A best-seller in Europe following its original publication in 1993, this littel book takes on a big subject, offering enduring guidelines from the Greek philosopher Epicurus for achieving lasting happiness. In a letter to his friend Menoecceus, Epicurus gives sound advice on increasing life's pleasures, not through hedonistic pursuits, as commonly assumed, but through intelligence, morality, and decency. Based on a new translation of Epicurus to Menoecceus and complete with the original Greek text, Letter on Happiness expounds upon (...) basic philosophical inquiries concerning pleasure, longevity, death, and desire that are as relevant today as they were in ancient Greece, all in a compact, attractive package that makes a thoughtful gift for any occasion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Happiness in Premodern Judaism: Virtue, Knowledge, and Well-BeingDaniel H. FrankHava Tirosh-Samuelson. Happiness in Premodern Judaism: Virtue, Knowledge, and Well-Being. Cincinnati: Hebrew Union College Press, 2003. Pp. xi + 596. Cloth, $50.00.Franz Rosenzweig tried hard to convince the neoKantian Hermann Cohen of the merits of Zionism and the normalization it would bring to Jews and Jewish life. His attempt met with this response from Cohen: "Oho! So (...) the gang now wants to be happy, does it?" For those ignorant of the history of Jewish philosophy, one might imagine that Jewish philosophers, no less than their non-philosophical kinsmen, were so weighed down by the burdens of history and persecution that happiness could play no role in their theorizing. But happiness plays a key role in the history of Jewish moral and political philosophy, especially in the premodern period. Even Spinoza, the last of the medievals and the first of the moderns, the great critic of the rabbinic tradition and of Maimonides in particular, is concerned in his Ethics with identifying those activities that together constitute human well-being and the good life. Only lately, since the Enlightenment and Kant, has non-eudaimonism been a live option for Jewish thinkers. Only with the rise of (modern) Orthodoxy, and its predilection for construing goodness as rectitude and rule-following, has eudaimonism fallen out of favor. But with Tirosh-Samuelson's weighty volume on happiness in premodern Judaism, there can be no excuse in the future to imagine that all Jews are, or must be, closet Kantians, strict deontologists. To think otherwise seems to come close to taking on the classical (anti-Semitic) dichotomy of legalistic Judaism vs. spiritual Christianity. In it own way, Happiness in Premodern Judaism is a critique of such a one-sided, monochromatic view of Judaism, whether from the Christian or even from the Jewish side.Tirosh-Samuelson writes explicitly as an intellectual historian, rather than as a philosopher. She understands herself and her project as one that presents just the facts, without evaluating them. While one may cavil at a lost opportunity, in the present case this would be churlish, given the enormous erudition on display. After an introductory chapter outlining the foundational moral theories of Plato, Aristotle, and the Hellenistic philosophers, the text presents the (Greek-inspired) areteic wisdom literature of the Second Temple period, the teleological theocentrism of the rabbis, the Greco-Arabic Islamicate culture that nurtured Jewish philosophers from Saadia in the tenth century to Maimonides in the twelfth, the rabbinic and kabbalistic critiques of the philosophical ideal of happiness commencing [End Page 338] with the translation (into Hebrew) of Maimonides' Guide of the Perplexed at the beginning of the thirteenth century, and finally, very important and the focus of much recent scholarly work, the transformation of Jewish eudaimonism through direct contact with Christian Scholasticism and later with the humanist Renaissance. All in all, a millennium and a half of Jewish intellectual history is presented in a sober and scholarly way.Not surprisingly Maimonides plays a pivotal role in the story that Tirosh-Samuelson relates. A Janus-like figure, he represents the culmination and height of accommodation with Greek and Greco-Arabic philosophical culture. However, with the gradual worsening of the socio-economic condition of European Jewry in the thirteenth century, his accommodationism seemed traitorous, and as a result generations of thinkers, mystics and philosophers alike, strove to critically distance themselves from Maimonidean Aristotelianism. Tirosh-Samuelson is admirably clear in pointing out that such anti-Maimonidean tendencies are ill-characterized as anti-philosophical. Hasdai Crescas in the late-fourteenth and early-fifteenth centuries launched a massive critique of Maimonides' physics, metaphysics, and moral philosophy, but did so in as rigorous a manner as any philosopher would. The picture that enfolds over the course of the text is one of vigorous dialectic between partisans of 'alien' (Greek) wisdom and those who viewed such wisdom with considerable suspicion. Such a dialectic parallels, not surprisingly, developments in Christian philosophy.The trajectory of the story of premodern Jewish musings on happiness is from the centrality of reason and intellect, and the contemplative activity that is reason's preeminent actuality, to the primacy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Essays on Happiness John Immerwahr The second volume of Hume's Essays, Moral and Political (1742) includes a set offour pieces on the sects, that naturally form themselves in the world. These essays, "The Epicurean," "The Stoic," "The Platonist," and "The Sceptic,"refer to the ancient philosophical schools, but their main purpose, according to Hume, is to describe four different ideas ofhuman life and ofhappiness. There is little discussion (...) ofthese works in the Hume literature, but Hume himself seemed to be rather fond of them. Although several early essays were dropped from later editions, this set reappears in every version of the Essays. Hume also invested unusual care in crafting these essays, "polishingthe sentences with such precision," according to Green and Grose, "that the subsequent editions made scarcely an alteration in their language." In this article I will argue that these essays do play a significant role in Hume's overall philosophical strategy, and that a close reading ofthem helps us fill out important aspects of Hume's moral philosophy. An Attractive Reading of the Four Essays In one of the few detailed discussions of these essays, Robert Fogelin presents one reading that has a good deal of initial plausibility. Fogelin's interpretation has several main points. First, he dismisses the importance of the first three essays and asserts that "despite certain particular points of agreement," these essays are "not expressive ofHume's own position." Secondly, he argues that the final essay, "The Sceptic," does represent Hume's own position, and that in this essay Hume presents himself"under the thinnest possible disguise." In effect, Fogelin'sinterpretation is that"The Sceptic"canbe profitably readinisolationfrom the first three. Finally, Fogelin sees "The Sceptic" as having roughly the same function as the Treatise ofHuman Nature. He sees "The Sceptic" as another technical philosophical work where Hume tries, in a somewhat different way, to work out the relationship between scepticism, morality, and the passions. It is not hard to see what makes this type of interpretation plausible. On stylistic grounds alone, there are reasons to dismiss the first three essays and focus attention primarily on "The Sceptic." The first three are quite brief and are written in a rhetorical and flowery style, whereas "The Sceptic" is longer (as long as the other three essays combined) and returns to Hume's normal prose style. Substantively, Volume XV Number 2 307 JOHN IMMERWAHR there are many doctrines in "The Sceptic" which, as Fogelin correctly points out, are reminiscent of Hume's other philosophical works. An Alternative Reading Despite the plausibility of this reading, I will defend an alternative interpretation. First, I will argue that the essays are intended to be read as a set. The four essays constitute a philosophical dialogue that consists offour closely related speeches; it is misleading to read one of the speeches out of the context of the dialogue as a whole. Secondly, I will try to show that none of the speakers represents Hume's own position. From Hume's point of view, all of the speeches make important points but also contain significant errors. Finally, I will argue that the purpose of these popular essays is different from the goal of technical philosophical works such as the Treatise. While the Treatise is intended to describe and analyze human nature, the purpose ofthese essays is therapeutic rather than analytic; they are designed to change rather than to inform the reader. In the next three sections I discuss these claims in detail. I. Hume's First Dialogue Taken together, the four essays can be read as Hume's first (but by no means last) effort in dialogue writing. The evidence that they were intended by Hume as a dialogue is drawn from what Hume says about them, from internal evidence, and from a comparison with their classical model, the dialogues of Cicero. For the most part, Hume wanted his readers to see his Essays as stand-alone pieces. In the Advertisement for the first volume Hume warns his readers that they must not look for any Connexion among these Essays, but must consider each ofthem as a Work apart. But both in the Advertisement to the second volume (where... (shrink)

