In lieu of an abstract, here is a brief excerpt of the content:Inheriting Identity and Practicing TransformationThe Time of Feminist PoliticsShannon HoffA human life unfolds over time. No moment of it can be considered apart from the others, independently of the fact that the human being was and will be, and so no moment is sufficient on its own to tell us of the nature of that identity. Each moment is insufficient as an expression of who we are, as an (...) answer to the question of what we want to be, or as a point at which a full account of our identity could be given. And we live each moment as if afflicted by a dual blindness with regard to the past and future that lend it significance; while exercising pervasive influence in the present, this past and future are relatively inaccessible to our reflective insight. We are always “growing up,” so to speak, from out of a childhood that can never be the purely transparent object of reflection, to an adulthood or “accomplishment” of identity that is always in the mysterious future, unimaginable in the terms of the adolescence in which we find ourselves.My purpose here is to show how this issue resonates in the context of feminist philosophy, feminist critique, and feminist practice—that is, how a consideration of time and its impact on human experience allows us to highlight the accomplishments of various avenues of feminist thought, to elaborate their shortcomings in relation to each other, to perceive the reasons behind the tensions among them, and to understand the way in which they are (and should [End Page 167] be understood as) connected. I will work through the issue of what it means to live in the temporal dimensions of past, present, and future—what it means to inherit an already meaningful world, to be an individual in the present, and to be propelled into an uncertain future—so as to provide a general framework by which to interpret the history of feminist thought. I will explain these different temporal dimensions in terms of the (respective) ideas of cultivation, universality, and transformation, identifying the positive and negative significance of each and also the demand that the tensions among them be negotiated. Finally, I will show that feminist justice is in fact found here, as answerability to all three—to communities of cultivation, to the demands of universality, and to the inconclusiveness and transformability of human identity. While much feminist thinking has been committed to exploring these elements singly, in abstraction from the others, and while such work is important, it is also valuable to explicitly explore the relationships and tensions among these different aspects, to articulate how to act and think in light of this underlying conceptual context, and to do so in a more explicit and self-conscious way.There is, of course, a disadvantage to not exploring these elements on their own terms: namely, that one handles their subtleties roughly. A further and related danger is that involved in trying to draw a broad picture of a tradition with complex and conflicting elements, one that does not count itself as a tradition at times—as a “we,” a feminism, or a feminist thought.1 While I will talk about “feminism” or “feminist thought,” I do not presume that these differences do not exist; my goal is simply to explore what is involved in an elaboration of a critical interpretation of society, when the society one critically interprets is an agent in one’s formation. The description of the dynamics of human becoming, agency, and critique I develop below has the purpose of showing that it is possible to understand differences between feminist positions as complementary, a process that will lead me to underemphasize stringent divisions and charged oppositions and to focus on drawing connections. Let us turn now to a preliminary description of the conceptual framework I seek to construct.Feminism and TimeTo advance feminist purposes is, one might presume, to hope for and work toward a new and transformed reality in the future. It would seem, however, that this reality cannot be clearly envisioned in the present, since that would require the transformation of the very people envisioning it. In... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS Ue11tlation and Theology: The Gospel as Narrated Promise. By RONALD F. THIEMANN. Notre Dame, Indiana: University of Notre Dame, 1985. Pp. x + 272. $23.95. The author, recently named dean of Harvard Divinity School, wrote this book as chairman of the Religion Department at Haverford College. A Lutheran, he pays tribute to Hans Frei of Yale University as his principal mentor. Influenced by I<'rei's narrative theology, he (...) argues for a doctrine of revelation understood as God's narrated promise. Narration, Thiemann contends, is essential for revelation, which is the doctrine of God's identifiability. We identify persons by ascribing character traits to them on the basis of their pattrrns of behavior. God\; patterns of hrhavior are made known through the biblical narrative. Promise, for Thiemann, is an essential category hecause it is the mode by which the biblical text encounters its readers, inviting them to put their trust in the God who was the principal agent of the history of Israel and of Jesus Christ. Faith, discerning God's identity ns thr suhject of the biblical text, goes out to him as a living reality. Thiemann's thesis of course implies that Christian revelation is given in the Bible, that the Bible is predominantly narrative, and that the main theme of the biblical narrative is the prevenient God who enacts his intentions and addresses the reader through the text. Faithful discipleship is the appropriate response to God's self-giving love as disc'.oscd in Jesus Christ. Thiemann illustrates these principles <"oncrrtrly hy a ch:ipterlength analysis of the Gospel of 11/fatthew. Thiemann defends his theolog·ical options on the ground that the alternatives do not sufficiently protect the divine prevenience. This doctrine, he holds, must be safeguarded not only because it was formally taught by the Council of Orange but also-and, one would gather, more fundnmentally -because it is implied " by a cluster of Christian convictions concerning God's promises, identity, and reality " (80-81). According to Thiemann it is a " common conviction shared by all those who confess the name of Christ... that all human life, including our theological thinking, is ultimately dependent on the creating, sustaining, and redeeming grace of God" (70). Apart from the rather broad use of the term "grace" this statement would be aceeptahle to very man~' Christians, including myself. In the course of establishing his own position 'l'hiemann develops au 169 170 BOOK REVIEWS incisive critique of a number of rival approaches. He rejects the "foundationalism " of classical apologetics which, as he understands it, would seek to justify Christian faith by reference to some kind of self-evident, noninferential experience from which it could be deduced. On the basis of a critical analysis of Thomas Torrance and several earlier theologians, he concludes that no such unassailable starting point exists. Thiemann also rejects the transcendental turn to the subject, which he ascribes to David Tracy and David Burrell, on the ground that this reduces biblical revelation to a generic human experience and ends by undermining the truth-status of all particular religious claims (187). Finally, Thiemann maintains that new theologies which dispense with the category of revelation (Gerald Downing, Gordon Kaufman) or give it no necessary function (David Kelsey) surrender the Christian conviction of God's prevenience and make faith dependent on purely human initiative. A nonfoundational defense of God's prevenience, according to Thiemann, has three distinct emphases. First, its justification of Christianity is conducted from within a conceptual framework supported by Christian faith, community, and tradition. Second, such a reflection evaluates and criticizes Christian doctrine and practice according to criteria internal to Christian faith. Third, this reflection seeks to justify its tenets holistically, by reference to the structures imbedded in the entire system of Christian beliefs and practices. Thiemann considers it proper to justify individual beliefs retrospectively by showing their importance for defining Christian identity. Thus he tries to show that a rejection of God's prevenience as a "background belief" would require " a radical and unwelcome revision in our understanding of Christian identity" (78). He makes use of " reflective equilibrium" and retrospective justification in ways strongly reminiscent of Francis Schussler Fiorenza's Foundational Theology (1984)-a book possibly published too late for Thiemann to refer to. Both he and Fiorenza, however, rely on authors such as John Rawls. In opposition to the foundationalists Thiemann, wisely in my opinion, eschews any sharp dichotomy between the "first-order" language of faith and the " second-order" language of theology. Christian theology, he maintains, must be carried on within Christian faith and must adopt patterns of speech that are consonant with Christian sources and premises. Theology, he asserts, "has no rationale independent of the first-order language of faith" (75). In particular, he denies that any successful account of Christian belief can be furnished by pointing to the religious experience supposedly available to all human beings. I find myself in agreement with practically all Thiemann's major positions. I applaud his skillful defense of revelation theology without recourse to rationalistic foundationalism or subjectivistic transcendentalism. BOOK REVIEWS 171 In my own Models of Revelation I made little explicit use of the categories of narrative and promise, but they are harmonious with my general approach. I rely more on the category of symbolic or saeramental communication. Thiemann might agree that Israel and Jesus Christ, as God's agents in human history, are in fact " real symbols" of the divine. By their very being they make present the hidden reality of the God who calls created persons through them into union with himself. They are thus pledges and anticipations of the age to come. The category of promise, when applied to such historical figures, could seem to tie revelation too narrowly to certain verbal expressions in the Bible, but Thiemann, while attending primarily to the linguistic component, seems open to the idea of promise "enacted" in the persons and events of the biblical narrative. In this wider understanding promise may be classified as " sacramental." A few shortcomings of the book, or personal difficulties of the present reviewer, should probably be detailed. In writings influenced by Hans Frei, including Thieman's, the biblical narratives seem to be exempted from historical criticism. Thiemann himself discusses them as pure narrative without raising the question of their objective validity. He seems to assume that these stories give true accounts of the way things are, for if they were products of fantasy or illusion they could scarcely bear the theological weight that Thiemann places on them. Granted that " Scripture depicts a God who continually keeps his promises" (154), the reflective inquirer would be justified in asking for some grounds for holding that this depiction is veridical and is not simply wishful thinking. If Thiemann had given more attention to this problem, his book might better succeed in providing, as it claims to do, " a reasoned theological account of Christian faith and hope" (7). Without such assurances the decision of faith could appear arbitrary and irresponsible. I fully agree with Thiemann's insistence on the divine prevenience, but I find some obscurity in his treatment of the connection between God's prevenience and any human response. Does God effectively influence the decision of faith 7 At one point Thiemann asserts that God is " the creator of the universe, the redeemer of a sinful humanity, and the reconciler of a broken world" (108). These terms seem to me to imply causality. Yet Thiemann repeatedly rails against understanding God's prevenience in causal terms (98, 109, et passim). Possibly Thiemann is assuming that causality must necessarily be deterministic, but in many philosophical traditions causality is not so narrowly understood. God's prevenience would be more intelligible if it were presented in causal, though not deterministic, terms. I was not surprised to find in this book certain characteristically Lutheran motifs such as the " unconditionality " of justification and its antecedence to all human merits. Properly understood, this is not simply 172 nooK m~vrnws good Lutheranism but is basic Christian doctrine as understood by Catholics also. Thiemann, however, goes further. At one point, relying on Robert Jenson, he asserts that, on peril of works-righteousness, justification or salvation must not be conceived as any kind of causal process involving interaction between the divine and human agencies. While asserting this, he also denies that human beings are purely passive in their own justification (96-97). The idea that sanctification is a process involving the activity of both God and creatures is well rooted in the Lutheran as well as the Catholic tradition. Perhaps because he treats the whole question so briefly, Thiemann does not seem to me to provide an intelligible alternative. As should be obvious by this point, Thiemann's book deals with a multitude of crucially important questions. It enters into the very heart of the contemporary debate about revelation and theological methodology, and makes many insightful contributions. For the most part, I am enthusiastic about his approach, which seems to offer a highly promising alternative to the theological options he rejects. What I regard as shortcomings in this book are partly due to its relative brevity, granted the vast range of topics on which it touches. But the very breadth of the horizons makes this book especially stimulating and arouses the reader's eagerness to hear more from its talented author. The Catholic University of America Washington, D.C. AVERY DULLES, S.J. The Triune God: Persons, Process, an(l Community. By JOSE.PH A. BRACKEN, S.J. College Theology Society: Studies in Religion, 1. Lanham, Md.: University Press of America, 1985. Pp. viii + 208, incl. Glossary, Bibliography and Index. $22.50 (cloth), $11.75 (pb.). Among the questions that urge themselves upon contemporary practitioners of theology few are more masic than that of the reconstruction of theology itself. How radical a reconstruction (and thus a corresponding deconstruction) is called for~ This volume represents Joseph Bracken's option on the issue. He is willing to wager all on an integral attempt to begin everything anew with the resources for a systematic theology provided by the thought of Alfred North Whitehead. This includes drawing upon other authors who have expanded upon, and in some ways altered, the seminal thought of Whitehead. Earlier attempts at something like this that come readily to mind are: Daniel Day Wil-... (shrink)

According to Marxist dialectics, the struggle of opposites is unconditional and absolute, while the identity of opposites is conditional and relative. The identity and struggle of the two contradictory aspects in the development of a thing constitute the kernel of materialist dialectics — the basic contents of the law of the unity of opposites. We hold that the unity of opposites is the universal law and that this law is applicable to all realms and naturally comprises the two inseparable (...) aspects — the struggle and identity of opposites. (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)

These substances have been considered in recent times, as in traditional interpretation, to be identical with the immobile Movers of the Physics. Both Physics and Metaphysics refer to the same separate substances. On the other hand, the immobile Movers of the Physics have been identified with the immanent souls of the Heavens, and so sharply distinguished from the separate substances of the Metaphysics. Then in the opposite extreme, the Movers of the Metaphysics have been completely identified with the celestial souls. (...) Or again, the first only of the Movers has been declared separate, and the others identified with the different sphere-souls, among which is the first Mover of the Physics. In still another interpretation the first Mover alone is separate, but the other immobile Movers are held to be the divine thoughts, identical with the first Mover. Even the first Mover has been interpreted as a thought in the mind of some other Being, as merely an ideal or standard of goodness which does not imply--though it need not exclude--any corresponding existent reality in the Aristotelian universe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dependent Co-Origination and Universal IntersubjectivityJoseph A. Bracken, SJTwo essays in a recent issue of Buddhist-Christian Studies dealt with the topic "Buddhist and Christian Views of Community." The first essay, by Rita Gross, was a careful analysis of the way in which the separation of home and workplace in contemporary Western society has tended to reduce effective community life to the nuclear family and thus pose significant disadvantages to everyone (...) involved (not only mothers, fathers, and their children but also non–family members, friends, and neighbors) within the broader civic community.1 A consumer-oriented culture catering to individual needs and desires has arisen to compensate for the pervasive feeling of loneliness and emptiness created by the relative lack of significant interpersonal relationships. In the second essay Donald Mitchell recounted the origin and unexpected growth of the International Focolare movment of which he is a longtime member.2 He noted how the founder of the movement, Chiara Lubich, and her women friends found inspiration for living together and working for the poor and the homeless around them in what they saw as the self-giving love of the three divine persons of the Christian doctrine of the Trinity both for one another and for all their creatures. This movement over time broadened to include first Protestant members, then Jews, Muslims, Buddhists, and Hindus, all drawn by the goal of richer life in community along with group efforts to assist the underprivileged of this world.My own contribution to the topic of Buddhist and Christian views of community will focus on the same communitarian model of the doctrine of the Trinity that originally inspired Lubich and her followers in the years during and after World War II, but my remarks will be more philosophically oriented. Following the lead of the late Colin Gunton in his book The One, the Three and the Many,3 I will analyze the communitarian model of the Trinity for its value in setting forth a new paradigm for the relationship of the One and the Many. As Gunton perceptively notes in the early chapters of his book, Western civilization seems to be still preoccupied with a basically Platonic understanding of the One and the Many in which the One enjoys primacy over the Many as their transcendent principle of order and intelligibility.4 As a result, even though freedom and individual self-expression are theoretically prized in Western societies, in point of [End Page 3] fact there is a great deal of uniformity and even repression of individual differences so as to conform to the cultural standards imposed by some dominant individual or minority group within each society. In the end people seem to fear the threat to personal security represented by wide diversity and plurality more than they value their individual liberty.Looking to the doctrine of the Trinity set forth by the Greek-speaking fathers of the Church, however, Gunton finds a new paradigm for the One and the Many whereby the One is emergent out of the interplay of the Many with one another rather than transcendent over the Many as their necessary principle of order and intelligibility.5 The Many are defined by their internal relations to one another rather than by their common relation to an external One. The community thus achieved is a differentiated unity, not only tolerating differences of the Many among themselves, but even fostering those differences so as to produce in the end a more complex form of community. The application to the Christian doctrine of the Trinity is obvious. The three divine persons are strictly defined with respect to one another; each of them has no self-identity apart from relation to the other two persons. Yet together they co-constitute the reality of the one God, a richly differentiated rather than blandly homogeneous unity.6The application to human beings and their membership in various communities, of course, is not so obvious. But Gunton believes that three principles or "transcendentals" for the understanding of the relation of human beings with one another and with God are at hand, given careful study of this communitarian model of the Trinity: namely, perichoresis, substantiality or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Ethics of Creativity: Beauty, Morality and Nature in a Processive CosmosJohn W. LangoBrian G. Henning The Ethics of Creativity: Beauty, Morality and Nature in a Processive Cosmos University of Pittsburgh Press, 2005. 250 + xii pp.The aim of this interesting but flawed book by Brian Henning may be related through some remarks about the terms in its title.1 The term "creativity" stems from the most basic category (...) in Whitehead's metaphysics in Process and Reality, "The Category of the Ultimate." The term "processive cosmos" echoes the full title of Whitehead's magnum opus: Process and Reality: An Essay in Cosmology. For Whitehead's metaphysics is both a philosophy of process and a philosophical cosmology. Thus, as the term "ethics" implies, Henning's book "presents a Whiteheadian ethic" (p. 8), an ethics grounded in Whitehead's metaphysics. This ethics is grounded particularly in Whitehead's axiology of aesthetic value (hence the term "beauty"), and it includes an environmental ethics (hence the linkage of the terms "morality" and "nature"). The inclusion of environmental ethics is central to the book's aim:If we are to have any hope of reversing the potentially catastrophic destruction and consumption of our natural environment, we must devise an ethical theory grounded in an axiology that acknowledges that every individual—from the most insignificant flicker of existence at the opposite end of the universe to complex individuals such as ourselves—has value not only for itself, but for others, and for the whole of reality.(p. 2)"The aim of this project, then, is," according to Henning's own summary, "to develop and defend a holistic, organic ethical theory grounded firmly in Whitehead's aesthetico-metaphysics of process" (p. 3).Indeed, Henning's project is worthwhile. Traditional ethical theory should be enlarged to include environmental ethics. Insofar as an ethics can be grounded on a metaphysics, it is important to explore how an ethics can be grounded on Whitehead's metaphysics. Since Whitehead's metaphysics is a philosophical cosmology, it is especially suitable as a grounding for an environmental ethics. Accordingly, in reading Henning's book, process philosophers should encounter many interesting ideas. [End Page 450]Nonetheless, the book has some significant flaws. First, there is a problem of audience. In addition to process philosophers, Henning wants his book to be accessible to philosophers who are not conversant with Whitehead's metaphysics, as the following passage evidences:Anyone seeking to develop a moral philosophy based on Whitehead's work faces many challenges. One obvious reason for the relative lack of attention given to Whitehead's work by mainstream environmental and moral philosophers is the density and abstruseness of the texts themselves. Coupled with the generally unfavorable view of metaphysical speculation among most contemporary ethicists, this has led many to admire Whitehead's work from afar. Given this, a secondary, though not unimportant, goal of this project is to show the value of Whitehead's complex process metaphysics for moral and environmental philosophy by presenting it in language that strives for clarity and seeks to do justice to the richness and nuances of his thought.(p. 8)Unfortunately, in the judgment of this reviewer, this secondary goal is not accomplished. The first chapter of Henning's book ("From Mechanism to Organism") contains an exposition of Whitehead's metaphysics (pp. 27–37). But this exposition is far too brief. Whitehead's technical terms are not explained sufficiently, and quotations from his writings are used too frequently. In subsequent chapters, an understanding of his metaphysics is presupposed. For example, the second chapter ("An Ecstatic Axiology") defends "an alternative to the classical interpretation of Whitehead's metaphysics" (p. 42), namely, "the ecstatic interpretation" (p. 51). (The classical interpretation is exemplified by Ivor Leclerc and William Christian, and the alternative interpretation by Jorge Nobo and Judith Jones.) Specialists in Whitehead should find this second chapter accessible, but nonspecialists are likely to find it unenlightening. Before attempting to read Henning's interesting book, I would encourage mainstream environmental and moral philosophers to study Whitehead's metaphysics from other sources.Acceptance of Henning's aim of developing an ethics grounded in Whitehead's metaphysics is impeded by "the... (shrink)

