This article is a study of the earliest Twelver Shiʿi literature on pilgrimage to the tombs of the Prophet Muḥammad and his revered descendants. Such tombs had been visited since the first centuries of Islam, holding especial importance for Shiʿis, but the associated pilgrimage rites were not discussed in early Islamic legal literature. This had changed by the mid-fourth/tenth century, as Twelver scholars sought to codify ziyāra alongside long-established rites like prayer and ḥajj. As they did so, these (...) scholars had to mediate between the accustomed texts and tools of legal discourse and a world of practice, identity, and devotion that lay beyond the usual purview of the law. Ziyāra might be just another voluntary piety, but it might also be more important than the ḥajj itself. (shrink)

La supposition d’un antagonisme entre art et marché ne va pas de soi. Le fonctionnement intrinsèque de la culture représente un système de marchés – même s’il ne s’agit pas toujours de marchés commerciaux. Dans nos sociétés de l’information et des médias, une part considérable des produits de consommation courante tombe sous la rubrique de la consommation culturelle. Les marchés culturels ont toujours été de ce type : on y offre de l’information qui est payée, en contrepartie, sous forme d’attention. (...) Cet article explore quelques-unes des implications de tels entrecroisements. (shrink)

A la recherche des "images de pensée" (Denkbilder), Walter Benjamin instaure un procédé efficace de correspondance entre rêve et architecture, une idée qu'il tenait du surréalisme. On a pu parler d'oniromancie à l'envers, car son point de départ est matériel : il part des choses, des objets, des lieux, des endroits, des atmosphères pour mettre en lumière leurs qualités irrationnelles. Une telle théorie décrit précisément les relations fantastiques se créant par l'assemblage d'articles luxueux, d'objets d'art anciens, de pièces de collection, (...) de bibelots passés de mode, de colifichets frivoles, de fragments dépareillés, d'images surannées, ou encore d'instruments tombés en désuétude. Tout cela forme un milieu peuplé d'objets et de gens, capable d'engendrer un paysage onirique et conduisant à une expérience agoraphobique, intériorisée. Ici, le spectateur est à la recherche du temps perdu, et les objets sont comme des alambics filtrant la durée. Procédant à la radiographie de la "maison de rêve" (Traumhaus), Benjamin offre un catalogue précis des meubles oniriques qui en hantent les espaces clos. (shrink)

Ninfa moderna : Essai sur le drapé tombé, Georges Didi-Huberman; Publisher - Gallimard; ISBN - 978-2070763757L'image survivante: Histoire de l'art et temps des fantômes selon Aby Warburg, Georges Didi-Huberman; Publisher - Éditions de Minuit; ISBN - 9782707317728.