_A fresh, new translation of Augustine’s inaugural work as a Christian convert_ The first four works written by St. Augustine of Hippo after his conversion to Christianity are dialogues that have influenced prominent thinkers from Boethius to Bernard Lonergan. Usually called the Cassiciacum dialogues, these four works are a “literary triumph,” combining Ciceronian and neo-Platonic philosophy, Roman comedy and Vergilian poetry, and early Christian theology. They are also, arguably, Augustine’s most charming works, exhibiting his whimsical levity (...) and ironic wryness. In this second, brief dialogue, Augustine and his mother, brother, son, and friends celebrate his thirty-second birthday by having a “feast of words” on the nature of happiness that includes a bittersweet metaphorical birthday cake. Using a process of reasoning that is philosophical as well as theological, Augustine and the group conclude that the truly happy life consists of “having God” through faith, hope, and charity. Michael Foley’s clear, precise and playful translations are accompanied by his brief, illuminating commentaries. (shrink)

Purpose. The paper is aimed to explicate a recently emerging anthropological model of homo eudaimonicus from its secular framework perspective. Theoretical basis. Secularity is considered in three aspects with reference to Taylor’s and Habermas’ ideas: as a common public sphere, as a phenomenological experience of living in a Secular Age, and as a background for happiness to become a major common value among other secular values in the Age of Authenticity. The modifications of happiness interpretation are traced from (...) Early Modernity till nowadays. The preconditions of the contemporary appeal to Aristotle’s eudaimonic theory of happiness are elucidated. The main characteristics of homo economicus anthropological model and reasons for its collapse in the contemporary world are analyzed. Specificities of the contemporary interpretations of eudaimonia are described with reference to the works of MacIntyre, Haybron, Hamilton, Kekes, Melnick, and others. A moral foundation and a behavioral strategy of homo eudaimonicus model are expounded and the role of this model in the life of a contemporary individual person and society is revealed. Originality. For the first time in the Ukrainian philosophical discourse, it is shown how secular ethics enables the rise of a new homo eudaimonicus model within a sphere of secularity; and it is argued that homo eudaimonicus is the result of overcoming the values crisis. It is revealed how homo eudaimonicus along with being descriptive becomes also a normative model of a new effective behavior strategy of a contemporary person facing the current social, economic, political, and environmental challenges. Conclusions. According to the contemporary interpretation, happiness as eudaimonia is a combination of the good life and the meaningful life; it is a human flourishing in this world through the accomplishment of a person’s life plan in the sphere of secularity. Homo eudaimonicus manifests the overcoming of values crisis and the rediscovery of purpose and meaning, this time on the secular basis. Homo eudaimonicus implies the realization of a person’s project of a happy and fulfilling life through moral behavior and socially useful activities. (shrink)

1Preface: Malthus the Utilitarian vs. Malthus the Christian moral thinker. The chapter aims at reconstructing the deadlocks of Malthus scholarship concerning his relationship to utilitarianism. It argues that Bonar created out of nothing the myth of Malthus’s ‘Utilitarianism’, which carried, in turn, a pseudo-problem concerning Malthus’s lack of consistency with his own alleged Utilitarianism; besides it argues that such misinterpretation was hard to die and still persists in Hollander’s reading of Malthus’s work. ● -/- 2 Eighteenth-century Anglican ethics. The chapter (...) gives an overview of eighteenth-century Anglican ethics, noticing how the Cambridge tradition gave special weight to natural theology as opposed to positive or revealed theology and how two Cambridge fellows, John Gay and Thomas Brown worked out a kind of a rational-choice account of the origins of natural laws, where a law-giver God chooses among a number of possible sets of laws on the basis of a maximizing criterion, happiness for his creatures. ● -/- 3 Malthus’s meta-ethics. The chapter reconstructs the two ethical chapters of the second Essay. It argues that Malthus’s ethics is not dependent on Paley’s, but is derived from Cumberland, Butler, Gay, Brown. Besides, it argues that theodicy takes a new place in the 1803 Essays and ethics becomes a key to theodicy. The new solution is that, once it has been proved that passions can be mastered and that a world where passions are under control would be a comparatively happy place, a society where moral restraint prevailed would make the middling ranks more numerous, reduce dependence, and preserve liberty. ● -/- 4 Malthus’s early normative ethics: a morality of freedom. The chapter reconstructs young Malthus’s views on the foundations of ethics, proving his adhesion to voluntarist consequentialism. Then it reconstructs his treatment of political issues, whence a clear stance emerges in favour of traditional Whig concerns, such as political freedom, personal independence and dignity. Finally, it gives a fresh look at the theological argument in the two well-known final chapters, locating it in the context of consequentialism, voluntarism, and quasi-Leibnizian theodicy. ● -/- 5 Malthus’s intermediate normative ethics: a morality of prudence. Malthus’s normative ethics focuses on two main ‘natural’ virtues, benevolence and chastity, and three artificial virtues. These include love for equality and love for liberty. A special place is granted to another virtue, prudence, which is the link between natural and artificial virtues. This special virtue also provides an invisible link between the private and the public domains, in that it contributes to combine self-love with general happiness. This is granted by the unintended results mechanism, or “the happiness of the whole is to be the result of the happiness of individuals, and to begin first with them. No cooperation is required”. ● -/- 6 Malthus’s mature normative ethics: a morality of humanity. The chapter describes reactions by Evangelicals, such as Gisborne, Sumner, and Chalmers, to Malthus’s theory and Malthus’s transformation of his own system in order to pave objections. This amounts to incorporating The Evangelicals’ ideas into his own system. The friendly controversy with his Evangelical fellow-travellers yielded several important changes in 1806, 1817, and 1826 editions of the second Essay in the formulation of Malthusian ethics, in the adoption of moral improvement instead of happiness as the variable to be maximised, in the adoption of generalized education as the main weapon in the war on poverty. ● -/- 7 Malthus’s applied ethics. The chapter reconstructs Malthus’s treatment of a few issues in ‘applied ethics’, sexual morality, public morality, poverty, and besides, war and slavery. On the first issue, he argues the duty to marry only at a time when one is ready to carry the burden of six children as a moral duty imposed by prudence and rejects birth control because of its alleged effect of encouraging ‘indolence’. On the second issue, he defends a peculiar kind of Whiggism as anti-Machiavellian politics centred on rights, equality, and dignity. On the third issue, his final approach is a kind of Institutional approach to poverty, making room for generalized basic education, free markets for labour and allowing for a subsidiary role for private beneficence. The goal to be aimed at is bringing about circumstances which tend to elevate the character of the lower classes of society and offer them a chance of being respectable, virtuous and happy. ● -/- 8 Conclusions: strengthening the theological foundation. Malthus’s criteria for policy appraisal were not utilitarian ones. His normative ethics and his politics were sharply different from Bentham’s. Utility is just one element in Malthus’s ethics, going with laws of nature and rights, and ironically, far from being a Benthamite insertion, is the most markedly theological element in Malthus’s system of ideas. ● -/- . (shrink)

