This work will be of great interest to students and scholars in a range of areas including political theory, philosophy, and cultural studies.

The purpose of this paper is not to provide an overall picture of care ethics, but, rather, to reflect upon the concept of care, which has gained significance in particular scientific contexts. Undoubtedly, the importance of the subject of care represents a challenge on the level of fundamental philosophical positions and a diversified look into the occurring forms of the psychological and social suffering, dependency, and vulnerability. I will shed light on tenets that are considered central to the care ethics (...) and that have led to the setting up of the relationship between care and democracy. By introducing the basic aspects of Carol Gilligan’s and Joan Tronto’s theories, I will emphasize their vocation to be politically relevant. A discussion on the relationship between care and justice on the one hand, and needs and rights on the other, will follow. Can hearing voices of care make democracy more just? How can care ethics provide a concrete support for democracy? On the political level, care ethics builds on the assumptions of the necessary relatedness and equality between individuals who are decisive in the light of the welfare state perspective. Upon closer examination, one may see that the setting up of these relationships is not new to the liberal perspective. Liberalism is historically rooted in the fundamental interconnection between freedom and equality. Virtues such as care and meekness can be formulated in the language of politics, but they still remain unpolitical. On the one hand, engaging in a critical reflection upon such virtues might be an indispensable measuring instrument for distinguishing a good democracy from a bad one. On the other hand, care ethics does not prove to be a real alternative to the ethics of justice. In this regard, care ethics seems to show its feet of clay. (shrink)

In *Here and There*, Stanley Cavell suggests that music, like speech, implicates the listener, so that our descriptions of music "are to be thought of not as discoveries but as impressions and assignments of meaning." Such impressions express what "makes an impression upon us," "what truly matters to us." Moreover, this aspect of music "is itself more revolutionary than ... any political event of which it could be said to form a part." I offer one indication of that significance (...) by considering a recent challenge to an old claim about the relation between jazz and democracy. Stanley Crouch claims that jazz practice is an emblem of democracy, while Benjamin Givan observes the undemocratic, hierarchical way that jazz musicians work together. But both positions rest on a limited notion of "democracy." I contrast it to the tradition in political thought that requires each citizen to find their own voice if they're to acquire the ability to govern themselves. Consequently, a better emblem of jazz's democratic advance lies in the challenge it presents to the attentive listener. Jazz listening is increasingly characterized by a learned culture of hearing what isn't played, hearing allusions, hearing unspoken interplay. The nature of this "hearing between the lines" parallels the tradition of esoteric writing in the history of political thought. It suggests that jazz's democratic importance is found in the listener's willingness to give voice to what she hears, not knowing whether her experience is shared by others or whether it singles her out, possibly for skepticism or ridicule. (shrink)

Demystifying Black American slavery through Dr. Seuss' The 5,000 fingers of Dr. T -- Understanding our dysfunctional U.S. congress in Dr. Seuss' If I ran the circus: the end of civility and bipartisanship -- Analyzing U.S. presidential leadership in Dr. Seuss' The king's stilts -- Assessing the U.S. criminal justice system in Dr. Seuss' If I ran the zoo -- Dr. Seuss' I had trouble in getting to Solla Sollew and decoding the American bureaucracy -- Deciphering the U.S. illegal immigration (...) problem in Dr. Seuss' Horton hears a Who -- Condeming absolute power in Dr. Seuss' Yertle the turtle: A cry for freedom and democracy in China -- Implications of modern-day Cold-War in Dr. Seuss' The butter battle book -- Environmental politics in Dr. Seuss' The Lorax: The need for sustainability -- Explaining American spirituality and religious politics in Dr. Seuss' Horton hatches the egg -- American popular culture and the politics of race in Dr. Seuss' The sneetches -- The new realities and politics of aging in Dr. Seuss' You're only old once: A book for obsolete children -- Conclusion -- Bibliography. (shrink)

We enter here upon a history of conversational traffic between the respective departments of philosophy and law in the old academy of liberalism, where lawyers hear much from philosophers, yes-and philosophers hear from lawyers, too, in what has fruitfully been a both-ways exchange. Our philosophical protagonist is John Rawls. This book comprises a study of the rise and workings, within the Rawlsian political-liberal philosophy, of the idea of a country's higher-legal constitution as a public platform for the justification of (...) political coercion. A study of Rawls on constitutionalism can help us, I believe, in scoping out and managing a cluster of constitutional lawyers' debates-interminable ones, it seems, in the constitutional-democratic precincts of our times-that I will catalogue soon below. But conversely, I believe, those seeking the best and truest readings of Rawls might have something to learn from the controversies of the lawyers. My approach to Rawls has accordingly been that of a critically leavened (while no doubt broadly sympathetic) exegesis, while with the legal-discursive materials I take more of a diagnostic turn. My hope is that a treatment of these two discourses in relation to each other will prove an aid to both political-philosophical and legal-practical reflection. (shrink)