In lieu of an abstract, here is a brief excerpt of the content:On Women Englishing Homer RICHARD HUGHES GIBSON Seven kingdoms strove in which should swell the womb / That bore great Homer; whom Fame freed from tomb,” so begins the fourth of “Certain ancient Greek Epigrams ” that George Chapman placed at the head of his Odyssey at its debut in 1615.1 The epigram was no mere antiquarian dressing for the text. It suggests a historical parallel with the (...) translator’s own feat—for this Odyssey appeared on the heels of Chapman’s 1611 Iliad, the first complete English translation of Homer directly from the Greek. Indeed, the title page of that Iliad boasted, “Never before in any language truly translated” (italics mine). In “Englishing ” Homer (as he put it), Chapman had vanquished not only local rivals but also the whole international field.2 Through Chapman, England bore Homer anew. Yet within a few decades challengers appeared. An octogenarian Thomas Hobbes published an Odyssey translation in 1675 and an Iliad the following year. Alexander Pope’s versions (Iliad, 1715–1720; Odyssey, 1726) were bestsellers in the next century, yet others soon enough sought to better them, including the poet William Cowper (Iliad, 1791; Odyssey, 1809). The rate of Homeric production then intensified in the nineteenth century, becoming in Edith Hall’s apt phrase a “national pastime” in Victorian Britain—and, I would add, in the United States too.3 In the 1860s, a new English Iliad or Odyssey debuted nearly every year, making Matthew Arnold, then Professor of Poetry at Oxford, seem prescient in selecting “On Translating Homer” as the topic for his 1860 lecture series. Anglo-American output of new English Homers has been steady ever since. The opening decades arion 26.3 winter 2019 of our century have been especially high-yielding—more than ten new Iliads and eight new Odysseys have appeared in print alongside fresh editions of twentieth-century favorites. Digital versions now circulate, too. To Chapman we might thus reply: Once seven Greek cities strove to be Homer’s nurse; now seventy tomes vie to be his English verse. Run down the complete bibliography, and a pattern already hinted in my list of notables becomes pronounced: name after name after name belongs to a man. Flip around a bit, and one can often find traces of women in these volumes. Hobbes, for example, argued in the preface to his translations that women have as “just” a “pretence” (in the sense of “claim”) as men to the moral education afforded by heroic poems, though one might cynically read this as a marketing strategy.4 Pope readily acknowledged his debt to the scholarship of Anne Le Fèvre Dacier, Homer’s first French female translator, and listed prominent female supporters in the subscription lists at the front of his editions.5 Women thus long factored into the business of “Englishing” classical texts, though almost exclusively as paying audience members. For more than four centuries, Homer’s English audience listened to a boys’ choir. That tune has only just begun to change thanks to the efforts of three women: the classicist and nonfiction writer Caroline Alexander, who became the first woman to publish a complete English Iliad in 2015; Emily Wilson, Professor of Classical Studies at the University of Pennsylvania, who published the first English Odyssey by a female translator in 2017; and the poet Alice Oswald, whose selective translation of the Iliad, Memorial, appeared in 2011.6 By virtue of their appearance in such short order, these books have been, and surely will be henceforth, grouped together. And rightly so: ending the male monopoly on the English channel to Homer is a major development. The Homeric epics have not only shaped Western culture; they enjoy enduring prestige. You still need to know Homer to fancy yourself “well-read.” These three books are thus 36 on women englishing homer potent symbols. They mark the passage of English-speaking women from the audience of male efforts to curate and transmit tradition to participants in those endeavors—from the subscription lists, we might say, to the title page. We sell these translations short, though, if we allow their collective meaning to obscure the patent differences in Alexander’s, Wilson’s, and Oswald... (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * The gaze drifts where the stare dares not. The gaze is attentive while the stare is intent. Dériver : Equally to drift and/or to derive. —When drifting then, something must be taken along. Something must be derived from the drift. Something of oneself must always become other. Incorporating the other, incorporating oneself as other. Je est un autre , Rimbaud disait; 1 this in his last letter to Georges Izambard, a final correspondence to a former mentor and friend, from whom he was drifting away, having derived much. The drift is a control incomplete. To drift is to come closer and closer, but to always be turning away, pulling apart, pulling oneself apart. It is parabolic in the sense that it is always eluding a formerly established intent. Of all axes, it never finds room to rest. Filling new spaces, always changing places, ever escaping the Cartesian; the indubitable pinpointing of position. It is never pinned down. Love together what we will be apart. Once together, we will drift apart. Il le faut . Attention is held; it traces the path. It follows each point which traces the arc, the line, the swerve. It is not concerned with the figure being drawn, but rather the movement between one point and the next. The smallest movement. The clinamen of De Rerum Natura is the smallest of swerves, it is nothing more than the minimum — nec plus quam minimum . Michel Serres says of the clinamen , that it is an absurdity — a logical, geometrical, mechanical, physical absurdity. 'The clinamen, from here (its state of absurdity), finds refuge in subjectivity; it passes from the world to the soul, from the physical to the metaphysical, from the theory of inert bodies in freefall to the theory of the free movements of the living.' 2 So this swerve is something of the mind and something of the body, both in action, rather than a body which is merely acted upon. Swerve, however, has a connotation of suddenness. It is a movement which is made to avoid an otherwise inevitable impact. Drift, on the other hand, is the unleashing of something which is then allowed to follow a more complex series of forces. These forces now come from within as well as without. It is no longer tethered; now following tides, winds, flows or pitched slopes, now acting on its own. We are not atoms in freefall. Our attention long ago pulled us from this precipitous descent. We now live, ourselves, as one of the many forces. In the drift, as with the gaze, there is an ease. ‘Ease is the proper name of this unrepresentable space.’ It is the space nearest, the next, the neighboring space. To occupy this space requires a turn, a shift or a drift. It cannot be reached by proceeding straight ahead. ‘..the space adjacent, the empty place where each can move freely, in a semantic constellation where spatial proximity borders on opportune time (ad-agio, moving at ease) and convenience borders on the correct relation.’ 3 Intention always seeks to straighten this line, to make it less complex, to isolate the point of departure and the desired destination. It believes there can be two points and, between them, there must be a straight line. Can there be? Maybe. Must there be? Never. Straight lines may exist, but they can never be followed to the finish. After leaving this point, we will never reach that one without being buffeted at least a little — at least the least. One foot in front of the other, this is a very restrictive dance, less even than a two-step. Straight lines lead only to lost intentions, being the shortest and quickest way to get there. When attention drifts it slowly turns away from the intended target, leaving it for something which pulls the attention away. Now we are for a moment free; all at once we can pivot, now we can waltz. Drifting along the page, deriving from what is seen. Reading is seeing; the movement of the eyes as they drift. Reading in the eyes what has been seen, what has been derived from the act of reading. Reading eyes drift back and forth down the page, now and then jump back and forth, up to the top, one word, back down, quickly a few pages back, now gaze out towards the horizon. When attention drifts it is the gaze that follows. Our attention is not restricted to the path the words follow, but links them together; deriving what is to be seen, rather than read. La philosophie fait voir . ‘Thus, philosophers speak through proverbs, and demonstrate. They connect their imaginations with foreign rings, flown into famous tombs.’ 4 Now drifting off to sleep, dreams come as unintended visions. To dream is pure drift, vision without an object, gazing into the dark, reading the unknown of the night. NOTES: Arthur Rimbaud, Poésies (Paris: Bibliothéque de Cluny, 1958), 57. Michel Serres, La Naissance de la Physique (Paris: Les Editions de Minuit, 1977), 10. Translation courtesy of R.H. Jackson. Giorgio Agamben, The Coming Community (Minneapolis: University of Minnesota, 1993), 25. Louis Aragon, Une Vague des Rêves (Paris: Editions Seghers, 2006), 10. Translation courtesy of R.H. Jackson.  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.3 (2000) 73-89 [Access article in PDF] Phantom Rights Conversations Across the Abyss (Hugo, Blanchot) Suzanne Guerlac —"The writer must save the world and be the abyss, justify existence and give speech to what does not exist...."1—Who is speaking?—Maurice Blanchot.—But this was already revealed to me by the Tables. How are what you call the "two sides [deux versants]" of literature to be distinguished from the "double ray (...) [double rayon]" or the "double face" of the work of art, revealed to me by the voice of Death through the table—through the Winds of the Tomb—and which I recognized as the double furrow of the real and the ideal I had always inscribed through my writing?—What is in question at this point is not merely approaches to literature, or the mechanisms of what you call "genius," but literature itself, and with it, the very operations of the human mind. I asked the question "how is literature possible?" in response to Paulhan in 1942.2 A few years later the question returned differently: is literature possible... after Auschwitz?I have responded to the discourse of the death of art with a notion of writing as an art of death. Is this somehow the same as what the Winds of the Tomb revealed to you? Who knows? You have been dead for more than a century, I have been dying for what seems like ages. 1 "I wrote a book... of the cut off head... I stopped at the point where only you can continue."3 Victor Hugo is speaking, alluding to Le dernier jour d'un condamné, a novel written in a first-person voice which cuts off just before the guillotine drops. His remark acknowledges the commonplace that one cannot speak one's own death, not only because one does not live to tell it, but because one never really experiences it. Another literary figure to have given this matter a lot of thought (along with his friend Georges Bataille) is Maurice Blanchot, whose meditations on writing insist on questions of death and voice.In Hugo's remark, however, it is above all the address that arrests our attention and tempts us to engage Hugo in conversation with Blanchot. Hugo is speaking to André [End Page 73] Chénier, or rather to the spirit of Chénier, which ostensibly communicates to participants in séances conducted in Jersey in 1853-54 under the guidance of the celebrated psychic Mme. de Girardin. He addresses the voice of a dead poet, an absent voice that can only speak through a peculiar form of writing that spells out letters one by one through the tappings of a table. It is a voice that writes since it can no longer speak, having lost its head to the guillotine during the French Revolution. During the séances, Hugo asks Chénier to recount the experience of his death. Is it because Chénier is in the unusual position of speaking from beyond the grave that Hugo expects him to do the impossible, to go beyond the silenced voice of the condemned man, that is, beyond the reach of fiction? How are we to read this writing of the Tables, and what does it have to do with "literature"?The transcript dramatizes fundamental notions concerning writing, death, and relations between the two that Blanchot will theorize a century later in his critical writings. Here, Hugo demands Chénier's impossible account of his own death specifically in response to a demand of writing. What is at stake is not only the continuation of the narrative necessarily aborted in Hugo's novel —"I stopped at the point where only you can continue"—but also the continuation of the poetry of Chénier, interrupted by the poet's untimely death. Responding to Chénier's expressed concern, Hugo and his companions offer to assist Chénier in the completion of his poems. "André," Hugo begins:You desire, and we also desire, to see your oeuvre completed. We will gather piously, and with the respect due your... (shrink)