Richard Ryder created the term speciesism in early 1970 and shared the idea with Peter Singer, who popularised it in his classic work _Animal Liberation_. A key figure in the modern animal rights revival Ryder appeared on the first-ever televised discussion of animal rights in December 1970. He further promoted the ideas around speciesism in recorded discussions with Bridget Brophy, for the Open University, and in his contribution to the seminal philosophical work _Animals Men and Morals_ edited by the (...) Oxford philosophers Stanley and Roslind Godlovitch and John Harris in 1971. From 1969 Ryder organised protests against animal experiments and bloodsports. He continued to promote his ideas about speciesism in leaflets and broadcasts, culminating in the publication of his _Victims of Science_ in 1975 - a book that provoked debates in Parliament and on television and was described by _The Spectator_ at the time as "a morally and historically important book". Dr Ryder was elected to the RSPCA Council in 1971, first becoming Chairman in 1977. In 1980 he was founding Chairman of the Liberal Democrat Animal Protection Group, and later ran for Parliament, was Director of the Political Animal Lobby and then Mellon Professor in the Department of Philosophy at Tulane University. Ryder coined the term painism to describe his wider moral theory in 1990. He has several times broadcast on the BBC's Moral Maze. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Utilitarianism in the Early American Republic by James E. CrimminsAndrew GustafsonUtilitarianism in the Early American Republic James E. Crimmins. Routledge, 2022.There are many important influences on American Pragmatism, but one which is frequently overlooked is the influence of Utilitarianism, both on American thought in general, and American Pragmatism in particular. It is difficult to imagine anyone better to write this book than James Crimmins. As a (...) leading Bentham scholar, among his twelve previously published books on utilitarianism, he is editor of the Bloomsbury Encyclopedia of Utilitarianism (Bloomsbury, 2013) and the four-volume set Utilitarians and Their Critics in America, 1789–1914 (Thoemmes Continuum, 2005). His vast knowledge of the history of utilitarianism, which he has spent his entire career investigating, makes him the perfect author for this very helpful book on the influences of utilitarianism in early American thought. It is a rich sourcebook that can help direct anyone looking to do more research in this area. Here, Crimmins provides a thorough historical account of the influence of utilitarianism on the development of early American thought and the rise of pragmatism, giving reason to believe that utilitarianism was more impactful on American pragmatism than is often realized.The first chapter highlights why utilitarian influence on American law and politics is overlooked and why it should not be. Chapters 2 and 3 explain how American thought leaders came to know of Bentham's work, and chapters 4–7 discuss concrete examples of thinkers who brought utilitarianism to bear on issues in America (for example, Hoffman on legal studies in chapter 4, Livingston on legislative law in chapter 5, the death penalty debate in chapter 6, and Thomas Cooper's wide-ranging influences in chapter 7). The epilogue provides a specific set of arguments for why the utilitarians' influence on American Pragmatism should be more widely recognized and investigated.Crimmins begins the book by explaining why utilitarianism, as an influence in early American politics, is typically excluded and ignored by thinkers from John Dewey to Élie Halévy. One reason is that William Paley's Principles of Political and Moral Philosophy (which was used widely as a moral text in US universities throughout the 1800s) was published in 1785, and Bentham's An Introduction to the Principles of Morals and Legislation was published in 1789, and even then Bentham's ideas didn't gain public circulation (and then only in French) until Etienne Dumont published the three-volume Traités de législation civile et pénale in 1802. But the more important reason utilitarianism [End Page 106] has not received attention, according to Crimmins, is due to the dominant focus placed on Locke's natural law and rights view being the lens by which American politics has been understood. Some have challenged this Lockean consensus and pointed out that republican virtues drawn from the ancient Greeks and others show up in ideas such as the "right to happiness" (which is a right that is found nowhere in Locke) (20). Crimmins shows that there was a very strong emphasis on "public utility," "general welfare," and happiness, and this frequently outweighed concerns for natural rights for thinkers like Thomas Paine, John Adams, Nathaniel Chipman, Joseph Haven, and many other early American thinkers. Furthermore, utilitarian considerations can be found in the Constitution and federalist papers, and even Tocqueville explained American thinking through the lens of utilitarian concerns.Bentham was ambitious in attempting to promote codification of law in many countries worldwide. While Bentham had made offers (some accepted, some rejected) to help in the codification of law to various countries, ranging from Catherine the Great's Russia to France, Portugal, Spain, and numerous South American countries, he spent much of the last quarter of his life focused on trying to provide his services to the new United States. In chapter 2, Crimmins provides a history of the dissemination of Bentham's ideas in the United States, highlighting some of the key promoters of his ideas in the United States, including Richard Hildreth and John Neal, as well as John O'Sullivan, Gilbert Vale, and, of course, Thomas Cooper. Crimmins also provides a meticulous account of Bentham's personal attempts... (shrink)

