The collective historical amnesia that reigns in contemporary Russia demands an explanation. In the first part of my article I will analyze the mechanisms that suppress historical memory. I will focus my attention on two historical representations of critical relevance for this matter. First, I will discuss the Western-oriented ideology of the post-Soviet intelligentsia. Second, I will analyze the functioning of the myth of the "Great Patriotic War." In the second part of my paper I will address the influence of (...) historical amnesia on contemporary Russian society. Deep distortions in moral judgments and social relations resulting from suppressed memory will be studied through an analysis of contemporary Russian fiction, especially fantasy. Finally, I will consider Russian Gothic society, which originates in historical amnesia. (shrink)

This paper seeks to establish that Bernard Mandeville's ideas on courage and honour shaped the Scottish debate about ancients and moderns by formulating a perspective how eighteenth-century civil societies grew large, luxurious and feminine without losing their ability to wage war. My focus is on Mandeville's positive influence on David Hume, whose writings were a springboard for many Mandevillean ideas in Scotland. In contrast to a recent claim in scholarship, Hume aimed to discredit, instead of developing, Shaftesburyan ideas of ancient (...) courage. The concluding part of the paper will discuss Andrew Millar and Adam Ferguson in this context. (shrink)

The comparison of Thomas Aquinas’ Summa Theologiae with the architecture of a cathedral is not new. We find it in 1850 in Karl Werner’s System der christlichen Ethik (1850, 47), and in 1860 the German architect Gottfried Semper writes in the preface to his two-volume manual Style in the Technical and Tectonic Arts: art... appears isolated and relegated to a field especially marked out for it. The opposite was true in antiquity, where philosophy held sway over this field as well. (...) Philosophy was seen as an artist herself and a guide to the other arts. But in growing old, she turned to analysis and devised dead categories instead of living analogies. In just the same way, Gothic architecture was the.. (shrink)

One of the key questions facing Gothic Studies today is that of its migration into and out of its once familiar generic or symbolic modes of representation. The BBC series In the Flesh addresses these concerns against the background of a neoliberal medical culture in which pharmaceutical treatments have become powerful tools of socio-economic normalization, either through inducing passivity or in heightening productivity, generating chemically adapted biomachines tuned to think and produce. But the pharmakon has always been a risky (...) form of normalization, its poisonous mechanisms threatening to undo its helpful patterns by stealth. This essay discusses the pharmacological and medical contexts of the series in which zombies are subjected to medical management and normalized as “PDS sufferers,” thereby locating In the Flesh in terms of an already gothicized neoliberal pharmacology of everyday life. It also enquires how the proximity of the symbolic pharmacology of the series to neoliberal medical discourses and practices actually challenges traditional representational patterns of the Gothic and whether the Gothic can still have a role as an alternative cure to society’s ills. (shrink)

Studies in economics and humanities generally have intrinsic problems that this work illustrates, along with innovations for overcoming them. The main limitations and weak-points of orthodox theory necessitate the use in their stead of other multi-disciplinary approaches, like complexity science, agent-based simulations and artificial life simulations. An example of an artificial life simulation applied in the economics field concerning the exchange process shows the benefits of such new conceptual and methodological instruments.

Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter and Winter’s Bone represent how (...) the domestic-everyday was made unfamiliar, unsettling and threatening in the face of metaphorical and real economic crisis and disorder. The films’ explicit engagement with contemporary American economic malaise and instability thus illustrates the Gothic’s continued capacity to lay bare historical and cultural moments of national crisis. Illuminating culturally persistent anxieties about the American male condition, Take Shelter and Winter’s Bone materially evoke the Gothic tradition’s ability to scrutinize otherwise unspeakable national anxieties about male capacity to protect home and family, including through a focus on economic-cultural “white Otherness.” The article further asserts the significance of prominent female assumption of the protective role, yet finds that, rather than individuating the experience of financial crisis on failed men, both films deftly declare its systemic, whole-of-society basis. In so doing, the Gothic sensibility of pervasive anxiety and dread in Take Shelter and Winter’s Bone disrupts dominant national discursive tendencies to revivify American institutions of traditional masculinity, family and home in the wakes of 9/11 and the recession. (shrink)