The central teaching of mysticism is that Everything is One, whereas from the side of rationalism the universe is Multiple. The essence of the mystical tradition is not a particular philosophical system, but the simple realization that the soul of any individual/existence is identified with the Absolute. A special feature of the mysticism is the elimination of discriminations, i.e. the One and the Multiple are identical.On the other hand, in rationalism the One and the Multiple differ substantially. Mysticism aims (...) at the Emptiness of Zero, whereas rationalism aims at the identification with the Infinite of Everything. Based on the ontology resulting from modern physics the One is also the Multiple and the Multiplicity is also a Module, also the Void and the Everything are complementary aspects of a single and indivisible reality. This means that mysticism and rationalism are the two sides of a Cosmic Thought, which isexpressed through consciousness. We could say that this consciousness is the rhythm that coordinates any opposite. (shrink)

The central teaching of mysticism is that Everything is One, whereas from the side of rationalism the universe is Multiple. The essence of the mystical tradition is not a particular philosophical system, but the simple realization that the soul of any individual/existence is identified with the Absolute. A special feature of the mysticism is the elimination of discriminations, i.e. the One and the Multiple are identical.On the other hand, in rationalism the One and the Multiple differ substantially. Mysticism aims (...) at the Emptiness of Zero, whereas rationalism aims at the identification with the Infinite of Everything. Based on the ontology resulting from modern physics the One is also the Multiple and the Multiplicity is also a Module, also the Void and the Everything are complementary aspects of a single and indivisible reality. This means that mysticism and rationalism are the two sides of a Cosmic Thought, which isexpressed through consciousness. We could say that this consciousness is the rhythm that coordinates any opposite. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Decolonizing Universality:Postcolonial Theory and the Quandary of Ethical AgencyEsha Niyogi De (bio)Living in colonial India, the Bengali thinker and creative writer Rabindranath Tagore (1861-1941) often meditated on ways that "concord" (milan) and "harmony" (sāmanjasya) could be established between persons and cultures [BIC 450-51]. Noting that "ruptures in balance and harmony" (bhār sāmanjasyer abhāv) that once were more localized now affected the whole world, he maintained that these reinforced the (...) progressive message of the modern age that the local "problems of a people are a part and parcel of humankind's" (swajātir samasyā samasta mānusher samasyār antargata) [RC 279]. In his view, the means to reestablish harmony in this unequal world lay in social practices and ideas conducing "freedom" (mukti) rather than enforcing "power" (shakti) and "coercive discipline" (shāsan) [SaS 408-09]. He argued that such progressive trends of practice and thought would be found not in one culture alone but through traveling across different cultural "seas of knowledge (jnān)" [SwSm 699]. For only through such conceptual journeys would we enkindle in ourselves "arguments with and doubts about" (yukti tarka o sandeher udbhav) our own cultures, and also learn from all the "voyagers in the path of progress" (unnatipather yātri) who emerge in different locations and times [SJ 39-40].As these comments reveal, Rabindranath maintained that inequalities could be rectified by making individual and collective norms and actions accountable to and measurable in terms of a speculative notion of universal humanity. While alert to the injustices proliferating from European colonization, he insisted that coercive practices and imbalances of power could not be entirely localized, and that in order to correct multiple forms of coercion we must seek across cultures and societies for (partial) achievements of human freedom and harmony. In so viewing transcultural negotiations of a common humane proclivity as the means to decolonize the world, Rabindranath did not stand alone but in a diverse company of anti-imperialist thinkers who adapted modern humanism to their ends: W. E. B. Dubois—who lauded Rabindranath's appropriation of [End Page 42] such liberal notions as democracy and equal opportunity "for greater ends" than were allowed by the "inconsistencies" of a racist European perspective [74]—Frantz Fanon, Jean-Paul Sartre, and from Rabindranath's own colonial context, the Bengali Anarchist poet Kazi Nazrul Islam (to name but a few). Reflecting upon worldwide experiences of subjection, these radical modern intellectuals tried above all to avoid reinventing separatism by declaring non-Western cultures to be unilaterally superior to Western imperialist culture. Driven by an activist ethics, they attempted instead to correct the roots of separatism through objectively evaluating, against a common frame of reference, right and wrong, relatively successful or failed practices of human empowerment and community.In this essay, I consider if and how we could characterize as "postcolonial" these evaluative ethics that rationally seek to correct coercive relations between persons and societies through referring to an affirmative idea of a human nature shared by all. If we take postcolonial agency to rest on a thorough critique of and resistance to all political and epistemic maneuvers that subordinate or exclude people and cultures, might this form of resistant agency reside in the ethical normativity of anti-imperialist humanism? This question elicits conflicting responses from contemporary postcolonial theorists.The argument, on the one hand, is that if postcolonial theory is to ethically address the multiple and interlocked hierarchies of a postimperial world, it indeed must take into account how people mobilize against separatism by working through critiques of ethnic divisiveness to negotiate a common human ground. Commenting on the universalism of thinkers such as Rabindranath Tagore and W. E. B. DuBois, Edward Said, for example, suggests that "vital" critiques of chauvinistic separatism arise only from viewing "local identity as not exhaustive" but as elaborating in reference to "larger, more generous realities of community between cultures, peoples, and societies" [Culture and Imperialism 217, 229]. His implication is that only through evaluating ourselves on the basis of a notion of noncoercive universality are we able to think against the identity politics that pervade our world, stemming at once from a nativist... (shrink)

A case study of quantum mechanics is investigated in the framework of the philosophical opposition “mathematical model – reality”. All classical science obeys the postulate about the fundamental difference of model and reality, and thus distinguishing epistemology from ontology fundamentally. The theorems about the absence of hidden variables in quantum mechanics imply for it to be “complete” (versus Einstein’s opinion). That consistent completeness (unlike arithmetic to set theory in the foundations of mathematics in Gödel’s opinion) can be interpreted furthermore as (...) the coincidence of model and reality. The paper discusses the option and fact of that coincidence it its base: the fundamental postulate formulated by Niels Bohr about what quantum mechanics studies (unlike all classical science). Quantum mechanics involves and develops further both identification and disjunctive distinction of the global space of the apparatus and the local space of the investigated quantum entity as complementary to each other. This results into the analogical complementarity of model and reality in quantum mechanics. The apparatus turns out to be both absolutely “transparent” and identically coinciding simultaneously with the reflected quantum reality. Thus, the coincidence of model and reality is postulated as necessary condition for cognition in quantum mechanics by Bohr’s postulate and further, embodied in its formalism of the separable complex Hilbert space, in turn, implying the theorems of the absence of hidden variables (or the equivalent to them “conservation of energy conservation” in quantum mechanics). What the apparatus and measured entity exchange cannot be energy (for the different exponents of energy), but quantum information (as a certain, unambiguously determined wave function) therefore a generalized law of conservation, from which the conservation of energy conservation is a corollary. Particularly, the local and global space (rigorously justified in the Standard model) share the complementarity isomorphic to that of model and reality in the foundation of quantum mechanics. On that background, one can think of the troubles of “quantum gravity” as fundamental, direct corollaries from the postulates of quantum mechanics. Gravity can be defined only as a relation or by a pair of non-orthogonal separable complex Hilbert space attachable whether to two “parts” or to a whole and its parts. On the contrary, all the three fundamental interactions in the Standard model are “flat” and only “properties”: they need only a single separable complex Hilbert space to be defined. (shrink)

To translate the Aristotelian square of opposition into Chinese requires restructuring the Aristotelian system of genus-species into the Chinese way of classification and understanding of the focus-field relationship. The feature of the former is on a tree model, while that of the later is on the focusfield model. Difficulties arise when one tries to show contraries betweenA- type and E-type propositions in the Aristotelian square of opposition in Chinese, because there is no clear distinction between universal and particular in a (...) focus-field structure of thinking. If there could be a chance to discuss the analytic identity between the two logical systems, then it might be only constituted during a face to face conversation in the present, or, in other words, in the translation of particular propositions (singular subjective,I-type, andO-type propositions) in a particular case. The best hope for a translator is that in the actual temporally situated practice,now he or she might find a temporary way to map the concepts of one to the other with relatively little loss of structure. (shrink)

It is argued that, under the assumption that the strong principle of equivalence holds, the theoretical realization of the Mach principle (in the version of the Mach-Einstein doctrine) and of the principle of general relativity are alternative programs. That means only the former or the latter can be realized—at least as long as only field equations of second order are considered. To demonstrate this we discuss two sufficiently wide classes of theories (Einstein-Grossmann and Einstein-Mayer theories, respectively) both embracing Einstein's theory (...) of general relativity (GRT). GRT is shown to be just that “degenerate case” of the two classes which satisfies the principle of general relativity but not the Mach-Einstein doctrine; in all the other cases one finds an opposite situation.These considerations lead to an interesting “complementarity” between general relativity and Mach-Einstein doctine. In GRT, via Einstein's equations, the covariant and Lorentz-invariant Riemann-Einstein structure of the space-time defines the dynamics of matter: The symmetric matter tensor Ttk is given by variation of the Lorentz-invariant scalar densityL mat, and the dynamical equations satisfied by Tik result as a consequence of the Bianchi identities valid for the left-hand side of Einstein's equations. Otherwise, in all other cases, i.e., for the “Mach-Einstein theories” here under consideration, the matter determines the coordinate or reference systems via gravity. In Einstein-Grossmann theories using a holonomic representation of the space-time structure, the coordinates are determined up to affine (i.e. linear) transformations, and in Einstein-Mayer theories based on an anholonomic representation the reference systems (the tetrads) are specified up to global Lorentz transformations. The corresponding conditions on the coordinate and reference systems result from the postulate that the gravitational field is compatible with the strong equivalence of inertial and gravitational masses. (shrink)

Previous research suggests that all-inclusive superordinate categories, such as “citizens of the world” and “humans,” may represent different socio-psychological realities. Yet it remains unclear whether the use of different categories may account for different psychological processes and attitudinal or behavioral outcomes. Two studies extended previous research by comparing how these categories are cognitively represented, and their impact on intergroup helping from host communities toward migrants. In a correlational study, 168 nationals from 25 countries perceived the group of migrants as more (...) prototypical of the superordinate category “citizens of the world” than their national group, whereas no differences in prototypicality occurred for the category “humans.” Identification with “citizens of the world” was positively associated with a disposition to oppose helping migrants and to offer dependency-oriented help. However, identification with “humans” was positively associated with helping in general, and with offering dependency- and autonomy-oriented help; and negatively associated with opposition to helping. The experimental study manipulated the salience of “citizens of the world” vs. “humans” vs. control category, among 224 nationals from 36 countries. Results showed that the salience of “humans” triggered higher entitativity and essentialist perceptions, and dual-identity representations. No differences due to salience were found for representations of relative ingroup prototypicality or helping responses. Overall, these findings suggest that the interchangeable use of different labels is problematic, considering these might activate different representations, and thus, are likely to lead, in some circumstances, to different attitudinal or behavioral outcomes. (shrink)

