Dilemma one, Between the theoretical concepts and authorial intention -- Dilemma two, Good manners and eristic -- Dilemma three, Between strangeness and familiarity -- Dilemma four, Between scholarly research and faith.

The paper discusses the Anglo-American philosophy of law of the 20th century, more specifically the philosophy of law of Ronald Myles Dworkin and his criticism of the legal positivism of Herbert Lionel Adolphus Hart. The author presents the history of the criticism of legal positivism in Ronald Dworkin’s philosophy of law and distinguishes historical stages. The subject of the study is the critique of legal positivism but not the Hart-Dworkin debate itself, well known in Western philosophy of law. The (...) reason is that the discussion was conducted between Dworkin and Hart’s supporters but not between Dworkin and Hart by himself. The latter responded to the criticism only after twenty seven years. The article explains why Dworkin chose for his criticism Herbert Hart’s version of legal positivism. This is due to the fact that Dworkin highly appreciated Hart’s positivist theory of law and characterized it as the “most clear.” The article presents the methodological foundations of criticism of Hart’s legal positivism in Dworkin’s philosophy of law. It reveals a methodological divergence between the two legal theories, which directly affects the understanding of the concept of law and its content. Therefore, we can assume that the legal theories of Hart and Dworkin are two competing models of law: Dworkin’s model considers law as a set of rules and principles and Hart’s model acknowledges only rules and court decisions as a source of law. The article also presents the key principles of positivism criticized by Dworkin. These principles, firstly, interpret law as a set of legal rules determined through a special legal criterion, secondly, provide the judge with an opportunity to make a decision “at his own discretion” in a situation not regulated by law, and, thirdly, recognize only legal rights and obligations enshrined in legal regulations. It is important to note that in this article the author describes criticism as an independent phenomenon of legal philosophy with a particular focus on the history and foundations of this phenomenon. (shrink)

The article presents a comparison of the interpretations of Edmund Husserl’s early philosophy, created in different local contexts: ones by Polish researchers (Kazimir Tvardovsky, Jan Luka sevich, Vladyslav Tatarkevych, Roman Ingarden, Aleksander Rozenblum-Augustowski) in the period 1895-1945, and Ukrainian philosopher Volodymyr Yurynets. This comparison takes place against the background of considering the differences in the conditions of the development of philosophy in pre-war and interwar Poland and the USSR. The author demonstrates the similarity of the readings of Husserl’s phenomenology (...) by Polish researchers and Yurynets and proves that the similarity between them is not only in the thematic focus of criticism of phenomenological philosophy, but also in its validity and level. In addition, the author offers an approach to the study of Yurynets’ figure and work, based on considering him primarily as a representative of Western intellectual culture. In particular, the possibility of considering Yurynets ‘ objections to Husserl’s project of phenomenological philosophy not as determined by ideological dictates, but as symptomatic of the European intellectual culture of the beginning of the 20th century is substantiated. Both Yurynets and the Polish phenomenological movement criticize phenomenology for its lack of coherence, and it is about both the internal coherence of phenomenological philosophy and its coherence with contemporary sciences. Particular attention is paid to the role of Yurynets in the history of Ukrainian studies of phenomenological philosophy in the context of the discussion about the origins of phenomenological studies in Ukraine.The author considers the investigations of the phenomenological movement in Poland to be fruitful for modern studies of phenomenological philosophy in Ukraine - a phenomenon that had a significant impact on the development of a wide range of humanitarian disciplines in Europe in the 20th-21st centuries and which has direct intersections and common personalities with Ukrainian philosophy. The same seems promising for other European local traditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scriptural AuthorityA Buddhist PerspectiveShi ZhiruLike gold that is melted, cut, and polished, So should monks and scholars Analyze my words [before] accepting them; They should not do so out of respect.1As other papers in this volume have already noted, there is a crisis of authority in modern religion, particularly in the West. One defining characteristic of modernity is a deep sense of rupture from the old, from the traditional, (...) which is compounded by a heightened awareness of the subjectivity of self.2 Therefore, in the age of modernity, or postmodernity, critical and skeptical questioning of forms of religious authority is almost inevitable. While the crisis of religious authority is certainly enhanced in modernity, I would argue that the crisis of authority has always been part and parcel of religious innovation and transmission in Buddhist history. Critical self-reflection and skepticism of scriptural authority were present already in early Buddhism; at various junctures throughout Buddhist history, attitudes toward scriptural authority were often renegotiated in connection with major religious changes that in turn were usually prompted by larger social and historical changes. As the critical theorist Jürgen Habermas points out, “the term ‘modern’ again and again expresses the consciousness of an epoch that relates itself to the past of antiquity, in order to view itself as the result of a transition from the old to the new.” 3 Defined in this manner, the bridging of the “modern” and the past is not unique to the so-called epoch of modernity or postmodernity, but has occurred repeatedly throughout different historical periods.This paper discusses different junctures in Buddhist history when scriptural authority was problematized as part of self-reflection and criticism of the “tradition.” Rethinking the authority of scriptures often involves juxtaposing it against the authority of religious experience, and such reconsideration typically took place as part of religious change that unfolded in different sociocultural and geographical environments. It is tempting to immediately equate “religious experience” in the early Buddhist texts to the prevalent understanding of this term in the modern world, but one must caution that modern definitions and discourse on the topic are largely shaped [End Page 85] by post-Enlightenment ideals and rhetoric in Western religious history, which may not be applicable to traditional Buddhist cultures.4 Hence, it is necessary to unpack the range of premodern Buddhist understanding of “religious experience” according to its contextual references, and not hasten to assume a necessary polarity between the unmediated experience and scriptural exegesis that is generally assumed in modern discourse. Rather than a singular voice for the Buddhist position on scriptural authority, it is important to acknowledge the polyphony of voices and perspectives, sometimes even contradicting one another, in different forms of Buddhism. It is thus critical to contextualize the multiple voices within the different historical and religious circumstances that engendered a particular perspective.It should be noted that my discussion is hardly intended to be a comprehensive survey, but focuses on three examples: early Buddhism, early Mahāyāna, and Chan Buddhism. They are chosen because they aptly illustrate how Buddhists reconceived scriptural or textual authority as part of a critical rethinking of Buddhist thought and practice. Moreover, while religious experience was regularly invoked to undermine the normative scriptural authority of the time, nevertheless, in all the examples considered in this paper, the undermining of “old” scriptural authority gave way to new scriptural or literary authorities. This prioritization of religious experience in reality rarely excludes scriptural or textual authorities, but was often adopted for polemical and rhetorical purposes. The paper concludes with an attempt to broaden the understanding of Buddhist scriptural authority by highlighting the authority of scriptures as material objects, a perspective that has been largely neglected in comparative cross-cultural studies of scriptures.5 On a cautionary note, I am using the word “scripture” in a broad sense to mean the body of sacred texts accepted as the authority by a given religious tradition. As historians of religion have noted, it is necessary to dissociate sacred texts (particularly those of Asian religions) from the concept of “scripture,” which in its literal sense, as used to discuss Abrahamic religions, means the “written word... (shrink)

