Why do Americans, and so often, American writers, profess moral sentiments and yet write so little in the traditionally "moralistic" genres of maxim and fable? What is the relation between "moral" concerns and literary theory? Can any sort of morality survive the supposed nihilism of deconstruction? Jefferson Humphries undertakes a discussion of questions like these through a comparative reading of the ways in which moral issues surface in French and American literature. Humphries takes issue with the "amoral" (...) view of deconstruction espoused by many of its detractors, arguing that the debate between the theory's advocates and opponents comes down to two opposing literary and moral traditions. While the American tradition views morality as a rigid system capable of being enforced by injunctions along the lines of "Thou shalt" and "Thou shalt not," the French tradition conceives of morality as a function of a relentless and unsentimental pursuit of truth, and finally, an admission that "truth" is not a static thing, but rather an ongoing process of rigorous thought. (shrink)

This article offers an innovative perspective on the literary landscapes of the 1960s in France, Ukraine, and the USA serving as exemplars of a global literary project that views literary works as heterotopias that, while being distinct, collectively constitute a cohesive whole. Using a comparative approach, complemented with distant reading techniques, the study examines how these literary realms are interconnected, revealing shared aesthetic foundations guided by an overarching law. This law, rooted in Theodor Adorno’s concept of negativity, becomes evident (...) in in countercultural movements and consequential shifts in literary form, content, and canon. While not the primary focus of analysis, other unifying elements in this global literary panorama include dissent as defined by Jaques Rancière, and a Sartrian-infused interpretation of existentialism. The article suggests that this global phenomenon may have emerged due to the confluence of two factors: the seismic global impact of events like WWII and the evolving postmodern trajectory of the era. (shrink)

Eric Prieto is a professor of French and Comparative Literature at the University of California, Santa Barbara. He is the author of Listening In: Music, Mind, and the Modernist Narrative, and numerous essays on music-and-literature, literary spatiality, Caribbean literature, and literary theory.

(1987). French and American women in the age of democratic revolution, 1770–1815: A comparative perspective. History of European Ideas: Vol. 8, No. 4-5, pp. 597-609.

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Several studies have explored differences between North American and European doctor patient relationships. They have focused primarily on differences in philosophical traditions and historic and socioeconomic factors between these two regions that might lead to differences in behaviour, as well as divergent concepts in and justifications of medical practice. However, few empirical intercultural studies have been carried out to identify in practice these cultural differences. This lack of standard comparative empirical studies led us to compare differences between France and (...) the USA regarding end-of-life decision-making. We tested certain assertions put forward by bioethicists concerning the impact of culture on the acceptance of advance directives in such decisions. In particular, we compared North American and French intensive care professional's attitudes toward: (1) advance directives, and (2) the role of the family in decisions to withhold or withdraw life-support. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Object of French Studies GebrauchkunstRichard Klein (bio)If I may say something about the title—it points to the possibility that we are discussing the nature and future of French studies at the precise moment that France is about to disappear. There are those who believe that on January 1, 1999, when the euro becomes the common currency of the European Union, France will become a province of (...) Germany. Effectively real sovereignty will pass from Paris to Frankfurt.Already there are those at Cornell, for example, who think that we, in the French section, should seek to merge with the German department. I support the move (which isn’t going to happen), if only as a permanent reminder to avoid the fetishism of French. In today’s world, French is a question more than an answer to any question. French studies should be open even to the possibility that, these days, to speak French, it is becoming more and more necessary to speak German. The opposite has been true for a long time, as the French smugly know all too well—having for centuries lent their language of refinement and savoir-vivre to the Huns. The imminence of the conjuncture should remind us, too, that French studies is itself situated within the history of French—is transformed in its possibilities and embodiments by that history and by what is happening now, as we say, historically. Finally, the point here is to recall that the question of French studies has a history, that it is not merely being invented at this moment, but also reactivated as an object of discussion and debate.In fact, the current debate has been going on for some time. In 1993–94 the issue was addressed at two national conferences: a two-part symposium was organized by the Committee for the Future of French Studies at the University of Pennsylvania and the University of Wisconsin; another was held at New York University organized by the Association for French Cultural Studies and the Institute of French Studies. Summer institutes at Dartmouth and Northwestern have dealt with the issue. There is a large and growing bibliography. I cite some of the most prominent recent articles—to judge by how frequently they are cited in others I have read:—Emily Apter, “Comparative Exile: Competing Margins in the History of Comparative Literature.”—Lawrence Kritzman, “Identity Crises: France, Culture, and the Idea of the Nation.—Marie-Pierre Le Hir, “French Cultural Studies in the United States.”—Sandy Petrey, “French Studies/Cultural Studies: Reciprocal Invigoration or Mutual Destruction?”—Kristen Ross, Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture (often cited as the best example we have of what French studies might be).—Kristen Ross, “World Literature and Cultural Studies.”—Thomas Pavel, “Les études culturelles: Une nouvelle discipline?” Many questions have been raised in these articles about the possibility and necessity of doing French studies. There are those here who take it for granted that one can identify something French, can locate whatever it is that may be said to participate in a specifically French identity. Some, like Pavel, see French studies (and a fortiori so-called cultural [End Page 5] studies) as an excuse for doing n’importe quoi; it defies definition and merely authorizes more confusion and incoherence. Others, like Kritzman, have a more optimistic notion of how one could define French studies without abandoning some notion of the specificity and uniqueness, the irreducible identity of what is called French.Some critics, like Ross and Le Hir, tend to see French studies as inevitably serving to dissolve any particularism associated with French. What is called French culture has been irretrievably pluralized by the effects of decolonization, by the multiplication of francophonies and by their insertion into an Americanized system of globalization. Kids in suburbs of Paris and Cairo wear American baseball hats turned around and grow up eating McDonald’s. Where is the French in that? The object of French studies may be nothing but France’s assimilationist tendency to colonize others, to claim a universal mission, even as it is transformed by its own failed colonial history and by the very diversity it aims to... (shrink)

The idea to write this essay came after I studied, almost in the same period, the works of two major contemporary philosophers: the US-American Michael Heim, known as the best theorist of virtual reality, and the French Gilles Deleuze. At the beginning of the new millennium, I have noticed many challenging transformations in art and literature, influenced by the emerging of the new technologies and the self-transformation that it is currently undergoing. This was the major reason I tried (...) to launch a new concept, post-literarure, in order to describe the complex forms of art in the contemporary culture. The concept of post-literature defines metamorphoses and tensions in the world of contemporary creativity, the co-existence, even merging of fields with autonomous profiles in the past. In my opinion the changes are so radical and quick that we can already talk about a new cultural paradigm in this post-literary epoch, with so many amazing projects imagined by kinetic and temporary organizations, focused on interdisciplinary work and hybridization, on substitution of confrontation between interfering disciplines by dialogue and cohabitation among them, on interchangeability and virtual textualism. (shrink)