According to Carl Schmitt's concept of the political, the specific distinction to which political actions and motives can be reduced is that between friend and enemy. In the Middle Ages, Peter the Venerable (1092-1156), the abbot of Cluny, was the first to conceive the Church as a spatial entity surrounded and contrastively shaped by the the nature of its assailants: Jewish, Muslim, and heterodox religious competitors. From then on, the Ecclesia perceived and established itself as a fortress constantly under siege, (...) but interiorly illuminated by the Sapientia, the inner light of the Holy Spirit. At the same time, the « true social mutation of the year 1100 » (D. Barthélemy) that transformed the old religion based on the cult of relics into the sacramental "religion of new times" began to narrow the acceptation of the word Ecclesia to the clerical elite who had the power to invoke the Holy Spirit in the sacrament of the Eucharist. Through the Eucharist, the communicant was taken into Christ's mystical body and took part of the supernatural society of the Church. The devil, therefore, was identifiable in all his disguises by his constant blasphemy against the Incarnation of Christ, which is the raison d'être of the Fortress Church, and the condition of possibility of the Eucharist, and therefore of Christian society. At Saint-Gilles du Gard (ca.1160-70), Notre-Dame de Laon (ca.1190-1205) and Notre-Dame de Germigny-l'Exempt (ca.1215), I propose that the Incarnation tympana with their claim of kinship to authoritative Antiquity ("1200 style") emerged and resurfaced as a key, but ephemeral, composition translating this ideology in the transition between Romanesque and Gothic. (shrink)

It is a paradox of the work of Artificial Intelligence that in order to grant consciousness to machines, the engineers first labour to subtract it from humans, as they work to foist upon philosophers a caricature of consciousness in the digital switches of weights and gates in neural nets. As the caricature goes into public circulation with the help of the media, it becomes an acceptable counterfeit currency, and the humanistic philosopher of mind soon finds himself replaced by the robotics (...) scientist. This atmospheric inversion from above to below, one in which a sky turns into the smog of a thickened air, happened once before in the world of knowledge, when Comtian positivism inspired a functionalist approach to the study of the sacred. The social scientists first said that in order to study the sacred, one had to study how it functioned in society; then having contributed to the growth of their own academic domain, they more confidently claimed that what humans worshipped with the sacred was, in fact, their own society. There simply was no such thing as God or the sacred, and so Schools of Divinity began to be eclipsed by the elevation of the new towers of the office buildings of the Social Sciences. Indeed, as I turn now away from my computer screen, I can see outside my window the William James Building of Social Relations competing for dominance of the skyline with the Victorian brick Gothic of Harvard's Memorial Hall. This clever move to eliminate the phenomenological reality of human consciousness as a prelude to the growth of a new robotics industry is a very successful scam, for it has helped enormously with the task of fund-raising for costly moon shots, such as the Japanese government's 'Fifth Generation Computer Project' which promised to create an autonomously thinking machine in the 1980s. No one seems to talk much anymore about the failure of this project, but the gurus of A.I. continue to prophesy - as Ray Kurzweil now does - that by 2030, humans will be surpassed by machines in cultural evolution. (shrink)