Vision of the Historical role of Poland in Jan Hempel’s Sermons The article presents the vision of the role of Polish nation presented in two works written by Jan Hempel – Polish Sermons and Piast Sermons. The main purpose of the article is to provide the reader with Hempel’s reinterpretation of the role of Poles elaborated by the authors of the Romantic period who regarded Polish nation as the God’s chosen people. Hempel, being a lifelong critic of (...) Christianity, thought of Poland as the Antichrist of nations. With this view in mind he interpreted Polish history and the role of Polish nation in the history of world. Author of the article presents Hempel’s vision of the aforementioned role of Polish nation and seeks its sources in the writings of other thinkers. (shrink)

Many years ago Degas said "Il faut décourager les arts." I am far from agreeing, but I am ready to say that critics of a certain kind are in need of active discouragement. Too much is written about matters that should be taken in by the beholder as he hears or scans the work. It is not desirable that his conscious mind should entertain - or be prepared to entertain - clear statements of what he experiences under the spell of (...) a masterpiece. The very reason why art is finer when it shows rather than tells is that comprehension is then immediate, not discursive. Ideally, the spectator must absorb - in order to be absorbed; and this means that the critic should shut up until he is wanted. We have no need of a study of "Punctuality in Thomas Hardy." I am making up the subject, but everybody can think of dozens of comparable works of pseudo-scholarship and pseudo-criticism. Their only excuse is that the authors wrote them under Ph.Duress and cannot be blamed for being coerced. Jacques Barzun is University Professor at Columbia University. Among his numerous books are Classic, Romantic and Modern, Berlioz and the Romantic Century, The Use and Abuse of Art and, most recently, Clio and the Doctors: Psycho-History, Quanto-History, and History. (shrink)

Throughout 19th and the first half of 20th centuries, Polish thinkers largely supplanted political philosophy with the philosophy of history. Such an approach produced an essential continuum, despite marked differences of concepts in different political and theoretical contexts. This continuity finds a particular expression in two ideas, nascent already in the 15th and 16th century Polish political thought, i.e. the idea of Poland’s Historical Mission , and a notion of a specifically Polish Love of Freedom.The author (...) approaches this phenomenon by way of presenting three sets of concepts: the late-Enlightenment one of S. Staszic, the Romantic attempt of A. Cieszkowski, and M. Zdziechowski’s Neo-Romantic take. (shrink)

There is nothing like a little controversy to generate publicity for your new book. In May of 2016, two weeks before the release of The Gene: An Intimate History, author and physician Siddhartha Mukherjee published a New Yorker article that generated a firestorm of criticism. His subject was epigenetics, a newly popular subdiscipline of genetics that seeks to explain how an organism’s traits can be affected by factors other than its genes. The conventional view within biology is that an (...) organism’s physical traits are specified by its genetic information. Genotype determines pheno-type, and different phenotypes imply different genotypes. But findings within epigenetics suggest... (shrink)

In this paper I discuss a prehistory of the recent metaphilosophical research and provide an overview of its most important areas. I review the ways of understanding of philosophy by the authors of the Early Modernity and contemporary continental philosophers and outline a trajectory of metaphilosophical discussions in analytic philosophy of 20th century. I try to show that the recent surge of metaphilosophy research in it could be explained by a search for a new identity of analytic philosophy after wide (...) disappointment in the “linguistic turn,” as well as after criticism of Quine and his followers of various aspects of the common method of conceptual analysis, and expansion of the field of inquiry. I argue that contemporary analytic philosophy is much closer to the classical and modern tradition than to the early analytic philosophy. And the most important question for contemporary metaphilosophers seems to be a question about possible substitutes of an old-fashioned conceptual analysis. Some authors propose to get rid of armchair methods at all and follow experimental line of research. This, however, could be destructive to the philosophy as a separate discipline. That’s why it is important to pay utmost attention to those philosophers who try to save armchair philosophy. As Timothy Williamson is one of the most interesting authors working in this vein, I asses his role in the recent metaphilosophical research. I give a brief review of his book “Doing Philosophy” (2018) and draw attention to the fact that its main ideas are briefly expressed in his paper “Armchair Philosophy”, published in this issue of the journal. I claim that the importance of Timothy Williamson’s work is best explained by its role in realizing that philosophers now have to make a hard choice between dissolving philosophical methodology in methods of experimental sciences and trying to find way of justification of armchair philosophy. (shrink)

The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting (...) to delve into the way Crane approaches painting in general and Siqueiros’ œuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—”Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature. (shrink)

This book explores the representations of Central and Eastern European histories in digital games. Focusing on games that examine a range of national histories and heritages from across Central and Eastern Europe, the volume looks beyond the diversity of the local histories depicted in games, and the audience reception of these histories, to show a diversity of approaches which can be used in examining historical games - from postcolonialism to identity politics to heritage studies. The book includes chapters on Serbia, (...) Poland, Ukraine, Russia, Belarus, Hungary, Estonia, Slovakia, Czechia, Finland, and (a Western guest with regional connections) Luxembourg. Through the lens of videogames, the authors address how nations struggle with the legacies of war, colonialism and religious strife that have been a part of nation-building - but also how victimized cultures can survive, resist, and sometimes prevail. Appealing primarily to scholars in the fields of game studies, heritage studies, postcolonial criticism, and media studies, this book will be particularly useful for the subfields of historical game studies and postcolonial game studies. (shrink)

More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and (...) the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings. Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time. (shrink)

Benedetto Croce was a historian, humanist, political figure, and the foremost Italian philosopher of the early twentieth-century. A Croce Reader brings together the author's most important works across the fields of aesthetics, philosophy, history, literary criticism, and the Baroque and presents the "other" Croce that has been erased by scholarly tradition, including by Croce himself. Massimo Verdicchio traces the progress of Croce as a thinker, focusing on his philosophy of absolute historicism and its aesthetic implications. Unlike other anthologies, A (...) Croce Reader includes essays from the Aesthetics of 1902 and key studies on Vico, Hegel, and Pirandello. Verdicchio's masterful translation of the source material welcomes specialists and non-specialists alike to discover the "other" Croce for themselves. (shrink)

I begin by asking an engagingly naive question that a layman would have every right to put to us - and often has. Why should we interest ourselves seriously in the once-upon-a-time worlds of fiction - these unreal stories about unreal individuals? It has been a persistent question in the history of criticism - ever since Plato called the poet a liar - and it is a question at once obvious and embarrassing. It is obvious because, for the apologist (...) for imaginative literature, it becomes a prolegomenon to all further questions; and it is embarrassing because merely to ask it threatens to put literature out of business and, with it, all those who treat it as a serious and world-affecting art. Why, then, should we interest ourselves seriously in fictions? However elementary, it is a question that is more easily asked than answered. Murray Krieger is the author of The Tragic Vision and The Classic Vision, which have recently been reprinted in the two-volume paperback Visions of Extremity in Modern Literature. He is University Professor of English and director of the Program of Critical Theory at the University of California at Irvine. "Poetic Presence and Illusion: Renaissance Theory and the Duplicity of Metaphor," another contribution to Critical Inquiry, appeared in the Winter 1974 issue. See also: "The Dismantling of a Marionette Theater; or, Psychology and the Misinterpretation of Literature" by Erich Heller in Vol. 4, No. 3. (shrink)