Volume 4 of’ “The Early Works” series covers the period of Dewey’s last year and one-half at the University of Michigan and his first half-year at the University of Chicago. In addition to sixteen articles the present volume contains Dewey’s reviews of six books and three articles, verbatim reports of three oral statements made by Dewey, and a full-length book, The Study of Ethics. Like its predecessors in this series, this volume presents a “clear text,” free of interpretive (...) or reference material. Apparatus, including references, corrections, and emendations, is confined to appendix material. Fredson Bowers, the Consulting Textual Editor, has provided an essay on the textual principles and procedures, and Wayne A. R. Leys, Professor of Philosophy at Southern Illinois University, has written an Introduction discussing the relationship between Dewey’s writings of this period and his later work. That Dewey’s scholarship and writing was at an especially high level during 1893 and 1894 may be considered an index to the significance of this two-year period. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Masao Abe’s Early Spiritual Journey and his Later PhilosophyDonald W. MitchellMasao Abe was born in 1915 in Osaka, Japan. He was the third of six children, and his father was a physician. His mother was the only person in the family who practiced religion, namely, Jōdo Shinshū or Shin Buddhism. As a university student, Abe attended what is now Osaka Municipal University, where he studied economics and law. (...) While at the university, he read the Tannishō, a text by Shinran. Abe later said that he understood from that text that “self-power” was futile and the only hope for salvation was “other-power” faith in the grace of Amida Buddha. However, he also understood that this life of grace entailed the relinquishment of “self-centered calculation.” Abe felt that he was not able to set aside his ego-self and began for the first time in his life to experience the tension between Buddha and ego, or, in more Western terms, the duality of God and self. This concern led Abe into a very personal spiritual quest that would define his life and work.Given this concern, after graduation, Masao Abe wanted to attend Kyōto University to study Buddhism. Because of family issues, however, he took a position at a trading company in Kōbe, where he worked for four years. Those years were marked by a sense of meaninglessness, and in the end Abe quit his job and entered Kyōto University, where he studied Western philosophy under Tanabe Hajime, who was himself influenced by Shin Buddhism. It was during that time that Abe met Hisamatsu Shin’ichi, an associate professor at Kyōto University and a well-known and committed practitioner of Zen Buddhism.At one point, Abe took his spiritual concerns about the tension he felt between his ego-centeredness and the religious life to Hisamatsu. He asked, “I am nothing more than a lump of selfish passions. Yet, isn’t it true that in Mahāyāna Buddhism one can be saved just as one is, selfish passions and all?” Hisamatsu responded, “The very thought that there are selfish passions is a selfish passion. Originally there is no such thing.” 1 Abe understood from Hisamatsu that there was a more fundamental ground below the dualism between Buddha and ego, a ground in which this dualism is overcome and salvation from any such dualistic struggle could be found.But Abe was not ready to surrender his Pure Land religiosity. In fact, it was during [End Page 107] this time at Kyōto University that he had an experience of Amida Buddha’s grace. As Abe put it, he realized that while he thought that he was “running toward” Amida Buddha in his struggle with faith, he realized that Amida Buddha was not something to go to, but, rather, Amida was already right there with him all the time. Abe said that at that moment he threw himself on the tatami floor and wept in gratitude. It was gratitude for Amida’s presence and grace that embraced Abe just as he was, full of passions and ego. When he told Hisamatsu about this experience, Hisamatsu was very happy and never questioned Abe about his Pure Land views again.Gradually, under the influence of Hisamatsu and with his deeper study of Buddhism, Abe realized that while his Pure Land experience was valid, there was a more fundamental or original religious standpoint to be discovered. Abe still struggled with the duality between the life of Amida’s grace and embracement of Abe with his ego, and Abe’s ego-centered passions themselves. He felt, under Hisamatsu’s influence, that it might be on that more fundamental standpoint that this duality would be overcome. He also saw the undeniable realization of this original nondualistic standpoint in Hisamatsu himself, and this led him to turn more fully to Zen practice under Hisamatsu’s guidance in the context of the F.A.S. Society.Given the foundational paradigm shift Abe faced in Hisamatsu and the depth of his own struggle with the dualism still involved in his Pure Land position, Zen practice under Hisamatsu was extremely demanding for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hellenistic and Early Modern PhilosophyChristopher S. CelenzaJon Miller and Brad Inwood, editors. Hellenistic and Early Modern Philosophy. New York: Cambridge University Press, 2003. Pp. xii + 330. Cloth, $60.00.There are at least two ways of writing the history of philosophy: the first and most common among those self-identified as "philosophers" treats philosophers of the past as if they were in live dialogue with the present. Only (...) the text is dissected, studied, and analyzed as the interpreter attempts to reconstruct, examine, and occasionally challenge the arguments under consideration. Practitioners of this first way assume that systematic and seemingly internally coherent styles of thought are most worthy of the name "philosophy." These thinkers believe that the term "philosophy," as Richard Rorty pointed out long ago, has an "honorific" sense: philosophy as such stands above other forms of thought, it is regulative in scope, and it serves as something that examines the conclusions of other, necessarily less rigorous fields. The second way is more explicitly contextualist, seeking to understand what a past thinker may have meant in his own time, what outside factors may have shaped his arguments, and how his thought may be part of broader historical currents that are none the less worthy of being remembered and studied now. Practitioners of this way are more likely to believe that ambiguities or seeming deficiencies of clarity that we find in the work of a past thinker are unlikely to be resolved by hypothetical, propositional reconstruction; rather the ambiguities are apparent to us because we are differently situated, so that the study of history is a more powerful tool in helping us satisfactorily access the work of a past thinker than rationalistic reconstruction. (Full disclosure: I am an advocate of the second way.) This volume presents studies that fall into both of the two camps, as Jerome Schneewind points out in his cogent introduction.The volume has a manifest unity: almost all of the articles are concerned in some way with different Hellenistic schools of thought and the way early modern thinkers used, re-imagined, and interpreted them. The studies are often meticulous and all are stimulating. Anthony Long offers a wonderfully synthetic presentation of ancient Stoicism as a coherent system, after which he examines the way Spinoza, Justus Lipsius, and the eighteenth-century Anglican bishop Joseph Butler measure up; unsurprisingly, they don't measure up that well. Margaret Osler seeks to illuminate the way Gassendi appropriated certain aspects of Epicureanism. Philip Mitsis argues that modern scholarship on Locke has not taken Locke's interest in Cicero's De officiis as a tool for teaching morality seriously. Donald Rutherford studies Leibniz's critique of Stoicism, which "centers," he writes, on their "failure to offer an adequate explanation of the nature of moral progress and of the dependence of human happiness on the hope for such progress" (62-63). Catherine Wilson presents a study of the corpuscular aspect of Epicurean natural philosophy among Leibniz and his contemporaries. Jon Miller eloquently and thoughtfully discusses the way Grotius and Spinoza worked with the natural law theory of the Stoics. Among a number of excellent articles, perhaps the most interesting is Stephen Menn's. Menn makes a compelling case that Descartes's intellectual autobiography in the Discourses may be seen as part of a tradition. In it, the writer presents himself as reaching a moment of dissatisfaction with the intellectual customs with which he has come into contact and as needing to strike off into new directions, unencumbered by the vestiges of those customs. While others, most notably Dan Garber, have shown that, as Menn puts it, "none of Descartes's contemporaries seem to have thought in 1637 that they were witnessing a revolution" (142), Menn's study is striking because it shows the depth of the tradition within which Descartes was working. Next, Gail Fine finds that the Cyrenaics, as presented by Sextus Empiricus, seem to have [End Page 207] endorsed "the view that there are truths, beliefs, and knowledge about the subjective" (214). Steven Nadler seeks to show that there is no mysticism in Spinoza's thought, even though it was not uncommon in Spinoza's own day to... (shrink)