The content of a work of literature, Walter Benjamin reminds us in “The Author as Producer,” is inextricably bound up with its form. Hence, it is hardly astounding that much critical attention has been focused on the proper generic classification of Harriet E. Wilson’s Our Nig . This task, though, has not been easy. Henry Louis Gates, rediscoverer and earliest critic of Our Nig, for example, goes to great length discussing parallels between Wilson’s work and Nina Baym’s ‘overplot’ of the (...) ‘women’s novel,’ before settling on reading it as a new form of distinctly African-American lit- erature that combines “conventions of the sentimental novel with certain key conventions of the slave narratives” . Elizabeth Ammons, by contrast, places Our Nig squarely in the feminist tradition of the sentimental novel and argues that “the ideal of mother love explicit in Uncle Tom’s Cabin operates implicitly in Our Nig.” 4 2 3 Contesting Ammons’ claim, Eric Gardner asserts that Our Nig is not a ‘novel of abolition’ but “a novel about Northern racial issues, a young black woman’s bildungsroman, and, as such, is far from Uncle Tom’s Cabin.” 5 Echoing some of Gardner’s points, Elizabeth Breau contends that Our Nig “is actually satiric” and therefore gives an overly “bleak picture of northern antebellum society.” Foregrounding neither Bildung nor “ironic inversions” but the “politics of rage at work in Wilson’s tale,” Julia Stern argues that Our Nig “used the sentimental form to mask a gothic message.” 7 Rejecting Gates’ attempt to posit Our Nig as “a significant beginning of an African-American literary mode, a distinctive first in a century of firsts,” John Ernest wants to read Wilson’s work as a traditional “blend of autobiography and fiction,” hoping to ‘re-place’ it “within the racial, gender, and economic matrix of secular history.” R.J. Ellis, while accepting Gates’ assessment that Our Nig “draw[s] on the genres of sentimental fiction and abolitionist slave narrative,” stresses the ways in which the ‘hybrid’ work “fractures generic boundaries” in order to provide a “full retrieval of Frado’s pain, her experience of body politics.” Lastly, offering a reading that links Our Nig to the Puritan tradition, Elizabeth West argues that Our Nig “manipulates well-known trappings of the conversion narrative” by telling “the story of the heroine’s failed initiation into the community of earthly saints.”. (shrink)

Tim Burton’s films are well known for being complex and emotionally powerful. In this book, Helena Bassil-Morozow employs Jungian and post-Jungian concepts of unconscious mental processes along with film semiotics, analysis of narrative devices and cinematic history, to explore the reworking of myth and fairytale in Burton’s gothic fantasy world. The book explores the idea that Burton’s lonely, rebellious ‘monstrous’ protagonists roam the earth because they are unable to fit into the normalising tendencies of society and become part (...) of ‘the crowd’. Divided into six chapters the book considers the concept of the archetype in various settings focusing on: the child the monster the superhero the genius the maniac the monstrous society. _Tim Burton: The Monster and the Crowd _offers an entirely fresh perspective on Tim Burton’s works. The book is essential reading for students and scholars of film or Jungian psychology, as well as anyone interested in critical issues in contemporary culture. It will also be of great help to those fans of Tim Burton who have been searching for a profound academic analysis of his works. (shrink)

Habermas's conception of deliberative democracy could be fruitfully supplemented with a discussion of the "institutional design" of civil society; for example the architecture of public spaces should be considered. This paper argues that Hegel's discussion of architecture in his 'Aesthetics' can speak to this issue. For Hegel, architecture culminates in the gothic cathedral, because of how it fosters reflection on the part of the worshiper. This discussion suggests the possibility that architecture could foster a similar kind of intersubjective (...) reflection. To make his thoughts more pertinent for current debates, Hegel's views are adapted to fit three contemporary secular institutions. (shrink)

In late winter of 1864, Charles Darwin received two folio volumes on radiolarians, a group of one-celled marine organisms that secreted siliceous skeletons of unusual geometry. The author, the young German biologist Ernst Haeckel (fig. 1), had himself drawn the figures for the extraordinary copper-etched illustrations that filled the second volume.1 The gothic beauty of the plates astonished Darwin (fig. 2 ), but he must also have been drawn to passages that applied his theory to construct the descent relations (...) of these little known creatures. He replied to Haeckel that the volumes "were the most magnificent works which I have ever seen, & I am proud to possess a copy from the author."2 Emboldened by his own initiative in contacting the famous naturalist, Haeckel, a few days later, sent Darwin a newspaper clipping that described a meeting of the Society of German Naturalists and Physicians at Stettin, which occurred during the previous autumn. The article gave an extended and laudatory account of Haeckel's lecture defending Darwin's theory.3 Darwin immediately replied in his second letter: "I.. (shrink)