Criticism of authority was a prominent feature of medieval philosophical writing. In this study the critiques of two contemporaneous scholars, Moses Maimonides and Fakhr al-Dīn al-Rāzī, are compared. Maimonides criticized Hellenistic authorities, mainly Aristotle. However, the starting point for his critique was Aristotle's admission of the limitations of his own inquiries. Maimonides admired Aristotle's questioning of his own conclusions; indeed, his own thought was characterized by constant self-doubt. Al-Rāzī criticized an earlier Muslim scholar, Ibn Sīnā , an intellectual giant whose (...) imprint was strongly felt in philosophy and medicine. Al Rāzī used his commentaries on a number of Ibn Sīnā's books as a stage for criticizing the master and for arguing for his own, alternative viewpoints. (shrink)

This book explores the representations of national Asian histories in digital games. Situated at the intersection of regional game studies and historical game studies, this book offers chapters on histories and heritages of Japan, China, Iran, Iraq, Taiwan, South Korea, Indonesia, Singapore, Turkey, and Russia. The volume looks beyond the diversity of the local histories depicted in games, and the audience reception of these histories, to show a diversity of approaches which can be used in examining historical games- from postcolonialism (...) to identity politics to heritage studies. It demonstrates various methodological approaches to historical/regional game studies: case studies of nationally produced historical games that deal with local history, studies of media reception of history/heritage-themed games, text-mining methods studying attitudes expressed by players of such games, and educational perspectives on games in teaching cultural heritage. Through the lens of videogames, the authors explore how nations struggle with the legacies of war, colonialism and religious strife that have been a part of nationbuilding - but also how victimized cultures can survive, resist, and sometimes prevail. Appealing primarily to scholars in the fields of game studies, heritage studies, postcolonial criticism, and media studies, this book will be particularly useful for the subfields of historical game studies and postcolonial game studies. (shrink)

I argue that, because God is the author of history and has a purpose for his creation, evolution has a plot and can be analyzed with tools drawn from literary criticism. This necessitates engagement with the “epic of evolution” genre of scientific literature. I survey several prominent versions of the epic and distinguish between a purely naturalistic epic of evolution and a goal‐oriented Christian epic of evolution (CEE). In dealing with CEE, I use the thought of J. R. R. (...) Tolkien, along with Kevin Vanhoozer and Dorothy Sayers, to discuss the ways in which we can theologically legitimate speaking of God as the “author” of evolutionary history. (shrink)

The article is dedicated to the early, Paris period of life and literary work of Nikolay Gumilyov (1906–1908), which is still insufficiently studied and understood by scholars. The paper aims to study the influence of this period on shaping Gumilyov’s personality and his spiritual values and aspirations, polishing of his literary taste, gradual gaining of an independent ideological and aesthetic platform and development of his inimitable poetic style. – The research for the paper was based on the comprehensive historical and (...) cultural approach, with application of literary and historical analysis techniques. This approach was used to consider the memoirs of his contemporaries, Gumilyov’s letters to Valery Bryusov, as well as his poetry, prose and art criticism during that period. Particular attention is paid to the history of publishing Sirius magazine and to such poorly studied aspects as the symbolic meaning of the magazine name and the first manifestations of acmeism in its aesthetic platform. The authors emphasize the fruitful and creative character of Gumilyov’s friendship with Sirius co-editor, artist and art critic M.V. Farmakovsky, whose name is unfairly forgotten. – They come to the conclusion that the “first Paris period” was not only the novice time for Gumilyov but also the start of his personal and creative self-identity. It was in Paris that the strong and persistent character of the poet was formed, his skills honed and his inimitable style created, with the colour-sound synthesis of the striking romantic picturesqueness and a clear strong word. Paris was the place of polishing the artistic taste, developing a comprehensive system of views, finding main poetic motifs and setting life goals of Gumilyov, a rising star of the Silver Age. (shrink)

The article presents the problem of dealing with the pestilence on the territory of the old Republic of Poland, with particular focus on the Żywiec County in the 16th to 8th century. The paper attempts to answer the questions of how the medics of that time dealt with epidemics, what actions were taken by ordinary people for whom the raging plague was often the result of the interference of demonic forces, and finally, what preventive measures against the plague were proposed (...) to the faithful by the Church. The source for the considerations is the Chronografia albo Dziejopis żywiecki [Chronography or the Żywiec Chronicle], the account of history of the town of Żywiec and the surrounding area covering the years 1400–1728, written by the mayor, Andrzej Komoniecki. The Chronicle brings back an extraordinarily colorful picture of old customs, beliefs and superstitions, as well as paramedical practices, which to our contemporary cultural sensitivity may appear bizarre, gruesome and terrifying. In preparing the article, the author also used extensive literature, primarily in the history of medicine.Among the research methods used in the study, it is worth mentioning, first of all: the explicative method, the method of document research, the method of analysis and criticism of sources, the method of cultural analysis and the method of stylistic-rhetorical analysis. In contemporary socio-cultural reality, the reading of the Chronografia takes on new meanings. In the context of the pandemic that struck the world in the 21st century, the extremely accurate accounts of the Żywiec chronicler seem particularly interesting, as they allow us to compare the attitude of our old Polish ancestors and ourselves in the face of a similar threat. This comparative leads us to believe that some of the measures taken to prevent the spread of infections, such as keeping a distance, limiting the number of participants at funerals, or not letting strangers into towns, are still taken today, while others, such as locking the sick up in huts, setting fire to infected houses, burying plague victims under fences, drowning them in rivers, or desecrating the bodies of the dead suspected of having caused the plague, are now happily forgotten. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;This thesis proposes that the death of the author is neither a desirable, nor properly attainable goal of criticism, and that the concept of the author remained profoundly active even--and especially--as its disappearance was being articulated. ;As the phrase implies, the death of the author is seen to repeat the Nietzschean deicide. In Barthes, the idea of the author is explicitly connected to that of God, for Foucault and (...) Derrida, to that of the transcendental subject of knowledge. Nowhere, however, is any demonstration forwarded as to why we must conceive author, transcendental subject, and divinity as specifications of the same subject, and therefore implicated in a common closure. Always and everywhere, the death of the author proceeds on the basis of an idealized conception of authorship. ;In practical terms, such are the pressures exerted upon critical discourse by the death of the author that the author is implied from the outset. Barthes will insist that the authorial subject is constituted in and through language, whilst also recommending that we should regard certain authors as "founders of languages". With Foucault, the requisite transindividuality of archaeology is subverted by the absolutely privileged, metahistorical status it bestows upon Nietzsche. Derrida's history of logocentrism denies the author precisely because of the exorbitant recourse it must make to Rousseau as the single systematized instance of an age of logocentric metaphysics. ;The placement of the author reflects the experience of these critics in writing their texts. In Barthes, the return of the author is inseparable from his own autobiographical project; with Foucault, it relates to the rejection of the transcendental detachment of the archaelogist in favour of the engaged subjectivity of the genealogist; in Derrida, authorial reinscription coincides with his attempt to move beyond critical reading toward autobiographical literature. With hindsight, it appears that it is the becoming-author of the critic that is actually at issue. ;However, this revisionary phase has been largely neglected, and Barthes, Foucault and Derrida are continually invoked to underwrite critical resistance to the author. From the Russian Formalists onward, literary theory has shown itself incapable of accommodating authorial subjectivity. As such, the question of the author increasingly presents itself as the question of theory, of its adequacy as a descriptive science of literature and discourse in general. (shrink)

