At the 1960 International Congress of Logic, Methodology, and Philosophy of Science, and again in his books Conjectures and Refutations (1963) and Objective Knowledge (1972), Karl Popper proposed a formal definition of what it means for one scientific theory to be “closer to the truth” than another (see popper). Such a concept was a necessary ingredient in Popper's philosophy of science, in which all our scientific theories are not only false, but bound to be false. We can never, according (...) to Popper, arrive at the truth: a complete and adequate description of reality. (That such a reality exists, outside us, is the basic tenet of scientific realism.) Nonetheless, Popper holds, scientists do make progress ‐ namely, when they replace one false theory by another which, though still false, is closer to the truth, or, as we shall say, has greater verisimilitude. (shrink)

Der Psychiater und Philosoph Karl Jaspers hinterließ eine große fachliche und persönliche Korrespondenz, die historisch vom Untergang des Kaiserreichs bis zur Etablierung der Bundesrepublik reicht. Diese kritische und kommentierte Edition vermittelt ein umfassendes Bild dieses Denkers. Briefpartner dieses Bandes:Gustav Bally, Kurt Beringer, Ludwig Binswanger, Eugen Bleuler, Max Born, Albert Fraenkel, Viktor E. Frankl, Robert Gaupp, Wolfgang Gentner, Hans Walter Gruhle, Willy Hellpach, Jakob Klaesi, Ludwig Klages, Kurt Kolle, Ernst Kretschmer, Arthur Kronfeld, Willhelm Mayer-Gross, Alexander Mitscherlich, Rudolf Nissen, Franz Nissl, (...) Curt Oehme, Wolfgang Pauli, Oskar Pfister, Hans Prinzhorn, Werner Scheid, Gerhard Schmidt, Kurt Schneider, Johannes Heinrich Schultz, Albert Schweitzer, Hugo Spatz, Georg Stertz, Hans Jörg Weitbrecht, Carl Friedrich v. Weizsäcker, Viktor v. Weizsäcker, Albrecht Wetzel, Karl Wilmanns, Richard Woltereck, Jürg Zutt. (shrink)

Despite their contemporaneity and obvious similarities, Richard Price and Immanuel Kant are rarely discussed together. This essay examines the common background of their work, similarities in their methodology and principles, and their common concern with connecting rationalist philosophical systems with knowledge at the level of ordinary life and politics – all this despite their lack of reference to each other. Their normative principles are assessed in connection with major documents and political events in their revolutionary era. A concluding section evaluates (...) their work in relation to contemporary discussions that concern the relationship between pre-reflective and reflective levels of moral knowledge. The essay draws on the work of contemporary scholars such as Danielle Allen, David Brink, Robert Audi, Sarah McGrath, and Thomas Kelly. (shrink)

*******Résume en français plus bas****** Karl Kraus’s favourable and conceptually complex comments of the portrait drawings byOskar Kokoschka in 1910 put us on the trail of a host of different phenomena of pictorial representation. Based on close-readings of several aphorisms by Kraus and drawings by Kokoschka, I suggest that there is something like realistic distortion and that the traditional concepts of style cannot account for all essential stylistic variations that are important in pictures. I argue that we need to (...) introduce the concept of subject specific style. This must be distinguished from other concepts such as signature style. I try to show how these conceptual distinctions are connected to the difference in representational range displayed by media that are based on traces, like photography, and by media based on testimony, like drawing or writing. *********** Résumé En 1910, Oskar Kokoschka produit une série de dessins pour la revue expressionniste berlinoise Der Sturm. L’un des portraits représente le satiriste Karl Kraus, un autre l’architecte Adolf Loos. Au même moment, Kraus fait paraître une série d’aphorismes qui commentent le travail de Kokoschka. Kraus part du travail de Kokoschka pour arriver à des principes généraux sur la représentation picturale. Une analyse des réflexions de l’écrivain et des deux dessins faits par Kokoschka nous permet non seulement de mieux comprendre comment un dessin peut saisir le caractère d’un modèle au-delà du physique, mais aussi de forger des concepts pour enrichir les notions de style traditionnelles. Nous soutenons dans notre article qu’il faut introduire l’idée d’un style à l’oeuvre pour compléter les notions de style habituelles.Le style à l’oeuvre peut être spécifique au sujet traité. Nous montrons en particulier comment le dessin permet des distorsions réalistes, difficiles à obtenir dans des médias basés sur la trace comme la photographie. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Paul Oskar Kristeller 1905–1999Edward P. MahoneyPaul Oskar Kristeller was without doubt one of the most productive and accomplished scholars of this century. He received an excellent education in the classics at the Mommsen-Gymnasium in his native Berlin before going to the University of Heidelberg in 1923. There he pursued studies in a wide range of subjects, including medieval history, German literature, physics, and art history. The philosophy (...) professors who much influenced him both at Heidelberg and at Freiburg and Marburg were Ernst Hoffman, Karl Jaspers, Richard Kroner, and Martin Heidegger. In 1929 he received his doctorate from Heidelberg for his dissertation Der Begriff der Seele in der Ethik des Plotin, which was directed by Hoffman and published at Tübingen the same year. He then went to Berlin, where he engaged in formal studies in classical philology before going to Freiburg to do postgraduate work in philosophy with Heidegger during the years 1931 to 1933. Heidegger approved a study of Marsilio Ficino as Kristeller’s Habili-tationschrift and helped him to secure a fellowship enabling him to do research on Ficino and to begin writing. After visiting Italy during this period and taking into account the changed political scene in Germany, Kristeller decided in 1934 to move to Italy permanently. He taught in Florence in a high school for German Jewish students until he secured in 1935, with the help of Giovanni Gentile, a lectureship in German at the Scuola Superiore and the University of Pisa. He maintained throughout his academic career a personal and warm attachment to the Scuola Superiore. Moreover, he enjoyed throughout his subsequent career a warm and personal friendship with various Italian scholars that was first developed during his Italian stay in the thirties.While still in Italy, Kristeller completed his book on Ficino in 1937; he prepared an Italian version the next year. However, both the German and Italian versions would be published only years later. During this period he also engaged in manuscript studies in the major Italian cities, searching in particular for Ficino manuscripts. The result of these labors was his two-volume work, Supplementum Ficinianum: Marsilii Ficini Philosophi Platonici Opuscula Inedita et Dispersa, which was published by the Scuola Normale in 1937. He considered his “teachers” in manuscript studies to be Giovanni Cardinal Mercati, Monsignor Auguste Pelzer, and Ludwig Bertalot. Giovanni Gentile aided the publication of Kristeller’s Supplementum Ficinianum and subsequently helped him to emigrate to the United States. Kristeller always maintained a loyalty to Gentile and felt gratitude to him for extending him such help.In 1938 Kristeller lost his position at Pisa because of the Fascist anti-Semitic laws, but he was permitted to go to Rome where he assisted Bertalot in manuscript research at the Vatican library. Through the intervention of Roland H. Bainton, Dean P. Lockwood, Dom Anselm Strittmater, O.S.B., and other American [End Page 758] friends Kristeller was able to leave for the United States. He arrived at New York in February 1939 and spent the Spring term at Yale University. He was given an adjunct position at Columbia University for the fall term, holding the rank of Associate until 1948, when he was made an Associate Professor of Philosophy. By that time he had established himself as a major force in the development of Renaissance studies in the United States. His book on Ficino was translated into English as The Philosophy of Marsilio Ficino and published in 1943 by the Columbia University Press. The Italian version was published at Florence in 1953; a revised edition, containing a new bibliography that had been brought up to date, appeared in 1988.Kristeller published a large number of articles on a wide range of topics, establishing himself as a major interpreter of the significance of Renaissance humanism as well as a leading authority not only on Ficino and Renaissance Platonism but also on Pietro Pomponazzi and Renaissance Aristotelianism. He developed at Columbia bonds of friendship with Ernest A. Moody and John Herman Randall, Jr., both of whom had strong interests in late-medieval Aristotelianism. With Randall and Ernst Cassirer he prepared what would become a bestseller, the Renaissance Philosophy of Man: Selections... (shrink)

