt is not simply a passing struggle of the mind, but a response to a difficulty of reality, that is, an existential struggle. Central to the experience of transience, according to Lear, is the disbelief in the existence of an afterlife. How might we understand the idea of an afterlife philosophically? I first consider (...) three different philosophical conceptions of the afterlife that—in different ways—underline the relation between collective memory and the process of mourning. These reflections make it clearer which aspects of the afterlife play a role in the existential struggle that Lear describes. However, a further analysis of the temporality at stake in the denial of an afterlife is needed. I therefore look at two psychoanalytic interpretations of the refusal to mourn. The first considers the refusal to mourn as a way to deny change. The second interpretation sees the refusal as a realisation of meaninglessness that prevents the flow of time. I end the paper by arguing that the afterlife can be understood as a practice of articulation, which allows a shared time to flow. Such a practice will commit us anew to a shared world in which we survive with the wounding difficulties of reality. (shrink)

Considering whether existence, i.e., being, is a thing might seem like the height of aimless metaphysical chin stroking. However, the issue—specifically, whether existence is a quality—is significant, bearing on how reality, this all-encompassing totality, is. On one view, reality at large is ontologically fixed, the sum total of things does not (and cannot) vary; on another view, reality is ontologically transient, the sum total of things varies. I first show that if existence is a thing, that reality is ontologically fixed (...) follows. So I consider whether existence is indeed a thing. I demonstrate that “it” could not be: existence is no existent. I then discuss what it is to exist, given existence is nothing at all. I maintain there are no grounds for the view that reality is ontologically fixed. I argue, from the irrefragable basis of temporal differentiation—the world going from thus…to as so—that reality is ontologically transient. I consider some objections to ontological transience and conclude by considering the key to understanding the overall structure in reality and what it reveals about how very inconstant all this is. (shrink)

A detailed exposition of what the author considers to be the few fundamental principles in the theology of St. Bonaventure: the continuity between theology and revealed scripture, the preeminence of faith, the discontinuity between theological and philosophical reason, and the development of theology as "the progression of... spiritual life."--A. R.

This article reconsiders the relationship between Simmel and Heidegger. Scholars commonly argue that Simmel’s work on the topic of death and mortality influenced the early Heidegger’s work on the same topic, as evidenced in Being and Time. I argue however that Simmel’s work particularly in the Lebensanschauung should be read as challenging the basic presuppositions of Heidegger on death. I then compare the two on the issue of immortality in order to show that Simmel is much closer to the subsequent (...) critics of Heidegger than he is to Heidegger himself. (shrink)

Life is short and transient--Japanese people call this sentiment mujokan. However, what if we could sweep away the "despair" looming over the present age by proactively accepting this mujo (transience)? Perusing the thought of mujo from the perspectives of philosophy, literature, art and religion, Takeuchi delves into the view of life and death unique to the Japanese people who have shared "grief" and "pain" with each other, as well as into the very core of their underlying spirit." -- Publisher's (...) description. (shrink)

The article analyzes the world of transience, deterioration and death characteristic of Boghill, the place of action of Samuel Beckett’s short radio play-All That Fall. In a broadcast drama, existence is equivalent to being heard, the idea skilfully employed and commented upon by the playwright. The characters actually heard in the play are in most cases elderly or quite old and even the two young ones appear in the context of death. Numerous off-the-air individuals are dead, sterile or suffering (...) from different illnesses. The two main characters’ situation is not different-Mr Rooney is blind, and his wife, Maddy, complains of many ailments. She is a woman in her seventies, overweight and having different kinds of health problems and thus, several times in the course of the play she expresses a wish to die. At the same time, however, in encounters with men on her way to the station she speaks in a manner characterized by numerous sexual innuendos. Furthermore, she expresses a strong yearning for love and hopes her unloving husband would show her some warm feelings. Thus she becomes a convincing illustration of Georges Bataille’s argument: “Eroticism, it may be said, is assenting to life up to the point of death”. (shrink)

Using the biblical saga of Joseph as an example, I maintain that turnabouts, trade-offs, and transience are endemic to the human condition.

Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...) protracted agony across the cycle. The centralization of suffering, I argue, parallels the distance between viewer and image with the isolating nature of embodied existence. Thus, this article seeks to probe the relationship between form and content, asking what the image of death reveals about the death of the image. -/- . (shrink)

McTaggart raised a famed paradox regarding the transientist conception of time, the idea that the present moves into the future to overtake future events (or, alternatively, that future events move into the present) and past events recede further and further into the past as time goes on. Schlesinger has recently attempted an ingenious transientist solution to McTaggart's paradox. We will argue that Schlesinger's solution to McTaggart's paradox itself gives rise to a new, yet perfectly parallel, paradox which can only be (...) resolved by abandoning the transientist view of time. (shrink)

In these compositions, the subjects that will both entertain and improve the mind, bid fair to be of the greatest public utility.From toddlers to teenagers, children are everywhere in Hogarth’s pictures. There are children of the drawing room and children of the streets; “little angels” shown putting on a play, “little devils” shown torturing animals; portraits of the sons and daughters of minor aristocrats and the upwardly mobile professional classes and gangs of youngsters gambling at cards on the pavements of (...) St. James’s Street. Biblical images may lend gravitas or satirical point to the messages of the pictures: for example, in the theme of abandonment that lies behind the painting of the infant Moses Brought... (shrink)

Time's mysteries seem to resist comprehension and what remains, once the familiar metaphors are stripped away, can stretch even the most profound philosopher. In Of Time and Lamentation, Raymond Tallis rises to this challenge and explores the nature and meaning of time and how best to understand it. The culmination of some twenty years of thinking, writing and wondering about (and within) time, it is a bold, original, and thought-provoking work. With characteristic fearlessness, Tallis seeks to reclaim time from the (...) jaws of physics. For most of us, time is composed of mornings, afternoons, and evenings and expressed in hurry, hope, longing, waiting, enduring, planning, joyful expectation, and grief. Thinking about it is to meditate on our own mortality. Yet, physics has little or nothing to say about this time, the time as it is lived. The story told by caesium clocks, quantum theory, and Lorentz coordinates, Tallis argues, needs to be supplemented by one of moss on rocks, tears on faces, and the long narratives of our human journey. Our temporal lives deserve a richer attention than is afforded by the equations of mathematical physics.The first part of the book, "Killing Time" is a formidable critique of the spatialized and mathematized account of time arising from physical science. Part 2, "Human Time" examines tensed time, the reality of time as it is lived: what we mean by "now", how we make sense of past and future events, and the idea of eternity. (shrink)

In your article “The unstoried life”, you criticize the idea that having a ‘storied life’ is necessary for a Good life. Some authors would probably admit that having a storied life is perhaps not necessary in order to simply exist as an Individual, singular being, but they would probably not accept that what you call a ‘Whole human being’ is possible without such narration.

I investigate the normative status of an unexamined category of emotions: ‘lyrical’ emotions about the transience of things. Lyrical emotions are often accused of sentimentality—a charge that expresses the idea that they are unfitting responses to their objects. However, when we test the merits of that charge using the standard model of emotion evaluation, a surprising problem emerges: it turns out that we cannot make normative distinctions between episodes of such feelings. Instead, it seems that lyrical emotions are always (...) fitting. Although this claim is counterintuitive, the price of denying it is to hold that such emotions are never fitting—an equally strange result. If this is correct, then the commonplace discourse of sentimentality surrounding lyrical emotions lacks normative moorings. (shrink)