Weaving together the great ideas of science, Reality's Frame takes us on a thrilling journey from empty space all the way to the human mind. Acclaimed science writer Brian Clegg builds up reality piece by piece, from space, to time, to matter, movement, the fundamental forces, life, and the massive transformation that life itself has wrought on the natural world. He reveals that underlying it all is not, as we might believe, a system of immovable absolutes, but the ever-shifting, amorphous (...) world of relativity. From religion to philosophy, humanity has traditionally sought out absolutes to explain the world around us, but as science has developed, relativity has swept away many of these certainties, leaving only a handful of unchangeable essentials -- such as absolute zero, nothingness, light -- leading to better science and a new understanding of the essence of being human. This is an Ascent of Man for the 21st century, the gripping story of modern science that will fill you with wonder and give you a new insight into our place in the universe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Ethics of Creativity: Beauty, Morality and Nature in a Processive CosmosJohn W. LangoBrian G. Henning The Ethics of Creativity: Beauty, Morality and Nature in a Processive Cosmos University of Pittsburgh Press, 2005. 250 + xii pp.The aim of this interesting but flawed book by Brian Henning may be related through some remarks about the terms in its title.1 The term "creativity" stems from the most basic category (...) in Whitehead's metaphysics in Process and Reality, "The Category of the Ultimate." The term "processive cosmos" echoes the full title of Whitehead's magnum opus: Process and Reality: An Essay in Cosmology. For Whitehead's metaphysics is both a philosophy of process and a philosophical cosmology. Thus, as the term "ethics" implies, Henning's book "presents a Whiteheadian ethic" (p. 8), an ethics grounded in Whitehead's metaphysics. This ethics is grounded particularly in Whitehead's axiology of aesthetic value (hence the term "beauty"), and it includes an environmental ethics (hence the linkage of the terms "morality" and "nature"). The inclusion of environmental ethics is central to the book's aim:If we are to have any hope of reversing the potentially catastrophic destruction and consumption of our natural environment, we must devise an ethical theory grounded in an axiology that acknowledges that every individual—from the most insignificant flicker of existence at the opposite end of the universe to complex individuals such as ourselves—has value not only for itself, but for others, and for the whole of reality.(p. 2)"The aim of this project, then, is," according to Henning's own summary, "to develop and defend a holistic, organic ethical theory grounded firmly in Whitehead's aesthetico-metaphysics of process" (p. 3).Indeed, Henning's project is worthwhile. Traditional ethical theory should be enlarged to include environmental ethics. Insofar as an ethics can be grounded on a metaphysics, it is important to explore how an ethics can be grounded on Whitehead's metaphysics. Since Whitehead's metaphysics is a philosophical cosmology, it is especially suitable as a grounding for an environmental ethics. Accordingly, in reading Henning's book, process philosophers should encounter many interesting ideas. [End Page 450]Nonetheless, the book has some significant flaws. First, there is a problem of audience. In addition to process philosophers, Henning wants his book to be accessible to philosophers who are not conversant with Whitehead's metaphysics, as the following passage evidences:Anyone seeking to develop a moral philosophy based on Whitehead's work faces many challenges. One obvious reason for the relative lack of attention given to Whitehead's work by mainstream environmental and moral philosophers is the density and abstruseness of the texts themselves. Coupled with the generally unfavorable view of metaphysical speculation among most contemporary ethicists, this has led many to admire Whitehead's work from afar. Given this, a secondary, though not unimportant, goal of this project is to show the value of Whitehead's complex process metaphysics for moral and environmental philosophy by presenting it in language that strives for clarity and seeks to do justice to the richness and nuances of his thought.(p. 8)Unfortunately, in the judgment of this reviewer, this secondary goal is not accomplished. The first chapter of Henning's book ("From Mechanism to Organism") contains an exposition of Whitehead's metaphysics (pp. 27–37). But this exposition is far too brief. Whitehead's technical terms are not explained sufficiently, and quotations from his writings are used too frequently. In subsequent chapters, an understanding of his metaphysics is presupposed. For example, the second chapter ("An Ecstatic Axiology") defends "an alternative to the classical interpretation of Whitehead's metaphysics" (p. 42), namely, "the ecstatic interpretation" (p. 51). (The classical interpretation is exemplified by Ivor Leclerc and William Christian, and the alternative interpretation by Jorge Nobo and Judith Jones.) Specialists in Whitehead should find this second chapter accessible, but nonspecialists are likely to find it unenlightening. Before attempting to read Henning's interesting book, I would encourage mainstream environmental and moral philosophers to study Whitehead's metaphysics from other sources.Acceptance of Henning's aim of developing an ethics grounded in Whitehead's metaphysics is impeded by "the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Who Needs Classical Music? Cultural Choice and Musical Value by Julian JohnsonWilliam M. PerrineJulian Johnson, Who Needs Classical Music? Cultural Choice and Musical Value. Oxford University Press, 2002.In Who Needs Classical Music? Cultural Choice and Musical Value, British musicologist and composer Julian Johnson defends the value of classical music in a commercialized culture fixated on the immediate gratification of popular music. At 130 pages divided into six chapters, (...) Johnson’s book is a reasonably accessible and engaging presentation of his topic. This short book contains relevant and sometimes controversial insights of interest to professional music educators. In this review I will provide a brief summary of the author’s primary arguments accompanied by critical commentary.Johnson argues that commercial forces in our society limit serious reflective discourse on music. The marketplace treats music as a commodity which derives its value from relative commercial success. In this context, classical music is relegated to one possible cultural choice among many legitimate options and is in danger of losing its distinctive features as an art form that transcends commercial concerns. Preference for particular musical products becomes an identity marker for an individual’s place within society, and criticism of a particular style of music is perceived as a personal attack. The process of turning classical music into a commodity has been aided by critics who have condemned the Western [End Page 96] canon as elitist, patriarchal, and arrogant. These critics have instead advocated a democratization of culture, placing greater emphasis on the validity of popular art forms and active participation in music-making rather than the more passive contemplation. Johnson describes this as a “pseudo-democratic” attack which encourages downward social mobility. When combined with the omnipresence of commercial culture, this approach undermines individual musical value by assuming the equal validity of all aesthetic judgments. Democracy is damaged when, refusing to discriminate between cultural products, society fails to recognize human individuality and excellence.Johnson is at his strongest when he argues for the importance of classical music fulfilling its function as art. The author argues that different types of music fulfill different functions. In contemporary society music is valued and chosen for how it is used. Music is described as “good” when it functions to provide background music for activities or when it successfully complements or enhances the listeners’ moods. Focusing solely on social use or reception, however, tends to neglect objective differences in the formal structure of music. This is the point at which Johnson begins to distinguish between classical and popular music. Popular music is composed to ensure a uniformity of affect, and deliberately avoids formal or harmonic complexity. As an aspect of popular culture, it is tied to contemporary fashion trends and rapidly becomes obsolete. Like other types of fashion, music becomes a means for expressing a current position within a larger social and cultural space. It is the music of youth; its commercial saturation of the culture blurs the boundaries between youth and adulthood. Johnson claims that the process of commercialization leads to a bland standardization. Classical music can also function as a type of popular music when it submits itself to market processes, but in doing so the music loses its distinctive features.In his discussion on popular music, Johnson presents what might be his most controversial claim: that popular music serves a pornographic function. He defines pornography as “the process by which the humane is reduced to the status of things” (p. 59) and argues that popular music takes pleasure in debasing humanity by reducing individuals to material commodities and denying the spiritual. This contention echoes Allan Bloom’s concern in The Closing of the American Mind that rock music desensitizes and debases youth by destroying imagination and deadening their capacity for passion and wonder. The strength of this language undermines Johnson’s contention in his introduction to the paperback edition that he is not trying to set up a binary opposition between art and popular music in which the classical is “better.” Moreover, if pornography is a form of dehumanization and is a legitimate concern in music, it is important to point out that such a charge is not exclusive to... (shrink)

Leslie Armour argues for the rules of a dialectical logic which can account for the metaphysical problems of stability and change. He proposes a specific/general exclusion reference, a variation of the polar opposites contrast, which will make possible a rigorous development of the core structural concepts necessary for systematic explanation. His initial move is significantly different from Hegel’s being-nothing-becoming triad. The opposite of "pure being," Armour contends, is "pure disjunction." "Being" unifies, "disjunction" makes distinctions possible. Seven more categories are developed, (...) each at lower levels of abstraction, to introduce actual specificity and change. Armour’s main contention is that Hegel erred in introducing concrete "becoming" at a high level of logical abstraction. The ordering of his concepts is straightforward. "Pure being" contrasted with "pure disjunction" necessitates "determinate being." "Systematic unity" unifies the opposing elements in and. "Pure process" establishes the possibility of ongoing experience. Particularity is accounted for by the concepts of "determinate process" instantiated in the contrast of "ideal" and "objective universality" realized in the "dialectical individual." The final concept maintains the tension between structure and actualization without resulting in mere vacillation. This is done by arguing that self-identity is not a matter of bodily and dispositional consistency, but, rather, the pursuit of reasonableness. Armour contends that we identify people by the coherence of their actions which is understood in the context of an overall structure, such as the one he proposes. Some will be bothered by Armour’s admission that the development of the concepts of specificity cannot exemplify the necessity of the more general initial dialectical concepts. Others will be attracted to the degree of freedom for the subject in his concept of individuality which is supported by a clear systematic account.—P. G. W. S. (shrink)