This article approaches work talk, a neglected but vital object of sociological inquiry, as a possible key to unlocking the mystery of the contemporary work ethic as it appears among male professionals living and working in the United States and Western Europe. This analytical task is carried out through a close examination of the contrasting rhetorics, scripts, and vocabularies anchoring French, Norwegian, and American forms of hard work talk. This comparative exercise capitalizes on material from over one hundred (...) in-depth interviews with comparable French, Norwegian, and American male business professionals working in finance, law, consulting, engineering and other professional fields. Scrutinizing the scripts that members of these three groups use to address their motives for working hard in demanding jobs, this article maps a legitimation divide between the American respondents and their French and Norwegian counterparts. The hard work commentaries of the French and Norwegian respondents feature script repertoires that focus exclusively on the stimulating and enriching character of their work activities. By contrast, the commentaries of the American respondents incorporate overachievement scripts addressing both the extrinsic rewards of work and the personality traits that make hard work a natural expression of personality. These hard work commentaries invoke career success and moneymaking as inducements to hard work. But they also invoke personality traits such as drive and the innate aversion to leisure. This transatlantic divide reflects the greater cultural resonance of self-realization in the two European contexts and the fact that the French and Norwegians have embraced a more Maslowian approach to working life. As I argue in the article’s conclusion, these transatlantic differences in script repertoires can be viewed as the product of the societally specific cultural configurations at work in the three countries. Such cultural configurations define what it means—in terms of status and authenticity—to work hard in a remunerative and rewarding job. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A View on the Future of an International Philosophy of Music Education:A Plea for a Comparative StrategyFrede V. NielsenIn the preface to the revised edition of my book, Almen musikdidaktik (The General Didaktik of Music) published in 1998, I wrote that the bibliography had been supplemented with a great deal of music education literature that had been published since the first edition of the book came out (...) in 1994. I drew attention in particular to, among other things, the journal Philosophy of Music Education Review, which began in 1993. I found that publication of this journal was significant and interesting not least because it continuously supplemented the approach to a theoretical and philosophic music pedagogical reflection with new English language literature. At the same time, it provided an opportunity to ask what sort of concepts and phenomena 'the philosophy of music education' and 'the philosophy of music teaching and learning' really are and what sort of functions they can have in relation to practice-oriented music education, including the education of music teachers. Therefore, the publication of PMER was a great step forward. But, like all such steps, it also revealed interesting issues and raised new questions. [End Page 7]In the Scandinavian countries too the research-based and theory-oriented music education literature has grown considerably since the early 1990s. This is the result of local initiatives in individual countries as well as Nordic cooperation in the form of the Nordic Network for Research in Music Education, which was formalized and institutionalized in 1992. The publication of the network's yearbooks, Nordic Research in Music Education–Yearbook, since 1995 is noteworthy in this context. In our part of the world this was another step forward, but one that also raised some challenging questions. In particular it gave rise to the question: What is the structure of the object of study for music education as a science and how can this object of study be delimited appropriately in relation to other disciplines? I think we have moved further toward giving reflected and well-founded answers to these questions, even though the answers are not unambiguous and may create problems in relation to the institutional affiliations of music pedagogy as a theoretical and scientific discipline.My first encounter with the initiators of the PME symposia took place in 2003 when I attended PME-5 in Lake Forest near Chicago. Even though there were participants from a number of different countries, including the Scandinavian countries (but none, for example, from Germany), it was clear that the event was dominated by North Americans. I contributed with a paper that was based on German and Nordic didactic (didactological) theory, which apparently was quite unfamiliar to most of the conference participants. To me this was a reminder of how important it is that a society that calls itself "international" should strive to embrace and include various traditions from several different points of view if it is to live up to the designation "international."The International Society for the Philosophy of Music Education (ISPME) was formally founded at the symposium in Lake Forest. For the past two years I have enjoyed the honor of being the society's co-chair together with Estelle Jorgensen. As those of you who attended the symposium in 2003 know, I accepted this task only after some hesitation and with some reservations. Since then I have had the opportunity to consider and experience what the task entails.I mentioned that my impression of PME-5 in Lake Forest was that it was dominated by North Americans. This was no wonder, since PME-5 took place in that part of the world. Moreover, the initiative behind the PME symposia originally came from the USA and Canada. Nonetheless, it gave impetus to a broader international orientation when the ISPME was founded two years ago.I come from a Scandinavian country. Scandinavia is a small language area situated in the northernmost region of Europe and has historically been very dependent on external cultural impulses. For centuries these have not least come from continental Europe and this is also true of the fields of education, philosophy, and music culture. The French and... (shrink)

“A great story, full of twists and turns.... Careers made and ruined, departments torn apart, writing programs turned into sensitivity seminars, political witch hunts, public opprobrium, ignorant media attacks, the whole ball of wax. Read it and laugh or read it and weep. I can hardly wait for the movie.” —Stanley Fish, _Think Again, New York Times_ “In such a difficult genre, full of traps and obstacles, French Theory is a success and a remarkable book in every respect: it (...) is fair, balanced, and informed. I am sure this book will become the reference on both sides of the Atlantic.” —Jacques Derrida “The Atlantic Ocean has two sides, and so does French Theory. Reinvented in America and betrayed in its own country, it has become the most radical intellectual movement in the West with global reach, rewriting Marx in light of late capitalism. Breathtakingly moving back and forth between the two cultures, Francois Cusset takes us through a dazzling intellectual adventure that illuminates the past thirty years, and many more decades to come.” —Sylvere Lotringer During the last three decades of the twentieth century, a disparate group of radical French thinkers achieved an improbable level of influence and fame in the United States. Compared by at least one journalist to the British rock ‘n’ roll invasion, the arrival of works by Michel Foucault, Jacques Derrida, Jean-François Lyotard, Jean Baudrillard, Gilles Deleuze, and Félix Guattari on American shores in the late 1970s and 1980s caused a sensation. Outside the academy, “French theory” had a profound impact on the era’s emerging identity politics while also becoming, in the 1980s, the target of right-wing propagandists. At the same time in academic departments across the country, their poststructuralist form of radical suspicion transformed disciplines from literature to anthropology to architecture. By the 1990s, French theory was woven deeply into America’s cultural and intellectual fabric. French Theory is the first comprehensive account of the American fortunes of these unlikely philosophical celebrities. François Cusset looks at why America proved to be such fertile ground for French theory, how such demanding writings could become so widely influential, and the peculiarly American readings of these works. Reveling in the gossipy history, Cusset also provides a lively exploration of the many provocative critical practices inspired by French theory. Ultimately, he dares to shine a bright light on the exultation of these thinkers to assess the relevance of critical theory to social and political activism today-showing, finally, how French theory has become inextricably bound with American life. François Cusset, a writer and intellectual historian, teaches contemporary French thought in Paris at the Institut d’Etudes Politiques and at Columbia University’s Reid Hall. His books include Queer Critics and La Décennie. Jeff Fort is assistant professor of French at the University of California, Davis. He has translated works by Maurice Blanchot, Jean Genet, and Jean-Luc Nancy. (shrink)

