Profiles Grecian influences on tenth-century Arab society.

Ecce Homo, Nietzsche's autobiography, is distinguished it the rest of his oeuvre and discloses, in no uncertain terms, by its profound candor in bringing to question a topic of vital importance that has remained a central concern of the cultural zeitgeist especially as a reaction to various events of the 21st century: trauma. Trauma [τραῦμα], a Grecian term that traditionally refers to "a wound," underpins much of Nietzsche's writing, and is present in observations of his own lived experience, those (...) of notable décadents such as Socrates and Wagner, and even his discussions of ethics and morality. Nietzsche's willingness to engage with his personal trauma—what he might refer as a Dionysian affirmation of being—is precisely what allows him to stand head and shoulders above other thinkers in terms of unadulterated authenticity. The relationship between trauma and authenticity is, if nothing else, a well-documented if not understated occurrence both in texts of antiquity as well as contemporary scholarship, therefore understanding trauma as a precondition for the authentic individuation of ek-sisting beings is a concern of uncommon consequence. In order to understand trauma in this regard, it becomes necessary to examine it within the context of its manifestations, in this instance the life and works of Nietzsche, as well as on its own terms as a phenomenon. (shrink)

This paper seeks to argue that Locke proposes a coherent theory of restorative justice regarding historical crimes. In two cases that he sets out in the Second Treatise, that of the Greek Christians living in the Ottoman Empire and Englishmen living in the wake of William I’s conquest, the preliminary standard of historical redress is whether the descendants of the conquerors and conquered possess equal political rights. Conquered peoples cannot simply be subsumed or annexed into an existing political order. They (...) must have some say in articulating or agreeing to the laws that govern them. In this respect, Locke’s theory of historical redress emphasizes the redemptive power of contract to overcome historical crimes. Furthermore, the disposition a community has to reimagine its body politic, to enfranchise the dispossessed by forming one body of people, speaks to the degree to which historical injustice is likely to occur. (shrink)

There is an obscure passage in a letter from Keats to Benjamin Bailey, written in 1817, which says: I am certain of nothing but of the holiness of the Heart's affections and the truth of Imagination...This does not seem to make much sense. Nor does it help much to find an echo of that passage in the famous last lines of the Ode on a Grecian Urn, written two years later: Beauty is truth, truth beauty — that is all (...) Ye know on earth, and all ye need to know. (shrink)

This succinct introduction to modern theories of literature and the arts demonstrates how each theory is built and what it can accomplish. Represents a wide variety of theories, including phenomenological theory, hermeneutical theory, gestalt theory, reception theory, semiotic theory, Marxist theory, deconstruction, anthropological theory, and feminist theory. Uses classic literary texts, such as Keats’s Ode on a Grecian Urn, Spenser’s The Shephearde’s Calender and T. S. Eliot’s The Waste Land to illustrate his explanations. Includes key statements by the major (...) proponents of each theory. Presents the different theories objectively, allowing students to decide which if any, they subscribe to. Gives students a sense of the potential of theory. Includes a glossary of technical terms. (shrink)