Since September 11th, we frequently hear that political differences should be put aside: the real struggle is between good and evil. What does this mean for political and social life? Is there a 'Third Way' beyond left and right, and if so, should we fear or welcome it? This thought-provoking book by Chantal Mouffe, a globally recognized political author, presents a timely account of the current state of democracy, affording readers the most relevant and up-to-date information. Arguing (...) that liberal 'third way thinking' ignores fundamental, conflicting aspects of human nature, Mouffe states that, far from expanding democracy, globalization is undermining the combative and radical heart of democratic life. Going back first to Aristotle, she identifies the historical origins of the political and reflects on the Enlightenment, and the social contract, arguing that in spite of its good intentions, it levelled the radical core of political life. Contemporary examples, including the Iraq war, racism and the rise of the far right, are used to illustrate and support her theory that far from combating extremism, the quest for consensus politics undermines the ability to challenge it. These case studies are also highly effective points of reference for student revision. _On the Political _is a stimulating argument about the future of politics and addresses the most fundamental aspects of democracy that will aid further study. (shrink)

Introduction changing climates of colonialism -- Every Navajo has an anthro -- Extractive legacies: histories of Diné power -- The rise of energy activism -- Solar power in Klagetoh -- Sovereignty's interdependencies -- Contesting expertise: Public hearings on Desert Rock -- Artifacts of energy futures -- Off-grid in the Chuskas -- Conversions -- Vitalities.