Traces the development of Croce as an historian, from his early essays on Neopolitan art history up to his last writings on postwar Italy and Europe. It is maintained that Croce's historical works can only be understood in the light of a philosophic conception of man and human existence, and that this conception is itself a human creation in time. The author is not primarily interested in criticism, although he does occasionally take exception to Croce's ideas, notably in regard (...) to his view of the counter-reformation as a spiritually "negative" event.--R. H. (shrink)

If any emergent historical criticism will tend by its own choice toward inclusiveness and eclecticism, it is also likely to be constrained by more subtle forms of complicity with the theoretical subculture within which it seeks its audience. It is not in principle impossible that we might choose to set going an initiative that is very different indeed from the methods and approaches already in place. But is nonetheless clear that we must be aware, in some propaedeutic way, of the (...) predispositions for or against such change that are latent in the horizons of the field as they are presently conceived and transmitted. An account of these predispositions will take up most of the following essay. Whether or not the particular texts I shall discuss constitute anything as firm as an establishment in the absolute sense does not matter much: they neither sum up the ongoing careers of their particular authors, in the diachronic sense, nor do they represent any simple totality in the critical culture of the late 1960s. All we need here is the weaker assumption: that these writings by Derrida, Paul de Man, Michel Foucault, and Pierre Macherey do offer, by virtue of their very notoriety, evidence of the priorities within the discipline that have afforded them their reputations in the first place. Thus, while they do not in themselves prohibit the emergence of alternatives, they do give us clues about the residual pressures that might constrain those alternatives, and they signal the questions that the historical party must respond to if it is to be recognized as making an important contribution to a debate. My argument will be that the influential critics of the late 1960s have made it very hard indeed to find a place for history, so much so that the avowedly Marxist alternative set forth by Jameson finds itself making disabling concessions to those very influences. I do not claim to describe the entire range of options and alternatives, and indeed offer no discussion of the most excitingly contested field of all, that represented by contemporary feminisms. I mean instead to demonstrate, through a reading of those methodologies that have become authoritative, that the status of historical inquiry has been so eroded that its reactive renaissance, in whatever form, threatens to remain merely gestural and generic. “History” promises thus to function as legitimating any reference to a context beyond literature exclusively conceived, whether it be one of discourse, biography, political or material circumstance. In particular, given the current popularity of discourse analysis, it seems likely that for many practitioners the historical method will remain founded in covertly idealist reconstructions. David Simpson is professor of English and comparative literature at the University of Colorado, Boulder. He is the author of various books and essays, most recently The Politics of American English, 1776-1850 and Wordsworth’s Historical Imagination: The Poetry of Displacement. (shrink)

The main article is devoted to the historical and philosophical reconstruction of controversy between Vladimir Solovyov and the authors of the “Faith and Reason” - a magazine of the Kharkov Theological Seminary. This controversy took its place in the “theological and journalistic” or the “theocratic” period of Solovyov’s works. Particular attention is paid to the disputes of Solovyov and T. Stoyanov, A.P. Shost'in and the French Orthodox priest Fr. Vladimir Gette on the theory of dogmatic development in the church. In (...) the context of this controversy, the arguments for the “defense” of Solovyov's position, cited in the magazine “Orthodox Review” by a theologian and Konstantin Leontyev's follower Ivan Kristi are also analyzed. The reception of Solovyov's theocratic ideas and reaction to his ecclesiastical views in both the Catholic and Orthodox circles of Russian and Western society is shown. Especially it concerns the criticism of Solovyov’s ideas in the pages of the French magazines “L’Univers”, “L'Union Chrétienne”, “Revue d’Eglise greque-unie”, etc. The evolution of Solovyov's views on the problem of the union of Eastern and Western churches, the renewal of church communication between Orthodoxy and Catholicism, the main result of which was his fundamental but unfinished work “The History and Future of the Theocracy” was demonstrated. A conclusion about the “superficiality” of the judgments of the majority of Vladimir Solovyov's ideological opponents, as well as later interpreters of his legacy, following the French Jesuit Michel d'Erbigny, who tried to present him as a “Russian Newman” who converted from Orthodoxy into the Catholic faith is drawn. It is shown that Solovyov’s projects of the “religion of the Holy Spirit” and the “Universal Church”, created on its basis, should be considered primarily in the context of his own philosophical quest, and not in connection with the confessional and ideological divergences of his time. (shrink)

This article is framed by a wider interest in how literary careers are made: what mechanisms other than the personal/biographical and the text-centred evaluations of scholars influence a writer’s choices in persisting in building a succession of works that are both varied and yet form a consistently recognizable “brand.” Translation is one element in the wider network of “machinery” that makes modern literary publishing. It is a marker of success that might well keep authors going despite lack of sales or (...) negative reviews at home. Translation rights can provide useful supplementary funds to sustain a writer’s output. Access to new markets overseas might also inspire interest in countries and topics other than their usual focus or the demands of their home market. The Australian novelist and playwright Thomas Keneally achieved a critical regard for fictions of Australian history within a nationalist cultural resurgence, but to make a living as a writer he had to keep one eye on overseas markets as well. While his work on European topics has not always been celebrated at home, he has continued to write about them and to find readers in languages other than English. Poland features in a number of Keneally’s books and is one of the leading sources of translation for his work. The article explores possible causes and effects around this fact, and surveys some reader responses from Poland. It notes the connections that Keneally’s Catholic background and activist sympathies allow to modern Polish history and assesses the central place of his Booker-winning Schindler’s Ark filmed as Schindler’s List. (shrink)

The author analyzes recent Polish debates on researching silenced aspects of national history and the problem of the "collective guilt". One of the major questions arising in these debates is: does the study of "white spots" from the past lead to a trauma of continuous collective self-blame? In Poland, a specialized institution, the Institute of National Memory, was founded in 1998, engaging in research, documentation and public education on events related to German and Soviet occupation during WWII and (...) the activity of political police under communism. Polish debates on the past got particularly inflamed after the discovery made by the historian J.T.Gross on the participation of Poles in the massacre of Jewish inhabitants of the town of Jedwabne in 1941. His book published in 2000 provoked a heated debate in which methodological, political and moral arguments were used on both sides. This case also occasioned a polemic between two prominent historians, identifying two basic visions of national history: the "monumental" one, recognizing only the heroic deeds that the nation takes pride in, and the "skeptical" one, which looks for silenced and shameful facts. Though both participants in the polemic opt for the third vision, the "objective" history which dispassionately seeks the truth, one of them stresses the role of the monumental history in maintaining the cohesion of the national community, while the other emphasizes that the collective acknowledgement of the nation's crimes can be a basis for national pride.. U ovom clanku autor analizira debate koje se u Poljskoj vode oko istrazivanja precutanih aspekata nacionalne istorije i problema "kolektivne krivice". Jedno od osnovnih pitanja koja se u tim debatama namecu glasi: da li se istrazivanje "belih mrlja" iz proslosti moze, ili cak mora, pretvoriti u traumu neprekidnog kolektivnog samooptuzivanja? U Poljskoj je 1998. osnovana specijalizovana ustanova, Institut nacionalnog pamcenja, koji se bavi istrazivanjem, dokumentacijom i javnom edukacijom o dogadjajima vezanim za nemacku i sovjetsku okupaciju tokom II svetskog rata i delovanje politicke policije za vreme komunizma. Poljske debate o proslosti posebno je rasplamsalo otkrice istoricara J.T. Grosa o ucescu Poljaka u istrebljenju jevrejskog stanovnistva gradica Jedvabne 1941. godine. U zaostrenoj polemici koju je Grosova knjiga, objavljena 2000. godine, izazvala u strucnoj i siroj javnosti korisceni su argumenti metodoloske, politicke i moralne prirode. Ovaj slucaj je takodje posluzio kao povod za polemiku dvojice istaknutih istoricara u kojoj su identifikovane dve osnovne vizije nacionalne istorije: "monumentalna", koja priznaje samo herojska dela kojima se nacija ponosi, i "skepticna", koja traga za precutanim cinjenicama zbog kojih se treba stideti. Iako se oba ucesnika u polemici zalazu za trecu, "objektivnu" istoriju koja ce bez strasti tragati za istinom, jedan od njih naglasava ulogu monumentalne istorije u ocuvanju kohezivnosti nacionalne zajednice, dok drugi istice da i kolektivno priznanje sopstvenih zlocina moze biti osnova za nacionalni ponos. (shrink)