“The object of this book,” writes William C. Dowling in his preface, “is to make the key concepts of Paul Ricoeur’s _Time and Narrative_ available to readers who might have felt bewildered by the twists and turns of its argument.” The sources of puzzlement are, he notes, many. For some, it is Ricoeur’s famously indirect style of presentation, in which the polarities of argument and exegesis seem so often and so suddenly to have reversed themselves. For others, it is the (...) extraordinary intellectual range of Ricoeur’s argument, drawing on traditions as distant from each other as Heideggerian existentialism, French structuralism, and Anglo-American analytic philosophy. Yet beneath the labyrinthian surface of Ricoeur’s _Temps et récit_, Dowling reveals a single extended argument that, though developed unsystematically, is meant to be understood in systematic terms. __Ricoeur on Time and Narrative_ _presents that argument in clear and concise terms, in a way that will be enlightening both to readers new to Ricoeur and those who may have felt themselves adrift in the complexities of _Temps et récit,_ Ricoeur’s last major philosophical work. Dowling divides his discussion into six chapters, all closely involved with specific arguments in _Temps et récit_: on mimesis, time, narrativity, semantics of action, poetics of history, and poetics of fiction. Additionally, Dowling provides a preface that lays out the French intellectual context of Ricoeur's philosophical method. An appendix presents his English translation of a personal interview in which Ricoeur, having completed _Time and Narrative, _looks back over his long career as an internationally renowned philosopher. __Ricoeur on Time and Narrative___ _communicates to readers the intellectual excitement of following Ricoeur’s dismantling of established theories and arguments—Aristotle and Augustine and Husserl on time, Frye and Greimas on narrative structure, Arthur Danto and Louis O. Mink on the nature of historical explanation—while coming to see how, under the pressure of Ricoeur’s analysis, these ideas are reconstituted and revealed in a new set of relations to one another. "The scholarship in William C. Dowling's __Ricoeur on Time and Narrative____ __is impeccable; Dowling knows Ricoeur inside out. He highlights Ricoeur's most important arguments, presents them in a limpid, concise language, and links them to the relevant nineteenth- and twentieth-century philosophical developments. Dowling's book provides us with a lucid, intelligible version of Ricoeur's major work, one that will be of considerable significance to philosophers, historians, and literary theorists." —_Thomas Pavel, Gordon J. Laing Distinguished Service Professor of French Literature, and the Committee on Social Thought, University of Chicago_ "William C. Dowling's __Ricoeur on Time and Narrative___ _is a subtle and remarkably well-sustained piece of work. It provides a detailed introduction to a major work of philosophy and narrative theory—already a considerable achievement, given the difficulty of Ricoeur's text. However, Dowling also shows us, sometimes explicitly, sometimes simply through the way he conducts his argument, why we should bother with Ricoeur—what we have to gain from knowing him better than we do, however well we may think we know him." —_Michael Wood, Charles Barnwell Straut Class of 1923 Professor of English and Comparative Literature, Princeton University _. (shrink)

In the Western media, stories about China seem to fall into one of two categories: China’s astounding economic development or its human rights abuses. As human rights discourses follow increasingly hegemonic conventions, especially with regard to China, many of their key assumptions remain unexamined. This special issue—the second in a two-part series beginning with “Cosmologies of the Human”—critically investigates the relationship between China and the human as it plays out in law, politics, biopolitics, political economy, labor, medicine, and culture. The (...) contributors interrogate the evolving meanings of “China” and “the human,” both inside China and internationally. The issue tracks the ways in which global discourses treat China—still officially socialist—as similar to, different from, and alternative to Western capitalist modernities. Several essays probe the modern theoretical underpinnings of human rights abuses in China, including a crucial distinction between “the human” and “the people.” Others review the impact of Maoism on Marxist debates in China and in the West, as well as the specific influences of Mao’s writings on French politics and theory in the 1960s. A visual dossier compares eight contemporary Chinese artists, directors, and public image-makers in order to discuss the figure of the human from Tiananmen Square to the 2008 Beijing Olympics. While many contributors discuss China and the West comparatively, the issue interrogates the universalizing claims of both Western and Chinese norms of the human by privileging the local, particular, and eccentric. Contributors: Ackbar Abbas, Michael Dutton, David L. Eng, Doug Howland, Petrus Liu, Camille Robcis, Teemu Ruskola, Shuang Shen, Shu-mei Shih, Wang Xiaoming David L. Eng is Professor of English, Comparative Literature, and Asian American Studies at the University of Pennsylvania. He is the author of _The Feeling of Kinship: Queer Liberalism and the Racialization of Intimacy_ and _Racial Castration: Managing Masculinity in Asian America_, both also published by Duke University Press. Teemu Ruskola is Professor of Law at Emory University and Visiting Professor of Law at Georgetown University. Shuang Shen is Assistant Professor of Comparative Literature and Chinese at Pennsylvania State University. (shrink)

Stanley Cavell's unique contributions to the study of epistemology, ethics, aesthetics, film, Shakespeare, and American philosophy have all received wide acclaim. But there has been relatively little recognition of the pertinence of Cavell's work to our understanding of political philosophy. The Claim to Community fills this gap with essays from a wide range of prominent American, English, French, and Italian philosophers and political theorists, as well as a lengthy response to the essays by Cavell himself. The topics covered include (...) Cavell's understanding of political community, philosophical anthropology, moral perfectionism, the positivist distinction between fact and value, political friendship, the differences between political and aesthetic disagreement, political romanticism, “the pursuit of happiness,” tragedy, and race. There are also evaluations of the ways Cavell's positions on these and other matters compare with those of Plato, Aristotle, Montaigne, Kant, John Stuart Mill, Thoreau, Nietzsche, Michel Foucault, Hannah Arendt, Carl Schmitt, Peter Winch, Wittgenstein, and Fred Astaire. This volume will be of great interest to political theorists and political philosophers, as well as to students of literature and film. (shrink)