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 43-49 [Access article in PDF] Double Religious Belonging:Aspects and Questions Catherine Cornille College of Holy Cross at Worcester, Massachusetts The idea of double or multiple religious belonging seems to have become an integral feature of the religious culture of our times. It is no longer surprising to hear people refer to themselves as partly or fully Christian and Buddhist, and the hybridizing of Jewish (...) and Buddhist religious identities has even led to a new terminology (Jubu). While this phenomenon has been part of Asian religious cultures for centuries, it is relatively new to the West, where a combination of political and religious forces have shaped religious identities around comparatively rigid and exclusive boundaries. With the gradual dissolution of traditional geographical and spiritual monopolies by particular religions, the religious field has become wide open and religious belonging increasingly a matter of choice and degree. The phenomenon of multiple religious belonging may be found in any combination of any number of religions. There are the Jews for Jesus; Christians who have become deeply involved in Muslim (mostly Sufi) religious practices; and Hindus who also consider themselves partly Christian or—more often—vice versa. But by far the most common phenomenon in the West is that of Christians or Jews who also profess to be Buddhist, hence the importance of discussing this phenomenon in this meeting on Buddhist-Christian dialogue.In this paper, I wish to outline the different contexts in which double or multiple religious belonging seems to manifest itself so as to reflect on the possibilities and limits of the very concept or category. While different religions may have various ways of defining or circumscribing the issue of religious identity and generally allow for different degrees of belonging, I will discuss the possibility of double religious belonging on the basis of a strong—and for most religions, ideal—understanding of religious belonging. Double Religious Belonging and New Age One of the contexts in which the phenomenon of double or multiple religious belonging may seem to present itself most readily is that of the late modern or postmodern form of religiosity called "New Age." Whereas New Age religion is essentially elusive, one of the most prominent scholars of New Age, Wouter Hanegraaf, defines it as a "popular Western culture criticism expressed in terms of a secularized [End Page 43] esotericism" and refers to general characteristics such as this-worldliness, holism, evolutionism, psychologizing of religion and spiritualizing of psychology, and, of course, the belief in the advent of a New Age. 1 In addition to these characteristics, one of the most noted features of New Age religiosity is its openness toward all religious traditions and the freedom with which it combines beliefs and practices from mainly the Asian religions, the mystical strands of the monotheistic traditions, and various forms of Shamanism. This has led to the image of New Age as a form of religious bricolage or a religion of the supermarket. Often underlying New Age religiosity is the belief that all religions derive from or meet in the same ultimate religious experience, and that one may thus belong to all religions at the same time.While New Age religion may therefore be regarded as a form of multiple religious belonging, it might be more appropriate to speak here of a complete absence of religious belonging. As scholars of religion such as Joachim Wach have pointed out, religious belonging is taken to involve a "total response of the total being (feeling, will and intellect) to Ultimate Reality." 2 It involves abandonment to a transcendent reality mediated through the concrete symbols and rituals of a particular religion. Surrender is thus not to the ultimate as such, but through—and in the end—to the teachings and practices embedded in a concrete religious tradition. Religious belonging in this strong sense of the term implies the acceptance, on faith, of a particular truth revealed and transmitted outside of the immediate experience of the individual and expressed in a particular body of teachings and practices. It also generally has a certain social dimension in which individuals celebrate... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd 76 Reviews REAPPRAISING GILBERT MURRAY Louis Greenspan Religious Studies / McMaster U. Hamilton, on, Canada l8s 4k1 [email protected] ChristopherStray,ed.GilbertMurrayReassessed: Hellenism, Theatre, and International Politics. Oxford: Oxford U. P., 2007. Pp. xii, 400. £65; £27.50 (pb). Cdn. $156 (hb). us$55 (pb). isbn 978-0-19-920879-1 (hb). For much of the Wrst half of the twentieth century Gilbert Murray was a leading Wgure in British (...) academia, in British theatre, on the British and American lecture circuits and even in British politics. He was admired by the community of scholars as Regius Professor of Greek at Oxford, the most prestigious position in classical scholarship in the English-speaking world. He was also esteemed by a wider reading public as the champion of a magisterial liberalism rooted in classical Greek culture. Finally he was respected by the world at large as a liberal activist who, during World War 1, wrote well-argued pamphlets in support of the war and who later became co-chairman of the League of Nations Union, an organization that in the ’20s and ’30s attracted 400,000 members. Among his companions were George Bernard Shaw and Bertrand Russell, both of whom remained his friends for life. As chief editor of the Home University Library he commissioned Russell’s The Problems of Philosophyz, which is still unsurpassed as an introduction to this subject. Today he is forgotten. Younger classical scholars would endorse the statement by Fowler (quoted in this volume): “in spite of his great fame when he was alive, he might never have written, so far as most scholars are concerned today” (p. 58). His role as the public intellectual who connected modern liberalism with Hellenism has been taken over by the followers of Leo Strauss who view this connection rather diTerently than Murray did. As for his liberal activism, when he died in 1957 Murray was regarded aTectionately as a noble ghost of Victorian liberalism past, whose passionate advocacy of the League of Nations was seen as well meaning and futile as the organization he had championed. In the ’60s and ’70s his words and deeds were swept away in the tides of anti-liberal fervour that inspired the newly emerging leftist revolutionaries and neo-conservatives. At Wrst perusal Gilbert Murray Reassessed zhas the format of festschrifts and other scholarly reviews of the accomplishments of a particular writer. There are articles on every aspect of Murray’s activities: his translations of Greek drama, his critical editions of Euripides, his views of Hellenism, his post-World War 1 September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd Reviews 77 internationalism and even his lectures on the bbc, all by specialists in these topics. But this volume is more than a summing up of Murray’s contributions to scholarship. The aim of the volume is to revive Murray the public intellectual, a voice of liberalism that deserves a new hearing. The book could have been entitled Gilbert Murray Retrieved for Our Timesz: a contribution to the struggle to Wnd a liberalism that addresses the anti-liberal, anti-intellectual forces that threaten us today. In this spirit the volume is dedicated to those who died in the London terrorist attack of July 2005. The volume opens with two sets of memoirs, one by Murray’s grandchildren Ann Pauladan and Alexander Murray, the other Francis West’s account of Murray ’s reXections on an Australian childhood. The memoirs of his grandchildren, aTectionate and charming, seem less interested in refashioning Gilbert Murray for our time. They still portray Murray as one who inhabited a world that is no more, the proponent of a liberalism that was naively optimistic and top heavy with reason at the expense of the emotions. Murray’s optimism is evident in their anecdote about an encounter between Murray and Sir Edward Grey, during a summer walk in 1914. Murray opened the conversation by scoUng at rumours of impending war in Europe, for him impossible between civilized powers. Grey closed it by assuring him that war was certain, thus causing the speechless and horriWed Murray... (shrink)