Arthur Kaufmann is one of the most prominent figures among the contemporary philosophers of law in German speaking countries. For many years he was a director of the Institute of Philosophy of Law and Computer Sciences for Law at the University in Munich. Presently, he is a retired professor of this university. Rare in the contemporary legal thought, Arthur Kaufmann's philosophy of law is one with the highest ambitions — it aspires to pinpoint the ultimate foundations of law by explicitly (...) proposing an ontology, a general theory of knowledge and concept of a person. Kaufmann's work derives, first of all, from the thinking of Gustav Radburch, his teacher, and then from ideas of Karl Engish and Hans-Georg Gadamer. The philosophy undertakes to pursue the ultimate foundation of law, law which is understood by Kaufmann, first of all, as a "concrete judgement" that is, what is right in a concrete situation. Justice belongs to the essence of law and "unjust law" is contradictio in adiectio. Kaufmann opposes all those theories, which as the only foundation for establishing just law (Recht) adopt legal norms (Gesetz). In Kaufmann's opinion , such theories are powerless in the face of all types of distortions of law rendered by political forces. He suggests that the basic phenomenon which needs to be explained and which cannot be disregarded by a philosopher of law is so-called "legal lawlessness" ("Gestzliches Unrecht"). "Legal lawlessness" which forms a part of life experience for the people of twentieth century totalitarian states. It proved "with the accuracy of scientific experiment" that the reality of law consists of something more than bare conformity with legal norms. The existence of lex corrupta indicates that law contains something "non-dispositive" which requires acknowledgment of both law-maker and judge. Kaufmann, accepting the convergent concept of truth and cognition, assumes that "non-dispositive" content, emerging as the conformity of a number of cognitive acts of different subjects (inter-subjective communicativeness and verifiability), indicates the presence of being in this cognition. The questions "What is law?" and "What are the principles of a just solution?" lead straight to the ontology of law, to the question about the ontological foundations of law. Kaufmann discerns the ontological foundations of law in the specifically understood "nature of things" and, ultimately, in a "person". He proposes a procedural theory of justice, founded on a "person". In my work, I undertake to reconstruct the train of thought which led Kaufmann to the recognition of a "person" as the ontological foundation of law. In the first part, the conception of philosophy adopted by Kaufmann, initial characteristics of law — of reality which is the subject of analysis, as well as, the requirements for proper philosophical explanation of law posed by Kaufmann are introduced. In the second, Kaufmann's reconstruction of the process of the realisation of law is presented. Next, the conception of analogy which Kaufmann uses when explaining law is analyzed. In the fourth part, Kaufmann's conception of ontological foundations of law is discussed. A critical analysis is carried out in which I demonstrate that the theory of the ontological foundation of law proposed by Kaufmann and the concept of a person included in it do not allow a satisfac¬tory explanation of the phenomenon of "legal lawlessness" and lead to a number of difficulties in the philosophical explanation of law. Finally, the perspectives of a proper formulation of the issue of the ontological foundations of law are drafted in the context of the analyzed theory. My interest is centered on the conception of philosophy adopted by Kaufmann, according to which the existence of the reality is inferred on the basis of a certain configuration of the content of consciousness, whereas at the point of departure of philosophy of law, the data to be explained is a certain process, which is, basically, a process of cognition, while the reality appears only as a condition for the possibility of the occurrence of the process. I wish to argue that the difficulties which appear in the explanation of law are a consequence of the assumed fundamental philosophical solu¬tions, which seem to be characteristic, though usually not assumed explicitly, in philoso¬phy and theory of law dominant at present in continental Europe. Thereby, I wish to show the significance of ontological and epistemological solutions to the possibility of a proper formulation of the problems posed by philosophy and theory of law. Kaufmann proclaims himself in favour of a philosophy which poses questions about the ultimate foundations of understanding of the reality. In epistemology, he assumes that answers to the questions "What is reality like?" and ultimately "What is real?" are inferred on the basis of uniformity of a cognitive acts of different subjects. Cognition of the reality is accomplished exclusively through the content of conceptual material. The two fundamental questions posed by philosophy of law are "What is just law?" and "How is the just law enacted?" The latter is a question about the process of achieving a solution to a concrete case. Since, in Kaufmann's opinion, law does not exist apart from the process of its realisation, an answer to the question about the manner of realisation of law is of fundamental significance to answering the question: "What is law?" and to the explanation of the question about the ontological grounding of law, which is, as well, the foundation of justice. The proper solution has to take into account the moment of "non-dispositive" content of law; its positiveness understood as the reality and, at the same time, it has to point to the principles of the historical transformation of the content. Law, in the primary meaning of the word, always pertains, in Kaufmann's opinion, to a concrete case. A legal norm is solely the "possibility" of law and the entirely real law is ipsa res iusta, that which is just in a given situation. Determination of what is just takes place in a certain type of process performed by a judge (or by man confronted with a choice). Kaufmann aims to reconstruct this process. A question about the ontological foundation of law is a question about the ontological foundations of this process. In the analyzed theory it is formulated as a question about the transcendental conditions, necessary for the possibility of the occurrence of the process: how the reality should be thought to make possible the reconstructed process of the realisation of law. Kaufmann rejects the model for finding a concrete solution based on simple subsump¬tion and proposes a model in which concrete law ensues, based on inference by analogy, through the process of "bringing to conformity" that which is normative with that which is factual. Kaufmann distinguishes three levels in the process of the realisation of law. On the highest level, there are the fundamental legal principles, on the second legal norms, on the third — concrete solutions. The fundamental principles of law are general inasmuch as they cannot be "applied" directly to concrete conditions of life, however, they play an important part in establishing norms. A judge encounters a concrete situation and a system of legal norms. A life situation and norms are situated on inherently different levels of factuality and normativeness. In order to acquire a definite law both a norm (system of norms) and a life situation (Lebenssachverhalt) should undergo a kind of "treatment" which would allow a mutual conformity to be brought to them. Legal norms and definite conditions of life come together in the process of analogical inference in which the "factual state" ("Tatbestand") — which represents a norm, and in the "state of things" ("Sachverhalt") — which represents a specific situation are constructed. A "factual state" is a sense interpreted from a norm with respect to specific conditions of life. The "state of things" is a sense constructed on the basis of concrete conditions of life with respect to norms (system of norms). Legal norms and concrete conditions of life meet in one common sense established during the process of realisation of law. Mutatis mutandis the same refers to the process of composition of legal norms: as the acquisition of concrete law consists in a mutual "synchronization" of norms and concrete conditions of life, so acquisition of legal norms consists of bringing to conformity fundamental principles and possible conditions of life. According to Kaufmann, both of these processes are based on inference through analogy. As this inference is the heart of these processes it is simultaneously a foundation finding just law and justice. How does Kaufmann understand such an inference? As the basis for all justice he assumes a specifically interpreted distributive justice grounded on proportionality. Equality of relations is required between life conditions and their normative qualification. Concrete conditions of life are ascribed normative qualification not through simple application of a general norm. More likely, when we look for a solution we go from one concrete normative qualified case to another, through already known "applications" of norms to a new "application". The relation between life conditions and their normative qualifica¬tion has to be proportional to other, earlier or possible (thought of) assignments of that which is factual to that which is normative. Law as a whole does not consist of a set of norms, but only of a unity of relations. Since law is a, based on proportion, relative unity of a norm and conditions of life, in order to explain law in philosophical manner, the question about ontological base of this unity has to be asked. What is it that makes the relation between a norm and conditions of life "non-dispositive"? What is the basis for such an interpretation of a norm and case which makes it possible to bring a norm and conditions of life into mutual "conformity"? This is a question about a third thing (next to norms and conditions of life), with respect to which the relative identity between a norm and conditions of life occurs, about the intermediary between that which is normative and that which is factual and which provides for the process of establishing of norms, as well as, finding solutions. It is the "sense" in which the idea of law or legal norm and conditions of life have to be identical to be brought to mutual "conformity". In Kaufmann's opinion such a sense is nothing else but the "nature of things" which determines the normative qualification of the reality. Since establishment of this "sense" appears to be "non-dispositive" and controlled inter-subjectively (namely, other subjects will reach a similar result) so, in conformity with the convergent concept of truth, the "nature of things" must be assigned a certain ontological status. According to Kaufmann this is a real relation which occurs between being and obligation, between the conditions of life and normative quality. However, it should be underlined that from the point of view of the analyzed system the "nature of things" is a correlate of constructed sense, a result of a construction which is based on the principle of consistent understanding of senses ("non-normative" and "normative") and is not a reality which is transcendent against the arrangement of senses. In Kaufmann's theory, inference from analogy appears to be a process of reshaping the concepts (senses) governed by tendency to understand the contents appearing in relations between that which is factual and that which is normative in a consistent way. The analogical structure of language (concepts) and recognition of being as composed of an essence and existence is an indispensable requirement for the possibility of the realisation of law, based on specifically understood inference from analogy. It is necessary to assume a moment of existence without content which ensures unity of cognition. Existence emerges thus as a condition of the possibility of cognition. According to Kaufmann, the "nature of things" is the heart of inference through analogy and the basis for establishment of finding of law. Inference from the "state of things" to a norm or from a norm to the "state of things" always means inference through the "nature of things". The "nature of things" is the proper medium of objective legal sense sought in every cognition of law. In Kaufmann's view, the question whether the "nature of things" is ultima ratio of interpretation of law or is only a means of supplement gaps in law or whether it is one of the sources of law, is posed wrongly. The "nature of things" serves neither to supplement the gaps nor is it a source of law as, for example, a legal norm may be. It is a certain kind of "catalyst" necessary in every act of making law and solving a concrete case. Owing to "nature of things" it is possible to bring to a mutual conformity the idea of law and possible conditions of life or legal norms and concrete conditions of life. In Kaufmann's conception the "nature of things" is not yet the ultimate basis for understanding the "non-dispositiveness" of law. The relation between obligation and being is determined in the process of the realisation of law. Both the process itself and that which is transformed in this process are given. A question about the ontological bases of "material" contents undergoing "treatment" in the process of the realisation of law and about being which is the basis of regularity of the occurrence of the process arises. Only this will allow an explanation that the result of the process is not optional. Thus, a question about reality to which law refers and about the subject realising the law has to be formed. To this, Kaufmann gives the following answer: that which is missing is man but not "empirical man" but man as a "person". A "person" understood as a set of relations between man and other people and things. A "person" is the intermediary between those things which are different — norm and case are brought to conformity. A "person" is that which is given and permanent in the process of the realisation of law. It determines the content of law, is "subject" of law; this aspect is described by Kaufmann as the "what" of the process of realisation of law. A "person" consists of precisely just these relations which undergo "treatment" in the process. On the other hand, a "person" is "a place" in which the processes of realisation of law occur, it is the "how" of normative discourse, a "person" is that which determines the procedure of the process, being "outside" of it. This aspect of a "person" is connected with the formal moment of law. A "person" being, at the same time, the "how" and the "what" of the process of the realisation of law, is also, to put it differently, a structural unity of relation and that which constitutes this relation (unity of relatio and relata). According to this approach a "person" is neither an object nor a subject. It exists only "in between". It is not substance. Law is the relation between being and obligation. That which is obligatory is connected with that which is general. That which is general does not exist on its own, it is not completely real. Accordingly, a "person" as such is also not real. It is relational, dynamic and historical. A "person" is not a state but an event. In Kaufmann's opinion, such a concept of a "person" helps to avoid the difficulties connected with the fungibility of law in classical legal positivism. A "person" is that which is given, which is not at free disposal and secures the moment of "non-dispositiveness" of law. Kaufmann concludes: "The idea (»nature«) of law is either the idea of a personal man or is nothing". Theory points at the structure of realising law and explains the process of adoption of general legal norms for a concrete situation. The analysis has shown however, that in this theory a satisfactory answer to the question about the ultimate foundations of law is not given. It seems that in the analyzed theory the understanding of human being takes place through understanding of law. What is good for man as a "person", what is just, what a "person" deserves may be determined only against the existing system of law. A "per¬son" adopted as a basis of law is the reality postulated in the analysis of the process of the realisation of law. It is a condition of possibility of this process ( explaining, on one hand, its unity and, on the other hand, the non-dispositive moments stated in this process). A "person" in the discussed theory is entirely defined by the structure of law, it can be nothing more than that which is given in law, what law refers to, what law is about. Being, which is a "person", is constituted by relations between people and objects, the relations which are based on fundamental links between norms and conditions of life established in a process of bringing them to conformity. It has to be assumed that man as a "person" is a subject of law only as far as realising law "treats" given senses according to their current configuration. The system of law is a starting point and it describes in content what man is as a "person". Moreover, being a "person" is the condition for entering legal relations. Consistently, Kaufmann writes that "empirical man" is not the subject of law, man is not "out of nature" a "person". People become "persons" due to the fact that they acknowledge each other as "persons" — acknowledging, at the same time, law. This acknowledgement is a con¬dition of existence, of the possibility of the occurrence of process of realisation of law and of constituting legal relations which ultimately constitute a "person". Kaufmann assumes, that law tends towards a moral aim: it may and must create an external freedom, without which the internal freedom to fulfil moral obligations cannot develop. However, this postulate is not based on the necessary structure of human being. From the point of view of his system, it is nothing more than only a condition for the possibility of the occurrence of the process of the realisation of law — lack of freedom would destroy the "how" of this process. Thus, the postulate to protect the freedom of personal acts has to be interpreted, in accordance with the analyzed theory, as a postulate, the fulfilment of which aims ultimately at the accomplishment of the very same process of realisation of law itself and not the realisation of a given man. Kaufmann considers a "person" to be an element which unites the system of law as a whole. Law is a structure of relations, which are interdependent and inter-contingent. Consequently, a "person" which is to form the ontological basis of law has to be entity consisting of all relations. Being also the "how" of the process of realisation of law, if a "person" is to warrant its unity, it has to be a common source for all procedures. Hence, a single "person" would constitute a subject of law. Man appears to be only a moment of a certain entirety, realisation of which should be an aim of his actions. Law, creating a "person" as an object and subject of law becomes a primary entity. In the analyzed theory, the basis for determination of aims which law sets to man is not the allocation of man-subject to something which improves him but rather, such relation is only just constituted by law. A question appears, why should aims set in law also be the aims of "empirical man"? Why is this "empirical man" to be punished in the name of a "person" understood in such a way? If, however, it is assumed that what is man is determined by a system which is superior to him, then man has to be understood only as a part of a whole and there are no grounds to prohibit istrumental treatment of man and so the road to all aspects of totalitarianism might be opened. A problem of the application of created theory to the reality arises, the reality which the theory pretends to explain. Ultimately in his theory Kaufmann does not give any systemic grounds for a radical questioning of the validity of any legal norms. Every new norm becomes an equal part of system of norms. It is only its interpretation and application to given conditions of life that may be disputable, however, this refers to all norms without exception. Cohesive inter-pretation of norms and applications is necessary and sufficient for the acquisition of just law. New norms have to be interpreted in the light of others, correspondingly, the other norms require reinterpretation in the light of the new ones. Contradiction in interpretation of a norm does not form a basis for questioning norms but may serve only to question the manner of their interpretation (understanding). Therefore, no grounds exist to assume any legal norm as criminal or unjust, and in consequence, to question any consistently realised system based on formally, properly established norms, as "legal lawlessness". As law and a "person" do not exist without the process of realisation of law, the role of legal safety becomes crucial as the condition for the possibility of the occurrence of the process of realisation of law. Denying legal safety would be tantamount to negation of law in general (also of moral law) as negation of safety takes away, at the same time, the basis for occurrence of the process of realisation of law. Moreover, any lack of legal safety would also mean lack of a basis for the existence of man as a "person". Kaufmann's thesis, that civil disobedience is legalized only when it has a chance to lead to success, consistent with his concept of the foundations of law, seems to point directly to conclusions which deny the facts taken under consideration and doubtlessly Kaufmann's own intentions, since it would have to be assumed that accordingly there are no grounds to question a legal system in force based on violence which secures its operation. Force finally seems to determine which one of the mutually irreconcilable normative systems constitute law and which does not. A legitimate position is one which leads to success, it is the weaker system which is negated. If so, then basically violent imposition of law is not an act directed against the law in force but, to the contrary, realisation of law. In the context of the new system the former system of law may be talked about as unjust solely in the sense of being incapable of being consistently united with the new. However, at the base, ultimately, lies force which reaffirms differences and excludes from the process of realisation of law certain norms and their interpretations. Kaufmann was aiming at grounding of that which is "non-dispositive" in a certain given framework of interpretation. Nevertheless, he does not provide foundations for the understanding of phenomena, which he undertakes to explain at a point of departure. Instead of explaining them the theory negates the possibility of their existence. The reality postulated in regard to "non-dispositive" moments of the reconstructed process of acquiring law consist of a specifically understood "person", which appears in Kaufmann's conceptions as a condition of the possibility of the realisation of law. According to this approach understanding of a "person" may be only a function of law. To understand "legal lawlessness" and foundations of justice it is necessary to look for such theory of law in which understanding of man as a "person" and being is not a function of understanding of law (in which a "person" is not only a condition for possibility of reconstructed process of realisation of law; for possibility of cognition processes). It seems necessary to start from theory of being and a "person" based on broader experience than the one assumed by Kaufmann and reconstruct the ontological foundations of the process of realisation of law only in such perspective. Kaufmann points out that that to which law refers is ipsa res iusta a concrete relation of man to other people and things. This relation, in his theory, appears to be basically only just constituted by law (normative senses "applied" to conditions of life). Therefore, understanding the relation between a given man and other people and things which constitute the aim of his actions, that is understanding of good, is enacted against the background of constitution of senses; constitution which is a result of a process aiming towards consistent understanding of particular contents (of nor¬mative and non-normative senses). "Being" is secondary towards constructed senses it is only their correlate. The primary relation consists of relation of a man to law (system of norms), while the secondary relation is one of man to something which is the aim of his action (relation between man and good). Considering such approach it is difficult to envision a satisfying answer to the fundamental question: why does law put concrete man under any obligation to obey it? The source of this problem can be seen in reduction of the base for understanding good to content of obligation formulated in auto-reflection. Such reduction seems to be a consequence of Kaufmann's adoption of "convergent concept of truth" and in con¬sequence his recognition of indirect, essentialistic grasp of reality formulated in concepts as the basic and only foundation of theory of being and of law. In view of such an approach, analogy of law, concepts and being is the condition for the possibility of the process of transformation of senses which aims at consistent interpretation of all law. Existence is postulated with respect to the possibility of unity of experience and cognition. However, also a different approach to understanding of the problem of being and good is possible. In spontaneous cognition being is affirmed, first of all, not as a certain, non-contradictory, determined content, but as something existing. Together with a cer¬tain content (passed indirectly through notions) existence of being is co-given. The basis for unity of being is not formed by the consistence of content, as it is in the case of the theories departing from the analysis of cognition processes, but by an act of existence realising content (essence). Such an approach makes it also possible to go beyond the convergent concept of truth. It is worth mentioning that allocation of an agent to good is realised not only by the content of duty. A statement that something is good is primary with respect to determination of this good in content. The recognised good always bears some content, however, there are no reasons to base the concept of good exclusively on indirect, formulated in concepts cognition. As primary, can be adopted the relation of man to good and not of man to law. Determination in content appears to be only an articulation of aspectual cognition of being, as an object of action. In such a case the basis for relative unity of norm and conditions of life is not the "nature of things" understood as correlate of sense but it is relation to good based on internal constitution of man as potential, not self-sufficient being. It does not mean, that the moments of the process of realisation of law singled out by Kaufmann are not important to determination of what is just. He, quite rightly, points to significant role played by norms in the evaluation of concrete situations, in man's search for closer specification in content of good innate to him. The structure of process of determining law for a concrete situation, to a great degree corresponds to the processes of determining law which take place not only in the legal sciences. Kaufmann's analyses of the process of realisation of law show the complexity of the structure of these processes and point towards important moments allowing a better understanding of law and man. Nevertheless, these analyses cannot be a basis for construction of philosophical theory of law, theory which hopes to point out the ultimate, ontological foundations for understanding law. Kaufmann's results may become fully valid only in a more general perspective including broader experience at the point of departure. (shrink)

Many physicists have thought that absolute time became otiose with the introduction of Special Relativity. William Lane Craig disagrees. Craig argues that although relativity is empirically adequate within a domain of application, relativity is literally false and should be supplanted by a Neo-Lorentzian alternative that allows for absolute time. Meanwhile, Craig and co-author James Sinclair have argued that physical cosmology supports the conclusion that physical reality began to exist at a finite time in the past. However, on their view, the (...) beginning of physical reality requires the objective passage of absolute time, so that the beginning of physical reality stands or falls with Craig's Neo-Lorentzian metaphysics. Here, I raise doubts about whether, given Craig's NeoLorentzian metaphysics, physical cosmology could adequately support a beginning of physical reality within the finite past. Craig and Sinclair's conception of the beginning of the universe requires a past boundary to the universe. A past boundary to the universe cannot be directly observed and so must be inferred from the observed matter-energy distribution in conjunction with auxilary hypotheses drawn from a substantive physical theory. Craig's brand of Neo Lorentzianism has not been sufficiently well specified so as to infer either that there is a past boundary or that the boundary is located in the finite past. Consequently, Neo Lorentzianism implicitly introduces a form of skepticism that removes the ability that we might have otherwise had to infer a beginning of the universe. Furthermore, in analyzing traditional big bang models, I develop criteria that Neo-Lorentzians should deploy in thinking about the direction and duration of time in cosmological models generally. For my last task, I apply the same criteria to bounce cosmologies and show that Craig and Sinclair have been wrong to interpret bounce cosmologies as including a beginning of physical reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“I would rather be a cyborg than a goddess”Becoming-Intersectional in Assemblage TheoryJasbir K. Puar“Grids happen” writes Brian Massumi, at a moment in Parables for the Virtual where one is tempted to be swept away by the endless affirmative becomings of movement, flux, and potential, as opposed to being pinned down by the retroactive positioning of identity (2002, 8). For the most part, Massumi has been less interested in how (...) grids happen than in asking how they can un-happen, or not happen. What the tension between the two purportedly opposing forces signals, at this junction of scholarly criticism, might be thought of as a dialogue between theories that deploy the subject as a primary analytic frame, and those that highlight the forces that make subject formation tenuous, if not impossible or even undesirable. I have seen this tension manifest acutely in my own work on intersectionality and assemblage theory. On the one hand I have been a staunch advocate of what is now commonly known as an intersectional approach: analyses that foreground the mutually co-constitutive forces of race, class, sex, gender, and nation. Numerous feminist thinkers consider intersectionality the dominant paradigm through which feminist theory has analyzed difference; Leslie McCall argues that intersectionality might be considered “the most important theoretical contribution that women’s studies, in conjunction with other fields, has made so far” (McCall 2005, 1771). Intersectional analysis is now a prevalent approach in queer theory.1 At the same time, encountering a poststructuralist fatigue with the now-predictable yet still [End Page 49] necessary demands for subject recognition, I also argued in my book, Terrorist Assemblages: Homonationalism in Queer Times, that intersectionality as an intellectual rubric and a tool for political intervention must be supplemented—if not complicated and reconceptualized—by a notion of assemblage. Following Massumi on the “retrospective ordering” of identities such as “gender, race, and sexual orientation” which “back-form their reality,” in Terrorist Assemblages I write, “[I]ntersectional identities and assemblages must remain as interlocutors in tension... intersectional identities are the byproducts of attempts to still and quell the perpetual motion of assemblages, to capture and reduce them, to harness their threatening mobility” (Puar 2007, 213). Subject positioning on a grid is never self-coinciding; positioning does not precede movement but rather it is induced by it; epistemological correctives cannot apprehend ontological becomings; the complexity of process is continually mistaken for a resultant product.2Since the publication of Terrorist Assemblages, in response to anxieties about my apparent prescription to leave intersectionality behind (as if one could), I have often been asked to elaborate on the political usages of assemblages and assemblage theory. A prominent concept in the work of Gilles Deleuze and Felix Guattari, assemblage seems to inspire doubt about its political “ applicability,” while intersectionality seems to hold fast as a successful tool for political and scholarly transformation. Part of the assumption at work in these queries is that representation, and its recognized subjects, is the dominant, primary, or most efficacious platform of political intervention, while a Deleuzian nonrepresentational, non-subject-oriented politics is deemed impossible. Perhaps these queries also reveal concerns about how they might be somehow incompatible or even oppositional, despite the fact that intersectionality and assemblage are not analogous in terms of content, utility, or deployment. As analytics, they may not be reconcilable. Yet they need not be oppositional but rather, I argue, frictional.In what follows, I offer some preliminary thoughts on the limits and possibilities of intersectionality and assemblage and what might be gained by thinking them through and with each other. What are the strengths of each in the realms of theory, political organizing, legal structures, and method? Through highlighting the convivial crossings of these two differentiated but not oppositional genealogies, I offer some thoughts on epistemological correctives in feminist knowledge production—which has been driven, sometimes single-mindedly, by the mandate of intersectional analysis—to see what kinds of futures are possible for feminist theorizing. I reread the formative concept that fueled the metaphoric invocation of intersectionality, specifically Kimberlé Crenshaw’s use of the traffic intersection, to show where intersectionality, as that which retroactively forms the grid and... (shrink)

This discussion of Sally Haslanger’s recent book, Resisting Reality: Social Construction and Social Critique (Oxford 2012), investigates how her theory of race and gender handles the problem of intersectionality; that is, the problem of how to understand the ways in which one’s location in multiple socially constructed categories affects one’s lived experiences, social roles, and relative privilege or disadvantage. Haslanger defines race and gender as locations within hierarchical social structures. This high-level structural analysis allows her to find commonality without (...) claiming that, for example, all women share social roles or psychological characteristics. However, race-based oppression seems sometimes to cancel out gender-based privilege; thus raising the question of how, on Haslanger’s model, we are to understand race and gender working together. (shrink)

Despite the alarming drop in numbers of students studying science throughout the Western world today there is no more important subject in our time than science broadly construed, and these three books provide some of the reasons. Their diversity indicates the shape of the debates occurring about the scientist in Western culture, science's tortured philosophical realism and representation as troubled categories, and, most predictably, life on the screen in the age of the Internet.