The letter from Georges Florovsky to Davis McCaughey is a reflection after reading the Report The Era of Atomic Power: Report of a Commission (1946). Florovsky gives his own arguments against the development of research concerning nuclear weapons and their use. These include: treating an attempt at a technical transformation of the world as a human claim to put oneself in God’s place, i.e., to be a God-man. Another group of indictments against the use of the atomic bomb concerned ethical (...) issues and human responsibility for the war. Florovsky’s letter is his contribution to the discussion on the threat posed by the atomic bomb. (shrink)

The first part of the paper examines the significance of shame values in South Asian societies and the implications of this for schools. The second section considers the common anthropological distinction and disjunction between ‘shame culture’ and guilt culture. The third section draws on the recent study of Ancient Greece by Bernard Williams. Williams suggests that the conflict between shame values and autonomy is not inevitable. In fact, shame values may have much to contribute to ethical thought, exposing weaknesses in (...) contemporary Kantian moral outlooks and contributing to fuller conceptions of personal autonomy and personal identity, thus holding, as the final section indicates, important educational implications. (shrink)

The paper begins with a clarification of the notions of intuition (and, in particular, modal intuition), modal error, conceivability, metaphysical possibility, and epistemic possibility. It is argued that two-dimensionalism is the wrong framework for modal epistemology and that a certain nonreductionist approach to the theory of concepts and propositions is required instead. Finally, there is an examination of moderate rationalism’s impact on modal arguments in the philosophy of mind -- for example, Yablo’s disembodiment argument and Chalmers’s zombie argument. A less (...) vulnerable style of modal argument is defended, which nevertheless wins the same anti-materialist conclusions sought by these other arguments. (shrink)

This article sets out the rationale for a United Nations Regulation for Artificial Intelligence, which is needed to set out the modes of engagement of the organisation when using artificial intelligence technologies in the attainment of its mission. It argues that given the increasing use of artificial intelligence by the United Nations, including in some activities considered high risk by the European Commission, a regulation is urgent. It also contends that rules of engagement for artificial intelligence at the United Nations (...) would support the development of ‘good artificial intelligence’, by giving developers clear pathways for authorisation that would build trust in these technologies. Finally, it argues that an internal regulation would build upon the work in artificial intelligence ethics and best practices already initiated in the organisation that could, like the Brussels Effect, set an important precedent for regulations in other countries. (shrink)

"Historian Ramsay Cook called George Grant one of Canadas two most important political thinkers in the twentieth century.

Radical empiricism is the view that a person's experiences (sensory and introspective), or a person's observations, constitute the person's evidence. This view leads to epistemic self-defeat. There are three arguments, concerning respectively: (1) epistemic starting points; (2) epistemic norms; (3) terms of epistemic appraisal. The source of self-defeat is traced to the fact that empiricism does not count a priori intuition as evidence (where a priori intuition is not a form of belief but rather a form of seeming, specifically intellectual (...) as opposed to sensory). Moderate rationalism, by contrast, avoids self-defeat. (shrink)

Georg Aerni is a photographic artist with a particular interest in architecture. Educated as an architect himself, he has been working with the camera on this subject with great precision and consistence for the past fifteen years. Paris, Barcelona, Hon.