Treatise 2.3.6, “Of the influence of the imagination on the passions,” provides a magnified view into the relationship between motivation, morality, and politics in Hume’s philosophy. Here, Hume analyzes a “noted passage” from the history of antiquity in which the citizens of fifth-century Athens deliberated over whether to burn the ships of their neighboring Grecians after winning a decisive naval victory against the Persians. Hume finds the passage notable precisely because of a failure of the imagination to exert an influence (...) on the Athenians’ passions during their deliberations, leading them to abstain from further military action. This paper discusses how Hume’s analysis of this event reveals new connections between his passional, moral, and political theories in the Treatise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle’s Nicomachean Ethics and Shakespeare’s Troilus and CressidaW. R. EltonIn Shakespeare’s Troilus and Cressida there occurs a particular pattern of parallels with Aristotle’s Nicomachean Ethics regarding ethical-legal questions surrounding an action: issues of the role of the voluntary or the involuntary, of volition and choice, of choice and virtue, and of virtue and habitual action. 1Aristotle’s EN was familiar to Elizabethan higher education and was reprinted in translation in (...) numerous editions, with commentaries, in the sixteenth century. 2 Twice Shakespeare alludes to Aristotle by name: first, recalling his ethics, in Taming of the Shrew (I.i.32)—cf. I.i.18–20 on [End Page 331]Virtue and that part of philosophy... that treats of happiness By virtue specially to be achiev’d,and second, in Troilus (II.ii.166–67) on Aristotle and “moral philosophy.” 3Opening EN, III, Aristotle distinguishes those actions that are “voluntary” from those that are “involuntary,” remarking the necessity to determine their limits. Such a course, he adds, is “useful also for legislators with a view to the assigning both of honours and of punishments” (1109 b 32–34). What Aristotle examines, in effect, is the procedure of determining culpability for an act. 4Under what circumstances and to what extent is one responsible for his action? In addition to the voluntary and the involuntary, there are such act-related dualisms as volition and choice, choice and virtue, and virtue and habitual practice. Such ethical-legal issues are appropriate to a play whose war-plot turns on an abductor’s culpability for an action and the subsequent issue of prescriptive possession—the Grecian claim to Helen against her Trojan possessors. 5The VoluntaryIn Troilus Aristotle’s voluntary-involuntary distinctions seem exemplified. 6 A passage (I.iii.354–56), previously glossed by the present writer, suggests a [End Page 332] parallel EN instance of the voluntary. 7 Aristotle defines the voluntary as “that of which the moving principle is in the agent himself “ (1111 a 23–24). In Troilus Nestor, recalling the agent’s responsibility for acts, explains:Limbes are in his instruments, In no lesse working, then are Swords and Bowes Directiue by the Limbes(I.iii.368–70).These lines occur in Troilus, Folio (1623), and are omitted, along with other relatively specialized lines, from Quarto (1609): 8 according to Aristotle, “the movement of the limbs instrumental to the action originates in the agent himself, and when this is so it is in a man’s own power to act or not to act.” 9 Where EN has “limbs... are the instruments,” F Troilus has “Limbes are in his instruments” (cf. Walker ed., I.iii.354).Limbs are instruments of the agent’s responsibility, as are the swords and bows employed by those limbs. Such a passage in Troilus on the responsibility and voluntariness of acts could have been recognizable to an academic (especially legal) audience and, as rehearsed by the ancient Nestor, might have drawn reminiscent response.The InvoluntaryIf Nestor (I.iii.354–56) had been voice of the voluntary, the combat-withdrawn Achilles is arbitrator of the involuntary. Responding to Thersites’ “I serve here voluntary,” Achilles adjudicates, “Your last service was sufferance, ‘twas not voluntary. No man is beaten voluntary. Ajax was here the voluntary, and you as under an impress” (II.i.94–97). Mocking Thersites’s “service,” including being beaten, Achilles argues this could not be “voluntary.” His “no man is beaten voluntary” echoes Aristotle’s own familiar terms, denying that a man can be wronged or injured voluntarily. In his commentary on EN John Case [End Page 333] gives the assurance that “No one voluntarily suffers injury..., no one voluntarily and maliciously harms himself: therefore no one willingly suffers injury.” 10In such instances as those above, Troilus (II.i.94–97) recalls basic legal procedure, including determination of the degree of responsibility for an action. What is the minimum requirement of the law before a man can be held accountable? “Those things... are thought involuntary,” says Aristotle, “which take place under compulsion... and that is compulsory of which the moving principle is outside, being a principle... (shrink)

How empty and barren would life be if all our art and literature were taken away. What a calamity!Beyond the circle of the reading room are the world's greatest collection of books and the finest works of art from all places and times—sculpture from the Parthenon, Ming vases, Viking jewelry, great stone bulls and lions from Assyria, Egyptian mummies, medieval tapestries—brought together and taken out of context and time, like Keats's Grecian urn, because in themselves and in conjunction they (...) create—they are—art. In the courtyard before the huge pillars of the classical front of a Greek temple, thousands of people waited in long lines, like pilgrims at a shrine, to be admitted to look for a few moments at the rare .. (shrink)

With its focus on the pathos of permanence versus temporality as human aporia and on the function — the Werksein — of the work of art genuinely encountered, John Keats’s Ode on a Grecian Urn is a particularly compelling subject for philosophical analysis. The major explications of this most contentiously debated ode in the language have largely focused, however, on various combinations of the poem’s stylistic, structural, linguistic, psychological, aesthetic, historical, symbolic, and intellectual-biographical elements. My paper articulates a bona (...) fide philosophical approach to the ode’s famously controversial fifth stanza. I demonstrate how William Desmond’s metaphysics of Being-specifically his analysis of the univocal, equivocal, dialectical, and metaxological senses of being-affords the groundwork for a "hermeneutics of the between" that elucidates the ode’s culminating stanza with all of the cogency and nuance that one would expect to derive from a systematic ontology. (shrink)

Agamben is slowly entering the English academy. This review shows how Agamben's understanding of poetry can and should inform the eschatological nature of the lyric. The review does its cultural work by rethinking poetry and the poetic impulse. The book under review by Claire Colebrook and Jason Maxwell, prepare us for messianic times and shows how Agamben critiques the Spinozist-Marxist project. This book's weaknesses lie in Agamben's hubris in glibly going on to write on Hinduism. & Colebrook and Mason have (...) been excused for not bothering with the religion of a poorer nation than theirs. After all, this reviewer never said that Hinduism is India's state religion. Leave it to others to state that. LOL. Agamben's onto-theology is brought out in this review as has been by Colebrook and Maxwell. (shrink)