Volume 1 of The Early Works of John Dewey, 1882-1898 is entitled Early Essays and Leibniz's New Essays Concerning the Human Understanding, 1882-1888. Included here are all Dewey's earliest writings, from his first published article through his book on Leibniz. The materials in this volume provide a chronological record of Dewey's early development--beginning with the article he sent to the Journal of Speculative Philosophy in 1881 while he was a high-school teacher in Oil City, Pennsylvania, and (...) closing with his widely-acclaimed work on Leibniz in the Grigg's Series of German Philosophical Classics, written when he was an Assistant Professor at the University of Michigan. During these years be-tween 1882 and 1888, Dewey's life course was established: he decided to follow a career in philosophy, completed doctoral studies at Johns Hopkins University, became an Instructor at the University of Michigan, was promoted to Assistant Professor, and accepted a position as Chairman of the Department of Philosophy at the University of Minnesota. With the publication of Psychology, he became well known among scholars in this country; a series of articles in the British journal Mind brought him prominence in British philosophical circles. His articles were abstracted in the Revue philosophique. None of the articles collected in this volume was reprinted during the author's lifetime. For the first time, it is now possible for Dewey scholars to study consecutively in one publication all the essays which originally appeared in many periodicals. (shrink)

This third volume in the definitive edition of Dewey's early work opens with his tribute to George Sylvester Morris, the former teacher who had brought Dewey to the University of Michigan. Morris's death in 1889 left vacant the Department of Philosophy chairmanship and led to Dewey's returning to fill that post after a year's stay at Minnesota. Appearing here, among all his writings from 1889 through 1892, are Dewey's earliest comprehensive statements on logic and his first book on ethics. (...) Dewey's marked copy of the galley-proof for his important article The Present Position of Logical Theory, recently discovered among the papers of the Open Court Publishing Company, is used as the basis for the text, making available for the first time his final changes and corrections. The textual studies that make The Early Works unique among American philosophical editions are reported in detail. One of these, A Note on Applied Psychology, documents the fact that Dewey did not co-author this book frequently attributed to him. Six brief unsigned articles written in 1891 for a University of Michigan student publication, the Inlander, have been identified as Dewey's and are also included in this volume. In both style and content, these articles reflect Dewey's conviction that philosophy should be used as a means of illuminating the contemporary scene; thus they add a new dimension to present knowledge of his early writing. (shrink)

Die Schrift Uber das Gluck: Das Leben des Proklos, verfasst von dem neuplatonischen Philosophen Marinos, ist ein bemerkenswerter Text des spaten 5. Jh. n. Chr., der traditionelle biographische, hagiographische und philosophische Themen und Motive mit aktuellen zeitgenossischen Diskursen der Spatantike amalgamiert. Das langjahrige Oberhaupt der Neuplatoniker in Athen, der Philosoph Proklos, wird als Leitfigur und paganer Heiliger in einer zunehmend christianisierten Gesellschaft inszeniert. Marinos illustriert anhand seiner Proklos-Figur die Tugenden und Ideale der neuplatonischen Philosophen und schildert dabei programmatisch die (neu-)platonische (...) Ethik und Gluckskonzeption. In der Einleitung sowie in den sieben Essays dieses Bandes werden literarische, philosophische, religionsphilosophische, astronomische wie althistorische und sozialgeschichtliche Themen dieses Textes - der hier zum ersten Mal ins Deutsche ubersetzt wird - beleuchtet. (shrink)

This third volume in the definitive edition of Dewey's early work opens with his tribute to George Sylvester Morris, the former teacher who had brought Dewey to the University of Michigan.

The renowned Christian theologian Bernard Lonergan was also a professor, teaching courses on theological method at universities in Canada, the United States, and Italy. This volume records his lectures and teaching materials, thus preserving and elucidating his intellectual development between the publication of Insight in 1957 and Method in Theology in 1972. The present volume contains a record of the lectures delivered in 1962, 1964, and 1968. This is the most 'interactive' volume yet published in the Collected Works series. (...) The audio recordings of the 1962 and 1968 lectures are now available on the website www.bernardlonergan.com, as are PDF files of original papers from his 1964 institute at Georgetown. These lectures help to elucidate the development of Lonergan's ideas on such key notions as horizon, conversion, and meaning, as well as his evolving opinion on how best to divide theology into fields of specialization. (shrink)

ABSTRACT This paper offers an account of the early career of Martha Kneale, née Hurst, and of the five papers she published between 1934 and 1950. One on metaphysical and logical necessity, from 1938, is particularly interesting. In it she considers the metaphysics of time and offers an explanation of ‘the necessity of the past’, which has some resemblance to Kripke’s ideas about metaphysical necessities, in that it assigns an important role to experience in how we come to know (...) them. But Kneale’s view is very different from Kripke’s, depending not on doctrines about rigid designation but rather on recognition of the failure of the atomist/empiricist account of ‘simple’ and ‘complex’ concepts. That account cannot deal with such things as the relations of the determinates of a determinable like colour. A plausible corollary of this, which Kneale exploits, is that some of our experience reveals to us that there are phenomena which are intrinsically complex in having multiple distinguishable aspects, but where those aspects are inseparable. Other of the papers show Kneale to have been pursuing interesting lines of thought about McTaggart’s argument against the reality of time and on the mind-body problem. (shrink)

The renowned Christian theologian Bernard Lonergan was also a professor, teaching courses on theological method at universities in Canada, the United States, and Italy. This volume records his lectures and teaching materials, thus preserving and elucidating his intellectual development between the publication of Insight in 1957 and Method in Theology in 1972. The present volume contains a record of the lectures delivered in 1962 (Regis College, Toronto), 1964 (Georgetown University), and 1968 (Boston College). This is the most 'interactive' volume yet (...) published in the Collected Works series. The audio recordings of the 1962 and 1968 lectures are now available on the website www.bernardlonergan.com, as are PDF files of original papers from his 1964 institute at Georgetown. These lectures help to elucidate the development of Lonergan's ideas on such key notions as horizon, conversion, and meaning, as well as his evolving opinion on how best to divide theology into fields of specialization. (shrink)

Includes bibliographical references and index.

My thesis seeks to reduce what may be a natural human antipathy to ageing and/or the elderly by working with one distinctive and consistently approved feature of some older people. This feature is a bold and cheerful struggle within a self‐chosen project. The argument opens by distinguishing short‐term gratification from lasting, fulfilling happiness, and showing the link between gratification and dependence. Three kinds of struggle (non‐voluntary, part‐voluntary and positive) are then outlined and exemplified. Gerontological and anthropological research suggest that (...) attitudes to struggle are fixed early in life, and while in the past they mitigated for or against successful survival, they now influence happiness and coping in later life. I argue that the negative effects of the first two kinds of struggle ‐ which are often misguided, grudging or ‘no‐win’ struggles ‐ are responsible for the rigidity, narcissism and resentment disliked in some older people. Self‐respect, contrasted with self‐righteousness, is shown to accrue only from the positive (voluntary and congenial) struggle that seems at any age to deflect or compensate for depression, disappointment, loneliness and illness. (shrink)

Through reading the early work of Walter Benjamin—up to and including the Trauerspiel, author Monad Rrenban elicits a cohesive conception of the wild, inforgettable form, philosophy, as inherent in everything. This book, distinct in its analysis and depth of analysis, elaborates the wild, unforgettable form—philosophy in relation to language, the discipline and the practice of philosophy, criticism, and the politics of death.