This chapter maps out some of the views of Scottish thinkers concerning human progress. It briefly considers Andrew Fletcher of Saltoun, who was the first to promote the language of republicanism in Scotland and to conceptualize the ‘militia issue’. It then examines Adam Ferguson’s debate with David Hume and Adam Smith. Whereas the former reasserted civic tradition and played a role in the cause of a Scottish national militia, Hume and Smith, by supporting commercial societies, pointed Scotland in a quite (...) different direction. The chapter moves on to the gender ambivalence of civilization in which women were seen as the vectors of the new values of modernity, but also as responsible for the loss of the ancient virtue of male citizens in arms. Finally, the chapter considers some of the historical alternatives to modernity, which found their models in the past: Stuart’s gothic feudalism, and the world of Ossian. (shrink)

With particular focus on Danish artists Henry Heerup (1907-1993), Carl-Henning Pedersen (1913-2007) and Asger Jorn (1914-1973), this article illustrates how spontaneous-abstract artists in World War II-era Denmark helped to perpetuate an idealized image of the Middle Ages as a homogeneous and unspoiled social order. It is argued that these artists took medieval culture to represent an uninhibited, irrational art, which they believed had somehow remained unsullied and beyond the exploitation of modern society’s political and capitalist powers. It is further (...) demonstrated that these artists’ idealizations tended to project onto the Middle Ages certain ideas about collectivization and the potentials of institutional critique; these commentaries resonated deeply with the volatile war and post-war political climate of their own times as well and had a clear lineage in earlier movements such as Gothic Revival, Arts and Crafts, Art Nouveau and Symbolism. This article thus posits that the medievalism in and of Danish spontaneous-abstract art can no longer be seen as independent of and unrelated to the medievalisms of the eighteenth and nineteenth centuries. (shrink)