Analyzing Eros and Civilization, in this article I argue that Marcuse is incapable of offering an account of the empirical dynamics that may lead to the social change he envisions, and that his appeal to the benefits of automatism is blind to its negative effects. I then claim that Marcuse's vision of the good life as centered on libidinal self-realization, if actualized, would threaten the freedom of individuals and potentially undermine their sense of self-integrity. Comparing Marcuse's position with that of (...) Adorno, I argue that the former fails to take temporality and transience properly into account. Unlike Adorno, Marcuse has no genuine appreciation of the need for mourning. Instead, Marcuse's concept of primary narcissism, which is meant to represent the gist of his utopian vision, leads him to recommend an essentially melancholic position. I finally argue that political action requires a stronger ego-formation than what Marcuse's conception allows for. (shrink)

This commentary considers some applications of the typology of nostalgia proposed by Saulius Geniusas. The typology can illuminate our understanding of existential feelings of temporal malaise, perturbations of temporal experience in grief, and common experiences of letdown and resistance to the passage of time. It can also help in diagnosing various obstacles to mindfulness. However, the typology does not reflect the more positive aspects of nostalgia, such as the appreciation of transience as contributing to value—an important theme in Japanese (...) aesthetics. (shrink)

Channeling affinities with certain motifs of Daoism, Walter Benjamin renews a form of dialectical thought that diffuses ideological notions of progress and grants minimal weight to the ontological distinction of the Subject. In fleeting yet pivotal moments of contact with Chinese aesthetics, Benjamin moves attention toward the practice of ‘thinking by way of resemblance’ – a phenomenon he variously enacts. Calling forth resonances within late-capitalist modernity, he retrieves from Daoist literature a notion of dialectical reversal freed from progressive synthesis, as (...) well as image-repertoires of self-forgetting, which he understands to be irreducible to reification. The Daoist imaginary offers Benjamin resources for breaking open the anthropocentric closure of Hellenic accounts of mimesis. He theorizes similitude more capaciously as something that can flash up across temporally discontinuous phenomena – without deferring to predetermined categories of Being. Benjamin thus recasts resemblance – regarded by Enlightenment rationality as an impoverished mode of cognition – as a medium of historical apprehension that resists the occlusion of transience by the ontology of the victors. (shrink)

The transience of being in the Chinese context—and specifically within Daoist texts—has been the subject of scholarly attention both as a philosophical theme and as a social phenomenon. Dao is the mystery that makes nature “the way it is.” It can mean process, pattern, or existence. Eastern thinkers tend to find truth in every perspective, pursuing the middle way, and they stress mutual dependence—Zhuangzi’s “equality of things,” the “axis of Dao,” etc. The Chinese sages tend to harbor an optimistic (...) outlook that, however opposed divergent views may appear, in the end they are bound to harmonize and complement one another. Humans can unite themselves with the way they live. There are three threads at work in Zhuangzi’s thought:(1) The principle of equality: all things are equal or have relative parity. Each has its own merit, even that which seems deformed or useless to humans.(2) The principle of difference: each thing is unique and exists in itself in accordance with the Dao.(3) The principle of transformation. The only constant is that myriad beings are always transforming and becoming. (shrink)

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can (...) exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

Zhou Zuoren, a pioneer of the New Culture Movement, became a collaborator and classicist poet during the Second Sino-Japanese War. This article attempts to bridge the gap between two periods of Zhou’s life: his later return to Chinese lyric classicism and his earlier career as a pioneer of vernacular poetry, translator of Japanese haiku, and literary critic championing a “Short Verse Movement.” I argue that Zhou’s wartime doggerels consisted of a modernist project in classicist guise, a continuation of his endeavor (...) to lend expression to the immediacy and the transience of the moment through a native linguistic medium. Reflecting the urgency of self-expression under the Japanese occupation, Zhou’s esoteric doggerels represent a lyric subjectivity in crisis vis-à-vis the epic of history. By participating in a global moment of literary modernity, they also represent an “alternative lyric modernity” for China. (shrink)