In the 1980s and 1990s, the theoretical energy in the study of religion came from postmodern theory and its appropriation by scholars who worked in, or at the margins of, the subfield called “philosophy of religion.” Today, philosophy of religion—at least in departments of religion and religious studies—threatens to kill itself with its own jargon; the theoretical energy in the study of religion comes from young scholars working in American religious history (such as John Modern, author of Secularism in (...) Antebellum America) and a coterie of thinkers associated with the journal Method and Theory in the Study of Religion (MTSR), notably Russell McCutcheon and Timothy Fitzgerald. These thinkers and others argue in various ways that the academic study of religion is rightly constrained by its academic context, and therefore requires the bracketing of all discourse from the study of religion (whether in the discipline of history of religions, or that of theology) that assumes a natural human. (shrink)

This is the long-awaited publication of a set of writings by the British philosopher, historian, and archaeologist R.G. Collingwood on critical, anthropological, and cultural themes only hinted at in his previously available work. At the core are six essays on folktale and magic in which Collingwood applies the principles of his philosophy of history to problems in the long-term evolution of human society and culture. The volume opens with three substantial introductory essays by the editors, authorities in their various (...) fields, who provide their explanatory and contextual notes to guide the reader through the texts. The Philosophy of Enchantment highlights the broad range of Collingwood's intellectual engagements, their integration, and their relevance to current areas of debate in the fields of philosophy, cultural studies, social and literary history, and anthropology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950Eva L. CorredorA History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950, by René Wellek; xvii & 458 pp. New Haven: Yale University Press, 1991, $42.50.The seventh volume of René Wellek’s history of modern criticism may well be the most interesting of his eight-volume monumental oeuvre. (...) Devoted to German, Russian, and Eastern European criticism between 1900 and 1950, it exemplifies most strikingly Wellek’s personal battles with critics who were roughly his contemporaries and closest to his own European background. “I should like to think of my History as ‘elucidatory,’ as not ‘argumentative’ or ‘polemical’” (v, xxi), Wellek writes, but he does not shrink from expressing his own critical perspective usually in a gentlemanly humorous or ironical, but occasionally also quite harsh and stubborn fashion. He insists on the importance of individual value judgments in critical analysis, particularly when they are his own: “I do not believe that... my views and those of my contemporaries will be replaced by completely different assumptions” (“Reflections on my History,” The Attack on Literature, Chapel Hill: University of North Carolina Press, 1982, p. 145).Since Wellek rejects the idea of a historical determinism and thinks that “an evolutionary history of criticism must fail” (The Attack, p. 144), he provides less a history than a collection of essays in which he offers succinct appraisals of writers, thinkers and critics both as individuals and as participants in the broader literary movements of the century. He presents “portraits” (p. xv), which he also calls “doxographies” (The Attack, p. 143), containing a vast amount of quotations carefully selected to support the authority of his own views or to let them speak for themselves when he would rather not comment.More than any previous work, this volume embodies Wellek’s will and determination to carry on against all odds even when he can no longer do so on his own. An accident in 1986 left him bedridden and dependent on students and secretaries to help him with his research and writing. He was able to draw on a wealth of previously published essays, some of which had been written more than three decades ago. There are some arguable inaccuracies and shortcomings (his canon includes obscure writers but not Adorno and [End Page 259] again no women writers), and problems with his bibliographies and references. Yet Wellek’s unique talent to assemble in one volume half a century of critical commentary on the literatures of half a dozen different cultures appears intact. So do his well-known critical positions.Among his most interesting essays are those on Spitzer, Auerbach, Ingarden, Bakhtin, and Benjamin, highly erudite men in whose company Wellek enjoys moving. On the other hand, some extraordinarily fertile minds and their enormous influence on the post-1950 critical discourse are often quickly dismissed or treated with unnecessary condescension. Young Roman Jakobson “should be forgotten” (p. 372). Freud’s psychoanalysis “seems forced and mistaken” (p. 79). Heidegger “often ascribes a meaning which seems to me absent in the text itself” (p. 89). Wellek’s low tolerance of any but his own interpretation of Dostoevsky appears repeatedly in this volume: Thomas Mann’s views are called “strange” and “distorted” (p. 12), Freud’s “deeply flawed” (p. 79), Bakhtin’s “simply wrong” (p. 357), and Lukács’s “simply... [those] of Communism” (p. 232). Wellek’s anti-historicism is dramatized in essays on Auerbach and his “historical perspectivism” (p. 132), vs. Spitzer who “always saw that there is a point at which historicism must fail” (p. 144). The vacuum of German criticism during the Nazi period is hauntingly demonstrated. The essays on Walter Benjamin, Bertholt Brecht, and in particular György Lukács reveal best Wellek’s notorious feuds with Marxists. Wellek indulges in a sarcastic critique of the Marxist Lukács’s “doctrinaire limitations” (p. 245) and attempts, wrongfully, to “prove” the Hungarian philosopher’s “exaltation of Socialist Realism” (p. 244). When in the mid-eighties and after much encouragement Wellek finally writes an essay on the early Lukács, he... (shrink)

One of Ireland's foremost literary and cultural historians, Terence Brown's command of the intellectual and cultural currents running through the Irish literary canon is second to none, and he has been enormously influential in shaping the field of Irish studies. These essays reflect the key themes of Brown's distinguished career, most crucially his critical engagement with the post-colonial model of Irish cultural and literary history currently dominant in Irish Studies. With essays on major figures such as Yeats, MacNeice, Joyce (...) and Beckett, as well as contemporary authors including Seamus Heaney, Derek Mahon, Michael Longley, Paul Muldoon and Brian Friel, this volume is a major contribution to scholarship, directing scholars and students to new approaches to twentieth-century Irish cultural and literary history. (shrink)

This article analyzes, Polanyi’s notion of authority in science and his criticism of Popper and Russell. It uses the history of early genetics and neo-Darwinism in order to examine the fruitfulness of Polanyi's concepts for an understanding of the history of biology. It discusses the responsibility of scientists in influential positions and shows that scientific authority is – as is criticism – indispensable for progress.