This chapter maps out some of the views of Scottish thinkers concerning human progress. It briefly considers Andrew Fletcher of Saltoun, who was the first to promote the language of republicanism in Scotland and to conceptualize the ‘militia issue’. It then examines Adam Ferguson’s debate with David Hume and Adam Smith. Whereas the former reasserted civic tradition and played a role in the cause of a Scottish national militia, Hume and Smith, by supporting commercial societies, pointed Scotland in a quite (...) different direction. The chapter moves on to the gender ambivalence of civilization in which women were seen as the vectors of the new values of modernity, but also as responsible for the loss of the ancient virtue of male citizens in arms. Finally, the chapter considers some of the historical alternatives to modernity, which found their models in the past: Stuart’s gothic feudalism, and the world of Ossian. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Confessions of an American PsychoJames Hogg’s and Bret Easton Ellis’s Anti-Heroes’ Journey from Vulnerability to ViolenceDaniel Cojocaru (bio)My vitals have all been torn, and every faculty and feeling of my soul racked, and tormented into callous insensibility.... I could perceive no bottom, and then—not till then, did I repeat the tremendous prayer!—I was instantly at liberty; and what I now am, the Almighty knows! Amen.—James Hogg, The Private Memoirs (...) and Confessions of a Justified Sinner1My conscience, my pity, my hopes disappeared a long time ago (probably at Harvard) if they ever did exist.... My pain is constant and sharp.... But even after admitting this... and coming face-to-face with these truths, there is no catharsis. I gain no deeper knowledge about myself.... This confession has meant nothing.—Bret Easton Ellis, American Psycho2A hundred and sixty-seven years lie between the publication of James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) (henceforth referred to as Confessions) and Bret Easton Ellis’s American Psycho (1991). Yet one cannot but be amazed at the striking similarities of the main [End Page 185] protagonists’s insights at the end of these two novels. Although connections between works of Gothic Romanticism and postmodern narratives have been duly noted, the possible reasons for the analogies remain largely unexplored.3It will be argued here that both novels are representations of worlds immersed in what René Girard, in Deceit, Desire, and the Novel (henceforth referred to as Deceit), has termed “deviated transcendency,” resulting in similar stages of narrative progression, which in turn can be analyzed in terms of Girard’s mimetic cycle of violence.At a first glance, the two pieces seem to be concerned with themes that to a secularized age must appear most disparate. But as Girard has noted: “The very idea of mediation encourages literary comparisons at a level which is no longer that of genre criticism or thematic criticism.... It may illuminate the works through each other.”4 Hogg’s narrative deals with the problem of antinomianism and the resulting spiritual pride. The anti-hero of the narrative, Robert Wringhim, relies on his belief that he is one of the elect and cannot fall from grace and consequently is convinced by his elusive friend Gil-Martin to become a murderer without having to fear punishment. American Psycho on the other hand is concerned with the consequences of the crass materialism of the U.S. yuppie generation, culminating at the end of the 1980s, as experienced by the serial-killing first-person narrator Patrick Bateman. However, one could argue that in its very first pages, American Psycho presents the reader with a secularized version of antinomianism. Michael Steig has fleetingly noted that the egocentric doctrines of antinomianism psychologically resemble the “I’m alright tenets” of yuppie pseudo-psychology.5 Timothy Price, one of Bateman’s colleagues on Wall Street, expresses this in the following words: “In essence what I’m saying is that society cannot afford to lose me. I’m an asset.”6 Translated into antinomian terms, one could say that he is one of the elect, one of the privileged enjoying a capitalist heaven on earth; and by saying that society cannot afford to lose him, he, like Robert Wringhim, is showing that he believes he cannot fall from grace—or at least he tries to believe it.“I was well aware that the devilish powers of his mother would finally prevail; and either the dread of this, or the inward consciousness of having wronged him, certainly unnerved my arm.”7 If, in this reference to a quarrel with a fellow pupil at school, Robert gives away the fact that he doubts his own words, through the rhetorical device of correctio, so does Timothy Price by his choice of words. In fact, it is exactly because he is an asset that society can afford to lose him. As he is literally transformed into a commodity, society can discard him and in the novel indeed does so. It is one of the many ironies of the narrative that Price disappears soon after the above... (shrink)

In this essay, the reminiscences of Margaret Fuller, feminist activist and member of the American Transcendentalist movement, from her journey to the Great Lakes region, entitled Summer on the Lakes, are considered in the light of EcoGothic considerations. The essay shows how Fuller’s journey disillusioned her about progress and led to abandoning the serene vision of nature and landscapes reflected in the works of Transcendentalists. The destruction of nature and landscape verging on an ecological catastrophe is presented by Fuller in (...) the perspective of the Gothic, as a price for the technological development driven by the capitalist economy. The Gothic character of Summer on the Lakes derives from the mental condition of the writer and a pessimistic vision arising from the debunking of the myth of America as a virgin land. Fuller’s work constitutes an EcoGothic tribute to the indigenous inhabitants of America—but also a Gothic live burial of the Native Americans who do still live in the regions she visits—as well as to Mariana and Frederica, unusual and gothicized women excluded from society. By bringing together Fuller’s observations about nature, indigenous peoples and marginalized women, the essay shows how Fuller’s text prophetically announces the beginning of the end of the American environment. (shrink)