We propose a new theory to explain the nature and function of subjective experience, as a mechanism that guides the organism towards beneficial outcomes. In simple animals, that guidance takes the form of an affect producing a fitness-enhancing response. In human consciousness, there is not a single response, but a range of potential developments allowing a free choice. That range can be modelled as a local prospect: a field of possibilities centred on the present situation and coloured by valence. Building (...) on neural models of global workspace and adaptive resonance, we suggest how such a prospect could be implemented in the brain: as a halo of activation diffusing from, and feeding back into, a core of circulating activation. Using the thought experiment of qualia inversion, we argue that local prospect theory solves the ‘hard problem of consciousness’. We show how our theory explains key characteristics of consciousness: subjectivity, feeling, free will, agency, transience, continuity, integration, selectivity, intentionality, and ‘what it is like’. (shrink)

There are two conspicuous and inescapable features of this world in which time is real. One experiences a world in flux, a transient world in which things constantly come into existence, change and cease to be. One also experiences a stable world, one in which how things are at any given moment is permanent, unchangeable. Thus, there is transience and permanence. Yet these two features of the world seem incompatible. The primary purpose of this paper is to sketch a (...) metaphysics of time that embraces both features. Crucial to this undertaking is the notion of becoming, that is, coming into existence. I distinguish three distinct phenomena of becoming: temporal, absolute and atemporal. The last is the least familiar of these; it is the phenomenon of coming into existence outside of time. Although the idea that there are things that do not exist in time is not unfamiliar, it is largely taken for granted that if anything comes into existence, it must do so in time. (Indeed, I suspect many think that the idea of a thing coming to be outside of time is simply incoherent.) In this paper, I articulate and defend the notion of atemporal becoming. It is by means of this notion that one can develop a fully satisfactory metaphysics of time, one that honors both transience and permanence and finds for each its proper domain within the world. (shrink)

Origin of the German Trauerspiel was Walter Benjamin's first full, historically oriented analysis of modernity. Readers of English know it as "The Origin of German Tragic Drama," but in fact the subject is something else--the play of mourning. Howard Eiland's completely new English translation, the first since 1977, is closer to the German text and more consistent with Benjamin's philosophical idiom. Focusing on the extravagant seventeenth-century theatrical genre of the trauerspiel, precursor of the opera, Benjamin identifies allegory as the constitutive (...) trope of the Baroque and of modernity itself. Allegorical perception bespeaks a world of mutability and equivocation, a melancholy sense of eternal transience without access to the transcendentals of the medieval mystery plays--though no less haunted and bedeviled. History as trauerspiel is the condition as well as subject of modern allegory in its inscription of the abyssal. Benjamin's investigation of the trauerspiel includes German texts and late Renaissance European drama such as Hamlet and Calderón's Life Is a Dream. The prologue is one of his most important and difficult pieces of writing. It lays out his method of indirection and his idea of the "constellation" as a key means of grasping the world, making dynamic unities out of the myriad bits of daily life. Thoroughly annotated with a philological and historical introduction and other explanatory and supplementary material, this rigorous and elegant new translation brings fresh understanding to a cardinal work by one of the twentieth century's greatest literary critics.--. (shrink)

Through a close study of T. Yunkaporta's 2019’s Sand Talk, this article explores fractal thinking and the pattern of creation in Indigenous cosmology; the role of custodianship in respectful interaction between living systems; alternative Indigenous understandings of nonlinearity, time, and transience; the process-panpsychism and animism present in Indigenous perceptions of cosmos as living Country, illustrated in the Dreaming and Turnaround creation event; the role of embodied cognition and haptic and situated knowledge in Indigenous science; Indigenous holistic reasoning and the (...) mind-body connection; the process-relational metaphysic embedded in ritual and yarning practice; the knowledge encoded in place-based totemic mythology, lore, and ritual; and Indigenous understandings of complex systems as adaptive, self-organizing, and patterned. This article does not offer a process reading of Indigenous thought but rather demonstrates the significant contribution to process metaphysics that may be provided by an Aboriginal Australian perspective. Yunkaporta's text carves out a language of resistance to the McDonaldization of Indigenous research. While historic scholarly engagement with Aboriginal culture has overemphasized content, Yunkaporta demonstrates how this has occurred to the exclusion of the processes of Indigenous knowledge transmission and creation. Yet a process view requires engagement with the how, not only with the what. Such knowledge transmission is discerned in daily lived relationships among land, spirit, and people—binding epistemology to participation in a specific landscape embedded within a living culture. Place-making for Indigenous knowledges requires exploring how Indigenous ways of valuing, knowing, and being, shaped by cultural activities on Country, offer new understandings for Western metaphysics. (shrink)

