Badiou has said that his entire philosophical project stems from the need to “update” the traditional philosophical categories of Truth, Being, the Infinite and the Universal in the wake of the 19th Century German mathematician Georg Cantor’s explication of transfinite set theory. In his essay, “What is Love?”, he provides an account of one of the ways in which a post-Cantorian reconfiguration of the ontological status of the category of Woman might operate. This is given in the form of a (...) postscript subtitled “The Feminine Position and Humanity” wherein he gives Lacan’s conception of supplementary feminine jouissance “an extra turn of the screw”. This essay draws on Badiou’s reconfiguration of the philosophical category of Woman to examine the implications of another postscript, that which abruptly concludes the 2003 novel Elizabeth Costello by J. M. Coetzee. It reads Coetzee’s invention of the “Letter of Elizabeth, Lady Chandos” with recourse to Lacanian psychoanalytic theory and on through the ontological reconfiguration of the philosophical category of Woman demonstrated by Badiou. It argues that Coetzee assembles, through the intervention of the postscript, a situation that “makes it possible to argue”, along with Badiou, that, for the woman position, love knots together the four types of truths – Politics, Art, Science, and Love (2008, 196). (shrink)

A close look at the Jesuit and Catholic recusant network that existed in the English midlands yields a pathway to the Chandos portrait of Shakespeare. The portrait is traced from the 3rd Duke of Chandos to Grafton Manor, seat of the Shrewsbury earls and a principal Jesuit center in the Jesuit district comprising Worcestershire and Warwickshire created in 1623. The article finds that during Shakespeare’s lifetime, Grafton Manor was owned by a Catholic recusant member of the Talbot family (...) with ownership ties to Welbeck Abbey located in the small township of Holbeck, Nottinghamshire; the parish of Holbeck included Welbeck Abbey and the adjacent Holbeck Hall, which was owned by the family that sheltered Edmund Campion and which served later as home to a major Jesuit library and as a shelter for Jesuits themselves. Keeping in mind Shakespeare’s indebtedness to North family writings as source material for the plays, the article finds that the provenance of an unpublished manuscript by George North which influenced Shakespeare, the manuscript’s content, and George North’s circle of acquaintances lead directly to Edmund Campion and the Pierrepont family that sheltered him before his execution by the crown in 1581. The article shows ties of the George North manuscript to Welbeck Abbey, ties of the North family to the nearby Wroxton Abbey, and possible ties of the alleged painter of the Chandos portrait to the North family at Wroxton Abbey. The article is written in response to the recently published book by Dennis McCarthy and June Schlueter on the discovery of an unpublished manuscript written by George North that they believe inspired Shakespeare. Further shown through parallel language and thought that George North in writing A Brief Discourse likely drew material from Campion’s Histories of Ireland, including material that eventually led to the episodes on Jack Cade in 2 Henry VI and the Merlin prophecy in King Lear—all before Campion’s Histories was absorbed by Holinshed’s Chronicles and ultimately absorbed by Shakespeare. The article, utilizing research by an eminent Jesuit historian showing a personally advantageous relationship between George North’s patron, the Queen’s favored Sir Christopher Hatton, and the Jesuit William Crichton, traces the Shakespeare First Folio discovered on the Isle of Bute in 2016 back through time to the North family and ultimately to the Jesuit Crichton. In consideration of a probable biographical relationship between Shakespeare and Hatton, another connection between Shakespeare and the Jesuits is revealed. Lastly, the article details textual support for the author’s previous research showing a relationship between the writings of the Jesuit John Floyd and the Shakespearean canon—hinting that Shakespeare assisted the Jesuits. (shrink)

Fruto da colaboração de quatro autores com ligação à Universidade de Salamanca (José-Antonio Cordón-García, Julio Alonso-Arévalo, Raquel Gómez-Díaz, Daniel Linder), Social Reading: platforms, applications, clouds and tags pretende fazer a defesa do conceito e, principalmente, das práticas de leitura social em ambiente digital. E fá-lo apresentando, além da necessária contextualização teórica, efectuada sobretudo no primeiro capítulo, uma série de conselhos e recomendações de plataformas, disp...

En Métaphysique du sentiment, Renaud Barbaras contrapone una teoría del amor y de la superabundancia del ser –que se fenomenaliza sin agotarse nunca– a una tendencia acósmica del existencialismo –según la cual la fenomenalización comienza cuando el ser humano es arrebatado de la absorción a lo que simplemente es–. Por otro lado, Barbaras desarrolla una teoría del exilio humano, esta vez utilizando todos los códigos del mito de la separación. Este artículo analiza la fuerte tensión que existe en Métaphysique du (...) sentiment entre una línea plotiniana y otra opuesta, gnóstica. Muestra que esta tensión es una nueva expresión de un patrón fundamental y recurrente en la filosofía moderna y contemporánea, para el que he acuñado el nombre de complejo de Chandos. Este complejo se manifiesta en el intento de mantener unidas, de forma inevitablemente escenificada y engañosa, la narrativa de una supuesta continuidad dichosa entre lo humano y la naturaleza, y la del patético desarraigo que separa a los sujetos de la naturaleza. También encontramos este complejo en cierta ambigüedad de la teoría de la carne de Merleau-Ponty. En el Seminario de Buenos Aires, sin embargo, Barbaras esboza una vía alternativa, que será el eje de L’appartenance, y que nos permitirá superar esta moderna narrativa chandossiana. Para lograr tal superación, este trabajo propone definir el ser como una proliferación de diversos y ya poéticos procesos de individuación. (shrink)