George Orwell argued that one of the four great motives for a prose writer was the desire â ~to push the world in a certain direction, to alter other peopleâ (TM)s idea of the kind of society that they should strive afterâ (TM). This book contains exciting new work by established and emerging scholars that explores political literature over the last century and a half. It shows how, from The Communist Manifesto to the dystopian future of Margaret Atwoodâ (TM)s (...) Oryx and Crake, writers have attempted to alter peopleâ (TM)s ideas, not always successfully. Eighteen chapters deal with a global array of writers and topics, from 1890s Australian bohemians and the anti-Peronism of Argentinaâ (TM)s Julio Cortàzar to Aris Alexandrouâ (TM)s Greek utopia and the harsh modern Zimbabwe of Yvonne Veraâ (TM)s The Stone Virgins. Other contributors critically examine the sexual politics of nineteenth century aestheticism, Theodor Adorno and Cultural Studies, Paul Auster and the altermodern, Yeatsâ (TM)s poetry, Celan and the Holocaust, the postmodernism of former-Yugoslaviaâ (TM)s Dubravka UgreÅ¡iÄ+, or the socialism of Australian Jean Devanny. Whether through informed studies of poetry and politics in Heidegger, Richard Marshâ (TM)s gothic novel The Beetle, how Thomas Pynchon and Don DeLillo deal with 9/11, the cultural politics of child abuse in Christos Tsiolkasâ (TM)s The Slap, or how the German politician Joschka Fischer lost weight, readers will be stimulated by a collection that shows political literatureâ (TM)s continuing ability to inform, enrage and engage readers from around the world. (shrink)

The British political theorist and architect Arthur J. Penty (1875-1937) is today remembered as the co-originator of ‘post-industrialism’ and as the first guild socialist. His writings evince a lifelong aversion to the evils of commercial society, as well as an intense appreciation for Medieval life. Yet Penty's conservative tendencies belie his attentiveness to what Harold Perkin would call ‘professional society.’ Though he abhorred capitalism, Penty believed in assigning status to workers on the basis of social function and technical (...) expertise. Most surprisingly, given his reputation, he held that the guarantee of such status represented the first step towards a more democratic society. This essay accordingly recasts Penty as a political theorist of the professions. It does so through the analysis of not only his core interventions in political theory, but also his lesser-known trade writings. The first section focuses on Penty's early life and context. The second explains his historical understanding of architectural decline through his contrasting narratives of Classical and Gothic aesthetics. The third section outlines his theory of how to restore democratic architecture in modernity. The fourth section comments on Penty's larger significance in the history of ideas at a time of increasing populist references to ‘traditional’ aesthetics. (shrink)