Mehmed Muhyiddin Üftāde Efendi is a significant mystic poet and Sufi who lived in Bursa during the 16th century. Raised in a Sufistic environment from an early age, Üftāde is known as the spiritual guide of the Celvetiyye tariqat. Much like almost every Sufi, Üftāde Efendi engaged with poetry and had a dīvān (collection of poems) comprising around sixty odes. He penned his poems in an ascetic style, utilizing simple and understandable Turkish, where he discussed the transience of worldly (...) life, inviting people to worship and obey Allah. Üftāde accorded special importance to dhikr (remembrance of Allah) while calling people to worship. He regarded dhikr as a guide that brings individuals closer to Allah's pleasure and beauty. Consistently advising those who wish to progress in spiritual path (sayr u sulūk) and aspire to reach Allah to engage in dhikr, Üftāde emphasizes that dhikr should not only resonate on the tongue but also affect the heart. Upon examining the poems in Üftāde’s dīvān, it is apparent that the subject of dhikr holds a significant place. In some instances, Üftāde addresses dhikr in the entirety of a poem, while in others, he touches upon it in certain verses. This study has examined the poems related to dhikr in Üftāde's dīvān and analyzed Üftāde’s perspective on dhikr. (shrink)

This paper examines recent communitarian writing about the market. Much of this work explains the loss of community in our times as a result of the expansion of the market and market values. As the market has invaded other domains, such as family andneighborhood, relationships there have become infected by the instability and transience that characterize market relations. Centralto this critique of the market is the view that the market is unable to sustain lasting commitments. This paper tests this (...) hypothesis byexamining the fate of the family—the paradigmatic case of commitment—in three separate historical periods when market orcommercial values were especially dominant. It then extends the analysis to two other component institutions of community—voluntaryand charitable activities. Finally, it examines institutions where so-called market values should presumably hold unchallenged sway,namely in the work place and the marketplace. The paper finds that communitarian values appear to thrive in market society. Instead ofbeing a juggernaut the market may be an endangered species. (shrink)

Just as speech can be acquired, so can it be lost. Speakers can forget words, phrases, even entire languages they once knew; over the course of time peoples, too, let go of the tongues that were once theirs, as languages disappear and give way to the others that follow them. In Echolalias, Daniel Heller-Roazen reflects on the many forms of linguistic forgetfulness, offering a far-reaching philosophical investigation into the persistence and disappearance of speech. In twenty-one brief chapters, he moves among (...) classical, medieval, and modern culture, exploring the interrelations of speech, writing, memory, and oblivion.Drawing his examples from literature, philosophy, linguistics, theology, and psychoanalysis, Heller-Roazen examines the points at which the transience of speech has become a question in the arts, disciplines, and sciences in which language plays a prominent role. Whether the subject is Ovid, Dante, or modern fiction, classical Arabic literature or the birth of the French language, structuralist linguistics or Freud's writings on aphasia, Heller-Roazen considers with clarity, precision, and insight the forms, the effects, and the ultimate consequences of the forgetting of language. In speech, he argues, destruction and construction often prove inseparable. Among peoples, the disappearance of one language can mark the emergence of another; among individuals, the experience of the passing of speech can lie at the origin of literary, philosophical, and artistic creation.From the infant's prattle to the legacy of Babel, from the holy tongues of Judaism and Islam to the concept of the dead language and the political significance of exiled and endangered languages today, Echolalias traces an elegant, erudite, and original philosophical itinerary, inviting us to reflect in a new way on the nature of the speaking animal who forgets. (shrink)