Within the conceptual framework of comparative discourse linguistics, this article examines the similarities and the differences between Anglo-American and French Usenet newsgroups and builds hypotheses about the implicit rules which govern the respective ethnolinguistic communities. The comparison is focused on cultural perceptions of questions and explanations occurring in the messages posted in these newsgroups. Both discursive operations have different conversational functions in the Anglo-American and the French messages. Their cross-cultural analysis shows that within the Anglo-American newsgroup, the (...) purpose of the discussion is to get a better comprehension of the complexity of issues, whereas the purpose within the French newsgroup is to maintain an ordinary conversation between equals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Putting French Studies on the MapTom Conley (bio)A good deal of work accomplished in new historicism over the last decade has opened new perspectives on the relations of literature to cartography. If new historicism tends to be affiliated with Shakespearean scholars who reconstruct the world of the Globe Theatre in the context of London and the Elizabethan world picture, it almost goes without saying that cartography, whose (...) mobilization and rapid growth occur from the beginnings of the printing press to the middle of the seventeenth century, plays a significant role in the analysis of print-culture in general. 1 The convergence of the two disciplines has shown that Renaissance authors, obsessed with the beginnings of writing, valorize both its geographical and spatial virtues and the ways that its pictogrammar constitutes “a grid for comprehension of the world” [Martin 14]. Humanists discovered that it simulated divisions of land in transactions devoted to their negotiation. What early archeologists of writing discovered is comparable today to what we gather about the meaning of the crosshatched rectangles and insignia we admire on the great prehistoric petroglyph of Bedolina standing over its arable valley below [Jacob 41–48; Thrower 4–5]. In the early modern age cartographical issues are central to broader inquiry about the power of writing.New historicists take up early modern cartography not just to assess the impact of Ptolemy on humanism but to develop agendas that concern how a sense of habitus was conceived, projected, and betrayed at a time of tumultuous change. They ask how the “world” could be both imagined and experienced when its boundaries were expanding at exponential rates. Cartographic studies have shown where the unknown, vital for any definition of consciousness or even the drives of life itself, was located and bracketed. 2 The unknown was an integral part of cartography prior to the eighteenth century. But to assert, as many have, that cartography sought to contain the unknown within the terrae incognitae it indicated on its maps does not solve the relation of the discipline with the [End Page 23] unknown. Evidence shows how much in the early modern age the unknown inhabits most written and schematic representations of the world. 3 Unnamed patches that we retrieve on maps printed in the sixteenth century prompt reverie of spaces that can be fancied as unknown by virtue of the maps themselves. The cartographical impulse in early modern studies cannot be dissociated from our own drive to find spots that can remove us from the regnum of nonplaces that define our world, that is, other places, whether heterotopical or “anywhere out of this world,” valorized when the “nonplace” has come to define contemporary human geography [see Augé 1992].Concurrently, the history of cartography remains one of the most immediate modes of access for what we can understand about the imagination of power, control, statecraft, and economy at a time when maps figured with increasing regularity in matters of administration. In broader terms, we can say that the unforeseen growth of map production and the consequent stress laid on fantasies of power that accompanied cartographic representations from the beginning of print culture to the establishment of “state reason” under Louis XIV bore witness to a greater spatialization of knowledge. What in the study of literature goes by the name of discourse is seen through a cartographical lens as patterns of utterances and exchanges that owe much to the influence of Ramism, monocular perspective, and diagrammatical logic. It is a truism to note that when the world became a function of cartographical representations made accessible to a public at large, the ways it was configured bore great impact on communication in general. 4In this issue of Diacritics, where the current plight and uncertain future of French studies is being pondered, it also goes without saying that many teachers and scholars are wondering what can be done to invigorate one of the richest of all literary canons. The assault that American media have led on French culture (among others, articles in the New Times by Roger Cohen and Craig Whitney) would lead us to believe that literature has [End Page 24] become equivalent to freeze-dried croissants, a... (shrink)

To compare a novel to a work of philosophy is, admittedly, a risky exercise in analogy. When the novelist is Lawrence and the philosophical text is the ponderous and dialectical Being and Nothingness, such a comparison may seem willfully perverse and peculiarly open, insofar as it deals with Lawrence's great theme of sexuality, to his anathema of "sex in the head." Furthermore, modern criticism, especially in the Anglo-Saxon world, has tended to be wary of critical approaches that lean on notions (...) that are not derived from literature itself - a tendency that is being reinforced these days by the structuralist insistence on the "literariness" of the Text. Now, despite its metaphorical statement as a form of dramatic "gesture," Sartre's book is very definitely not a work of literature. T.H. Adamowski, associate professor of English at Erindale College, the University of Toronto, has written articles on English, American, and French literature. This essay is part of a larger study on progress on Lawrence's "sexual poetics.". (shrink)

This article raises the question of whether in both the United States and in France, an individual’s autonomy and private decision-making right in matters of health care and access to reproductive technologies can be conciliated with the general interest, and more specifically, the role of the State. Can a full-fledged right to privacy, the ability to exercise one’s autonomy, exist alongside the general interest, and depend neither on financial resources like in the United States nor on centralised government decisions or (...) the medical hierarchy like in France? The contrast between these two modern democracies justify the importance of comparing them. I will demonstrate that overlaps do exist: the free exercise of religion and opinion, freedom of expression, the inherent value of each individual. What differs, however, are the institutions and how they provide, protect, promote, or frame access to and expressions of these democratic principles. The impact of the global economy, the exposure of people around the world to each other via the internet, and the mirror effects of social media, blogs, and other such forums, have created new perspectives that countries project onto one another. For example, does France now seem to tout ‘autonomy’ as a new and important value because it appears to be an ‘American success story’? Does the United States now seem to value human rights and a social-democratic approach because of the ‘French model’? There seems to be some truth behind these assertions, but as this article will demonstrate, the portrayals of what the ‘right to privacy’ is in the United States and what ‘socialised medicine’ is in France are not necessarily fully accurate. (shrink)

In six chapters of uneven length, Peter Lewis Allen, a former literature professor and public policy activist, offers a highly readable romp through two millennia of beliefs and attitudes regarding sin, sex, and disease. In particular, Allen draws on religious, medical, and popular literature from different eras in order to exemplify how particular “diseases”—lovesickness, leprosy, syphilis, bubonic plague, and masturbation—were causally connected with thoughts of punishment for sinful behavior. He then extends this theme into a lengthy chapter describing (...) how the same belief contributed to the chasm between conservative and activist perspectives on AIDS in the United States over the past two decades.Allen, who is admittedly not a historian, picks and chooses a “series of portraits of disease,” offering little contextualization as he creates a “tableau” of perspectives drawn from European and American discourse throughout Christianity. He flavors his chronological narrative with personal experiences drawn from his work in gay health groups. The most significant personal experiences he intersperses stem from thoughts about his one‐time lover, now dead from complications associated with AIDS. He interjects key episodes from this relationship into the book to affirm that “in its fight about how to respond to AIDS,” American society has reenacted a “drama that had been written centuries before” .Allen's engaging writing stands much more firmly as chronologically arranged comparative literature than as historical scholarship. His greatest historiographical faux pas lies in his anachronistic writing about disease. For example, he introduces his chapter on medieval leprosy with a description of the pathological destruction caused by the leprosy bacterium. Then, in selecting situations drawn from Herodotus through the sixteenth‐century “contagionist” Girolamo Fracastoro, he erroneously assumes that “leprosy” implied a singular, consistent disorder throughout this long period. Similar concerns arise regarding his coverage of syphilis. Such errors may have originated from his drawing too exclusively from pre‐1990 historical writings. Works like Charles E. Rosenberg and Janet Golden's Framing Disease: Studies in Cultural History and Linda Merian's edited volume The Secret Malady: Venereal Disease in Eighteenth‐Century Britain and France , and the voluminous literature on the history of the body, would have provided contextual concepts within which to place more concrete views about the intersections between diseases and culture. The author's desire to flash forward from particular historical periods to AIDS in our society too often leads to weakly substantiated connections between time periods.Allen's strengths lie in his ability to draw on works of literature, especially popular literature. His particular emphasis on French works reflects his own background in medieval French literature. His arguments are also strong when comparing church and society in the medieval period. For example, his chapter on lovesickness clearly delineates the persistent position of the Church Fathers against medics who regularly prescribed a “coital cure” for the disorder, without specifying what partners to select, instead of welcoming disease as a divine corrective.Allen's writing on plague, the shortest chapter of the book, clearly depicts the once‐common view that this epidemic disaster was inflicted by God as a punishment for mankind's sinful nature. However, the omission of any discussion of sex in a chapter of a work subtitled “Sex and Disease, Past and Present,” is somewhat puzzling. Even more conspicuous is the author's failure to expand upon the 1530 poem regarding the plight of the impious shepherd, Syphilis, from whom the disease in question received its name. Why would a literary scholar prone to draw on popular writings not give more than a single‐sentence mention to this historically relevant poem?Of the works Allen has drawn upon, he offers a pleasant mix of primary and secondary accounts that, like all good literary criticism, gives original sources a clear voice. Any work so selectively focused on a few diseases will leave some readers wondering about others that might have been perceived in terms of sex and sin. Were such associations discussed in regard to madness in the eighteenth century, tuberculosis in the nineteenth century, or the wide range of twentieth‐century STDs prior to AIDS? Why was no mention made of leprosy in the twentieth‐century context? Its AIDS‐like stigma has been historically contextualized in several works, including Stephanie J. Castillo's award‐winning 1992 documentary Simple Courage. Similarly, one wonders why the author chose not to drawn on standard medical history accounts on AIDS, including Elizabeth Fee and Daniel M. Fox's edited volume AIDS: The Burden of History and, perhaps more important for the Francophile Allen, Mirko D. Grmek's Histoire du SIDA: Début et origine d'une pandémie actualle .Apart from my historiographical criticisms, The Wages of Sin is a most delightful popular rendering of key relations between disease and Christianity. Works like this are extremely useful in reminding the reading public in an articulate, informative, and entertaining manner that they are part of humanity's continuum that has long sought connections between physical health and moral living. Indeed, Allen's apt description of the underlying usefulness of history underscores the importance of his own writing: “We value history because, whatever its distortions and inaccuracies, it is a way of understanding and giving value to our collective human experience and collective human memory”. (shrink)