In the beginning, Savransky's book offers a copious list of many worlds that we may or may not inhabit or even know about: a world where the dead are persons with whom the living confer, a world where part of the year the sun never sets, a world where sorcery-lions stalk their victims, a world where fictional characters give advice to novel readers, a world where immortal fungi live in disturbed forests, and and and (without end). This is a “world (...) of many worlds,” say Marisol de la Cadena and Mario Blaser; a “pluralistic universe,” says William James. But neither phrase tells us what the world is like. They only stand for a practical and burning question at a time when the erasure of differences goes on at a breathtaking pace and the worlds face globalizing forces that fracture the multiple practices through which beings exist.These attempts at world erasures were and are by no means inevitable, and Savransky offers us, more precious than any explanation, a story about the past that helps us feel important aspects of what continues to occur. The story concerns the fraction of Magellan's circumnavigating crew arriving back in Spain in 1522, and by retelling it Savransky gives us a striking sense of the crew not so much having crossed the globe as having invented it. As in Jules Verne's novel Around the World in Eighty Days (1872), the journey legitimized the conception of a unified reality, a globe, everywhere of the same quality, whose local particularities are but obstacles to overcome, resources to exploit, or exotic mysteries to visit. The main effort of Savransky's book, then, is to gather means that might empower ways of thinking, feeling, and living in a brazen reversal of Verne's title—around the day in eighty (or a thousand) worlds.Savransky is by no means alone in this task, and many anthropological and philosophical proposals have contributed. He comments on some of these with a view to learning from their inventiveness rather than to pointing out their shortcomings. Still, we have learned from the fate of such proposals and experiments the startling ease with which the vision of a unified reality can creep back into the best attempts at thinking about a world of many worlds. Take, for instance, the language of ontology that has enabled us to hear from other worlds things of which we could not imagine reality was capable. But then, as Savransky shows, those gains are nearly lost when ontology turns into a turn—the “ontological turn”—and the anthropologists sail off around the world, posing the question “What is your ontology?” to people who could not care less about ontology.From James especially, Savransky borrows many proposals, two of which I will mention here. First is the need to reclaim philosophical Realism from those who made it a weapon of disqualification. James himself was the keen proponent of a Realism that we might call generic: “reality feels like itself,” any experience is real, and no experience should be required to justify its existence. Second, if “reality feels like itself,” then we may expect to experience “worldquakes” whenever we happen to brush up against other worlds. Perhaps the most compelling meaning that we may assign, following James, to pluriverse, is the notion and experience of “the” world being not only more than one, but also more than many—a sense of the real as inseverable from a more. Thus Savransky writes, along these lines, that “the pluriverse is not a world we dream might come about—it is what makes us dream.”. (shrink)

Dotted throughout the records of the turbulent last decades of fourth-century Athens are reports—often frustratingly vague—of prosecutions, many of intellectuals on the charge of . Most belong to the period of Macedonian domination: Theophrastus was one targeted at this time, and we hear also of actions against Demetrius of Phalerum, Theodorus the atheist, and Stilpo of Megara. Even before the Athenian capitulation to Macedon, in the immediate aftermath of the death of Alexander, prosecutions were launched against Demades and Aristotle. These (...) two early prosecutions are generally accepted to have had a political purpose, being attacks aimed at Macedonian sympathizers by the more staunchly pro-democratic Athenian elements; the later trials, however, are poorly attested in the sources and have received less scholarly attention, particularly for their political aspects. (shrink)

This collection of essays from the Royal Institute of Philosophy, first published in 2007, looks at a wide range of topics in political philosophy ranging from issues such as terrorism, egalitarianism and the just war to considerations of the political philosophy of Edmund Burke, of philosophical liberalism and of the current state of utilitarianism in political thought. There are also treatments of the role of innocence and of emotion in political discourse.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Sidonius Apollinaris and the Fall of Rome, A.D. 407–485F. E. RomerJill Harries. Sidonius Apollinaris and the Fall of Rome, A.D. 407–485. Oxford: Clarendon Press, 1994. xiv + 292 pp.“It is a truth almost universally acknowledged that the Roman Empire in the West collapsed without a sound in the fifth century, but that nobody understood that the catastrophe had occurred before Byzantine chroniclers woke up belatedly to the fact (...) in the sixth century.” Thus, Jill Harries sets out to prove that the Roman Empire was not a tree in the forest with no one to hear its fall, but that the aristocratic Sidonius Apollinaris heard it. Conversely, Sidonius’ own ambitions, attitudes, and sense of compromise “illustrate the wider political failure [End Page 663] of Rome in Gaul” (v). From the beginning we see her characteristic method of synthesis and analysis, as she proceeds both topically and chronologically to map the history of Sidonius’ Gallic world against his life and his concerns.Like “the death of Socrates,” however, “the fall of Rome” means different things. Harries defines the Roman Empire “purely in terms of a status system based on the ‘gradus dignitatum’ available to the aristocracy and [on] expertise in classical literature” (17). This definition is based on “the single most significant remark made by any contemporary western author on the end of Roman rule: ‘with the removal of the ranks of office, the only means by which the best men can be distinguished from their inferiors, hereafter the only mark of nobility will be knowledge of letters’” (16–17, translating Sid., Ep. 8.2.2). The view here is distinctly from Gaul, and mainly from Clermont: “Rome” is only an idea. Harries avoids the pitfall of writing a history of fifth-century Gaul as a whole, while also avoiding anachronism by adopting Sidonius’ viewpoint. This “fall” is, of course, a process, momentous but not instantaneous. We get a glimpse of a theoretical moment only, for the same process—with or without local awareness—repeated itself all over Gaul and the Western empire.The other terms in the title need clarification, too. The period A.D. 407–485 includes Sidonius’ lifetime (431[432?]-ca. 485) and ends, roughly, at his death, but it begins a generation earlier, the day after tens of thousands of non-Roman peoples crossed the Rhine into the empire on 31 December 406. There is an air of inevitability at first: the Rhine crossing, the political fragmentation of Gaul and Spain, dissensions between Romans and various Gothic leaders, the sack of Rome in 410, and the imposition of the Gothic emperor Attalus, “all had combined to undermine the credibility of Roman rule, and of Roman law, in the West” (66). The eleven chapters proceed chronologically, each weaving in the author’s main themes: the expanding effects of the Gothic arrival, the Gallic experience of Rome’s fall, and Sidonius’ perception of it.Even Sidonius requires definition, since he eludes us in his writings and is, often, an intellectual poseur, wrapped in the literary classicism of his age and social class: “his art mirrored life, but it could also distort it” (11). When he describes his beloved villa Avitacum, for example, we cannot tell what is real or unreal, so much does he echo the younger Pliny’s language. Then, in the 470s, Sidonius stopped classicizing and adopted a simpler, more preacherly style; yet, in the 480s, he changed back as a consolation for the fall of Rome. For these reasons, and because the often hard-to-read Sidonius has not yet found his literary expositor, Harries’ Introduction guides the historian to “what may be termed the political aspects of his technique” (3).The book’s argument is divided into two sections. Part I, “Lyon and Rome,” begins with the family history of the Apollinares and the Aviti, and ends with Sidonius in the urban prefecture at Rome, a scantily attested period, about which Harries writes provocatively. Herein are five chapters discussing (a) Sidonius [End Page 664] at Lyon and Arles, A.D. 430–455, (b) Avitus and the Goths, (c) Majorian, (d) Sidonius as Christian layman, A.D. 461–467... (shrink)