Scientific essentialism is the view that some necessities can be known only with the aid of empirical science. The thesis of the paper is that scientific essentialism does not extend to the central questions of philosophy and that these questions can be answered a priori. The argument is that the evidence required for the defense of scientific essentialism is reliable only if the intuitions required by philosophy to answer its central questions is also reliable. Included is an outline of a (...) modal reliabilist theory of basic evidence and a concept-possession account of the reliability of a priori intuition. (shrink)

Recent work in philosophy of language has raised significant problems for the traditional theory of propositions, engendering serious skepticism about its general workability. These problems are, I believe, tied to fundamental misconceptions about how the theory should be developed. The goal of this paper is to show how to develop the traditional theory in a way which solves the problems and puts this skepticism to rest. The problems fall into two groups. The first has to do with reductionism, specifically attempts (...) to reduce propositions to extensional entities-either extensional functions or sets. The second group concerns problems of fine grained content-both traditional 'Cicero'/'Tully' puzzles and recent variations on them which confront scientific essentialism. After characterizing the problems, I outline a non-reductionist approach-the algebraic approach-which avoids the problems associated with reductionism. I then go on to show how the theory can incorporate non-Platonic (as well as Platonic) modes of presentation. When these are implemented nondescriptively, they yield the sort of fine-grained distinctions which have been eluding us. The paper closes by applying the theory to a cluster of remaining puzzles, including a pair of new puzzles facing scientific essentialism. (shrink)

The paper elaborates upon various points and arguments in the author’s “A Priori Knowledge and the Scope of Philosophy” (Philosophical Studies, 1993), in which the author defends the autonomy of philosophy from the empirical sciences. It provides, for example, an extended defense of the modal reliabilist theory of basic evidence, including a new argument against evolutionary explanations of the reliability of intuitions. It also contains a fuller discussion of how to neutralize the threat of scientific essentialism to the autonomy of (...) philosophy. (shrink)

It is argued that, because of scientific essentialism, two currently popular arguments against the mind-body identity thesis -- the multiple-realizability argument and the Nagel-Jackson knowledge argument -- are unsatisfactory as they stand and that their problems are incurable. It is then argued that a refutation of the identity thesis in its full generality can be achieved by weaving together two traditional Cartesian arguments -- the modal argument and the certainty argument. This argument establishes, not just the falsity of the identity (...) thesis, but also the metaphysical possibility of disembodiment. (shrink)

In this response, George Ellis comments on the publications of Part I. He responds first to Sara Green and Robert Batterman, before outlining his thoughts on Otávio Bueno’s piece.

Modal intuitions are the primary source of modal knowledge but also of modal error. According to the theory of modal error in this paper, modal intuitions retain their evidential force in spite of their fallibility, and erroneous modal intuitions are in principle identifiable and eliminable by subjecting our intuitions to a priori dialectic. After an inventory of standard sources of modal error, two further sources are examined in detail. The first source - namely, the failure to distinguish between metaphysical possibility (...) and various kinds of epistemic possibility - turns out to be comparatively easy to untangle and poses little threat to intuition-driven philosophical investigation. The second source is the local misunderstanding of one's concepts . This pathology may be understood on analogy with a patient who is given a clean bill of health at his annual check-up, despite his having a cold at the time of the check-up: although the patient's health is locally disrupted, his overall health is sufficiently good to enable him to overcome the cold without external intervention. Even when our understanding of certain pivotal concepts has lapsed locally, our larger body of intuitions is sufficiently reliable to allow us, without intervention, to ferret out the modal errors resulting from this lapse of understanding by means of dialectic and/or a process of a priori reflection. This source of modal error, and our capacity to overcome it, has wide-ranging implications for philosophical method - including, in particular, its promise for disarming skepticism about the classical method of intuition-driven investigation itself. Indeed, it is shown that skeptical accounts of modal error are ultimately self-defeating. (shrink)

This volume is a direct result of a conference held at Princeton University to honor George A. Miller, an extraordinary psychologist. A distinguished panel of speakers from various disciplines -- psychology, philosophy, neuroscience and artificial intelligence -- were challenged to respond to Dr. Miller's query: "What has happened to cognition? In other words, what has the past 30 years contributed to our understanding of the mind? Do we really know anything that wasn't already clear to William James?" Each participant (...) tried to stand back a little from his or her most recent work, but to address the general question from his or her particular standpoint. The chapters in the present volume derive from that occasion. (shrink)

Karl Holl’s interpretation of Luther’s concept of religion is based on his theoretical understanding of will. The research literature has often overlooked the fact that this foundation itself is based on a theory of emotions. The psychological implications of his interpretation of Luther, which are merely implied by Holl, can be decoded in the context of contemporary research, in this article on the basis of work by Hermann Siebeck and Reinhold Seeberg. In this way, this article systematically highlights the complex (...) structure of Luther’s concept of religion, as interpreted by Holl, with regard to its conceptual history. (shrink)