Enlightenment in Scotland and France: Studies in Political Thought provides comparative analysis of the Scottish and French Enlightenments. Studies of the two Enlightenments have previously focused on the transnational, their story one of continuity between Scottish intellectuals and French philosophes and of a mutual commitment to combat fanaticism in all its forms. This book contends that what has been missing, by and large, from the scholarly literature is the comparative analysis that underscores the contrasts as (...) well as the similarities of the Enlightenments in Scotland and France. This book shows that, although the similarities of "enlightened" political thought in the two countries are substantial, the differences are also remarkable and stand out in culminating relief in the Scottish and French reactions to the American Revolution. Mark Hulliung argues that it was 1776, not 1789, that was the moment when the spokespersons for Enlightenment in Scotland and France parted company. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

Although not exactly continuous, the Native American challenge to the canon, as I have tried to show, has been of comparatively long standing. Nonetheless, inasmuch as Native American literary production and Euramerican writing influenced by it have only barely begun to enter the courses in and the anthologies of general American literature, that challenge cannot be said to have been effective as yet. No doubt it will take more time for poets and teachers to recognize what Native American literatures (...) aboriginally were and, to some extent, still are; to recognize when and if the influence of these literatures is present in work by Native and non-Native writers. It is only since the 1950s and 1960s that philological and structural work has begun to make this recognition possible in any case.It is only more recently still that an adequately sophisticated criticism for these literatures has begun to develop, with the publication of Abraham Chapman’s basic and eclectic collection of essays, Literature of the American Indians: Views and Interpretations ; Karl Kroeber’s uneven but valuable introduction to the subject, Traditional Literatures of the American Indian: Texts and Interpretations ; and Hymes’ “In Vain I Tried to Tell You”: Essays in Native American Ethnopoetics , a collection of Hymes’ seminal and indispensable work. The broadest and most sophisticated collection of essays—gathering work by Hymes, Tedlock, Toelken, Kroeber, and others—has only just appeared: Smooting the Ground: Essays on Native American Oral Literature is edited by Brian Swann, a poet and translator of Mative American song.61 These developments are encouraging for Native American literatures. As American society continues to move away from anthropocentrism and textual authority, the Native tradition may for the first time effectively assert its claim upon the canon of American literature. 61. For his translations, see, for example, Swann’s Song of the Sky: Versions of Native American Songs and Poems . Swann works from texts, not performances, from English language versions, not transcriptions of Native languages; as a result, he has made a point of insisting, “These poems of mine are not translations” but instead “versions” of Native American poetry. Although he has given up specific claims to authenticity, Swann has nonetheless shown how much can be done by the non-Native poet and scholar responding to the Native tradition as a powerful source. Arnold Krupat is a member of the literature faculty at Sarah Lawrence College. He is the coeditor of the University of Nebraska Press’ Native American Autobiography Series and is currently completing an anthology of Native American autobiographies, Indian Lives. His previous contribution to Critical Inquiry, “An Approach to Native American Texts,” appeared in the December 1982 issue. (shrink)

The aim in this article is to widen the understanding of the significance of morality in the Norwegian social formation by comparing it with the French and the American case. After the introductory discussion of the new sociology of morality, previous findings from a study of the Norwegian middle class are reported. A short presentation of republicanism in France and Americanism in USA is followed by an analysis of the cultural and structural peculiarities of the Norwegian case, arguing that (...) the content of the Norwegian middle class morality should be seen in light of the egalitarian tradition. Finally, by way of comparison the article points to possible ways the different configuration of values might be transferred institutionally. (shrink)

The healthcare environment is knowledge driven and knowledge and human resource dependent. Despite the paucity of evidence on which to shape and evaluate organizational change, health‐care in Canada has undergone many changes in the last 15 years. In the pursuit of enhanced productivity, healthcare administrators have turned to industrial and engineering models. Using available Canadian research and policy reports, and where necessary, American literature, this paper describes the impact of re‐engineering on nursing and on the relationship between nursing and (...) patient outcomes. It also identifies emerging trends and ways forward. (shrink)

Our contribution takes shape as reflections on Object Lessons (Wiegman, 2012) from the perspective of three scholars of race, gender and sexuality who were also graduate students of Robyn Wiegman in the mid-2000s at Duke University. All three of us took Introduction to Feminist Theory with her and all three of us received graduate certificates in Feminist Studies. Our educational and career trajectories also share this similarity: we received PhDs in the disciplines (English, Comparative Literature and French), (...) but went on to jobs that are either completely or partially housed in departments invested in studying what Wiegman calls ‘identity knowledges' (namely, African American Studies and Gender Studies). In these essays, we reflect on how Wiegman's course helped shaped our approaches to academic knowledge production and how her reflexive pedagogy animates not only Object Lessons but also our own critiques of identity’s institutionalized forms. (shrink)