The Odyssey, Paradise Lost, The Canterbury Tales: great literature can be read by anyone, with a little help. The eminent British philosopher Anthony O’Hear leads the way with this captivating journey through two-and-a-half millennia of books as powerful, thrilling, erotic, politically astute, and awe-inspiring as any modern bestseller. O’Hear begins with Homer, whose poems of epic struggle have made him the father of Western literature. After Greek tragedy, Plato, and Virgil’s Aeneid comes Ovid, whose encyclopedic Metamorphoses is an inexhaustible source (...) for European art and literature. Via Saint Augustine, O’Hear reaches Dante and his terrifying and sublime Divine Comedy. Chaucer, Shakespeare, Cervantes, Milton, Pascal, Racine, and finally Goethe complete the cast list. In each case, O’Hear patiently draws out themes, focuses on key passages, and explains why they are important. Not simply a grand work of reference, The Great Books is also a narrative history shot through with a love of literature and the author’s deeply held belief in its power to enrich and enliven everyone’s world. (shrink)

An ideal view is sketched of the relationship between the facts established in science and the values of ethics and politics, and of the distinction between them. Some necessary qualifications are drawn, which do not essentially undermine the ideal. Then two cases of scientific work are considered in which considerations of value may in different ways be playing a more intimate role in the science than the ideal would suggest. These are Darwin’s theory of evolution and the current consensus on (...) climate change. Are any general lessons to be drawn from these cases? (shrink)

While the value of early detection of dementia is largely agreed upon, population-based screening as a means of early detection is controversial. This controversial status means that such screening is not recommended in most national dementia plans. Some current practices, however, resemble screening but are labelled “case-finding” or “detection of cognitive impairment”. Labelled as such, they may avoid the ethical scrutiny that population-based screening may be subject to. This article examines conceptualizations of screening and case-finding. It shows how the definitions (...) and delimitations of the concepts (the _what_ of screening) are drawn into the ethical, political, and practical dimensions that screening assessment criteria or principles are intended to clarify and control (the _how_ of screening, how it is and how it should be performed). As a result, different conceptualizations of screening provide the opportunity to rethink what ethical assessments should take place: the conceptualizations have different ethico-political implications. The article argues that population-based systematic screening, population-based opportunistic screening, and case-finding should be clearly distinguished. (shrink)

First published in 1988, the aim of this book can be stated in Nietzsche’s words: ‘To look at science from the perspective of the artist, but at art from that of life’. The title contests the notions that science alone can provide us with the most objective truth about the world, and that artistic endeavour can produce nothing more valuable than entertainment. O’Hear argues that art and the study of art are not indispensable aspects of human life, and that (...) this is equally as important as the investigation of the natural world. (shrink)

An eye-opening tour of the political tricks that subvert scientific progress. The Butter-Up and Undercut. The Certain Uncertainty. The Straight-Up Fabrication. Dave Levitan dismantles all of these deceptive arguments, and many more, in this probing and hilarious examination of the ways our elected officials attack scientific findings that conflict with their political agendas. The next time you hear a politician say, "Well, I’m not a scientist, but…," you’ll be ready.