Using a multiple-trial stock market decision paradigm, the possibility that counterfactual thinking can be dysfunctional for learning and performance by distorting the processing of outcome information was examined. Correlational (Study 1) and experimental (Study 2) evidence suggested that counterfactuals are associated with a decrease in experiential learning. When counterfactuals were made salient, participants displayed significantly poorer performance compared to their counterparts for whom counterfactuals were relatively less salient. A counterfactual salience ? need for cognition (NFC) interaction qualified these findings. High (...) NFC participants outperformed their counterparts when counterfactuals were not salient. Evidence for a memory-based mechanism was also supported. (shrink)

McTaggart distinguished two conceptions of time: the A-series, according to which events are either past, present or future; and the B-series, according to which events are merely earlier or later than other events. Elsewhere, I have argued that these two views, ostensibly about the nature of time, need to be reinterpreted as two views about the nature of the universe. According to the so-called A-theory, the universe is three dimensional, with a past and future; according to the B-theory, (...) the universe is four dimensional. Given special relativity (SR), we are obliged, it seems, to accept (a modified version of) the B-series, four dimensional view, and reject the A-series, three dimensional view, because SR denies that there is a privileged, instantaneous cosmic "now" which seems to be required by the A-theory. Whether this is correct or not, it is important to remember that the fundamental problem, here, is not "What does SR imply?", but rather "What is the best guess about the ultimate nature of the universe in the light of current theoretical knowledge in physics?". In order to know how to answer this question, we need to have some inkling as to how the correct theory of quantum gravity incorporates quantum theory, probability and time. This is, at present, an entirely open question. String theory, or M-theory, seems to evade the issue, and other approaches to quantum gravity seem equally evasive. However, if probabilism is a fundamental feature of ultimate physical reality, then it may well be that the A-theory, or rather a closely related doctrine I call “objectism”, is built into the ultimate constitution of things. (shrink)

B a c k g r o u n d. The current research focuses on Ukraine's academic philosophical culture in the second half of the 20th century during the Soviet era, emphasising the historical and methodological bases of truth interpretation by its representatives. Using descriptive methodology and comparative analysis, it was found that the Ukrainian academic philosophy of this period, represented here by the legacy of recognised figures often referred to in the philosophical literature as the Kyiv School of Philosophy, (...) is a revival of philosophy in Ukraine based on so-called "authentic" Marxism-Leninism. M e t h o d s. In particular, to analyse the concept of truth, representatives of the Ukrainian academic philosophical culture of the studied period employed the dialectical method, which is interpreted in dialectical materialism through the concept of the "development" of the material universe. Specifically, within this dialectics of nature, dialectical negation is considered a stage of object development in which the achievements of the earlier stages are not eliminated but rather "removed" – contained within it. R e s u l t s. The interpretation of logic as a theoretical reflection of historical patterns in theoretical form enabled them to define truth as correspondence to reality and analyse it through the lens of the dialectical inter-transformation of the categories of subjective and objective, relative and absolute. The application of the dialectical method to the concepts of "relative" and "absolute" resulted in the identification of "relatively absolute," "absolutely relative" truth, and the opposition of the "relatively absolute truth" to the "absolutely absolute truth." They regard the latter – absolutely absolute truth – as an unreachable ideal that serves as a regulative principle, the pursuit of which promotes cognitive progress through the accumulation of partial, relative truths. C o n c l u s i o n s. Thus, in the second half of the 20th century, during the Soviet era, representatives of Ukraine's academic philosophical culture employed dialectical materialism methodology to define the concept of truth, allowing them to justify the process of cognition as complex and endless. At the same time, as representatives of that era's academic philosophy have emphasised, on the path to achieving relative truths, in addition to objective dialectical contradictions, there are also subjective formal-logical errors and mistakes that can only be distinguished from objective contradictions through practical verification. (shrink)

The dating of Catalepton 9 has been the central issue of scholarship on that poem. The more particular questions of the poem's authorship, the identity of the addressee, and its chronological relation to other texts, both depend on and contribute to ascertaining the date of composition. The clearest exposition of the problem remains that by Richmond. Evidence provided by Catalepton 9 falls into two categories: literary and historical. Literary evidence encompasses two kinds of data: various formal features of the text (...) and intertextual links with other poetry. While the poem's metre, language and style suggest a relatively early date of composition, the close textual parallels with the Eclogues, interpreted as borrowings from rather than sources of Virgil's poetry, point in the opposite direction. Historical indications are likewise ambivalent. On the one hand, it seems likely that the addressee is M. Valerius Messalla Corvinus and, further, that the occasion of composition is his triumph in 27 b.c.. On the other hand, the allusions to his military achievements are both too vague and exaggerated, and, if taken literally, do not fit well our Messalla at any particular point of his career. Richmond, following Birt and followed by Schoonhoven, believed that at least some of the historical references are ‘intended to be prophetic’. More recently, Peirano has attempted to explain this lack of precision by arguing that Catalepton 9 is not a real-life panegyric but a later biographical fiction, the real focus of which ‘is to be found […] in the relationship that the poem constructs between Virgil and his patron’. (shrink)

The association between New York City’s all-over structure and the play that unfolds within it relative to difference and identity is very pertinent but is not specific enough, in my opinion. On the one hand, all of Mondrian’s neoplastic works are constituted by an opposition between the variable and the invariable . On the other hand, the type of identity produced in New York City relies on repetition, a principle which, we know, explicitly governs a whole range of paintings (...) predating neoplasticism. New York City differs from the “classic” neoplastic works, as well as from the 1918-19 modular paintings with which it seems to have a good deal in common. It is, in part, because he never discusses this last point that Masheck doesn’t entirely grasp the amplitude of the reversal that Mondrian effected in his New York works.In fact, as James Johnson Sweeney realized quite early, one must go back o the 1917 works, which gave rise to modular grids for the two years that followed, in order to understand what happens not only in New York City but also in the two Boogie-Woogie paintings.3Everyone is aware of the extraordinarily rapid evolution of Mondrian’s work during the years immediately preceding the foundation of neoplasticism: under the influence of Bart van der Leck, he dopted the colored plane and the black dash on a white background as elements of his composition for the two Compositions in Color, A and B . Mondrian, who had not yet found a means of perspicuously relating these diverse elements , tied both plane and dashes together by way of an optical dynamism, based largely on their superimposition. The immediate consequence was to make the background recede optically. The next step was the five Compositions , all entitled “With Colored Planes” . Here all superimposition was eliminated, as well as all “line.” In the last two of these canvases, the background itself is divided without remainder in to planes of different shades of white. The colored rectangles are on the way to alignment. In spite of this, the rectangles fluctuate and, consequently, the background is hollowed out behind them. 3. See James Johnson Sweeney, “Mondrian, the Dutch and De Stijl,” Art News 50 : 63. Meyer Schapiro made a similar remark, at about the same time, in his courses. 4. When I refer to a number accompanied by “Seuphor,” it refers to the “catalog by group” included in Michel Seuphor’s book on the artist. See Seuphor [Ferdinand Louis Berckelaers], Piet Mondrian; sa vie, son oeuvre, 2d ed. . Yve-Alain Bois is associate professor of art history at the Johns Hopkins University. He has published a number of essays on twentieth-century art, architecture, and criticism and is currently working on Mondrian’s neoplastic years and on a history of axonometric perspective. Amy Reiter-McIntosh is a lecturer at the University of Chicago. Her previous contribution to Critical Inquiry was a translation of Ernesto Laclau’s “Psychanalyse et marxisme”. (shrink)

This article reviews four papers presented at the 33rd Annual Richard R. Baker Colloquium in Philosophy that was held at the University of Dayton on March 6-8, 2008. The second section reflects on the current form of these papers from a pedagogical perspective that emphasizes the importance of continual reflection on the conceptualization of intersectionality, the importance of reflecting on practices which may prevent us from the practice of intersectional understanding and action, and the theoretical and pedagogical need to continue (...) to be attentive to the discourse of the dominant and how this discourse constructs our social and political realities as well as our individual identities. (shrink)

Resistance movements have traditionally posited a logocentric reality to counter the prevailing structure of dominance. This element of opposition--in the humanities it has been a transhistorical nature and self--is characterized as a preideological essence. Whether this identity is a worker, a woman, the coherent individual, or nature, the tendency has been to use it as a cultural critique as well as an ontologically superior source for representation in literature and for recasting the shape of society. In the process, however, resistance (...) movements tend to replicate--by their participation in logocentricity--the problems of exclusion, hierarchy, mystification, and authority that they initially oppose. ;Examining the use that Emerson, Melville, Jeffers and Snyder make of the term "nature" provides a structure for discussing the problem of attempting to establish a point outside of the text. In addition, the use of nature has a specific role in relation to particular historical moments--nineteenth-century expansion; World War II; and Vietnam--in the works of these writers. ;Emerson is an often referenced source as an example of the oppositional spirit. One finds, however, that his attempt to depoliticize nature results in a centering of anthropocentric concerns. His treatment of the term exposes the criss-crossing of cultural currents and the attempt to locate power. As a result, Emerson inadvertently serves the interests of empire within a rhetoric of freedom. ;Melville probes the possibilities of nature as a ground and finds that the aesthetics of doubleness suggests political contradiction, epistemological relativity, and the will to power. Melville also explores the political and particularly male usages of metaphor. ;Jeffers and Snyder continue to work against a human centered form of resistance and representation. Jeffers posits women and nature against a patriarchal world of violence and narcissism. While tending to posit an essentialist concept of nature, Jeffers nevertheless sets the stage for a nonfoundationalist ecofeminism. Snyder appropriates this framework and, with the help of Hopi myth and Buddhist teachings, moves closer to a resistance that challenges without reference to authority. (shrink)

The world (specifically the universe in which modern mankind, the same below) there is no absolute essence. The world's primitive also has uncertainty; the existence of all is possible. On the universe in which modern human live, the unity and distinction of material and spirit constitute the world's basic contradiction. (1) The unity of material and spirit. Many have a negative in the overall delicate generation: the material includes the spirit, the spirit depends on the material, among them (...) under certain conditions can be transformed into each other. (2) The material and spirit is distinct: The material is essentially an objective system, the objective freedom is the essence of the spirit.The collection system is the unity of opposites; freedom is relative to the state system. (3) The spirit and awareness are two different concepts, it is necessary to distinguish between. Material and the sense of confrontation: the material is an objective reality, subjective consciousness is reflected. (4) The material and the sense of unity: the material is the source of awareness, consciousness is a product of material; material decides consciousness, awareness counterproductive in the material. Material and a sense of the unity of opposites minor contradictions in the world. (5) World of certainty and uncertainty, know and unknown, relative and absolute, as well as activity problems are dialectical. (6) Dialectics generally applicable to the entire world, but also dialectical view of its own, it should be the development of a multiple, three-dimensional, not the sleek dialectics. (shrink)

Intersectionality has become a significant intellectual approach for those thinking about the ways that race, gender, and other social identities converge in order to create unique forms of oppression. Although the initial work on intersectionality addressed the unique position of black women relative to both black men and white women, the concept has since been expanded to address a range of social identities. Here we consider how to apply some of the theoretical tools provided by intersectionality to the clinical (...) context. We begin with a brief discussion of intersectionality and how it might be useful in a clinical context. We then discuss two clinical scenarios that highlight how we think considering intersectionality could lead to more successful patient–clinician interactions. Finally, we extrapolate general strategies for applying intersectionality to the clinical context before considering objections and replies. (shrink)

Difference and Repetition: Deleuze’s magnum opus, “Difference and Repetition” (1968), explores the interplay between difference and repetition. He argues that difference is fundamental to reality, and repetition is not mere duplication but a creative force. Deleuze challenges conventional notions of identity and sameness, emphasizing the productive potential of difference. Gilles Deleuze’s “Difference and Repetition” is a seminal work that challenges traditional Western metaphysics and offers a fresh perspective on concepts like identity, repetition, and creativity. Let’s explore some key ideas from (...) this remarkable book: Pure Difference: Deleuze argues that difference is fundamental to reality. Unlike classical philosophy that seeks universal truths, he emphasizes divergence and decentering. Each moment contains unique differences, and these differences shape our understanding of the world. Complex Repetition: Repetition, for Deleuze, isn’t mere duplication. Instead, it involves displacement and disguising. While repetition contributes to generality and thought, it’s the differences within each repetition that account for change and novelty. Concepts and things derive meaning from these differences. Shift Away from Hegel and Marx: “Difference and Repetition” played a crucial role in shifting French thought away from Hegel and Marx toward Nietzsche and Freud. Deleuze’s exploration of difference challenged established philosophical norms and paved the way for new perspectives. The Image of Thought: Deleuze critiques the traditional “image of thought,” which often relies on fixed identities and binary oppositions. Instead, he encourages us to embrace multiplicities, complexities, and the perpetual process of becoming. Asymmetrical Synthesis of the Sensible: Deleuze introduces the concept of asymmetrical synthesis, emphasizing the interplay between perception and affect. Reality is a dynamic, ever-changing process, not a static being. Copies are never identical; they’re something new. “Difference and Repetition” invites us to rethink how we perceive reality, emphasizing creativity, multiplicity, and the constant flux of existence. Deleuze’s work continues to inspire thinkers across disciplines, bridging philosophy with art, literature, and mysticism. (shrink)