Because the paperback edition of Dewey’s early works places within easy reach those writings in which he was coming to terms with the foundational issues of his philosophical methodology, it should stimulate the much needed examination of the underpinnings of the later, more popular expressions of his thought. Dewey’s basic ideas grew and changed form many times over his long career, yet there are unifying themes and standpoints which are more rigorously expressed in the early works, (...) and without an understanding of which the reader of later Dewian [[sic]] epistemology is likely to be either hopelessly lost or think himself to be floating on a sea of ungrounded opinion. Two connecting themes which span the breadth of his writing career are worthy of special comment: the first since it helps to locate the center and tie together the periphery of Dewey’s many faceted work, and the second because it is a lingering and unexpressed presupposition of his later metaphysical work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crisis of Meaning in Sartor Resartus—Thomas Carlyle's Pioneering Work in Articulating and Addressing the Existential ConfrontationFrank Martelawhat i call an "existential confrontation" is the encounter with the possibility that human life is absurd: created for no purpose and devoid of any lasting value or meaning. It is "the hour of terror at the world's vast meaningless grinding" that William James (Will to Believe 173) examines, described by Todd May (...) (xi) as "the confrontation of our need for meaning with the unwillingness of the Universe to yield it to us." This confrontation with the existential void and the potential absurdity of human existence is often not just an intellectual dilemma, but felt as a deep personal crisis accompanied by melancholia, angst, nausea, or even suicidal thoughts. Young William James confessed in a letter to a friend that "all last winter" he "was on the continual verge of suicide" (quoted in Gunnarsson), writing later that "too much questioning" leads "to the edge of the slope" wherein lies "nightmare or suicidal view of life" (James, "Is Life Worth Living?" 6). Similarly, Leo Tolstoy (54) reports how his inability to identify a lasting meaning of life drove him to a "state of lunacy" where "the best I could do was to hang myself."Despite a few earlier allusions—most famously the Book of Ecclesiastes proclaiming that "all is vanity and a striving after wind," and Shakespeare's Macbeth lamenting that life is "a tale told by an idiot … signifying nothing"—the existential confrontation is predominantly a modern phenomenon (Martela, A Wonderful Life). The modern history of descriptions of existential confrontations start at the turn of the nineteenth century, and includes Søren Kierkegaard's Sickness Unto Death, Leo Tolstoy's A Confession, Fyodor Dostoevsky's Notes from Underground, Camus's Outsider, Sartre's Nausea, and T. S.Eliot's The Waste Land.There are many responses that the confrontation with the existential void has generated. Sartre embraced the lack of values imposed from outside and [End Page 80] emphasized human freedom. Human beings are "cast into this world … condemned to be free" without any "luminous realm of values" providing "justification or excuse," as Sartre famously summarized in "Existentialism Is a Humanism" (29). Other responses range from Søren Kierkegaard's leap of faith and William James's will to believe to Albert Camus's happiness from absurdity.While some of the responses end up finding a new way of connecting with God and faith, and others are explicitly atheistic, embracing the "death of God," a common thread in most responses is an acknowledgment of the situatedness of human experience and an emphasis placed on human subjectivity and the opportunity to live one's life more authentically. While existentialism, broadly conceived, is often seen as the central philosophical tradition dealing with the existential void, the confrontation was very much alive in the United States as well, visible in both literature and philosophy. As already alluded, William James had an existential confrontation in his youth, writing about the topic in "Is Life Worth Living" and other essays in Will to Believe. There has also been much back-and-forth between Europe and the United States around these themes, with the influences crossing the Atlantic on many occasions. For example, William James cites Thomas Carlyle in Will to Believe, while Sartre cites William James in Nausea, when discussing themes related to the existential confrontation. Similarly, Emerson inspired Nietzsche who inspired Josiah Royce. Typically, the histories tracing the early encounters with the existential confrontation acknowledge Friedrich Nietzsche, Søren Kierkegaard, and Fyodor Dostoevsky as key nineteenth-century predecessors to Existentialism, as all faced directly the question of the meaning of life and the dreadful possibility that life might not have any meaning or value to it.However, there is a key author usually not mentioned in these histories, despite the fact that he played a pivotal role in introducing existentialist themes to the English-speaking audience, coining the phrase "meaning of life" in the English language. Thus, in writing the prehistory of Existentialism, we need to examine Thomas Carlyle and his Sartor Resartus, which has been described by literary historians as "one of... (shrink)

Ian Hacking has defined himself as a philosopher in the analytic tradition. However, he has also recognized the profound influence that Michel Foucault had on much of his work. In this article I analyse the specific imprint of certain works by Foucault—in particular Les mots et les choses—in two of Hacking’s early works: Why Does Language Matter to Philosophy? and The Emergence of Probability. I propose that these texts not only share a debt of Foucauldian thought, but (...) also are part of what I believe is Hacking’s central project: the analysis of the historical and situated conditions of possibility for the emergence of concepts and of objects, inspired also by the French philosopher’s thought. (shrink)

According to the editors, Alfred Tarski: Early work in Poland – Geometry and Teaching has three main goals. First, to publish translations so that all of Alfred Tarski's work will be accessi...

Both Alexius Meinong and Edmund Husserl wrote about relations in their early works, in periods in which they were still influenced by Franz Brentano. However, besides the split between Brentano and Meinong, the latter also accused Husserl of plagiarism with respect to the theory of relations. Examining Meinong’s and Husserl’s early works and the Brentanist framework they were written in, we will try to assess their similarities and differences. As they shared other sources besides Brentano, we (...) will consider very carefully whether we should speak at all of influence or plagiarism. Despite Meinong’s accusations it seems that both he and Husserl took over some elements from Brentano and, partially through him, from John Stuart Mill, who appears to be the most probable source on relations. (shrink)

The article analyses mystical teaching of Hasidism in the early works of Martin Buber (before publication of “I and Thou” in 1923) in the context of the concept of Orientalism by E. Said. Analysis is based on the M. Buber’s appeal to Hasidic sources in the 1900s-1910s (in particular, in his first two collections, “Rabbi Nachman of Bratslav” and “The Legend of Baal Shem”). Two factors allow examining Hasidism in the early Buber’s writings in the context of (...) Orientalism: a growing interest in the Orient in the circles of European Jewish intellectuals during late 19th cent, as well as the negative stereotype of traditional East European Jew (Ostjuden, “an Eastern Jews”) present in the modernized Jewish society. The article demonstrates that this stereotype is closely related to the criticism of Hasidism by representatives of the Jewish Enlightenment (Haskalah). In particular, the accusations of traditional Eastern European Jews of inclination to vanity and prejudice, as well as of subjugation to the infinite power of the miracle workers (tzadikim), clearly have a source in maskilic criticism of Hasidism. The Buber’s turn towards Hasidism took place in mid-1900s. It was connected with Buber’s interest in Oriental mysticism, and with his social activities as “cultural Zionist”. Overcoming the “Ostjude” stereotype turned out to be an essential part of Buber’s cultural program. Buber reconstructs Jewish mysticism as an integral phenomenon, the subject of academic study. According to Buber, the most striking manifestation of this phenomenon is the Eastern-Euro pean mystical movement of Hasidism. It is from Ostjuden that the source of Hasidic wisdom is linked, which in the essays of the cycle of “Judaism” is a true “light from the East.”. (shrink)