The research that I have carried out on the sense of hearing in the Aristotelian ambit is based on a personal interest in the medical aspects that can be found in the treaties of the Stagirite. If, on the one hand, there has always been very deep attention by the scholars to the phenomenon of perception, and still there is, on the other hand, although not ignored, hearing remains perhaps somewhat neglected or, however, not sufficiently investigated so (...) far, despite its importance; but, above all, the effort to consider all its various implications together and the whole Corpus Aristotelicum has not been accomplished up to today. This is the intent that I have purposed and which I hope to have at least partially achieved. Of course, it was a constant need to refer also to the other senses and, in general, to Aristotle's theory of perception; I have, however, tried to point out every possible aspects, which could explain the peculiarities of hearing. Without claiming in any way to draw up a rank list of the senses, since each of them, according to the different points of view, seems more or less to aspire to a kind of primacy, I was able to demonstrate the extraordinary importance of hearing and, within certain limits, his preferability. After an introductory chapter on the position of hearing among the other senses, I have proposed a rather long one, in which I more specifically dealt with the anatomical, physiological and pathological aspects (and, finally, even some physical-mathematical considerations, that I think of great philosophical and scientific relevance); then, it has been given ample space (and could not be otherwise) to the complex issue of the relationship between hearing and language, which made it possible to highlight, thanks to the comparative approach of the Aristotelian investigations in the biological ambit, the differences between sound, voice and speech, and to show the key role of hearing in order to learning (also animal) and intellectual development (especially human). In a final articulated chapter I approached what I consider the further possible implications of hearing, always clinging to the Aristotelian treatment: in addition to the physical phenomena of echo, roar, resonance and the psychophysicist ones of acoustic illusions, I could not exempt myself from talking about music, also in "technical" terms (as my limited skills in the field have allowed me to), but especially because of its educational features examined in the paragraph Emotions, morality and education, where hearing is reported as undisputed protagonist in the ethical, aesthetic, rhetorical, political ambits; the chapter, and the dissertation itself, are closed by some remarks about the relations of hearing with memory and recollection and with dream: apart from the latter, where sight seems to dominate, with the first two the auditory role is on the contrary of primary importance, despite still today people are often inclined to mention visual memory more frequently. Even from these few notes I think I can state that it was really worthwhile to dedicate a research to the sense of hearing, especially in regard to a Corpus so broad, rich, varied and complex, such as the Aristotelian one. (shrink)

Few philosophers in this century have had either Karl Popper's range or his influence, inside and outside philosophy. This collection of essays by fifteen distinguished philosophers, several of whom have been closely associated with Popper and his work, provides a timely assessment of Popper's contributions in a number of key areas: the methodology and philosophy of science; probability and determinism; quantum theory; biology; the theory of evolution; and the theory and practice of politics. The volume offers the specialist and the (...) general reader alike fresh insights into the life and work of one of the twentieth century's most original thinkers. (shrink)

Unaffordable housing, poverty wages, inadequate healthcare, border policing, climate change--these are not what you ordinarily hear feminists talking about. But aren't they the biggest issues for the vast majority of women around the globe? Taking as its inspiration the new wave of feminist militancy that has erupted globally, this manifesto makes a simple but powerful case: feminism shouldn't start--or stop--with the drive to have women represented at the top of their professions. It must focus on those at the bottom, and (...) fight for the world they deserve. And that means targeting capitalism. Feminism must be anticapitalist, eco-socialist and antiracist. (shrink)

It is appropriate that a lecture in a series on ‘Philosophy and Practice’ should open by considering Bentham's ideas on imprisonment. For Bentham, incontestably a philosopher, was equally incontestably a practical reformer. This, indeed, is a received idea among philosophers; that is to say, most philosophers know that Bentham designed ‘a model prison of novel design’ (Mary Warnock), but few have actually considered the design, its implications or its effects. Most are content, like Warnock, with observing that the panopticon plan (...) was formally rejected, before passing on to the abstraction of Bentham's felicific calculus, his notion of utility, and his ideas about the foundations of law. Yet, strange as it may seem, the underlying idea of the panopticon has never been completely abandoned. One aspect of the idea pervades penal thinking, even while prison practice is still influenced by Bentham's practical proposals; moreover, the panoptic ideal has taken root far beyond the walls of actual prisons. Here is philosophy in practice, and yet, in many ways, practically and intellectually a failure. (shrink)

Environmental questions are among the most pressing and hotly debated of our time. The issues are, in an immediate sense, political and scientific, but one's stance on them also reflects basic philosophical and ethical commitments. For its annual lecture series of 2010–11, The Royal Institute of Philosophy invited a number of distinguished philosophers and environmentalists from a wide range of backgrounds to reflect on their concerns, and this book is based on their lectures.