Ghost Image is made up of sixty-three short essays—meditations, memories, fantasies, and stories bordering on prose poems—and not a single image. Hervé Guibert’s brief, literary rumination on photography was written in response to Roland Barthes’s Camera Lucida, but its deeply personal contents go far beyond that canonical text. Some essays talk of Guibert’s parents and friends, some describe old family photographs and films, and spinning through them all are reflections on remembrance, narcissism, seduction, deception, death, and the phantom images that (...) have been missed. Both a memoir and an exploration of the artistic process, Ghost Image not only reveals Guibert’s particular experience as a gay artist captivated by the transience and physicality of his media and his life, but also his thoughts on the more technical aspects of his vocation. In one essay, Guibert searches through a cardboard box of family portraits for clues—answers, or even questions—about the lives of his parents and more distant relatives. Rifling through vacation snapshots and the autographed images of long-forgotten film stars, Guibert muses, “I don’t even recognize the faces, except occasionally that of an aunt or great-aunt, or the thin, fair face of my mother as a young girl.” In other essays, he explains how he composes his photographs, and how—in writing—he seeks to escape and correct the inherent limits of his technique, to preserve those images lost to his technical failings as a photographer. With strains of Jean Genet and recurring themes that speak to the work of contemporary artists across a range of media, Guibert’s Ghost Image is a beautifully written, melancholic ode to existence and art forms both fleeting and powerful—a unique memoir at the nexus of family, memory, desire, and photography. (shrink)

Der Verfasser versucht zu zeigen, daß nicht der Eigenwert der Heimat die Ursache des Heimwehs ist, sondern daß vielmehr erst das Weh über deren Verlust die Heimat zu einem kostbaren Gut macht. Daher erklärt sich, daß eine Rückkehr in die Heimat eher mit Enttäuschungen als mit einer Linderung des Wehs verbunden ist. Während das Heimweh vorwiegend räumlich bestimmt ist, bezieht sich die Nostalgie wesentlich auf die Einmaligkeit vergangener Erlebnisse sowie auf die Vergänglichkeit der Zeit. Sowohl beim Heimweh als auch bei (...) der Nostalgie kann dann weiter zwischen einer untröstlichen Sehnsucht und einem trauernden Verzicht unterschieden werden. Erinnerung ist immer auch Trauerarbeit, und pathologische Formen des Heimwehs und der Nostalgie zeichnen sich deshalb gleichermaßen durch ihre Unfähigkeit zum Erinnern sowie auch zur trauernden Versöhnung mit einem Verlust aus. Der Heimwehkranke beraubt sich jeden Bandes an einen wirklichen Ort, und dem unglücklichen Nostalgiker muß die Berufung auf die “gute alte Zeit” die verlorene Gegenwart und Zukunft ersetzen. Nur wer Abschied genommen hat, kommt in den Genuß einer Erinnerung, in der sich das Verlangen nach etwas Verlorenem wie in einem Traum erfüllt. The author wants to show that homesickness is not brought about by the intrinsic appeal of one s home-groimd. Rather wistfiilness for bereavement makes home a precious good. From this it becomes understandable why returning home arouses more often disappointment than it relieves one s sick feelings. Whereas homesickness has mainly a spatial connotation, nostalgia actually concerns the uniqueness of past experience as well as time's transience. In both cases a further distinction has to be made between broken-hearted aching and mourning renunciation. Remembrance always is a work of mourning too, and therefore pathological forms of homesickness and nostalgia are equally characterized by their inaptitude to remember as well as to live mournfully with a loss. The homesick deprives himself from any bond to a real place. For the disconsolate nostalgic the invocation of “the good old days” has to substitute the lost present and future. Only the one who bade farewell, delights in remembrance. As in a dream the longing for something lost comes there to fruition. (shrink)