The relationship between the One and the Multiple in mystic philosophy is a profound and central theme that explores the nature of existence, the cosmos, and the divine. This theme is present in various mystical traditions, including those of the East and West, and it addresses the paradoxical coexistence of the unity and multiplicity of all things. -/- In mystic philosophy, the **One** often represents the ultimate reality, the source from which all things emanate and to which all things return. (...) It is the absolute, the infinite, and the unchanging. The One is beyond all attributes and is often associated with the divine or the absolute truth. -/- The **Multiple**, on the other hand, represents the manifest world, the diversity of forms, and the realm of change and plurality. It is the world we experience through our senses, the domain of time and space, where differentiation and individuality are apparent. -/- The relationship between the One and the Multiple is not one of opposition but of emanation and unity. The Multiple is seen as a reflection, expression, or manifestation of the One. In this sense, the diversity of the world doesn’t contradict the unity of the One but rather demonstrates it in a myriad of forms. -/- Mystics seek to understand and experience this relationship through various practices and insights. They aim to transcend the illusion of separation and duality to experience the non-dual reality where the One and the Multiple are recognized as inseparable. -/- This concept can be illustrated by the metaphor of the ocean and its waves. The ocean represents the One—vast, deep, and all-encompassing—while the waves represent the Multiple—distinct, diverse, and ever-changing. Each wave is unique, yet it is not separate from the ocean. The wave’s existence is dependent on and made of the same substance as the ocean. In the same way, each individual entity in the Multiple is an expression of the One. -/- In summary, the relationship between the One and the Multiple in mystic philosophy is a dynamic interplay that challenges the conventional understanding of separation. It invites a deeper exploration of reality, where the apparent multiplicity of the world is a direct expression of the singular, underlying essence of all that is. -/- The relationship between the One and the Multiple in the context of mathematical philosophy is a profound topic that touches upon the very foundations of existence and knowledge. It’s a theme that has been explored by philosophers and mathematicians alike, often leading to the contemplation of unity and diversity within the structures of reality. -/- In mathematics, the concept of the One can be seen as the basis of unity from which all numbers derive. It’s the identity element in multiplication, the starting point in counting, and the foundation of dimension in geometry. The One is often associated with the concept of monism in philosophy, which posits that there is a single, underlying substance or principle that constitutes reality. -/- On the other hand, the Multiple represents the infinite variety and diversity of forms and numbers that arise from the One. It’s the embodiment of plurality and the complex interplay of different entities that mathematics seeks to understand and describe. This reflects the philosophical stance of pluralism, which acknowledges the existence of multiple realities or truths. -/- The interplay between the One and the Multiple can be seen in the mathematical concept of sets. A set can be thought of as a unity, a whole composed of distinct elements. Yet, each element within the set also retains its individuality, contributing to the diversity of the set’s composition. This duality is mirrored in the philosophical exploration of the universal and the particular, where the universal represents the One, and the particulars represent the Multiple. -/- In the realm of mathematical philosophy, this relationship often leads to questions about the nature of mathematical objects: Are they discovered as part of an objective reality (the One), or are they constructed by the human mind from a multitude of experiences (the Multiple)? This debate resonates with the philosophical inquiry into the nature of truth and reality. -/- Reflecting on the One and the Multiple can also lead to a deeper understanding of the self and the cosmos. Just as the number one is integral to the existence of all other numbers, the individual self can be seen as a unique expression of the universal whole. Similarly, the cosmos can be viewed as a grand unity composed of a multiplicity of forms and phenomena. -/- Gödel’s incompleteness theorems have a fascinating connection to the philosophical concepts of the One and the Multiple. These theorems, which are pivotal in mathematical logic and philosophy of mathematics, articulate the inherent limitations of formal axiomatic systems, particularly those sufficient to express the arithmetic of natural numbers. -/- Gödel’s incompleteness theorems have a fascinating connection to the philosophical concepts of the One and the Multiple. These theorems, which are pivotal in mathematical logic and philosophy of mathematics, articulate the inherent limitations of formal axiomatic systems, particularly those sufficient to express the arithmetic of natural numbers⁴. -/- The **first incompleteness theorem** reveals that within any such consistent system, there are propositions that are true but cannot be proven within the system itself. This reflects the idea of the Multiple in that there is an abundance of mathematical truths, a multiplicity that exceeds the unifying framework of any one system. It suggests that the realm of mathematical truth is more extensive than any single formal system can fully capture. -/- The **second incompleteness theorem** extends this by showing that a system cannot prove its own consistency. This relates to the concept of the One, as it implies that a system’s complete self-understanding, its unity and coherence, is unattainable from within. It must look beyond itself, to an external vantage point, to ascertain its consistency. -/- In the context of the One and the Multiple, Gödel’s theorems imply that the One (a consistent formal system) is inherently incomplete and cannot encompass the Multiple (the totality of mathematical truths). This resonates with philosophical discussions about the relationship between unity and plurality. Just as a single philosophical system cannot capture the entirety of truth, a single formal mathematical system cannot encapsulate all mathematical truths. -/- Moreover, Gödel’s work suggests that the pursuit of a single, unified theory of everything in mathematics—a One that encompasses all Multiples—is an inherently Sisyphean task. There will always be more truths (Multiples) than can be derived from any given set of axioms (the One). -/- In essence, Gödel’s incompleteness theorems provide a formal underpinning to the philosophical notion that the One cannot exist without the Multiple, and vice versa. They are interdependent, with the One giving rise to the Multiple, and the Multiple necessitating the One for its expression and comprehension. This interplay is a dance of limitations and possibilities, where the boundaries of logic, mathematics, and philosophy blur into one another. -/- The relationship between the One and the Multiple in the context of the mathematics of zero is a deeply philosophical inquiry that bridges the abstract world of numbers with the existential questions of being and non-being. -/- Zero, in mathematics, is a symbol of absence, a representation of nothingness, yet it holds a pivotal position as a number. It is the void from which all things emerge and to which they return. In the philosophy of mathematics, zero is the paradoxical junction where the One and the Multiple converge and diverge. -/- From the perspective of the One, zero can be seen as the origin—the singular point that precedes the existence of numbers. It is the empty set, the foundation upon which the edifice of mathematics is constructed. As the identity element in addition, zero maintains the integrity of numbers, for adding zero to any number leaves it unchanged, reflecting the immutable nature of the One. -/- Conversely, when we consider the Multiple, zero represents the infinite potentiality of creation. It is the canvas upon which the integers, both positive and negative, express their multitude. Zero is the balance point, the fulcrum around which the symphony of numbers dances. It embodies the plurality of possibilities, the beginning of the number line that stretches infinitely in both directions. -/- Philosophically, zero challenges our understanding of existence. It is both something and nothing—a number that quantifies the absence of quantity. This duality echoes the philosophical struggle to comprehend how the One gives rise to the Multiple. How does the unity of being manifest the diversity of the cosmos? Zero offers a mathematical metaphor for this mystery, as it encapsulates the transition from non-existence to existence, from the undifferentiated One to the differentiated Multiple. -/- In the realm of set theory, zero corresponds to the empty set—a set with no elements. This set is unique in that it is the only set that contains nothing, yet it is the foundation upon which all other sets are built. The empty set is the mathematical embodiment of the One, and all other sets, containing multiple elements, arise from it. -/- Reflecting on zero in the context of Gödel’s incompleteness theorems, we find a resonance with the idea that the One (a consistent formal system) cannot capture the entirety of the Multiple (the totality of mathematical truths). Zero, as the foundation of numbers, similarly suggests that from the nothingness of the One, the infinite complexity of the Multiple emerges—yet it can never be fully encompassed or expressed by any single system. -/- In conclusion, the mathematics of zero offers a profound reflection on the relationship between the One and the Multiple. It serves as a bridge between the abstract and the concrete, the known and the unknowable, challenging us to ponder the origins of existence and the nature of reality itself. -/- . (shrink)

continent. 2.3 (2012): 218–223 Vijay Prashad. Arab Spring, Libyan Winter . Oakland: AK Press. 2012. 271pp, pbk. $14.95 ISBN-13: 978-1849351126. Nearly a decade ago, I sat in a class entitled, quite simply, “Corporations,” taught by Vijay Prashad at Trinity College. Over the course of the semester, I was amazed at the extent of Prashad’s knowledge, and the complexity and erudition of his style. He has since authored a number of classic books that have gained recognition throughout the world. The Darker (...) Nations , a peoples’ history of the Third World, sent defibrillating shockwaves through an academic world that had almost forgotten the epic scope and historic dignity of the non-aligned movement and post-colonial struggles. In his recent, award-winning work, Arab Spring, Libyan Winter , Prashad delves into his capacious knowledge of the Third World to excavate the discourses and narratives surrounding the upheavals of 2011. “Revolutions have no specific timetable,” states Prashad in the opening line of this exciting and provocative look at contemporary events. Instantly, an atmosphere of suspense emerges. The reader is alerted to the problem of history. Does the making of history then involve a suspension of historical time, or is it a continuous narrative structure into which events must eventually be integrated? Arab Spring, Libyan Winter shows that the answer to the question, “How is history made?” lies just as easily in the asking. The first half of the book works through the events that transpired to bring about the explosive popular uprisings of Arab Spring: Tunisia and Egypt, Yemen and Bahrain. But the events are not put together in a cohesive, chronological fashion. Using an uncommonly gripping style more akin to the folk-story motif of the djeli than to traditionally Orientalist academia, Prashad suspends a given situation, points out its components, and traces back the characters and genealogies that define each link before resuming a narrative. Every moment is an end to itself, and an origin of something different. Thus, the making of history becomes the suspension of its own progress, it’s catastrophic 'stability,' in a process of differentiation through inclusion. Empirically, one might suggest that history is a condition of time, and by extension, of the subject, but history is also an eminent producer of the Subject and her concept of time through memory and narrative. Hence, history is often overdetermined by a dominant narrative of the sovereign. The apparently chaotic composition of Prashad’s historicity is, then, an interstitial morphology of resistance. It illustrates that the time to act for the revolutionary lies in the gaps within the dominant historical realities. It points out the sorties of signifiers constituting nothing in the obliterated ruins of history. Through such illuminations, Arab Spring, Libyan Winter breaks through “the surface of history” to elaborate revolution’s snapping synapses, exploding interruptions and breaches, connecting flows. Messianic Politics It is tempting to think, 'History is either singular, or it is diffuse. It is either one coherent factual narrative, or it is comprised of the aletheia of the multitude.' Yet the reader finds Prashad examining the structure of history on multiple levels. For Prashad, world history is shaped by geographically defined political movements, such as communism or national liberation, with historical agents like the working class for the former and the nationalist militant for the latter. Religion, however, is another matter: “Religion has an unshakable eschatology which a post-utopian secular politics lacks.” Within the telos of religion, there appears on the horizon the image of Benjamin’s thoughts on messianic time—time as “a small fissure in the continuous catastrophe,” a break with history, may contain an ultimate redemption of the human beyond the political power struggle. Succoring the split between geo-political and utopian-religious (messianic) time in the context of Arab Spring, Prashad indicates that the base of “the deep desire and commitment to some form of democracy” is forged by the affinity between eschatological Islamist politics with the People. To think about the Subject of messianic time in the context of the lack of a “coherent timetable” for emancipatory politics, it is perhaps best to return to the modern tradition of Martin Luther King, Jr., whose prefigurative blending of liberation theology and emancipatory politics became most important during his works of 1963, the climactic year of “The Letter from a Birmingham Jail,” the March on Washington, and the bombing of the 16th Street Baptist Church. In “The Letter,” King states the point bluntly: Frankly, I have yet to engage in a direct-action campaign that was “well timed” in view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant ‘Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.” The timing of rebellious action must not be a part of history. It must change history. The kairos appears spontaneous and untimely in its convulsive, shocking presence, yet it is, deeper still, a path, a longue durée , forged through diligent and rigorous praxis. King put a finer point on the path of historic liberation in his declaration in his 1963 speech at Western Michigan University: “[T]ime is neutral.... Somewhere along the way we must see that time will never solve the problem alone but that we must help time. Somewhere we must see that human progress never rolls in on the wheels on inevitability. It comes through the tireless efforts and the persistent work of dedicated individuals who are willing to be co-workers with God. Without this hard work, time itself becomes an ally of the insurgent and primitive forces of irrational emotionalism and social stagnation. We must always help time and realize that the time is always right to do right.” Time, then, exists in “the neutral,” while action must turn to the kairos , not only of taking time, but taking the right time. By turning our relation to time into kairos , we move time from its context within history to a duration between histories—the longue dure?e of Messianic time. The implementation of neutrality in this context suggests a broad space of time to extend through the valley of positive and negative. In Roland Barthes’s lectures from 1978, the neutral takes place in this minimal distance of non-conflict that exists outside of two extremes. It is, in the words of Maurice Blanchot, “the non-general, the non-generic, as well as the non-specific.” For Blanchot, the neutrality of time permeates life as death, impassive and beyond control; such is the neutrality of messianic time, which permeates the charge of history, changing the "I" into the "one." The neutrality of time therefore implicates history in a case against extremism, showing that the work of the radical is not to tend to any particular side, but to have the time to navigate through the terrible terrain of history by altering its course, its patterns and rhythms of movement, connection, sociality. Hence, one does not simply “make history,” one alters the course of history in accordance to “the right time.” The historical path toward emerging power is transmitted as a gesture to the outside of history, against history; a gesture as simple as reaching out. Thus a counterhistory, to use Foucault’s term, is brought forward as the guide of time past a point of no return, a Rubicon, the point where the normal path of history falls to the past. The subject, who must be the only true agent of history, facilitates time through helpfulness, and both the Subject and her history become decentered in relation to one another. Yet history negates the neutrality of time. As Barthes discloses, although the neutral is the “thought and practice of the nonconflictual, it is nevertheless bound to assertion, to conflict, in order to make itself heard.” Engaged with history, time is charged with a destiny, and becomes an opposition. As Prashad insists, “For Arab lands, the events of early 2011 were not the inauguration of a new history, but the continuation of an unfinished struggle that is a hundred years old.” The emergence of the Subject during Arab Spring did not conceive of a new history, but changed the path of history toward a different destiny. “Historical grievances combined with inflationary pressures now met with the subjective sense that victory might be at hand—this was not simply a protest to scream into the wind, but a protest to actually remove autocrats from their positions of authority. The facts of resistance had given way to the expectation of revolutionary change.” The negativity of this charge toward “revolutionary destiny” rendered control, as a positive force, seriously lacking. The lack of control lies in the problem that the Subject is not totally detemporalized or timeless, but untimely in her presence. The Subject is untimely, because her work is visionary, and it is only through such visionary work that the Rubicon can be crossed. Still, the crossing of this border is haunted by anxiety over an impending disaster that lays in wait. It is only through the form of what Benjamin calls divine violence, captivated not with the justice of the means, but the ends—the transformation of history—that a revelation of history’s traumatic foundations can be liberated, and patterns and rhythms of time developed throughout obscured traditions awakened. In this situation, the Subject appears to be outside of right, but setting the state to rights. Because her position is correct, in-so-far as the rebelling subject rebels due to a lack of recognition, her representation appears outside of the norm, which is mistaken as right. Therefore, such visionary work must be carried out through obscured traditions, underground, away from the surveillance of empire. Explaining his method from the start along the lines of Marx’s metaphor of the mole, Prashad insists, “It is the burrowing that is essential, not simply the emergence onto the surface of history.” Arab Spring, Libyan Winter is a book on uncharted networks of time, spread out over the 252 pages like an elaborate spider’s web of passages intertwining with and overwhelming the machinery of the state. Although untimely, Arab Spring was not a flash in the pan, or a Facebook or Twitter revolution. Prashad notes that the government’s suspension of these tools led to further radicalism by furthering communications through face-to-face encounters. In existential terms, Arab Spring might be thought of as a revolution of Being over techne , an uprising of the unchartable, infinite potential of the Other. The name of this Other is found in Chance. The faith of the revolution lies in the proper decentering of the subject, its giving to the Other of time, for only with respect to time does history actually appear on the horizon of the subject, rather than as an imposition. This time of historical agency appears as a moment when anything can happen—a revolutionary truth event where everything comes into question while being realized in its Otherness as a community of the people begins anew in the streets amidst discourse, friendship, reconfigurations of hegemony, and a becoming of a constituent power. Throwing a wrench into the gears of the “cobwebbed tradition” of Orientalism, the decentering of history in Arab Spring, Libyan Winter is a defining quality of its impassioned revolutionary cry. But perhaps the most paradigmatic points of the book emerge from the unexpected voices. To make the connection between the particular manifestations of revolutionary demands to the general historic terms of revolution, Prashad quotes an anonymous young Egyptian in Tahrir Square, who reminds us, “[T]he French Revolution took a very long time so the people could eventually get their rights.” Far from timelessness, the historicization of Arab Spring must exist precisely within the most uncanny appearance of time, as something that does not appear to come from the natural state of time as we know it, but in arriving has completely transformed the way that we understand time. Strange Monsters Revolution is never as simple as a revolt from below against a rusting structure of elites trying to remain in power. As with the French Revolution, Arab Spring consisted of complex familial ties, outside interests, and religious factions fighting alongside, often in awkward juxtaposition to, liberals, working class parties, farmers, and students. It is perhaps because of this historically difficult and incongruous composition that the Arabic word for revolution is thawra , referring to the image of the bull, or thawr , which has religious significance as a pagan deity for the Ancient Semitic tribes and Cartheginians. If Daniel Guérin was correct in saying, “Anarchism and Marxism drink from the same spring,” then it is quite a different oasis that drove the thirsty beast of revolution through what Prashad calls, “the Libyan labyrinth.” Recalling Bataille’s Acéphale, the intestinal labyrinth gains significance as the mode of metabolism and rumination in which, “(the Acephale) has lost himself, loses me with him, and in which I discover myself as him, in other words, as a monster.” Unraveling the discourse of the revolution, the flows of power and hegemony—from Qaddafi’s nationalist coup in 1969 to the wars with Chad from 1978 to 1987, the neoliberal reforms of the 1990s to, finally, the War on Terror—we find that the metabolic process of Libyan Winter ends in the production of oil. In a process of what Prashad calls “involution,” Qaddafi’s bellicose policies, along with his attempts to nationalize Islam together with oil, mutated the source of his power, turning his house against itself. Already a divided nation, with its two major cities on opposite geographic sides of the country, Libya became split between two opposed political powers—liberal reformists and staunch nationalists—as Qaddafi’s political disengagement manifested through what can only be described in psychoanalytic terms as a recursive passage a l’act (mysteriously calling Wikipedia “Kleenex,” declaring that opponents drank hallucinogens with their instant coffee, and so on). Prashad declares, “The mercurial style that Qaddafi adopted was not about his personality alone, but also a leader’s natural response to a system that relied upon power brokers whose own loyalty… did not have any ideological commitment to the system.” As in the case of other nations during Arab Spring, the true expression of revolt was an outward exposition of what had inwardly been happening in microcosmic societies throughout the realm—from indigenous tribes to political parties, for a century, the people, partly motivated by (and in resistance to) economic impositions of development, had been changing the traditional social compositions and participating in what Ruth Wilson Gilmore calls, “the relative autonomy of the movement from the leaders.” It was this empowerment of political reconfigurations taking place under the context of new democratic assemblages that shocked the elites and evoked such a powerful response. Unlike Qaddafi’s awkward policy choices and rants, real acts of power from the West were clear and decisive. Prashad sets the stages of war and diplomacy, far removed from the deserts, mountains, and cities that forged the backdrop of popular politics. Taking place under the now-classic architecture of the “four pillars” of US interests—oil, the War on Terror, Israel, and the circumvention of Iranian hegemony—we find elites rubbing elbows in “Heliopolist cocktail parties and hushed conferences in Kasr al-Ittihadiya” as well as the Concorde-Lafayette hotel in Paris, which provides the setting for a meeting of anti-Qaddafi figures consolidating their power. These scenes are buttressed with the careful portraiture of key historical actors. As Prashad brings the stage of history to life, we find the diplomats and liberals like Frank Wisner, whose career has brought him from Enron in the late 1990s to the Obama Administration, under the aegis of which he was meeting with Mubarak about military support during Arab Spring. We spy the provocateurs, for instance, gauche cavalier , Bernard Henri-Levy, who telephones Sarkozy from Benghazi about the need for more NATO air strikes. We follow the rebel military establishment as it suffers mysterious deaths and even more mysterious assents (like that of apparent CIA cohort, Khalifa Hifter). In each of these intriguing characters, we find different representations of the security state biopolitique: an oil-injected reification that drives Arab Spring from the resentment of rising food prices to the brink of implosion in Libyan Winter. Reminiscent of the scenes of Cold War soirées represented in old Bond films, the aristocratic fight for oil against democracy that was Libyan Winter presents a harsh truth that the new global crisis is simply the continuation of the old history: the global exploitation of capitalism waged against the imagination of the people. As Benjamin laments, “The labyrinth is the right path for the person who always arrives early enough at his destination. This destination is the marketplace.” Yet, “(t)he labyrinth is the habitat of… a humanity (a class) which does not want to know where its destiny is taking it.” Thus, the labyrinth leads, like the desert, only further into itself. As Blanchot explains, “The desert is even less certain than the world; it is never anything but the approach to the desert.” Only the visionary can take time out of the involution toward oblivion. It is here, in this approach to and escape from history, that we find ourselves within Benjamin’s Golgotha, Blanchot’s desert: A space of indeterminate uncertainty where we become familiar only with our own exile. Blanchot writes, “For the moderated and moderate man, the room, the desert, and the world are strictly determined places. For the man of the desert and the labyrinth, devoted to the error of a journey necessarily a little longer than his life, the same space will be truly infinite, even if he knows that it is not, all the more so since he knows it.” The desert, as allegory, provides an eschatology, a mortality in the destiny of Arab Spring. But any allegory of nature might lead to a labyrinthine eschatology (for example, in Bachelard, the forest presents "a limitless world"); the prescience of the untimely is always an uncanny acceptance of the infinite within the finite—the outside of what is understood. Transgenerational and occupied with the image of the future, the untimely makes otherness its home as it proceeds toward liberation. In the work of helping time navigate this dangerous passage of history, Prashad illustrates that the more violent break with history may have occurred in the peaceable struggles of Tahrir Square, and not in the military clashes of Qaddafi with his former Generals who defected to the CIA and NATO countries. It might be possible to suggest, then, that in the case of Tunisia and Egypt, the historical subject of the people was drawn together in a Dionysian dance of different rhythms in the marvelous realm of the ancients, while we fear that the case of Libya suggests an Apollonian future where time, itself, may lay dying under the machinic hand of history. The properly Nietzschean inversion would follow: time is dead, for history has killed it. Yet, if time is dead, struck down in Golgotha, exposed in the desert, mauled by the thawra , it is only in the present sense that it is rendered impossible outside of the context into which the untimely has thrown us. Thus, if history becomes an art of revolution, life as being-towards-death (death as the provocation of the neutrality of time) becomes what Benjamin calls “the allegory of resurrection” through the glorious ruins of history. Prashad ends his work with a rousing finale: “The time of the impossible has presented itself. In Egypt, where the appetite for the possibilities of the future are greatest, the people continue to assert themselves into Tahrir Square and other places, pushing to reinvigorate a Revolution that must not die… For them the slogan is simple: Down with the Present. Long live the Future. May it be so.&rdquo. (shrink)