This paper examines the relationship between morality and reasoning in a general sense. Following a broadly Aristotelian framework, it is shown that reasoning well about morality requires good character and a grounding in virtue and experience. Topic neutral ‘critical thinking’ on its own is not enough and may even be detrimental to morality. This has important consequences both for philosophy and for education. While morality is objective and universal, it should not be seen purely in terms of the intellectual grasp (...) of true propositions. As Simone Weil shows, it emerges from very basic aspects of our nature. As well as reasoning in an abstract sense we need what Pascal calls esprit de finesse based in our humanity as a whole, in sens, raison et coeur. The paper concludes with some reflections on our propensity to fail morally and on the relationship between virtue and happiness. (shrink)

OUR KNOWLEDGE OF THE GROWTH OF KNOWLEDGE: POPPER OR WITTGENSTEIN? by Peter Munz London: Routledge & Kegan Paul, 1985. 353 pp., £17.95.

Environmental questions are among the most pressing and hotly debated of our time. The issues are, in an immediate sense, political and scientific, but one's stance on them also reflects basic philosophical and ethical commitments. For its annual lecture series of 2010–11, The Royal Institute of Philosophy invited a number of distinguished philosophers and environmentalists from a wide range of backgrounds to reflect on their concerns, and this book is based on their lectures.

This collection brings together the primary assessments of and reactions to the work and abiding influence of this revolutionary thinker, as well as the controversy he caused across many academic and political fields. The set includes early responses to Popper's work from sources difficult to obtain, and also two early reviews (by Carnap and Grelling) in translations specially prepared for this set. It is organized thematically, and includes a substantial new introduction by the editor.

This article examines a population-based opportunistic screening practice for cognitive impairment that takes place at a hospital in Sweden. At the hospital, there is a routine in place that stipulates that all patients over the age of 65 who are admitted to the ward will be offered testing for cognitive impairment, unless they have been tested within the last six months or have been diagnosed with any form of cognitive impairment. However, our analysis shows that this routine is not universally (...) and mechanically applied. Rather, the health care professionals have developed and use an ethico-political judgment, concerning, for example,whomto test,whento offer the tests, andhowto explain and perform them. This article explores the role and practice of this form of judgment, emphasising its political and ethical nature. The analysis is based on qualitative interviews with professionals and patients, and draws on the theories of Aristotle and Hannah Arendt. (shrink)

This book expounds and analyses notions of transcendence, creation and incarnation reflectively and personally, combining both philosophical and religious insights. Preferring tender-minded approaches to reductively materialistic ones, it shows some ways in which reductive approaches to human affairs can distort the appreication of our lives and activities. In the book's first half it examines a number of aspects of human life and experience in the thought of Darwin, Ruskin, and Scruton with a view to exploring the extent to which (...) there could be intimations of transcendence. The second half is then devoted to outlining an account of divine creation and incarnation, deriving initially, though not uncritically, from the thought of Simone Weil. The text concludes by examining the extent to which grace is needed to engage in religious practice and belief. Taking in art, literature, music and classical Greek writings, this is a multifaceted thesis on transcendence. It will, therefore, will be of keen interest to any scholar of Philosophy of Religion, Theology, Aesthetics and Metaphysics. (shrink)

The political passages in Polanyi’s Personal Knowledge are an integral part of his arguments against ‘objectivism’ and/or a post-critical, personalist, fiduciary and fallibilist philosophy. This paper elaboratesthe social and political implications of Polanyi’s emphasis upon acceptance of one’s situation and the exercise in it of a sense of responsibility to transcendent ideals, as against attempts to start with a clean slate, to overcome all imperfections and to find some simple rule for political policy. Prescriptive duties and rights, (...) and mutual trust and solidarity, are the bases of politics, anti responsible action must start with them. But much of modern politics expresses a Gnostic impatience of our created and finite existence which results in arbitrary commitment to some radical and destructive ideology. (shrink)

Mathews, Race This essay - appearing in two parts - examines aspects of the early and middle phases of the episcopate of Archbishop Daniel Mannix, in the context of a wider study of responses to Catholic social teachings in Victoria between 1891 and 1966. Part I dealt mainly with Mannix's significance and early life, and the focus in Part II is on the episcopate up to and including the onset of the Great Depression.