The essay “Practising ‘cruel optimism’: Eight Months on Ghazzah Street by Hilary Mantel” delves into Mantel’s novel through the lens of Berlant’s concept of cruel optimism. Berlant’s construct, rooted in the pursuit of conventional notions of a fulfilling existence, highlights the protagonists’ endeavors in Saudi Arabia as a postcolonial adventure bound to end in disillusionment. Mantel’s portrayal of Frances Shore and her husband Andrew illuminates the tension between their aspirations for financial security and the disconcerting realities of cultural displacement and (...) legal constraints under Sharia law. The city’s architecture mirrors Frances’s sense of unease, resembling oppressive structures associated with fascist regimes. The portrayal of Jeddah’s construction environment, echoing totalitarian aesthetic reminiscent of fascist regimes, serves as a compelling allegory for Frances’s sense of entrapment within a society where her agency is circumscribed by gendered and legal strictures. Casting Frances as a contemporary iteration of the Gothic heroine ensnared within her domicile, Mantel explores the disjuncture between the alleged benevolence of religious doctrine and the punitive nature of its legal apparatus. Frances’s interrogation of this dissonance not only underscores the pervasive nature of cruel optimism but also hints at the inherently paradoxical nature of faith systems that simultaneously offer solace and impose constraints. Through its fluid engagement with concepts of cruel optimism, urbanity, and gender dynamics, the essay invites readers to contemplate the multifaceted interplay between individual aspiration and systemic coercion within the affluent and autocratic socio-cultural landscape. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Osip Mandelstam and the Modernist Creation of TraditionHarold D. BakerOsip Mandelstam and the Modernist Creation of Tradition, by Clare Cavanagh; xii & 365 pp. Princeton: Princeton University Press, 1995, $39.50.The great, enigmatic poet of twentieth-century Russia, Osip Mandelstam (1891–1938), employed a poetics based on recollection. The word-soul or psyche is not contained within a linguistic body but hovers amorously over it, [End Page 257] fleeing any too crude (...) attempt at capture. The reader must trace out Mandelstam’s personal networks of association, both inside and outside the text, before a kernel of thought and emotion can be recognized (“only the moment of recognition is sweet to us,” goes a famous line from his “Tristia”). Although Clare Cavanagh’s book does not emphasize this theme, her tactics could hardly be better suited to Mandelstam’s peculiar poetic sensibility.Osip Mandelstam and the Modernist Creation of Tradition is an exhaustive exploration of historical and cultural context. It opposes itself explicitly to the traditional structuralist and semiotic approaches to Mandelstam, and takes his works in their “secular” rather than their “hermetic” aspect (to borrow terms from Robert Scholes). In that sense it seeks to recollect and bring to mind everything that might affect our understanding of Mandelstam’s oeuvre. This turns out to be a varied field: Pound and Eliot (coeval modernists whose ideas resonate significantly with his), François Villon, Byzantine and Gothic church architecture, the marginalized yet culturally dynamic position of the Russian Jew, Pindar (an exemplar of the social-economic relation of poet to state), Dante, the psychology of literary play, and even Charlie Chaplin. Although it does not use extensive biographical framing, the book proceeds through Mandelstam’s poetry and prose in chronological order, alternately pursuing aspects of context and concentrating on selected works by Mandelstam for sustained analysis.What results is perhaps the most serious comprehensive work on the poet produced so far. Cavanagh’s approach may appear diffuse at first, but it enables her to capture a great deal of this elusive genius without confining Mandelstam within a narrow critical purview. The book’s argument is that Mandelstam qualifies as a central modernist poet through his agonistic relation to an ideal of “world culture.” He attempts to recreate an authoritative literary and cultural tradition that his own innovative work would both continue and transform. And it is from this point of view that Mandelstam’s Jewishness appears so significant to Cavanagh (a chief issue in three out of eight chapters): it gives a precise formula for that position both inside and outside of the dominant culture. Cavanagh even contends quite suggestively that, for Mandelstam, both Dante and Chaplin function as avatars of Jewishness.All this is well-founded and important, but perhaps the best thing about her book is that its central argument doesn’t do justice to the richness of Cavanagh’s own materials. Her discussion does not weaken, for instance, as it leaves Mandelstam’s early period, when the notion of “world culture” was indeed an obsessive one for him. The book is equally effective on the brilliant late poems of the Voronezh cycle, by which time not only a place in world culture but even a secure place in human society seemed futile dreams to Mandelstam. Cavanagh’s readings of the prose and especially the poetry are flexible and sensitive; she gives beautiful accounts of the poetic wordplay and follows closely the ebb and flow of musicality in the verse from one period and [End Page 258] collection to another. More than a milestone in Mandelstam studies, this book brings the poet closer to realizing his fondest dream: a responsive, understanding readership or “interlocutor.”Harold D. BakerUniversity of California, IrvineCopyright © 1996 The Johns Hopkins University Press... (shrink)