Freud was interested in the problem of memory from the time of his very early works. The processes taking place in memory, imaging, remembering and forgetting images focused his attention and were one of the pillars of shaping his conception of the unconscious and mind as “the storehouse of total memory,” which in one of his works he compared to “the Eternal City of Rome”, which accumulate images-memories gathered throughout life. Shifts, changes, deformations, strong emotional components determine (...) the specificity of many processes of remembering and forgetting, a specific “coding” of information in the form of visual, acoustic and other images. Nowadays, there are indications of Freud’s views in various dimensions of scientific research on memory and the consciousness of the importance of these approaches in our culture and its discovery of the role of autobiographical memory. (shrink)

T. Zinkevich. "The ideas of civil religion in the works of Mykola Kostomarov." The author based on the fact that a civil religion - it is a social and cultural phenomenon in which the light of a kind of religious language and the specific practices of the necessity of finding and approval of the national state, which has its roots in the community needs to find the sacred in the work, which is inherent in the transcendent, eternally linear in (...) nature and which is rooted in the history of the territory. According to N. Kostomarov, the main provisions of national faith as follows: God is one, He is the creator of all things, the seat of comfort and happiness, belief in which is the key statements in the freedom society, equality, and fraternity; social ideals of Ukrainians, which is the expression of Christian Cossack republic and the social doctrine of the early, truthful Christianity coincide; Ukraine, in contrast to other ethnic groups, is a carrier and protector of the true social and Christian values, which makes it possible immortality Ukrainians, his primacy in the social liberation and unification of the Slavic community, in which Ukraine will take place eludes Rzeczpospolita. (shrink)

The purpose of this study is to provide a detailed exposition of Heidegger's conception of philosophy as "destruction [Destruktion]." My thesis is that the ultimate motivation for engaging in this practice of Destruktion is the value of an "authentic" way of life. That is, "destruction" is a philosophical practice that aims at cultivating authenticity as a concrete possibility for individual men and women. I argue for this claim by first of all examining the theological sources for Heidegger's notion of "destruction," (...) with a particular focus on Luther. Second, I provide a detailed exposition of the development of "destruction" in Heidegger's work from the 1920's, and of the ideas intimately linked with it. ;In Chapter One, I undertake to clarify Heidegger's philosophical position on the importance of religion and theology not only for Western intellectual history as a whole, but also for his own idiosyncratic philosophical project. In Chapter Two I explore the role that his study of Luther played in the development of Heidegger's conception of philosophy as "destruction." In Chapter Three, I lay some necessary groundwork for my later discussion by examining Heidegger's conception of human selfhood. In Chapter Four, I undertake to give a thorough account of Heidegger's conception of an "inauthentic" way of life. In Chapter Five, I examine Heidegger's views about the way public discourse, particularly intellectual discourse, is oftentimes complicit in an inauthentic way of life. In Chapter Six, I locate Heidegger's conception of authenticity within the tradition of Romantic personalism, and show how he investigates the roots of this tradition in primitive Christianity. In Chapter Seven, I present an explication of Heidegger's conception of an "authentic life" by focusing on his works before and including Being and Time. Having laid the groundwork for understanding the meaning of "destruction" in Chapters One through Seven, I begin an explicit examination of the nature of Heidegger's conception of philosophy in Chapter Eight. Chapter Nine is the culmination of my argument, in which I focus on the idea of "destruction," and show that it is everywhere linked with Heidegger's ideal of an authentic way of life. (shrink)

Abstract:Although best known to English-speaking readers as the general editor of the Dictionary of Untranslatables, the work of French philologist and philosopher Barbara Cassin is eclectic, encompassing literary studies, ancient philosophy, rhetoric, translation theory, psychoanalysis, politics, and more. From Presocratic philosophy to more recent reflections on Big Tech and democracy, Cassin's work is rooted in "sophistics," an approach that emphasizes the primacy of language in shaping our interactions with the world. Situating this sophistical approach vis-à-vis classical philology (Bollack) and the (...) philosophical tradition (Heidegger, Derrida), this essay explores the contribution of "sophistical reading" to our understanding of philosophical and literary texts. Showing how Cassin uses rhetorical theory to problematize any simple opposition of the latter, the essay concludes with a critical evaluation of Cassin's reading of Helen, Euripides' most sophistical play. (shrink)

Alvin Goldman's early work in action theory and theory of knowledge was a major influence on my own thinking and writing about emotions. For that reason and others, it was a very happy moment in my professional life when I learned, in 1988, that in his presidential address to the Society for Philosophy and Psychology Goldman endorsed and defended the “simulation” theory I had put forward in a 1986 article. I discovered afterward that we share a strong conviction that (...) empirical evidence is relevant to a full assessment of the theory. We both find the burgeoning evidence from cognitive neuroscience to be of particular interest, I believe, in part because it makes possible a major departure for the philosophy of mind: turning its attention from " the neural basis of mental states, " to. (shrink)

This paper investigates the magnet as a classic “boundary object” of modern technoscientific culture. Equally at home in the nursery, dynamo, measuring instrument and navigational compass, its capricious performance nevertheless persistently eluded the powers of nineteenth century electromagnetic expertise in pursuit of the completely “permanent” magnet. Instead the untamed magnet’s resilient secularity required its makers to draw upon ancient techniques of chemical manipulation, heat treatment and maturation to render it eventually sufficiently stable in behaviour for orderly use in modern engineering. (...) The precise methods for accomplishing this quasi-permanence were typically protected by trade secrecy – until that is Marie Sklodowska Curie’s first research publication opened up this topic for rigorous comparative research in 1898. Nevertheless, over the next quarter century her work in this field was gradually eclipsed by heavily gendered citation practices, just as the futility of attempting to accomplish complete permanency in magnets was eventually established by Sydney Evershed in the 1920s. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Davidson’s 1965 paper, “Theories of Meaning and Learnable Languages”, has invariably been interpreted, by others and by myself, as arguing that natural languages must have a compositional semantics, or at least a systematic semantics, that can be finitely specified. However, in his reply to me in the Żegleń volume, Davidson denies that compositionality is in any need of an argument. How does this add up? In this paper I consider Davidson’s first three meaning theoretic papers from this perspective. I conclude (...) that Davidson was right in his reply to me that he never took compositionality, or systematic semantics, to be in need of justification. What Davidson had been concerned with, clearly in the 1965 paper and in “Truth and Meaning” from 1967, and to some extent in his Carnap critique from 1963, is that we need a general theory of natural language meaning, that such a theory should not be in conflict with the learnability of a language, and that such a theory bring out should how knowledge of a finite number of features of a language suffices for the understanding of all the sentences of that language. (shrink)