This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond (...) hearing and listening we 'audit' sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of 'sound studies.' To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound--including a whistle, an echo, a gasp, and silence--to show how sounds enable critical social and political concepts such as dialog, privacy, memory, social order, and art-making. Sounds : The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies"--Provided by publisher. (shrink)

The author describes Heller’s concept of ethics as a “quasi-sphere” intersecting with various fields relating to human relationships. Special attention is paid to the axiological aspects of her concept of ethics and the relationship between virtues and responsibility. The author also seeks to show how Heller integrated a traditional philosophical question—the relationship between “is” and “ought to be”—into her concept of “radical philosophy” at an earlier stage in the development of her philosophy. She initially considered the relationship between “is” (...) and “ought to be” to be contrasting. Later, when she had come to accept the political model of liberal capitalist society, the ideal of all-compassing equality became the ideal of “equality of opportunities”. The author interprets this shift as one in which the relationship becomes continual. He is also critical of Heller’s underestimation of the effect the “social a priori” has on the possibilities of human life. (shrink)

Conventional wisdom suggests that aesthetic experiences - those moments when the senses come to life - are important only after more basic needs have been met. In this inspiring wealth of provocative ideas, Yi-Fu Tuan demonstrates that feeling and beauty are essential parts of life and society. The aesthetic is shown to be not merely one aspect of culture but its central core - both its driving force and its ultimate goal. Beginning with the individual and the physical world, the (...) author's exploration progresses from the simple to the complex. Tuan starts by examining the building blocks of aesthetic experience - sight, hearing, smell, touch, taste - and gradually expands his analysis to include the most elaborate of human constructs, including art, architecture, literature, philosophy, music, and landscape. This leads him to the realm of politics, where he grapples with the fundamental question of the relationship between goodness and beauty, and of how the aesthetic can become a moral force within society. To guide the reader along this journey, the author describes how the aesthetic operates in four widely disparate cultures: Australian aboriginal, Chinese, medieval European, and modern American. Yi-Fu Tuan, one of our most influential and original thinkers, brilliantly conveys the profound fascination of multisensory reality, and in so doing enables us to make connections among even the most diffuse elements of our lives. While Tuan does not ignore human folly, Passing Strange and Wonderful is a celebration of the world around us, our experiences, and our creations. (shrink)

This volume consists of nine essays on the political teaching of such Muslim philosophers as al-Kindi and al-Razi, as well as the more familiar al-Fârâbî, ...

Sustainable Development Goal (SDG) 2 relates to ending hunger, achieving food security and improving nutrition, and promoting sustainable agriculture. The SDGs mention only a few political indicators and SDG2 in particular is largely devoid of political considerations to end hunger and achieve food security. Nobel Laureate Amartya Sen famously observed the absence of famine in democracies, suggesting that a democratic system provides checks and balances that prevent famine. His observation has elicited further debate and triggered empirical studies in (...) recent years. Going beyond Sen’s hypothesis, this essay examines other political factors that would explain vulnerability to famine and that need to be addressed more explicitly in SDG 2 and similar initiatives. By taking the case of pastoralists in the Afar region of Ethiopia, this research explores selected political determinants of vulnerability to famine. The Eritrea-Ethiopia war and the ensuing border closure have had a detrimental effect on the livelihood of pastoralists in Afar – many pastoralists were deprived of a market and a reliable source of income. In addition, Afar pastoralists were sidelined from the informal salt sector on which they used to rely. The state facilitated this expropriation, leaving pastoralists even more vulnerable to famine. I argue that political considerations are crucial in successfully ending hunger and achieving food security. The essay uses a qualitative case study design and is based on a PhD dissertation. (shrink)

This chapter demonstrates that the Seventh Letter, explicitly and throughout its entirety, thematizes hearing and listening, and it comprises an exhortation to listen well. After laying down groundwork showing that logos must include listening, not merely assertion or expression, the chapter first demonstrates the political significance of the exhortation to listen based on a unified reading of the Letter that conjoins the concerns of the so-called digression with the rest of its content. It situates the “weakness of logos” (...) taken up in the digression, which most scholars treat in an ontological-linguistic weakness, as an aural phenomenon within the Letter’s distinctly political aims. That is to say, the “weakness of logos,” referred to in the so-called digression is also a weakness of hearers and hearing and is thus a political weakness, as well. The chapter then goes on to argue that the politics of listening in the Seventh Letter, as well as in some aspects of Socratic dialectic, rely necessarily on certain forms of domination or compelled listening, and I therefore consider the links between hearing and tyranny in the Letter. Finally, I speculate on what a more liberated politics of listening and hearing might look like and what role the Platonic writings might play as a propaedeutic to better listening in the city. I conclude by arguing that because of the “weakness of logos,” Plato’s task is inherently paradoxical: Plato calls us to hear what we are not yet able to hear, tyrannizing in order to liberate our sense of hearing. (shrink)