The goal of this article is twofold. First, it aims at sketching the outlines of material hermeneutics as a three-level analysis of technological artefacts. In the first section, we introduce Erwin Panofsky’s three levels of interpretation of an artwork, and we propose to import this approach in the field of philosophy of technology. Second, the rest of the article focuses on the third level, with a specific attention towards big data and algorithms of artificial intelligence. The thesis is that these (...) new technologies are not only radically transforming our interactions with the world, or our modes of production and consumption, but also our worldview. In the second section, we rely on Panofsky’s Gothic Architecture and Scholasticism to describe the Scholastic “mental habit” or worldview and its principles. In the third section, we confront this worldview with the mechanistic and informationistic worldviews. Our contribution consists in arguing that (1) despite the differences, the Scholastic, mechanistic, and informationistic worldviews are part of the same logical and causal order that dominated Western epistemology, and (2) today we are facing the appearance of a new worldview that we call “data worldview”. Examples from design, architecture, and visualization of knowledge will be set all along the article. (shrink)

The work of Michel Foucault sees modern penal technology as an expression of power that operates through and is motivated by a dry instrumental reason. This article draws upon Durkheim and Bakhtin to advance a radically alternative approach. It is suggested that such technology is invested with sacred and profane symbolism and is understood via emotion-ally charged, dramatically compelling narrative frames. Tensions between official and un-authorized discourses can be understood through a center/periphery model of culture. In an extended case study (...) of the guillotine, it is shown that the apparatus was initially legitimated as an expression of a sacred revolutionary code. Such a discourse was subsequently destabilized by popular medical debates that raised the specter of pain after decapitation. While inconclusive, these new motifs mobilized Gothic and grotesque themes that confronted the rationalist aesthetics of the guillotine. A situation of Bakhtinian heteroglossia eventuated. Uncertainty, the uncanny and fable entered a discursive field of increasing complexity. (shrink)

Part of the educational system in England has been geared towards the preparation of particular professions, while the identity and status of members of some professions have depended significantly on the general education they have received. Originally published in 1973, this volume explores the interaction between education and the professions. It also looks at the education of the main professions in sixteenth century England and at how twentieth century university teaching is a key profession for the training of new recruits (...) to other professions. (shrink)

Originally published in 1971, this volume examines the relationship between the history and sociology of education. History does not stand in isolation, but has much to draw from and contribute to, other disciplines. The methods and concepts of sociology, in particular, are exerting increasing influence on historical studies, especially the history of education. Since education is considered to be part of the social system, historians and sociologists have come to survey similar fields; yet each discipline appears to have its own (...) aims and methodology. (shrink)

For the purposes of this monograph, "by a degree" is meant a degree of recursive unsolvability. A degree [script bold]m is said to be minimal if 0 is the unique degree less than [script bold]m. Each of the six chapters of this self-contained monograph is devoted to the proof of an existence theorem for minimal degrees.

There is a common tradition in European education going back to the Middle Ages which long played a part in providing the curriculum of schools which catered both for the wealthy and for able sons of less well-to-do families. Originally published in 1974, this volume examines the relationship between education and society in the different countries of Europe from which differences in tradition and practice emerge. The countries discussed include: France, Germany, the former Soviet Union, Poland and Sweden.

The rapidly changing field of genetics affects society through advances in health-care and through implications of genetic research. This study addresses the impacts of new genetic discoveries and technologies on different segments of today's society. The book begins with a chapter on genetic complexity, and subsequent chapters discuss moral and ethical questions arising from today's genetics from the perspectives of health care professionals, the media, the general public, special interest groups and commercial interests.

Higher education has been changing radically in recent years, with increasing numbers of students, and complaints about declining standards. This volume brings together leading intellectuals from the US and UK to examine the issues involved.

Originally published in 1972, this book is concerned with education as part of a larger social history. Chapters include: The roots of Anglican supremacy in English education The Board schools of London The use of ecclesiastical records for the history of education Topographical resources: private and secondary education from the sixteenth to the twentieth century.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

A collection of eight lectures by renowned spiritual leader Swami Vivekananda, this volume presents a comprehensive introduction to Vedanta philosophy. Drawing on his personal experiences and insights, Vivekananda lays out a practical and accessible approach to spiritual seeking, emphasizing self-knowledge and direct experience. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and (...) possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)