Peirce defines the legal expression proximale cause and effect as an “obscure term like most of the terms of Aristotelianism.” He says that students of law and logic should be shocked by thc practicc of justifying the payment of damages in law by reference to a “term in Aristotelian logic or metaphysics.” That such practice does occur underscores and “illustrates the value of PRAGMATISM.” Peirce reminds usthat in English law the term “witness” does not mean a person who testifies to (...) his own experience, “but to facts which he knows by the immediate testimony of others” .Practical law, Peirce suggests, results from persons whose knowledge of the facts of experience are formed in dialogue with others whose experience confirms their own. The dialogue is immediate; the knowledge is mediated through signs. From the viewpoint of Peirce’s pragmatism which he sees as an integral part of his semiotic Methodology or Speculative Rhetoric this paper will assurne that there are distinct types of legal cultures and that each may be regarded as a method of inquiry for the purpose of realizing social values. The relation between Laws and Societies-systems of legalities and legitimacies-will be regarded as culture-specific modes of dialectic. I propose here that Peirce’s Methodology-his method of methods-may account for the way that “patterns of conceptual change retlect the presuppositional structures of conceptual systems” . Within the framework of a semiotics of law I will be looking at various ways the idea of the Legal System has been interpreted. (shrink)

In preparing to write this paper, I found myself repeatedly stopped by conflicting conceptions of the structure of address into which I was inserting myself. It was not clear to me what I, as a white deconstructor, was doing talking about Zora Neale Hurston, a black novelist and anthropologist, or to whom I was talking. Was I trying to convince white establishment scholars who long for a return to Renaissance ideals that the study of the Harlem Renaissance is not a (...) trivialization of their humanistic pursuits? Was I trying to contribute to the attempt to adapt the textual strategies of literary theory to the analysis of Afro-American literature? Was I trying to rethink my own previous work and the re-referentialize the notion of difference so as to move the conceptual operations of deconstruction out of the realm of abstract linguistic universality? Was I talking to white critics, black critics, or myself?Well, all of the above. What finally struck me was the fact that what I was analyzing in Hurston’s writings was precisely, again and again, her strategies and structures of problematic address. It was as though I were asking her for answers to questions I did not even know I was unable to formulate. I had a lot to learn, then, from Hurston’s way of dealing with multiple agendas and heterogeneous implied readers. I will focus here on three texts that play interesting variations on questions of identity and address: two short essays, “How It Feels to Be Colored Me” and “What White Publishers Won’t Print,” and a book-length collection of folktales, songs, and hoodoo practices entitles Mules and Men. Barbara Johnson is professor of French and comparative literature at Harvard University. She is the author of Défigurations du langage poétique and The Critical Difference, translator of Jacques Derrida’s Dissemination, and editor of The Pedagogical Imperative: Teaching as a Literary Genre. Her previous contribution to Critical Inquiry, “Rigorous Unreliability,” appeared in the December 1984 issue. (shrink)

Disturbed by these acrimonious arguments, the authors - former colleagues and university-press board members - embarked on an ambitious project to reexamine a number of major literary and philosophical works dealing with the liberal arts and education. With their discussions ranging from Plato to Rousseau, from Cicero to Vico, from Erasmus to Matthew Arnold, Sousa and Weinsheimer offer not a history of education philosophy but an examination of the present.

Senshu University has hosted many international conferences on medieval English literature - primarily on Geoffrey Chaucer and William Langland - as well as in the related fields of Old Germanic, medieval French and Renaissance Italian literature. These international collaborations inform and contribute to the present volume, which addresses the heritage bequeathed to medieval English language and literature by the classical world.<BR> This volume explores the development of medieval English literature in light of contact with Germanic (...) and Old Norse cultures, on the one hand, and Romance languages, on the other. The book includes a comparative study of <I>Beowulf in the Germanic context, discusses aspects of <I>Piers Plowman and its tradition, and offers philological approaches to Chaucer (especially his <I>Troilus and Criseyde). The articles assembled here collectively suggest how the torches of classical learning were carried from continental Europe to illuminate the pages of medieval English literature. (shrink)