Thee paper presents Marcilio Ficino’s aesthetics which is of a specific kind and differs from what we usually understand under the term. It expresses more than only thoughts on beauty and art, speaks about more than only the varieties of beauty, and deals with more than just the work of art—the object of art—and its relation to beauty. Traditional concepts played an important part in Ficino’s aesthetics, but alongside narrowly understood “proper” aesthetics, he offered another, very broad view of the (...) entire aesthetic sphere, which allows his entire philosophy to be viewed as aesthetically rooted: love and beauty, which are among the driving ideas of his philosophy, are also aesthetic concepts. There are two other important elements in Ficino’s philosophy, God and the world, bound by a special relation based on his concept of the circuitus spiritualis. A cardinal theme in his philosophy, the circuitus spiritualis combines God with the world and is at once beauty, love and the highest degree of happiness. (shrink)

For over a century, Hegel’s view of war is seen as controversial that results in mutually exclusive interpretations. To reach a proper evaluation of Hegel’s views, it is necessary to consider both Hegel’s initial states of philosophical doctrine about war and peace, and the development of his understanding of war from early works to mature ones. In the first part of the paper, I characterize Kant’s position on war, since it was the starting point for Hegel. Contrary to (...) popular representations about Kant as an exclusive pacifist, the philosopher of Koenigsberg had a philosophical-historical treatment of war, in which the war appeared as something sublime. However, both legal-ethical peace understanding and veto of war from the point of practical reason were not dominant in Kant’s philosophy, subordinating the sublime treatment of war. Kant’s next contemporaries could not already keep this position, emphasizing either one or the other side of war interpretation. Starting from the early writings (the paper “On the Scientific Ways of Treating Natural Law” or manuscripts “System of Ethical Life” and “The German Constitution”), Hegel stresses an ethical aspect of war and its necessity, so that the shield is arranged on the way of systems isolation and individuals atomization, and the unity in its ethical health is saved. Perpetual peace, on the contrary, leads to diseases. The statement about equality of claims and the same truthfulness of warring parties’ rights is the originality of Hegel’s view. It makes absolutely impossible the war evaluation from the point of its justice and injustice. (shrink)

Religion and science dialogues that orbit around rational method, knowledge, and truth are often, though not always, contentious. In this article, I suggest a different cluster of gravitational points around which religion and science dialogues might usefully travel: philosophical anthropology, ethics, and love. I propose seeing morality as a natural outgrowth of the human desire to establish and maintain social bonds so as not to experience the condition of being alone. Humans, of all animals, need to feel loved—defined as a (...) compassionate present-with in dynamic dyadic relation such that one experiences the sense of mattering—but that need has an equally natural tendency to be met by creating biased us-and-them distinctions. A “critical” natural ethics, then, is one in which we become aware of and work to undermine our tendency to reify in-group distinctions between “us” and “them.” Religious communities that work intentionally on this can be seen, to some extent, as laboratories of love—or as sites for co-creating knowledge in perilous times. (shrink)

This paper is devoted to the study of the emotions in Edith Stein’s early work On the Problem of Empathy. After presenting her work embedded in the tradition of the early phenomenology of the emotions, I shall elaborate the four dimensions of the emotional experience according to this authoress, the link between emotions and values and the phenomenon of the living body. I argue that Stein’s account on empathy remains incomplete as long as we ignore the complex phenomenology (...) of emotions underlying her work. (shrink)

My chief purpose, in the remaining part of this paper, is to study LAVOISIER'S work upon the Nature of Water in itself and in its bearing on opinion in the eighteenth century: to show how it arose, how it was carried on, how it was published and how it was received.

The two brothers Julius and Adolf Hurwitz were born in the middle of the nineteenth century in a small town near Hanover (not far from Göttingen). Already during their schooldays, the two of them became acquainted with mathematical problems and both started to study mathematics, but while the younger brother Adolf turned out to be extremely successful in his research, the elder brother and his work seem to be almost forgotten. This paper examines the lives and works of the (...) two brothers with particular emphasis on the contributions of Julius Hurwitz, and the subsequent reception of their research. It deals with the development of an arithmetical theory for complex continued fractions by Julius and Adolf Hurwitz around 1890 and its rediscovery in the twentieth century. (shrink)

This book offers a detailed account of the importance of psychoanalysis in Derrida's thought. Based on close readings of texts from the whole of his career, including less well-known and previously unpublished material, it sheds new light on the crucial role of psychoanalysis in shaping Derrida's response to a number of key questions. These questions range from the psyche's relationship to technology to the role of fiction and metaphor in scientific discourse, from the relationship between memory and the archive to (...) the status of the political in deconstruction. Focusing on Freud but proposing new readings of texts by Lacan, Torok and Abraham, Laplanche and Pontalis, amongst other seminal figures in contemporary French thought, the book argues that Derrida's writings on psychoanalysis can also provide an important bridge between deconstruction and the recent materialist turn in the humanities. Challenging a still prevalent 'textualist' reading of Derrida's work, it explores the ongoing contribution of deconstruction and psychoanalysis to pressing issues in critical thought today, from the localizing models of the neurosciences and the omnipresence of digital technology to the politics of affect in an age of terror. (shrink)

This two-volume work examines far-reaching debates on the concept of courage from Greek antiquity to the Christian and mediaeval periods, as well as the modern era. Volume 1 explains how competing accounts of epistêmê, rational wisdom, and truth dominated classical antiquity. Early Christian and mediaeval thinkers, in contrast, favoured fortitude founded on faith and fear of God over philosophical reasoning left to its own devices. Volume 2 turns to theories of courage from the early modern period to the (...) present. It shows how the twin laws of polis and physis are at the heart of post-medieval thought. Courage is found at the crossroads of love and dread, freedom and fate, happiness and suffering, as well as power and submission to the ruling order. The later influence of evolutionism, existentialism, and the social and natural sciences on moral philosophy is also addressed at some length. The protection of people's best interests, the passions and powers of the human will, and the rule of active energy in all aspects of life supplant courage formerly viewed through the lens of reason or faith, or a combination of the two. These new ideas, paradoxically, herald the end of the ethics of courage. They also undermine the courage of ethical thinking. Courage is no longer an end in itself, nor is it a means to happiness "at the end." Regardless of what Gandhi, Tillich, and Foucault have to say about the topic, late modernity and the global age witness a marked loss of interest in courage as an idea worthy of conceptual investigation. Debates about the moral implications of courage give way to the value-free science of resilience, which studies how people can recover from past trauma and find wellness, primarily in the realm of physis. (shrink)

Joseph Gikatilla's early works, composed during the 1270s, have been understood by many scholars as a fusion of Kabbalah and philosophy—an approach that he abandoned in his later compositions. This paper argues that Gikatilla's early works are in fact consistent with his later works, and that the differences between the two can be explained by the polemical engagement during his early period with Jewish philosophy and Christian missionizing. By subtly drawing Jewish students of philosophy (...) away from Aristotelian speculation and towards Kabbalah, Gikatilla sought in his early works to lay the foundation for an understanding of Judaism based on kabbalistic mytho-poesis and ecstatic mystical experience. (shrink)