Against attempts to vacate silence of the possibility of expression, and empty the expression of its own silence, this article proposes as a task for our contemporary world that we should be silence-trackers. This task is not easy, since the decisive silence cannot be heard, but it is treasured within the words and works as their last and most inspired truth. To that end, it is taken as a guide the famous Letter of Lord Chandos (Hofmannsthal), who claims his (...) silence-in-transit (exceeded by a new experience of the overwhelming richness of reality), as well as Blanchot’s reflections on the relationship between silence and inspiration. In the second part, the article “tracks”, as “exemplary” examples, the silences of A. López (Dream of Light) and the one involved in the secret of “Rosebud” (Citizen Kane, Welles).Keywords: silence, inspiration, expression, Chandos, Hofmannsthal, Blanchot. (shrink)

From Stage to Studio: Performances versus Recordings in Classical Music presents a cultural study of classical music-making through the analysis of live and studio performances of orchestral and operatic repertoire conducted by Sir Charles Mackerras. The close listening analysis is based on detailed research into Mackerras's private collection of over 600 reel-to-reel and cassette tapes containing recordings of over 1,000 live performances which he conducted between the 1950s and the late 1990s. This is contextualized with evidence collected during ethnographic fieldwork (...) observations, presenting the opinions of Sir Charles, orchestral musicians from major London orchestras and opera houses with whom he was working (Philharmonia, Orchestra of the Age of Enlightenment, Royal Opera House, English National Opera), and production team members working for recording industry leaders (such as Decca, EMI, and Chandos). This ethnography of classical music-making gives a voice to performers and music professionals, brings to light some important and heretofore hidden issues and explores a fascinating time of intense change in the recording industry. Including consideration of ways forward for performance, education, and recording, this book will be relevant to specialist practitioners, as well as music enthusiasts interested in concert life and recording studio habits, professional performers, recordists, music students, educators, and scholars interested in classical music. (shrink)

It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...) in “elevated” form, such writing bore too close a connection to ordinary discourse. Indeed, it was precisely the mutually shared, conventional aspects of language that came to be most deeply distrusted for their failure to mirror the more subjective, obscure, and improbable manifestations of a transcendent reality or, rather, realities—the plural reflecting an insistence upon the optional and provisional nature of human experience. Language in its normal manifestations—with its conventionalized vocabulary and standardized rules for syntactical combination—proved inadequate for an artistic sensibility demanding, in Friedrich Nietzsche’s words, “a world of abnormally drawn perspectives.”This dissatisfaction with “normal” language received its classic statement through Hugo von Hofmannsthal’s Lord Chandos. Writing in 1902, Hofmannsthal conveys through the figure of the aristocratic Chandos the loss of an encompassing framework within which the various objects of external reality are connected with one another and integrated with the internal reality of human feelings. Chandos’ world has become one of disparate, disconnected fragments, resistant to the abstractions of ordinary language. It is a world characterized by “a sort of feverish thought, but thought in a material that is more immediate, more fluid, and more intense than that of language.” Chandos longs for a new language in which not a single word is known to me, a language in which mute objects speak to me and in which perhaps one day, in the grave, I will give account of myself before an unknown judge.”2 The content and forms of art thus shifted away from exterior reality, which no longer provided a stable, “given” material, toward language itself—to “pure” language in a sense closely related to the symbolists’ “pure” poetry. “No artist tolerates reality,” Nietzsche proclaimed.3 And Gustave Flaubert’s farsighted advice to himself was that he should write “a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style.”4 2. Hugo von Hofmannsthal, “Ein Brief,” Gesammelte Werke, ed. Bernd Schoeller with Rudolf Hirsch, 10 vols. , 7:471-72; my translation. All further translations are my own unless otherwise indicated.3. Friedrich Nitzsche, Complete Works, ed. Oscar Levy, 18 vols. , vol. 15, The Will to Power, trans. Anthony M. Ludovici, p. 74.4. Gustave Flaubert, Flaubert to Louise Colet, 16 Jan. 1852, The Letters of Gustave Flaubert 1830-1857, ed. and trans. Francis Steegmuller , p. 154. Other passages in this letter are equally remarkable for their “modernist” tone. Flaubert argues that from the standpoint of l’Art pur, “one might almost establish the axiom that there is no such thing as subject—style in itself being an absolute manner of seeing things” . Further:The finest works are those that contain the least matter; the closer expression comes to thought, the closer language comes to coinciding and merging with it, the finer the result. I believe the future of Art lies in this direction. I see it, as it has developed from its beginnings, growing progressively more ethereal …. Form, in becoming more skillful, becomes attenuated, it leaves behind all liturgy, rule, measure; the epic is discarded in favor of the novel, verse in favor of prose; there is no longer any orthodoxy, and form is as free as the will of its creator. This progressive shedding of the burden of tradition can be observed everywhere: governments have gone through similar evolution, from oriental despotisms to the socialisms of the future. [P. 154] Robert P. Morgan, professor of music at the University of Chicago, is currently writing a history of twentieth-century music and working on a study of form in nineteenth-century music. His previous contributions to Critical Inquiry are “On the Analysis of Recent Music” and “Musical Time/Musical Space”. (shrink)

in Neil Jacobs (ed.), Open Access: Key strategic, technical and economic aspects, Chandos Publishing, 2006.

in Neil Jacobs (ed.), Open Access: Key strategic, technical and economic aspects, Chandos Publishing, 2006.