This is the long-awaited publication of a set of writings by the British philosopher, historian, and archaeologist R.G. Collingwood (1889-1943) on critical, anthropological, and cultural themes only hinted at in his previously available work. At the core are six essays on folktale and magic in which Collingwood applies the principles of his philosophy of history to problems in the long-term evolution of human society and culture. The volume opens with three substantial introductory essays by the editors, authorities in their (...) various fields, who provide their explanatory and contextual notes to guide the reader through the texts. The Philosophy of Enchantment highlights the broad range of Collingwood's intellectual engagements, their integration, and their relevance to current areas of debate in the fields of philosophy, cultural studies, social and literary history, and anthropology. (shrink)

Historical knowledge, this noted Dutch historian declares, should be a result of free investigation and criticism. Since it deals with facts, not imagination, it cannot be cast into a predetermined mold to fit a unified pattern of arbitrary principles. "The most we can hope for," he states, "is a partial rendering, an approximation, of the real truth about the past." In this succinct analysis of the philosophy and method of history, Professor Geyl examines the prevailing concepts of history (...) and the new "awareness of distance" from the past that was lacking in earlier historians. History, he points out, provides an elucidation of the present and its problems by showing them in perspective. This important study of the historical point of view is based on the author's Terry Lecture at Yale. (shrink)

American literary historians have viewed Ralph Waldo Emerson’s resignation from the Unitarian ministry in 1832 in favor of a literary career as emblematic of a main current in American literature. That current is directed toward the possession of a self that is independent and fundamentally opposed to the “accoutrements of society and civilization” and expresses a Transcendentalist antipathy toward all institutionalized forms of religious observance. In the ongoing revision of American literary history, this traditional reading of the supposed anti-institutionalism (...) of the Transcendentalists has been duly detailed and continually supported. Richard A. Grusin challenges both traditional and revisionist interpretations with detailed contextual studies of the hermeneutics of Ralph Waldo Emerson, Henry David Thoreau, and Theodore Parker. Informed by the past two decades of critical theory, Grusin examines the influence of the higher criticism of the Bible—which focuses on authorship, date, place of origin, circumstances of composition, and the historical credibility of biblical writings—on these writers. The author argues that the Transcendentalist appeal to the authority of the “self” is not an appeal to a source of authority independent of institutions, but to an authority fundamentally innate. (shrink)

The article is an attempt to indicate the presence of the ethics of civic virtues in Polish ethics, both old and modern, which is worth in-depth attention. Problems of civic morality have constantly accompanied ethics and morality in Poland since the Renaissance. Its content was usually a reflection of critical reflection on the defects of civic morality, especially of the nobility, and over time of the bourgeoisie, and at the same time it was normatively constructive as historical and political (...) changes and the scope of civil society expanded, formulating “the ideal of the citizen in a democratic system”. The author of the article selects from the history of Polish ethics the most important figures who address the issue of virtue ethics, showing its constant presence in history, using the prism of civic ethos as a key element for the ethics of public life. It was difficult to prove the existence of a specialized section of civic ethics, but the normative civic ethos can be reconstructed from the perspective of the ethics of virtue and social ethics in a broader sense. From the historical perspective, this ethos appears both as a certain set of practices, which was only outlined in the context of the article, and as an ordered product of normative thought. (shrink)

ABSTRACTThe aim of this article is to give an account of hope as it was understood by Józef Tischner a public intellectual and a prominent chaplain of the Polish Solidarity movement, which led to the fall of communism in Eastern Europe in 1989. The idea of hope was one of the basic ideas of the Solidarity movement, around which the daily experiences of its members were organized. The author thus offers insight into the intellectual history of the Eastern (...) European dissidence movement of the 1970s and 1980s. Referring to Tischner’s biography she describes some of the ways in which Western ideas crossed the Iron Courtain. Using the example of Tischner’s dialogue with, and critique of, Thomism, she explains how dissidents’ interest in phenomenology interacted with the heritage of European thought. The author shows that despite Tischner’s distancing himself from Aquinas’ thought, he remained under Aquinas’ influence, and his own ideas were not as different and incompatible with Thomism as is often believed. Given the rising interest in the question of the relation between hope and democracy today, the question of the meaning of hope is pending. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 211-222 [Access article in PDF] Criticism and the Terror of Nothingness C. Jason Lee DESTINY IS OFTEN ANOTHER NAME for narrative, it being the order we retrospectively find in scattered events. It is traditionally the role of the storyteller to create a believable narrative, with the reader investing attention into believing the story while the critic dissects the results to ascertain whether the magic (...) works. As Wallace Stevens put it, "we orchestrate a whole history and then imprison ourselves in the score, as if someone else had written it." 1 In the author's note to the second edition (1962) of Wise Blood (1949) Flannery O'Connor makes the point that her novel is a comic novel, yet its comedy does not lessen the depth of understanding it offers concerning the complexity of freedom. 2 The obsession with fate and destiny that swamps her characters, leads the reader into a gothic nightmare where humans in their attempt to re-create themselves dig themselves further into the graves of their dead relatives. For O'Connor free will does not mean one will but many wills conflicting in one man, and she explains the integrity of the central character of Wise Blood, Hazel Motes, as stemming from his vigorous attempts to rid himself of the "ragged figure who moves from tree to tree in the back of his mind."This figure is the Jesus of his grandfather, and it is also the religious preoccupation of the Deep South. Destiny has shaped his features and his character in the mold of his grandfather, and whomever he meets believes he too is a preacher. After establishing the Church Without Christ, like many sons attempting to shake off their origin, Hazel Motes realizes that his new way of behaving is in some sense being controlled [End Page 211] by his past and that he must shake off all vestiges to possess freedom. One might argue that, by eventually blinding himself, Hazel Motes is behaving as a soul who has given into the temptation of purgation, as if this is destiny. But it can be argued that this act is going against destiny, as it is an act that is perhaps trying to persuade God of something, despite the Oedipal connotations.Questioned by his landlady why he blinded himself he says to pay, and when asked to pay for what, he replies it does not matter what. Mrs. Flood is frightened of death, particularly death being one long blind existence, and Hazel Motes is a reminder to her of her destiny. This can be read as a judgment on life also. Yet she eventually decides to take care of him, for both altruistic and materialistic reasons, believing that his widow would inherit his war pension. Mrs. Flood, her name evocative of apocalyptic occurrences and Old Testament punishment, is a critic of the text; the text in this instance is nothing written but rather Motes himself. It seems that Hazel Motes, his name a reference to taking the mote out of one's own eye before you try and take the splinter out of another's, is punishing himself for his previous denial of Christ and for his sins, such as fornication, as with Mrs. Watts the prostitute and Sabbath Hawks, and murder, but also something more primal.After trying desperately to break the curse of his biological inheritance, his wise blood, just like the character Enoch Emery, it forces him to once again take on roles that deny him freedom. Hazel Motes may seem to a contemporary reader as a caricature, the mad preacher/antipreacher of the American South, but as V. S. Pritchett puts it, Hazel Motes is "entirely real" (p. viii). His self-blinding is part of his further alienation from the world, the world he has come back to after the "Great War." O'Connor shows how this watershed in human history was so devastating, Motes's new theology entirely rational. After having an insight into the world in reality through war, Hazel Motes is now "going to do some things... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le (...) vite de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