After the Human explores how the strategies and methods of scientific as well as humanistic inquiry are converging to construct a relational view of the world. It evaluates Einstein's theory of relativity, quantum theory, information theory, cognitive neuropsychology, and evolution alongside the history of modern western philosophy, arguing that presumptions such as human exceptionalism and individualism are not only out of sync with scientific knowledge but also root causes of the critical issues facing the world--climate change, machine intelligence, ideological political (...) oppositions. How to think beyond anthropocentrism and binary oppositions--human/animal, sacred/profane--and acknowledge ourselves as entangled parts of larger ecologies is the aim of the book. The distinctive character of the book is its wealth of scientific insight; the opening chapter reveals the complex worlds of dirt, water, air, and fire and how humans have deformed them beyond recognition. Extraordinary advances in technology, with their promise of furthering a global village, have been derailed by economic individualism and hierarchy, prefigured in the atomism of Descartes and Newton. Not until Einstein, Bohr, and Heisenberg introduced relativity and quantum mechanics--less than a century after Hegel first proposed his dialogical worldview--did a relational account of reality begin to develop. The study of the natural world revealed a micro-universe of relations in which organisms and environments constantly adapt to one another; as Lynn Margulis puts it, "life is a verb," webs and networks of intelligences and emotions communicating within and across species and nonbiological life forms including AI. We have only to change not the world but how we see ourselves in it. (shrink)

In the present research, the authors hypothesized that additive counterfactual thinking mind-sets, activated by adding new antecedent elements to reconstruct reality, promote an expansive processing style that broadens conceptual attention and facilitates performance on creative generation tasks, whereas subtractive counterfactual thinking mind-sets, activated by removing antecedent elements to reconstruct reality, promote a relational processing style that enhances tendencies to consider relationships and associations and facilitates performance on analytical problem-solving tasks. A reanalysis of a published data set suggested that the counterfactual (...) mind-set primes previously used in the literature tend to evoke subtractive counterfactuals. Studies 1 and 2 then demonstrated that subtractive counterfactual mind-sets enhanced performance on analytical problem-solving tasks relative to additive counterfactual mind-sets, whereas Studies 3 and 4 found that additive counterfactual mind-sets enhanced performance on creative generation tasks relative to subtractive counterfactual mind-sets. (shrink)

ABSTRACT The philosophical tradition approaches to morals have their grounds predominantly on metaphysical and theological concepts and theories. Among the traditional ethics concepts, the most prominent is the Divine Command Theory (DCT). As per the DCT, God gives moral foundations to the humankind by its creation and through Revelation. Morality and Divinity are inseparable since the most remote civilization. These concepts submerge in a theological framework and are largely accepted by most followers of the three Abrahamic traditions: Judaism, Christianity, and (...) Islam: the greatest part of the human population. Holding faith and Revelation for its grounds, the Divine Command Theories are not strictly subject to the demonstration. The opponents to the Divine Command conception of morals, grounded in the impossibility of demonstration of its metaphysical and religious assumptions, have tried for many centuries (albeit unsuccessfully) to devalue its importance. They held the argument that it does not show material evidence and logical coherence and, for this reason, cannot be taken into account for scientific nor philosophical purposes. It is just a belief and, as so, should be understood. Besides these extreme oppositions, many other concepts contravene the Divine Command theories, in one or another way, in part or in full. Many philosophers and social scientists, from the classic Greek philosophy up to the present date, for instance, sustain that morality is only a construct, and thus culturally relative and culturally determined. However, this brings many other discussions and imposes the challenge to determine what is the meaning of culture, which elements of culture are morally determinant, and finally, what are the boundaries of such relativity. Moral determinists claim that everything related to human behavior, including morality, is determined, once free will does not exist. More recently, modern thinkers argued that there is a strict science of morality. However, the scientific method alone, despite explaining several facts and evidence, cannot enlighten the entire content and full meaning of ethics. Morals’ understanding requires a broader perception, and an agreement among philosophers, which they have never achieved. All of these questions have many different configurations depending on each philosophical strand, and start complex analysis and endless debates, as long as many of them are reciprocally conflictive. The universe and the atmosphere involving this thesis are the dominions of all these conceptual conflicts, observed from an objective and evolutionary standpoint. Irrespective of this circumstance and its intrinsic importance, however, these questions are far distant from the methodological approach of an analytical discussion on objective morals, what is, indeed, the aim and scope of this work. We should briefly revisit these prominent traditional theories because this thesis shelters a comparative study, and its assumptions at least differ profoundly from all traditional theories. Therefore, it becomes necessary offering direct and specific elements of comparison to the reader, for the right criticism, dispensing interruptive researches. However, even revisiting the traditional theories, for this comparative and critical exposure purpose, they will be kept by the side of our main concerns, as “aliena materia.” Irrespective of the validity of any or all of the elements of this discussion, and their meaning as the philosophical universe of this thesis, the purpose of this work is demonstrating and justifying the existence and meaning of prehistoric moral archetypes arisen directly from the very first social needs and efforts for survival. These archetypes are the definition of the essential foundation of ethics, its aggregation to the collective unconscious and corresponding logic organization and transmission to evolutionary stages of the human genome and different relations space-time, irrespective of any contemporary experience of the individuals. The system defined by these archetypes composes an evolutionary human social model. Is this a metaethical position? Yes, it is. Moreover, as in any metaethical reasoning, we should look carefully for the best and coherent routes, as the Analytical Philosophy offers them. Thus, this work should reasonably demonstrate that morals are not a cultural product of the civilized men or modern societies and that despite being subject to several cultural relative aggregations and subtractions, its essential foundations are archetypal and have never structurally changed. This reasoning induces that morality is an original attribute of the “homo sapiens”; it is not a property and nor an accident: it integrates the human essence and belongs to the realm of the ontological human identity. The human phenomena is a continuing process, playing its role between random determination and free will, and we need to question how morality began and how did it come to us in the present. (shrink)

In the digital age, the concept of identity has evolved in ways that challenge long-held philosophical assumptions about the self. No longer has fixed or continuous, identity become fragmented, shaped by multiple digital personas that people craft in response to the ever-expanding digital universe. Now, there is no sense of a fixed self that remains constant throughout space and time. Self and identity can be seen as a Heraclitean flux always in a state of becoming and never for a (...) moment being in a state of being. The boundaries between the real and the virtual have blurred, and hyperreal experiences now often seem more significant than actual events. This review delves into the complex relationship between selfhood and digital representation, exploring how traditional theories like Baudrillard’s hyperreality and Buddhist notions of impermanence help explain this transformation. It examines the implications of digital simulations, especially in the context of digital immortality, which raises profound questions about consciousness, existence, and the essence of being. In a world where avatars, social media profiles, and virtual realities dominate, self navigates an uncertain terrain between reality and simulation. This study is an exploration of the evolving nature of identity, consciousness, and human experience in the age of digital fragmentation, with a focus on the philosophical and psychological dimensions of selfhood in the modern, digitized world. (shrink)

P. T. Geach, notoriously, holds the Relative Identity Thesis, according to which a meaningful judgment of identity is always, implicitly or explicitly, relative to some general term. ‘The same’ is a fragmentary expression, and has no significance unless we say or mean ‘the same X’, where ‘X’ represents a general term (what Frege calls a Begriffswort or Begriffsausdruck). (P. T. Geach, Mental Acts (London: Routledge and Kegan Paul, 1957), p. 69. I maintain that it makes no sense to (...) judge whether things are ‘the same’, or remain ‘the same’, unless we add or understand some general term - ‘the same F’. (P. T. Geach, Reference and Generality, third Edition (Ithaca, N.Y.: Cornell University Press, 1980), pp. 63f. I am arguing for the thesis that identity is relative. When one says ‘x is identical with y’, this, I hold, is an incomplete expression; it is short for ‘x is the same A as y’, where ‘A’ represents some count noun understood from the context of utterance - or else, it is just a vague expression of a half-formed thought. (P. T. Geach, ‘Identity,’ Review of Metaphysics 21 (1967-8), p. 3.) One of the ways Geach seeks to support this is by tying it to the well nigh universally admired Fregean thesis about cardinality. (shrink)

Mainstream nursing history often positions itself in opposition to philosophy and many nursing historians are reticent of theorizing. In the quest to illuminate the lives of nurses and women current historical approaches are driven by reformist aspirations but are based on the conception that nursing or caring is basically good and the timelessness of universal values. This has the effect of essentialising political categories of identity such as class, race and gender. This kind of history is about affirmation rather than (...) friction and about the conservation of memory and musealization. In contrast, we will focus on how we imagine nursing history could be used as a philosophical, critical perspective to challenge the ongoing transformations of our societies. Existing reality must be confronted with strangeness and the historically different can assume the function of this counterpart, meaning present and past must continuously be set in relation to each other. Thus, critical history is always the history of the present but not merely the pre‐history of the present – critique must rather present different realities and different certainties. In this paper, we use this approach to discuss the implementation of the nursing process (NP) in Germany. The nursing process appears to be a technology that helped to set up an infrastructure ‐ or assemblage ‐ to transform nursing interventions into a commodity exchangable between consumers and nurses in a free market. In our theoretical perspective, we argue that NP was a step in the realization of the German ordoliberal program, a specific variety of neoliberalism. In order to implement market‐orientation in the healthcare system it was necessary to transform hospitals into calculable spaces and to make all performances in the hospital calculable. This radically transformed not just the systems, but the ways in which nurses and patients conveived of themselves. (shrink)