Medieval European culture was obsessed with clothing. In _Fashioning Change: The Trope of Clothing in High-and Late-Medieval England,_ Andrea Denny-Brown explores the central impact of clothing in medieval ideas about impermanence and the ethical stakes of human transience. Studies of dress frequently contend with a prevailing cultural belief that bodily adornment speaks to interests that are frivolous, superficial, and cursory. Taking up the vexed topic of clothing’s inherent changeability, Denny-Brown uncovers an important new genealogy of clothing as a representational (...) device, one imbued with a surprising philosophical pedigree and a long history of analytical weightiness. Considering writers as diverse as Boethius, Alain de Lille, William Durand, Chaucer, and Lydgate, among others, Denny-Brown tracks the development of a literary and cultural trope that begins in the sixth century and finds its highest expression in the vernacular poetry of fifteenth-century England. Among the topics covered are Boethian discourses on the care of the self, the changing garments of Lady Fortune, novelty in ecclesiastical fashions, the sartorial legacy of Chaucer’s Griselda, and the emergence of the English gallant. These literary treatments of vestimentary variation—which develop an aesthetics of change itself—enhance our understanding of clothing as a phenomenological and philosophical category in medieval Europe and illustrate the centrality of the Middle Ages to theories of aesthetics, of materiality, and of cultural change. (shrink)

Theodor Adorno's concept of 'natural history' [Naturgeschichte] was central for a number of Adorno's theoretical projects, but remains elusive. In this essay, I analyse different dimensions of the concept of natural history, distinguishing amongst (a) a reflection on the normative and methodological bases of philosophical anthropology and critical social science; (b) a conception of critical memory oriented toward the preservation of the memory of historical suffering; and (c) the notion of 'mindfulness of nature in the subject' provocatively asserted in Max (...) Horkheimer and Adorno's Dialectic of Enlightenment. These strands are united by the notion of transience and goal of developing a critical theory sensitive to the transient in history. The essay concludes by suggesting some implications of an expanded concept of natural history for issues in the discourse theory of Jürgen Habermas. (shrink)

The rise of applied biology was one of the most striking features of the biological sciences in the early 20th century. Strongly oriented toward agriculture, this was closely associated with the growth of a number of disciplines, notably, entomology and mycology. This period also saw a marked expansion of the English University system, and biology departments in the newly inaugurated civic universities took an early and leading role in the development of applied biology through their support of Economic Biology. This (...) sought explicitly to promote the application of biological knowledge to economically important problems and especially to agriculture. The impact of Economic Biology was felt most strongly within Zoology, where it became synonymous with entomology. The transience of Economic Biology belies its significance, for example, in providing a means for the expansion of biology at the civic universities. More broadly, it opened up new research and employment opportunities within the life sciences. In late Edwardian Britain, newly available state funds for agriculturally relevant biological disciplines transformed the life sciences. This paper examines the impact of these funds -- mobilized either under the 1909 Development Act, or under the auspices of colonial interests -- on Economic Biology and the institutionalization of applied biology. The rise and fall of Economic Biology casts new light on the way in which institutional and political alignments profoundly shaped the development of British biology. (shrink)

Using data collected through semi-structured open-ended interviews and archival material, we examined the transience of stakeholders’ salience in the organisational field going through institutional change process. We found strong support for the dominant institutional logic-stakeholder salience relationship. More importantly, the results of our study reveal that changes in stakeholders’ salience are directly related to changes in stakeholders’ attributes. Moreover, we uncover mutual associations among various types of salience attributes and show that the degree of mutual association of various types (...) of attributes depends upon the stage the organisation has reached during the process of institutional change. (shrink)