The first two volumes of a four-volume study, destined surely to become the standard work in its field. Literary criticism in the broadest sense is the book's subject, but the author tries to avoid purely philosophical aesthetics at one extreme--Kant is given 3 pages to Schiller's 24--as well as unsubstantiated judgments of taste at the other. Since he tries to see the past as bearing upon and productive of the literary theory of the present, the book might be said to (...) be more an account of the sources and growth of contemporary thinking about literature and criticism than a "history" in the usual sense. Professor Wellek has a rich store of scholarly knowledge at his disposal, and his interpretive generalizations are well supported by references and texts; yet the argument moves easily and clearly. A fine piece of creative scholarship.--V. C. C. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 59-74 [Access article in PDF] Francesco Patrizi in the "Time-Sack": History and Rhetorical Philosophy * Paul Richard Blum Contemporary theory of history is much concerned with the narrative structure of history, its nature, and its epistemic status. 1 The problem is not only that sources present events mostly wrapped in narrative language but also that temporality is (...) an inherent feature both of the events told and of storytelling. 2 Narrativity and temporality touch upon basic metaphysical and anthropological questions, as Paul Ricoeur has pointed out, if narration is to be understood as self-explanation of a human being in whom "time" occurs as "being-in-time." 3 The following paper cannot claim to contribute to the current debate but presents Francesco Patrizi (1529-97) 4 as a Renaissance philosopher who addressed several of these problems. In discussing his conceptions of history and time, however, it is the aim of this paper only to locate these within his own philosophy. [End Page 59]One of the unresolved problems in the writings of Francesco Patrizi is the difference between his earlier contributions to the humanistic canon and his late philosophical main treatise, Nova de universis Philosophia. The earlier writings conform to the usual humanist literary topics: the political program of a città felice, the treatises on honor, the poetic fury, Petrarch (1553), and then his two dialogues on history (1560) and rhetoric (1562). The two works which followed, the Discussiones peripateticae (1571) and the Poetics (1586), show a characteristic development of humanist thinking, namely, the differentiation of purely philological from essentially philosophical literature.Patrizi's Discussiones peripateticae 5 is a polemic against Aristotle, written from a Platonic viewpoint, but his own philosophy is concealed under a mass of philological material. In an attempt that seeks to be virtually definitive, he cites passages from Aristotle and the Peripatetic tradition in order to point out mistakes and contradictions. It was on this account that Giordano Bruno heaped ridicule on him, calling him "sterco di pedanti." Simply put, he tells us, Patrizi demonstrates "how like he is to an ox or an ass." One cannot say that he has understood Aristotle either well or ill, but merely that he has read him and reread him, cut him up and stitched him together, compared him with a thousand other Greek writers, friends and foes alike, and altogether gone to an immense deal of trouble, not only to no purpose whatsoever but also to our infinite disappointment. Anyone who wishes to see into just what folly and self-regarding vanity pedantic drudgery can plunge and sink should read this book. 6This was one contemporary reaction to Patrizi's attempt to explore all the possibilities of a humanistic style of literary criticism, via the comparison between Plato and Aristotle. 7The Poetics 8 is essentially divided into two quite distinct halves: Della poetica la deca istoriale and Della poetica la deca disputata. The first is a lexicon of [End Page 60] the ancient authors, categories, styles, etc., and the second a series of dissertations on the theory of poetry but these, too, with abundant reference to both ancient and contemporary literature.Finally, and entirely different in style, there is his principal work, the Nova de universis Philosophia (1591). 9 Here the philosopher systematically departs from his accustomed field, ranging from a theory of light (Panaugia), via a discussion on theological principles (Panarchia) and a theory of the soul (Pampsychia) to the Pancosmia, a treatise on cosmology and physics. Even to this work he appends a number of documentary excerpts, and there is no lack of excursions into literary history, but the main part of the work is entirely axiomatic--"methodical"--in approach and argumentative in style.These works of Patrizi represent the development of philosophical humanism in the sixteenth century, a development away from a unified presentation of the problems of the human sciences by the explicit use of the tools of literary rhetoric, and towards the research of philological sources on the one hand and... (shrink)

Contemporary HRM was introduced into Poland by the arrival of international corporations with their professional systems of Human Resource Management, which emphasizes ethical personnel management. This research is based on data collected from a questionnaire and interview of 40 women and men professional graduates of the 2004 Weekend MBA Program at Poznan University of Economics eliciting their perceptions of ethical issues in Polish HRM. The present Polish economic situation, with 19% unemployment, precipitates many ethical challenges. The questionnaire and (...) interviews resulted in 217 observations and specific examples of ethical HRM issues. Examples fall in two broad categories and five specific Human Resource areas. The broad external categories are: History and cultural attitudes and Exploitation of the current unemployment situation. Historical and cultural attitudes influence attitudes toward work; company discipline; property and ownership; law and social expectations at work. The history of personnel departments in Socialistic Poland explains many of these attitudes. The five specific categories are: Ethical issues in recruitment; Ethical issues in hiring ; Ethical issues in performance appraisals and promotions; Abuse of authority, and “Mobbing”. Ethical issues in these categories include correlation with appropriate Polish Labor and Penal Laws. This research reveals some HRM ethical challenges unique to Polish HRM. The research emphasizes professional HRM and ethical expectations, which are now being recognized and accepted as a strategic component of Polish management. (shrink)

Este trabajo pretende dejar de manifiesto la existencia de una figura o estructura teórica dentro de la obra del marxista latinoamericano Bolívar Echeverría, que muestre su organicidad interna y lógica argumental. A través de cuatro momentos, se recorre la totalidad de su producción teórica, siguiendo dos elementos estructurales; por un lado, el modo especifico en que el autor leyó la "crítica de la economía política" de Karl Marx, y, por el otro, su intento por desarrollar una crítica a la modernidad (...) capitalista desde la cultura política, a partir de los fundamentos de su lectura de Marx. This work tries to show the existence of a figure or theoretical structure within the work of the Latin American Marxist Bolívar Echeverría, which shows its internal organicity and logical argument. Through four moments, the entirety of its theoretical production is covered, following two structural elements; on the one hand, the specific way in which this author read Karl Marx's critique of political economy, and, on the other, his attempt to develop from it, a critique from political culture to capitalist modernity. (shrink)

Literary criticism is neither more nor less important today than it has been since the becoming an accepted activity in the Renaissance. The humanists of the sixteenth and seventeenth centuries created the institution of criticism as we know it: the recovery and analysis of works of art. They printed, edited, and interpreted texts that dated from antiquity and which had been lost or disheveled. Evangelical in their fervor, avid in their search for lost or buried riches, they also put into (...) circulation certain influential ideas. Perhaps the most important of these was that the authoritative version of a book is the original version, freed from interpolation and accretion. A correlative idea was that, similarly, one could rely on an original or natural light in the interpreter, an intuitive good sense that helped him to a true understanding of a text if it was a genuine text. . . . There are signs that we are now nearing the end of this Renaissance humanism. Not because of a determinist or providential march of history, but ideas eventually exhaust what influence they may have. Today, after all, there is no dearth of ancient texts, or of new ones. Editing, moreover, has become only too conscious of the difficulty of recovering an "original" version or edition: in Wordsworth scholarship, for example, the authority of the 1850 Prelude, the text approved by the poet shortly before his death, was challenged by the 1805-6 Prelude printed by de Sélincourt in the 1920s; and the authority of this is in turn being eroded by antecedent manuscripts, the so-called "Five-Books Prelude" and "Two-Part Prelude." It is equally precarious to establish the text of Emily Dickinson's poems—which of the variants are to be chosen as definitive? Or, from another angle, Melville's Billy Budd has become a mine for genetic speculation. Even when no editorial problem exists, a philosophical issue arises as to the concept of originality itself.1 · 1. For the time being, it is enough to quote Hegel's provocative attack on all "Ur-Metaphysics": "What comes later is more concrete and richer; the first is abstract, and least differentiated." Geoffrey Hartman, professor of English and comparative literature at Yale University, is the author of The Unmediated Vision, Andre Malraux, Wordsworth's Poetry, Beyond Formalism, and most recently The Fate of Reading. He is currently working on a book to be published in late 1977, Criticism in the Wilderness. (shrink)