This article probes the relative absence of religion within discussions of intersectionality, and begins to address this absence by bringing intersectionality studies into conversation with another significant field within feminist theory: the study of religious women's agency. Although feminist literatures on intersectionality and religious women's agency have garnered a great deal of scholarly attention, these two bodies of work have rarely been engaged together. After surveying both fields, I argue that research on religious women's agency not only exposes an (...) ambiguity at the heart of intersectionality between identity and oppression, but also challenges several aspects of intersectionality studies, especially as recent theorists increasingly turn away from identity politics in favor of a structural critique of power. These aspects of intersectionality include its often unsituated critique of power, as well as its reliance on a negatively defined consensus on anti-oppression. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The politics of interpretation should not be confused with interpretive practices such as political theory, political commentary, or histories of political institutions, parties, and conflicts that have politics itself as a specific object of interest. In these other interpretive practices, the politics that informs or motivates them—“politics” in the sense of political values or ideology—is relatively easily perceived and no particular meta-interpretive analysis is required. The politics of interpretation, on the other hand, arises in those interpretive practices which are ostensibly (...) most remote from overtly political concerns, practices which are carried out under the aegis of a purely disinterested search for the truth or inquiry into the natures of things which appear to have no political relevance at all. This “politics” has to do with the kind of authority the interpreter claims vis-à-vis the established political authorities of his society, on the one side, and vis-à-vis other interpreters in his own field of study or investigation, on the other, as the basis of whatever rights he conceives himself to possess and whatever duties he feels obligated to discharge as a professional seeker of truth. This politics which presides over interpretive conflicts is difficult to identity because traditionally, in our culture at least, interpretation is thought to operate properly only as long as the interpreter does not have recourse to the one instrument which the politician per vocationem utilizes as a matter of course in his practice—the appeal to force as a means of resolving disputes and conflicts.11. I have followed the lead of Max Weber in defining the phrase “politics of interpretation.” In “Politics as Vocation,” Weber wrote that “ ‘politics’ means for us striving to share power or striving to influence the distribution of power, either among states or among groups within a state” . Rather than discuss the age-old problem of the professional interpreter’s political responsibilities, I will consider that politics which is endemic to the pursuit of truth—the striving to share power amongst interpreters themselves. The activity of interpreting becomes political at the point where a given interpreter claims authority over rival interpreters. As long as this claim is not reinforced by appeal to the power of the state to compel conformity of belief or conviction, it is “political” only in a metaphorical sense. Of course, interpretation becomes political when a given point of view or finding is taken as orthodoxy of belief by those holding political power, as in the Soviet Union, Germany under Hitler, or any number of religiously puritanical regimes. But these are the easy cases. It is much more difficult to determine the political nature of interpretive practices which, as in literary criticism or antiquarian scholarship, appear to have no bearing upon political policies or practices.Hayden White is a professor and director of the program in the history of consciousness at the University of California, Santa Cruz. He is coeditor of Representing Kenneth Burke and is currently working on a book on the rhetoric of realism. His previous contributions to Critical Inquiry are "The Value of Narrativity in the Representation of Reality" and "The Narrativization of Real Events". (shrink)

I will argue that 'Continental Philosophy' is an Anglo-American invention. It is 'Pseudo-Continentalism,' no more than a highly selective rendering of Western European Philosophy. Borne out of opposition to the dominance of analytical philosophy in our universities, Pseudo-Continentalism in fact converges with analysis in remarkable ways. Both are advertised as revolutions in thought and both stand over against the tradition of speculative philosophy: both repeat eachother's historical shibboleths about traditional speculative philosophy in respect of the completeness of reason and of (...) reality, the priority of identity and totality, the predetermined fixity of teleology. What this amounts to is a common rejection of a chimera, which in Pseudo-Continental Philosophy is usually called onto-theology or the metaphysics of presence and in the analytic tradition is sometimes called speculative philosophy. Here, indeed, the analytic tradition is moreradical: as I will show, it characteristically rejects any notion of a special kind of activity of actualisation as a feature of the real, whether this is understood as Being, mind, will, the élan vital. Difference, or the impotential. These are the vestiges of the tradition of speculative philosophy that are retained under the rubric of Continental Philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Euripides: HecubaDonald J. MastronardeJustina Gregory, ed. Euripides: Hecuba. With intro., text, and comm. American Philological Association Textbook Series 14. Atlanta: Scholars Press, 1999. xxxviii + 218 pp. Cloth, $29.95; paper, $15.95. (Now distributed by Oxford University Press, New York.)In the past decade Hecuba has received ample attention in the literary scholarship on Euripides (Burnett, Mossman, Segal, Thalmann, and Zeitlin are among the major contributors, as well as Justina (...) Gregory herself, and the textual basis of the play is now secure with the excellent critical edition of James Diggle (Oxford Classical Texts, vol. 1, 1984), while the new Loeb edition of Kovacs presents both some original textual proposals and a clear and reliable English translation (vol. 2, 1995). Gregory has now provided teachers and students with a fine textbook for study of the play in undergraduate and graduate Greek courses or for self-study in the case of a student who needs guidance on syntax, style, and other matters. Scholars of tragedy will also find it a welcome resource. Although the scale of both the introduction and the commentary is limited, the commentary still totals some 160 pages. The generous font size and the moderate length of the individual notes will make the commentary relatively unintimidating for inexperienced students.After five pages on the original context (dating, elements of production) and six on "literary antecedents and Euripidean innovation," Gregory spends the largest part of the introduction (fourteen pages) on problems of interpretation. In opposition to interpretations that detect in the play a large-scale loss of moral bearings and in particular describe Hecuba as degraded by her experiences, rhetoric, and actions, Gregory argues that the Greek audience would have been able to "differentiate among the three acts of violence" (xxiv) and would not have felt the degree of alienation from and moral disapproval of Hecuba found in many modern critics. Among the problems treated in some detail are these: (1) the discrepant reports of what the ghost of Achilles demanded (Gregory sees the choice of Polyxena as victim as the product of human, political decision making); (2) the role of the winds (adverse winds arise only after the sacrifice of Polyxena and are not a precondition of it, and favorable winds follow the punishment of Polymestor, so that "the gods who disapproved of the Greeks' sacrificial offering seem to take a positive view of the Trojan queen's revenge" [xxxi]); and (3) Hecuba's metamorphosis into a dog and memorialization in a seafarer's landmark [End Page 129] (Gregory sees the dog as primarily an emblem of Hecuba's maternal impulse, and the mention of Cynossema as a link to contemporary realities, warning the Athenians that "the abuse of power is not without consequences" [xxxvi]). There is good justification for many of the points Gregory makes against readings overly influenced by modern concerns and values, but overall her reading strikes me as flattening somewhat the moral complexity of the drama. Much more characteristic of Euripides, in my view, is the shifting of sympathies and confusing of moral certainties. Compare, for instance, the case of Medea, where it is even clearer that in some sense the gods are on Medea's side, cooperating in her revenge, yet plainly by the end of the play even the sympathetic chorus has suffered a reversal of its identification with her, and a serious question arises as to what remains of Medea's humanity after her triumph.The text is close to that of Diggle, with some debt to Kovacs. Gregory is in general a more conservative textual critic than either (not necessarily a bad thing in such an edition), and she returns to the reading of the manuscripts in passages like 224, 414-21 (order of lines), 805, 824, 885, 1162. But Gregory does accept a number of conjectures, and in several passages that Diggle enclosed in obeli she accepts an emendation in order to offer a readable text (again, a suitable decision for a textbook). She marks fewer lines as interpolations, although she also accepts a deletion (827) not even reported in the apparatus by Diggle or Kovacs. The commentary gives a great deal of syntactic help, with... (shrink)

I intend to: a) clarify the origins and de facto meanings of the term relativism; b) reconstruct the reasons for the birth of the thesis named “cultural relativism”; d) reconstruct ethical implications of the above thesis; c) revisit the recent discussion between universalists and particularists in the light of the idea of cultural relativism.. -/- 1.Prescriptive Moral Relativism: “everybody is justified in acting in the way imposed by criteria accepted by the group he belongs to”. Universalism: there are at least (...) some judgments which are valid inter-culturally Absolutism: there are at least some particular prescriptions which are valid without exception everywhere and always -/- 2. The traditional proof of prescriptive moral relativism: the argument from variability: Judgments, rules, and shared values are de facto variable in time and space. The traditional counter-proof: examples of variability do not prove what skeptics contend. -/- 3. Pre-history of the doctrine -Ancient sophists: either immoralist or contractualist -Modern moral scepticism (xvii c.): variability as an historical and ethnographic fact supports a sceptical conclusion more moderate than sheer immoralism. - Voltaire, Kant, Reid counter-attack pointing at a universally shared moral sense - Romantics and idealists stage an even more moderate reformulation: instead of universally shared moral sense they point at the Spirit of a People which is: a)alternative to abstract and universal philosophical systems as far as it is lived ‘culture’; b) indivisible unity with an inner harmony and a source of normative standards; c) dynamic, in so far as it is a manifestation of the Spirit through the becoming of National cultures. -/- 4. The birth of Cultural Relativism and its ethical implications 4.1. The 18th c. doctrine was the noble savage (a non-historical doctrine: state of nature vs. social state) 4.2 Edward Tylor (1832-1817) and ethnocentric historicism Savage moral standards are real enough, but they are far and weaker than ours. 4.3 Boas and Malinowski and an holistic reaction to ethnocentric historicism -/- Franz Boas (1858-1942): a) Development of civilizations is not ruled by technical progress nor does it follow a one-way path; instead there are parallel developments (for ex. Agriculture does not follow stock-raising); b) racial characters have no relevance in development of civilization; c) we are not yet in a position to compare externally identical kinds of behaviour till we have not yet understood beliefs and intentions laying at their roots (for ex.: “From an ethnological point of view murder cannot be considered as a single phenomenon”; d) we should distinguish among different practices which are only superficially similar (fro ex. practices traditionally classified under the label “tabù”); e) there is as a fact just one normative ethic, constant in its contents but varying in its extension; f) the implication is not that we cannot judge behavior by members of other groups; it is only a recommendation of caution. -/- Bronislaw Malinowski (1884-1942): a) against Tylor’s and Frazer’s “magpie” methodology, field-work is required, a culture as a whole should be observed from inside; individual elements are incomprehensible; b) a culture is an organic whole; c) its elements are accounted for by their function (economy), avoiding non-observables (empio-criticism). -/- Ruth Benedict and Melville Herskovitz identify Boas’s approach with “cultural relativism”. Benedict: what is normal and abnormal is to be judged on a culture’s own standards, not on our own (“Anthropology and the Abnormal”). Herskovits: “Boas adumbrates what we have come to call cultural relativism” (The Mind, p. 10); “Judgements are based on experience, and experience is interpreted by each individual in terms of his own enculturation” (Man and his Works). -/- 4. How analytic philosophy understood and misunderstood the discussion 4.1. At the beginning of the 20th c., the new view in ethics was non-cognitivism (emotivist and subjectivist). Eric Westermark combines this view with an old-style ethnographic approach in support of relativity of moralities. Moralities are codes, or systems of emotive ‘disinterested’ reactions selected by evolution on their usefulness in terms of survival value for the society that is the carrier of such systems or codes. The moral relativity thesis: there are cases of disagreement that cannot be settled even after agreement about facts. 4.2 Anti-realists Brandt, Mackie, Gilbert, Harman adopt Westermark’s approach in a more sophisticated version: a) moralities are codes with an overall function and may be appraised only as wholes; b) variability is an argument for moral subjectivism; c) apparent legitimacy of deriving shift from ought is legitimized only within one institution d) morality should not be described but instead made, and existing moralities may be improved. Is it ‘real’ relativism? It is clearly subjectivism (a metaethical thesis). The normative thesis is that there better and worse codes, and survival values is the normative standard. -/- 4.3 Particularists MacIntyre, Sandel, Taylor, Wiggins, McDowell ‘Wittgensteinian’ prospectivist arguments bent to support weak-relativist claims MacIntyre: there is ‘incommensurability’ between different theoretical systems in both science and ethics. No argument is possible through different systems Different traditions may coexist for a long time without being able to bring their conflicts to a rational solution. -/- 4.4 Kantian universalists Baier, Gewirth, Rawls, Apel, Habermas Shared claim: justice concerns the right and is universal in so far as it may be based on minimal assumptions Other virtues are relative to context in so far as they are related to comprehensive views of the good - O’Neill criticism: a) it is an assumption shared by both alignments; b) after an alleged crisis brought about by alleged loss of metaphysical certainties, theories of justice have dropped demanding assumptions and kept universalism, virtue theories have kept demanding assumptions and dropped universalism; c) the opposition of virtue and justice has arisen in an unjustified way. O’Neill’s positive proposal: ‘constructive’ procedures may be adopted both (i) concerning all the range of virtues and (ii) across cultures once we abandon idealization and confine ourselves to abstraction from real-world cases. -/- 4.5 A metaethical relativist and anti-relativist normative ethicists: Bernard Williams Williams: vulgar relativism may be assumed to claim that: a) 'just' means 'just in a given society'; b) 'just in a given society' is to be understood in functionalist sense; c) it is wrong for one society’s members to condemn another society’s values. It is inconsistent since in (c) uses ‘just’ in a non-relative way that has been excluded in (a). William’s positive proposal: i) keep a number of substantive or thick ethical concepts that will be different in space and time; ii) admit that public choices are to be legitimized through recourse to more abstract procedures and relying on more thin ethical concepts. -/- 5. Critical remarks 5.1 The only real relativism available is ‘vulgar’ relativism (Westermark?) 5.2. Descriptive universalism (or absolutism) has a long pedigree, from Cicero on, reaching Boas himself but it is useless as an answer to normative questions 5.3. Twentieth-century philosophical discussion seems to discuss an ad hoc doctrine reconstructed by assembling obsolete philosophical ideas but ignoring the real theory of cultural relativism as formulated by anthropologists. -/- 6. A distinction between ethoi and ethical theories as a way out of confusions a)There are systems of conventions de facto existing. These may be studies from outside as phenomena or facts. b)There is moral argument and this, when studies from outside, is a fact, but this does not influence in any degree the possible validity of claims advanced. c) the difference between the above claims and Mackie’s criticism to Searle’s argument of the promising game is that promises, arguments etc. are also phenomena, but they are also communicative phenomena with a logical and pragmatic structure. -/- 7.Conclusions: a) cultural relativism, as a name for Boas’s methodology is a valuable discovery, and in this sense we are all relativists; b) ethical relativism, as an alleged implication of cultural relativism, has been argued in a philosophically quite unsophisticated way by Benedict and Herskovits; philosophers apparently discussed ethical relativism in the basis of a rather faint impression of what cultural relativism had been. c) a full-fledged ethical relativism has hardly been defended by anybody among philosophers; virtually no modern philosopher really argued a prescriptive version of the thesis; d) we may accept the grain of truth in ethical relativism by including relativist critique to ethical absolutism into a universalist normative doctrine that be careful in separating open-textured formulations of universal claims from culturally conditioned particular prescriptions. -/- . 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If we try to arrive at the simplest and most universally valid definition of the representation of reality in literature, we may dispense with grammatical features such as verisimilitude or with genres such as realism, since these are not universal categories. Their applicability depends on historical circumstances or authorial intent. The most economic and general definition, however, must at least include the following two features. First, any representation presupposes the existence of its object outside of the text and preexistent to (...) it. Readers feel, and critics pronounce, that the text’s significance depends on this objective exteriority, even though this significance may entail destroying the commonplace acceptance of the object; indeed, negating something still presupposes that something. Second, the reader’s response to the mimesis consists in a rationalization tending to verify and complete the mimesis and to expand on it sensory terms . The metalanguage of criticism accordingly prolongs and continues the text’s mimetic discourse, and critics evaluate representation in terms of its precision and suggestive power. Both processes—presupposition and rationalization alike—assume that referentiality is the basic semantic mechanism of the literary mimesis.There are, however, literary representations almost devoid of descriptive content, or so vague and so skimpy that their object cannot be analyzed or rationalized in sensory terms. Criticism is hard put to explain why readers feel compelled to evaluate them. And yet these texts not only lend themselves to interpretation but they are especially apt to trigger and control the reader’s hermeneutic behavior. In short, the represented object eschews referentiality yet refuses to vanish altogether, becoming instead the verbal vehicle of an interpretive activity that ends up by making the object subservient to the subject.1 1. See Roland Barthes et al., Littérature et réalité , esp. my paper, pp. 81-118, on the referential fallacy. Michael Riffaterre, University Professor at Columbia University, is the editor of Romantic Review. He is presently working on a book about Anthony Trollope . His previous contribution to Critical Inquiry, “Syllepsis,” appeared in the Summer 1980 issue. (shrink)