Publication date: 11 June 2018 Source: Author: Roohollah Roozbeh Pride is discredited in all cultures, but pride in poetic talent is praiseworthy in all areas. In poetry, the geniuses of all eras have enjoyed their poetry and have paid attention to and have taken great pride in their own poetry. Hafiz boasts of his poetry and is so sure of his poetry that he knows that so long as people reside on earth, the world will read and receive his poetry. (...) The same parallel is found in Shakespeare's poetry so much so that Shakespeare is sure that his poem will be read so long as people can breathe and see. This belief in the immortality of poetry and its effects in the two poets are followed in this article. The dimensions of this issue and the reasons for the discourse of poetry and sonnet are explained in detail. The conclusion is that the two poets are proud of beautiful form and musicality of their poetry which will spread through the world. This is endorsed through the untranslatability of the poems of the two poets ’poetry. The methodology of this paper is based on the descriptive-analytical approach of the American comparative Literature School. The focus of this study is to compare pride in the poetry of Hafez and Shakespeare. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Differences Barbara Johnson Makes:IntroductionSusan Gubar (bio)On December 15, 2003, on the occasion of the publication of Barbara Johnson's Mother Tongues: Sexuality, Trials, Motherhood, Translation, Jonathan Culler, Jane Gallop, and Judith Butler spoke in a celebration at Harvard University. On December 28, 2004, Culler, Gallop, Lee Edelman, and Hortense Spillers spoke in an MLA session organized by Susan Gubar entitled "The Differences Barbara Johnson Makes." We publish these five (...) short talks as a tribute to a critic who has done so much to advance the sort of theoretical and critical practice to which Diacritics is committed.Although I was delighted to be invited to the Harvard University celebration in honor of the publication of Barbara Johnson's Mother Tongues: Sexuality, Trials, Motherhood, Translation, I was unable to travel on December 15, 2003. The misfortune of not hearing Jonathan Culler, Jane Gallop, and Judith Butler speak made me acutely aware of many other people who—whether or not they know Barbara Johnson personally—have found themselves intimately captivated and often oddly elated by her critical acumen. It seemed fitting to organize a session at the Modern Language Association open to all those colleagues in the profession who prize her translations, books, classes, and lectures. That these colleagues come from so many different departments and programs—English, French, and Comparative Literature; African-American, Gender, and Gay studies—testifies to the astonishing versatility of Barbara Johnson's scholarly contributions.After I introduced the four speakers on the December 28, 2004 panel—Jonathan Culler, Hortense Spillers, Lee Edelman, and Jane Gallop—I told the audience that I suspected each of them had a different favorite critical text or pedagogic moment. I meant not exactly a favorite text or moment, but really a sort of touchstone text or moment that instructs and delights us as a paradigm of what criticism can be at its most subtle, its most supple. No doubt this is why Mother Tongues won Honorable Mention in the competition for the Aldo and Jeanne Scaglione Prize for an Outstanding Scholarly Work in the Field of Comparative Literature Studies. Luminous clarity characterizes Barbara Johnson's engagement with the difficult differences she addresses in matters aesthetic and racial, sexual and ethical, linguistic and political, and always profoundly terrestrial. I am grateful that Jonathan Culler has integrated and published talks from both the events in honor of Barbara Johnson as, in his words, "a tribute to a critic who has done so much to advance the sort of theoretical and critical practice to which Diacritics is committed."Susan Gubar Susan Gubar is a Distinguished Professor of English and Women's Studies at Indiana University. She writes on race and gender issues in twentieth-century British and North American cultural contexts.Copyright © 2004 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 334-345 [Access article in PDF] Philosophy After Joyce:Derrida and Davidson Reed Way Dasenbrock A GOOD DEAL OF ATTENTION has been paid to James Joyce's influence on literature. Few novelists in the twentieth century have escaped Joyce's influence one way or another, and Robert Martin Adams has even dedicated a book, AfterJoyce, 1 to the proposition that the history of prose fiction is (...) most properly divided into two eras, before and after Joyce. One suspects that Joyce would have appreciated Adams's quasi-blasphemous periodizing.My focus here is Joyce's influence on a different intellectual and cultural realm, philosophy. Joyce's impact on philosophy clearly has not been of the same magnitude. Joyce is not one of those rare figures who have spanned fields or been as important an influence in another field as in his own, unlike Nietzsche, say, or a figure of concern to us here, Jacques Derrida. Joyce's impact on philosophy, thus, is not epoch-changing or field-changing in the way his impact on literature is. Wittgenstein and Heidegger are the two philosophers in the twentieth century whose work have comparably been assessed as epoch-changing. It is worth noting that both men are close contemporaries of Joyce: Wittgenstein, in particular, with his multilingual, Austro-Hungarian, and pan-European character, orientation towards the arts, defiance of so many philosophical conventions, and self-awareness of language, offers a fascinating parallel with Joyce, a parallel already explored to [End Page 334] some extent in the literature. If Joyce, Stravinsky, Picasso, and Le Corbusier, for example, can be said to exemplify modernist literature, music, painting, and architecture, then Wittgenstein is the exemplification of modernist philosophy. But Modernism, or at least so we are told, is out of fashion and out of date, yet Joyce remains our contemporary in ways many of his fellow modernists may not. Nowhere is this more clearly shown than in his continuing presence in contemporary philosophy.The conventional way of writing the history of philosophy in the twentieth century is to divide it into two camps, one oriented towards mathematics, science and logical analysis, a school of philosophy called the analytic or Anglo-American school, the other oriented towards literature and culture and an engagement with the history of philosophy, called the Continental school. That there are a number of problems with this way of mapping the field is by now widely accepted, but no one has successfully replaced this division with anything generally seen to be more adequate, so we continue to use the terms, if as Derrida might say "under erasure." If contemporary analytic philosophy has a single leading figure, I would assign that position to Donald Davidson; continental philosophy has distinct German and French variants, but clearly foremost on the French side is Jacques Derrida. One of the factors leading to our awareness that this bipolar model of the history of twentieth-century philosophy doesn't work very well has been a body of work pointing out a number of similarities between the work of these two philosophers. 2 But what hasn't been pointed out is that both philosophers are interested in Joyce. Thus, the work of Joyce is one of the places the two currents of philosophy merge or at least come into contact. In my opinion, neither Derrida nor Davidson is or deserves to be a crucial figure in Joyce criticism, but looking at their interest in Joyce allows us to trace a neglected chapter in Joyce's influence on the culture and thought of our time and to assess the similarities and differences between the work of these two philosophers.Derrida's work on Joyce includes two essays on Joyce, one an address to the 1984 Joyce Symposium in Frankfurt, "Ulysses Gramophone: Hear say yes in Joyce," 3 an essay which Margot Norris included in A Companion to James Joyce's Ulysses (in abridged form) as one of five exemplary or representative pieces of theoretical approaches to Ulysses (representing deconstruction, of course), and an earlier essay on Finnegans Wake, "Two Words for Joyce... (shrink)

Starting with the hypothesis that analogical reasoning consists of a search of semantic space, we used eye-tracking to study the time course of information integration in adults in various formats of analogies. The two main questions we asked were whether adults would follow the same search strategies for different types of analogical problems and levels of complexity and how they would adapt their search to the difficulty of the task. We compared these results to predictions from the literature. Machine (...) learning techniques, in particular support vector machines (SVMs), processed the data to find out which sets of transitions best predicted the output of a trial (error or correct) or the type of analogy (simple or complex). Results revealed common search patterns, but with local adaptations to the specifics of each type of problem, both in terms of looking-time durations and the number and types of saccades. In general, participants organized their search around source-domain relations that they generalized to the target domain. However, somewhat surprisingly, over the course of the entire trial, their search included, not only semantically related distractors, but also unrelated distractors, depending on the difficulty of the trial. An SVM analysis revealed which types of transitions are able to discriminate between analogy tasks. We discuss these results in light of existing models of analogical reasoning. (shrink)

The concept of cultural capital has been increasingly used in American sociology to study the impact of cultural reproduction on social reproduction. However, much confusion surrounds this concept. In this essay, we disentangle Bourdieu and Passeron's original work on cultural capital, specifying the theoretical roles cultural capital plays in their model, and the various types of high status signals they are concerned with. We expand on their work by proposing a new definition of cultural capital which focuses on cultural and (...) social exclusion. We note a number of theoretical ambiguities and gaps in the original model, as well as specific methodological problems. In the second section, we shift our attention to the American literature on cultural capital. We discuss its assumptions and compare it with the original work. We also propose a research agenda which focuses on social and cultural selection and decouples cultural capital from the French context in which it was originally conceived to take into consideration the distinctive features of American culture. This agenda consists in 1) assessing the relevance of the concept of legitimate culture in the U.S.; 2) documenting the distinctive American repertoire of high status cultural signals; and 3) analyzing how cultural capital is turned into profits in America. (shrink)

It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its "reconstruction." The "reconstruction" in empathy is one- dimensional. "Construction" presupposes "destruction." Almost fourteen years after the death of Jacques Derrida, the least one can say is that his inheritance is as contested and fraught with rivalries, rejections, and appropriations as at the time of the flowering of Deconstruction in American universities in (...) the seventies and eighties. A halt was observed in 1988-89 after the posthumous revelations about Paul de Man's past in Belgium and Derrida's embattled defense of his friend. Today, in France, one often hears that "Derrida a fait l'Ecole mais n'a pas fait ecole," meaning that Derrida passed the entrance examination of the prestigious Ecole Normale Superieure where he taught for a long time, where he met Paul Celan, Louis Althusser, Michel Foucault and many other luminaries, whereas he never had a real "school" in France-no real institutional backing beyond the various Parisian places at which he taught later, or those that he founded like the College de Philosophie; his following constituted of young philosophers, only a few of whom became university professors in their turn and disseminated his teachings. However, the mechanisms of power within the French university remained closed to Derrida until the end; besides, he wanted to prevent the stereotyped reproduction currently observed from master to disciple. (shrink)

"Kevin Hart and Geoffrey H. Hartman bring together essays by prominent scholars from a range of disciplines to focus on Blanchot's diverse concerns: literature, art, community, politics, ethics, spirituality, and the Holocaust."--Jacket.