This article will investigate the ways in which Polish illustrated press contributed to communicating and reporting the work of Polish émigré naturalists working in Latin America to the Polish general public living in the Prussian, Russian and Austrian partitions of the Polish‐Lithuanian Commonwealth 1844–1885. It examines the ways in which illustrations were used to shape the public's opinion about the significance of these migrants’ scientific achievements. The Polish illustrated press, its authors and editors were instrumental (...) in shaping the public's perceptions of the reach of Polish scientists, and exploring their impact on broader scientific debates, thereby situating Polish people and their work in a global context. The didactic and opinion‐making role of the illustrated press was highly influential among Polish audiences during this period, at a time when the survival of Polish identity, culture, language, and education was uncertain. Illustrated weeklies were one of the vectors through which high science was made accessible to the Polish public. A study of pictures in Polish illustrated press will help to explain how they contributed towards shaping the images in the public eye of naturalists’ scientific work, and discourses about science and its actors more broadly. (shrink)

The authors aptly describe their work as a narrative. The protagonists are sometimes great thinkers, sometimes ideas about literary criticism, sometimes different approaches to literature whose intermingling histories are here described. At the same time the authors are in quest of a varied and many-sided presentation of the nature and writing of literature. Accordingly the insights of philosophers and literary men are stressed more than the consistency of their opinions; understanding is valued more highly than the certainty of systems. In (...) this way classical texts are placed in an interesting new light and lesser known episodes of this history are brought to life.--R. G. S. (shrink)

There is a type of history of philosophy that involves both philosophical analysis and historical understanding. in this paper i try to show how this enterprise attempts to construct a surrogate author for the texts under investigation. in order to clarify this model of interpretation, i compare the notion of surrogate author with collingwood's notion of reenactment and with nehamas's criticism of foucault's conception of authorship. i also discuss the roles of history and philosophy both as part of (...) the internal process of constructing the surrogate author and as part of the external process of critically assessing the author's thought. (shrink)

The article is one of the last reflections of the outstanding mathematician, Academician of the Russian Academy of Sciences Viktor Nikolaevich Maslov, who passed away in August 2023. In it, in a free manner, the motives of personal biography are combined and easily turn into wise judgments about acute social conflicts of our time, it is shown that the real history of people and events found compromises and mutual understanding between seemingly irreconcilable ideas and positions. The Polish roots (...) of his biography in his worldview are surprisingly linked to the proximity of the mathematical ideas of the Banach space of the great Polish mathematician Stefan Banach with the indexes of his name, with the friendship and cooperation of Polish and Russian scientists. Social-democratic family traditions on the maternal and paternal lines are perfectly combined with patriotic service to the state and are imprinted with vivid examples. He contrasts one – sided ideas about Ukrainian nationalism with the experience of such a politician as Makhno, who was merciless even to the slightest manifestations of anti-Semitism, but most importantly, this is opposed by the unity of the origin of languages and the interweaving of cultural ties. The author expresses his belief in the international potential of socialist ideas, which is poorly used in solving modern social conflicts, in particular, in Ukraine, which he, as a person with Cossack roots, experiences with particular acuteness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950Eva L. CorredorA History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950, by René Wellek; xvii & 458 pp. New Haven: Yale University Press, 1991, $42.50.The seventh volume of René Wellek’s history of modern criticism may well be the most interesting of his eight-volume monumental oeuvre. (...) Devoted to German, Russian, and Eastern European criticism between 1900 and 1950, it exemplifies most strikingly Wellek’s personal battles with critics who were roughly his contemporaries and closest to his own European background. “I should like to think of my History as ‘elucidatory,’ as not ‘argumentative’ or ‘polemical’” (v, xxi), Wellek writes, but he does not shrink from expressing his own critical perspective usually in a gentlemanly humorous or ironical, but occasionally also quite harsh and stubborn fashion. He insists on the importance of individual value judgments in critical analysis, particularly when they are his own: “I do not believe that... my views and those of my contemporaries will be replaced by completely different assumptions” (“Reflections on my History,” The Attack on Literature, Chapel Hill: University of North Carolina Press, 1982, p. 145).Since Wellek rejects the idea of a historical determinism and thinks that “an evolutionary history of criticism must fail” (The Attack, p. 144), he provides less a history than a collection of essays in which he offers succinct appraisals of writers, thinkers and critics both as individuals and as participants in the broader literary movements of the century. He presents “portraits” (p. xv), which he also calls “doxographies” (The Attack, p. 143), containing a vast amount of quotations carefully selected to support the authority of his own views or to let them speak for themselves when he would rather not comment.More than any previous work, this volume embodies Wellek’s will and determination to carry on against all odds even when he can no longer do so on his own. An accident in 1986 left him bedridden and dependent on students and secretaries to help him with his research and writing. He was able to draw on a wealth of previously published essays, some of which had been written more than three decades ago. There are some arguable inaccuracies and shortcomings (his canon includes obscure writers but not Adorno and [End Page 259] again no women writers), and problems with his bibliographies and references. Yet Wellek’s unique talent to assemble in one volume half a century of critical commentary on the literatures of half a dozen different cultures appears intact. So do his well-known critical positions.Among his most interesting essays are those on Spitzer, Auerbach, Ingarden, Bakhtin, and Benjamin, highly erudite men in whose company Wellek enjoys moving. On the other hand, some extraordinarily fertile minds and their enormous influence on the post-1950 critical discourse are often quickly dismissed or treated with unnecessary condescension. Young Roman Jakobson “should be forgotten” (p. 372). Freud’s psychoanalysis “seems forced and mistaken” (p. 79). Heidegger “often ascribes a meaning which seems to me absent in the text itself” (p. 89). Wellek’s low tolerance of any but his own interpretation of Dostoevsky appears repeatedly in this volume: Thomas Mann’s views are called “strange” and “distorted” (p. 12), Freud’s “deeply flawed” (p. 79), Bakhtin’s “simply wrong” (p. 357), and Lukács’s “simply... [those] of Communism” (p. 232). Wellek’s anti-historicism is dramatized in essays on Auerbach and his “historical perspectivism” (p. 132), vs. Spitzer who “always saw that there is a point at which historicism must fail” (p. 144). The vacuum of German criticism during the Nazi period is hauntingly demonstrated. The essays on Walter Benjamin, Bertholt Brecht, and in particular György Lukács reveal best Wellek’s notorious feuds with Marxists. Wellek indulges in a sarcastic critique of the Marxist Lukács’s “doctrinaire limitations” (p. 245) and attempts, wrongfully, to “prove” the Hungarian philosopher’s “exaltation of Socialist Realism” (p. 244). When in the mid-eighties and after much encouragement Wellek finally writes an essay on the early Lukács, he... (shrink)