Self-consciousness constitutes an insurmountable obstacle to functionalism. Either the standard functional definitions of mental relations wrongly require the contents of self-consciousness to be propositions involving “realizations” rather than mental properties and relations themselves. Or else these definitions are circular. The only way to save functional definitions is to expunge the standard functionalist requirement that mental properties be second-order and to accept that they are first-order. But even the resulting “ideological” functionalism, which aims only at conceptual clarification, fails unless it incorporates (...) the thesis that the mental properties are fully “natural” universals. Accordingly, mental properties are sui generis: first-order, nonphysical, natural universals. (shrink)

Reflective equilibrium ("RE", for short) is a method of justification which works roughly as follows: We start with our pre-theoretical judgements (about, e.g. moral issues) and try to explain them by a systematic theory. This leads to a process in which judgements and principles are mutually adjusted to each other until a state of equilibrium is reached. For more than half a century, RE has been very popular, as well as controversial, among philosophers of many persuasions. Given how frequently the (...) method is mentioned, embraced and attacked, it is surprising that only very few attempts have been made at analysing and developing RE in detail. This topical collection brings together papers that develop RE on a conceptual level, analyse it using formal methods or investigate applications of RE. (shrink)

Georges Bataille's work is an essential reference in any discussion of modernity and postmodernity. An important influence on Foucault, Derrida and post-structuralism, Bataille is a thinker of key significance. This volume makes a selection from the entire body of his academic work, showing how his thinking on sacrifice, eroticism, taboo and transgression, and the nature of identity inform his social theory. Bataille - Essential Writings contains much previously untranslated material, including the complete texts of seven essays, and long extracts from (...) many others. It is the most comprehensive selection of Bataille's work to date, edited by an acknowledged authority. Bataille - Essential Writings will be the standard introductory text to this profound and difficult thinker. (shrink)

Georges Sorel's Study on Vico is a revelatory document of the depths and stakes of French social thought at the end of the 19th century. What brought Sorel to the 18th century Neapolitan theorist of history? Acute awareness of the limitations of Marxist thought in his day, a profound concern with the material underpinnings of language, law, and culture, and the imperative to understand the possibilities of revolutionary change. We find here a different Sorel, one who speaks in surprising ways (...) to the 21st century. The translation is accompanied by an introduction and by a set of notes which situate the text both in Sorel's overall intellectual trajectory and in the fin de siècle debates from which it emerged. (shrink)

George Kateb's writings have been innovatory in exploring the fundamental quandary of how modern democracy--sovereignty vested in the many--might nevertheless protect, respect, promote, even celebrate the singular, albeit ordinary individual. His essays, often leading to unexpected results, have focused on many inter-related topics: rights, representation, constitutionalism, war, evil, extinction, punishment, privacy, patriotism, and more. This book focuses in particular on his thought in three key areas: Dignity These essays exhibit the breadth and complexity of Kateb's notion of dignity and (...) outline some implications for political theory. Rather than a solely moral approach to the theory of human rights, he elaborates a human-dignity rationale for the very worth of the human species Morality Here Kateb challenges the position that moral considerations are often too demanding to have a place in the rough-and-tumble of modern politics and political analysis. Rejecting common justifications for the propriety of punishment, he insists that state-based punishment is a perplexing moral problem that cannot be allayed by repairing to theories of state legitimacy. Individuality These essays gather some of Kateb's rejoinders and correctives to common conceptions and customary critiques of the theory of democratic individuality. He explains that Locke's hesitations and religious backtracking are instructive, perhaps as precursors for the ways in which vestigial beliefs can still cloud moral reasoning. (shrink)

"While the great Hungarian critic and philosopher George Lukacs wrote voluminously over a 60-year period, his work is insufficiently known in the English-speaking world. In this remarkable study, George Lichtheim interprets Lukacs' political career and his equally controversial literary critiques, relating them to the traditional issues of Central European philosophy that inform all of Lukacs' work..." - Book jacket.

"George Grant in Process contains 14 essays by noted scholars on Grant's political thought, his religious thinking and philosophical method, the intellectual background of his ideas, and his “red-toryism.”".