This paper investigates whether accounting professionals’ ethical judgment is influenced by the disciplinary system established by the accounting profession in France and the United States. Our study first attempts to determine whether there is a link between the EJ of accounting professionals and the disciplinary context, in each country. It then performs a comparative analysis of the two nations. Our findings indicate that the judgment of American accounting professionals is correlated with the disciplinary decisions of the accountancy board. By (...) contrast, the judgment of French accounting professionals is independent of the disciplinary context. Whereas cross-national studies have thus far attributed differences among nations mainly to cultural distance, current research shows that non-cultural national factors should also be considered. In line with this perspective, our study suggests that institutional factors, in particular the disciplinary system, may also account for the differences between French and American accounting professionals’ ethical perceptions. We support these results by highlighting some characteristics of the countries’ respective legal systems, which may explain the divergences observed. We conclude by identifying implications for the independence of accounting professionals’ EJ and the risks associated with dissuasive disciplinary systems. (shrink)

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, (...) and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims. (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

THEODORE KISIEL Date of birth: October 30,1930. Place of birth: Brackenridge, Pennsylvania. Date of institution of highest degree: PhD., Duquesne University, 1962. Academic appointments: University of Dayton; Canisius College; Northwestern University; Duquesne University; Northern Illinois University. I first left the university to pursue a career in metallurgical research and nuclear technology. But I soon found myself drawn back to the uni versity to 'round out' an overly specialized education. It was along this path that I was 'waylaid' into philosophy by (...) teachers like H. L. Van Breda and Bernard Boelen. The philosophy department at Duquesne University was then (1958-1962) a veritable "little Louvain," and the Belgian-Dutch connection exposed me to (among other visiting scholars) Jean Ladriere and Joe Kockelmans, who planted the seeds which eventually led me to the hybrid discipline of a hermeneutics of natural science, and prompted me soon after graduation to make the first of numerous extended visits to Belgium and Germany. The endeavor to learn French and German led me to the task of translating the phenomenological literature bearing especially on natural science and on Heidegger. The talk in the sixties was of a "continental divide" in philosophy between Europe and the Anglo-American world. But in designing my courses in the philosophy of science, I naturally gravitated to the works of Hanson, Kuhn, Polanyi and Toulmin without at first fully realizing why I felt such a strong kinship with them, beyond their common anti positivism. (shrink)

Pierre Bourdieu in Hispanic Literature and Culture is a collective reflection on the value of French sociologist Pierre Bourdieu's work for the study of Spanish and Latin American literature and culture. The authors deploy Bourdieu's concepts in the study of Modernismo, avant-garde Mexico, contemporary Puerto Rican literature, Hispanism, Latin American cultural production, and more. Each essay is also a contribution to the study of the politics and economics of culture in Spain and Latin America. The book, (...) as a whole, is in dialogue with recent methodological and theoretical interventions in cultural sociology and Latin American and Iberian studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately (...) into Western modernism and postmodernism. Despite the title, this book goes beyond French poetics, for it deals with some philosophical views about knowledge and art, and it offers an extended argument for the value of comparative studies, including comparative philosophy. The author moves easily among the areas of literature, art, and philosophy, all of which she discusses with authority.Her story begins with the birth of 'japonisme,' the term coined by critic Philippe Burty in 1876 to refer to the passion-artistic and commercial-for things Japanese. She identifies three waves of japonisme in French literature: pre-World War I, between the wars, and post-World War II. She leads the reader through each of these waves, detailing the cultural and artistic milieu in each and closely analyzing key figures.For the origins of japonisme, Hokenson takes us to the studio of Parisian engraver, printmaker, and designer Felix Bracquemond in 1856, which was just after the end of Sakoku. Bracquemond, according to the "most persistent legend," [End Page 699] opened a box of Asian ceramics and discovered that they were wrapped in extraordinary materials-layers of Hokusai woodcut prints the likes of which he had never seen. He summoned members of his circle, which included Manet, Degas, and Whistler (pp. 13-15). It is thus through an intriguing historical contingency that this relatively inexpensive, mass-produced art form would become the inspiration for some of the most personal and expensive art works today. More relevant to Hokenson's interest, however, is the fact that these woodcuts would be a seminal force in the direction of French letters.Had Bracquemond not had the vision to see the artistry of these prints or had the shipper used a different packing material, would Western painting and literature have taken a different turn? Would the West have seen impressionism, symbolism, or art nouveau? Would Proust, Claudel, Mallarmé, and others have written different works? From Hokenson's account one gleans that the French avant-garde eye was ready to see Hokusai and others, for artists felt that the mimetic view of art had led them to an impasse. Visual and literary artists were ready to abandon the Renaissance ideals of verisimilitude, perspective, the integrity of space, and the linearity of time. They were ready to accept the fragmentation of picture space, perspectivism, and suggestiveness that were all characteristic of the Japanese aesthetic.She explains how Henri Bergson, with his theories of intuition and subjective time, provided a philosophical foundation for the artistic commitments of the early japonistes. She documents the access many of the japonistes had to Bergson. Bergson, like the japoniste poets and painters themselves, emerged from a French tradition of using subjectivity as a starting point. The reader sees this respect for the subjective interact with various Japanese influences over the course of the twentieth century. The receptiveness to the haiku exemplifies this phenomenon, as it begins from a fleeting, intuitive, personal experience. She points out that "by 2000, the haiku was almost a commonplace in French poetry" (p. 407).Although she says little about what Bergson may have absorbed from the japonistes, she does tell of the little-known influence exerted by the Japanese phenomenologist Kuki Shūzō in 1928 on Jean-Paul Sartre. Both Sartre and Simone de Beauvoir either forgot this relationship or forgot to mention it in their respective narratives about the development of existentialism. Indeed, this was not discovered, Hokenson reports, until the 1980s. She rightly points out that that this changes the usual story about French philosophy in the early twentieth century, for it means that Sartre became acquainted with German phenomenology before 1932 and from someone other than Raymond Aron (pp. 333-334, 343, 474 n. 10). In a fascinating discussion of Kuki's... (shrink)

The objective of this paper is to understand from a sociological perspective how the moral question of euthanasia, framed as the “right to die”, emerges and is dealt with in society. It takes France and Germany as case studies, two countries in which euthanasia is prohibited and which have similar legislation on the issue. I presuppose that, and explore how, each society has its own specificities in terms of practical, social and political norms that affect the ways in which they (...) deal with these issues. The paper thus seeks to understand how requests for the “right to die” emerge in each society, through both the debate (analysis of daily newspapers, medical and philosophical literature, legal texts) and the practices (ethnographic work in three French and two German hospitals) that elucidate the phenomenon. It does so, however, without attempting to solve the moral question of euthanasia. In spite of the differences observed between these two countries, the central issue at stake in their respective debates is the question of the individual’s autonomy to choose the conditions in which he or she wishes to die; these conditions depend, amongst others, on the doctor-patient relationship, the organisation of end-of-life care in hospital settings, and more generally, on the way autonomy is defined and handled in the public debate. (shrink)