Karl Jaspers’ Axial Age concept is used to depict the way humans interact with their environment. The first Axial Age (800-200 BC) can be typified among others as the age in which humans started to objectify nature. Nature was dispossessed of spirits, gods and vital forces that humans previously feared and used as explanation for the origin of things. Secularised and objectified nature became a source of wealth for humans to use and abuse as they like. This has peaked (...) in the post-industrial era which also introduced the Second Axial Age in which we presently live. The Second Axial Age can be typified by a new approach to nature mediated among others by insights from the side of the natural sciences, especially developments in cosmology, our understanding of the quantum world and new insights into the nature of consciousness. Another development in the Second Axial Age is the emergence of the nonhuman turn, new materialism, panpsychism, the notion of the post-human and theological concepts like the ‘entangled God’. These developments are discussed with reference to leading thinkers. The nonhuman turn is welcomed as it introduces respect for nature which may contribute to the survival of our planet. (shrink)

Perhaps it is a measure of the controversy that Popper has evoked that this should be the first two-volume addition to Schilpp’s library. Certainly the thirty-three discursive and critical essays emanate from a galaxy of philosophical and other stars: Kraft, Kneale, Quine, Putnam, Lakatos, Medawar, Maxwell, Levison, Bar-Hillel, Eccles, Watkins, Campbell, Freeman & Skolimowski, Feigl & Meehl, Musgrave, Bernays, Bronowski, Lejewski, Schlesinger, Ayer, Agassi, Settle, Margenau, Suppes, Grünbaum, Kuhn, Wisdom, Boyle, Wild, Acton, Winch, Donagan, and Gombrich. The LLP faces a (...) problem, given that it takes a long time to mature a significant philosopher, for the project always teeters on the brink of human mortality; indeed, quite a few of the above contributors themselves are now defunct. It is therefore a pleasure to have a volume devoted to a philosopher whose work is very much alive, as is evidenced by the recent publication of Popper’s works on quantum theory and the Postscript to his Logic of Scientific Discovery. Moreover these volumes bring into salience the fundamental value of this style of publication that centers on written intellectual debate. Intellectuals in modern culture, especially in the United States, are sadly dispersed—there is not an abundance of discussion groups—so it is volumes like these that allow the isolate the linkages to sustained erudite exploration. So fruitful is this style of publication, that we find it emulated recently in such journals as Current Anthropology and The Brain and Behavioral Sciences. At least on paper, philosophical debate and exploration need not involve personal antipathy. Here, on the contrary, in the focusing on crucial issues, is the opportunity for personal sympathy and the struggle for mutual understanding. For methodological reasons centered on his concept of rationality, Popper has actively sought out intellectual controversy and these two volumes are therefore his natural milieu. Yet Popper has expressed a reluctance to write quickly and perhaps this explains why these volumes were a long time in the making. Certainly some of the papers such as Putnam’s “The ‘Corroboration’ of Theories” and Campbell’s “Evolutionary Epistemology” have had wide currency for some time now. But much that is good in these two volumes remains to be recognized, not the least of which is Popper’s “Intellectual Autobiography.” These 181 pages give the reader an inspiring impression of an intellect struggling after truth. Since Popper’s work has spanned the intellectual currents of the twentieth century and, in fact, dominated some of them, it would be difficult for this autobiography to fail. Popper’s writing has always struck this reviewer as an embodiment of Bacon’s maxim that truth will emerge more readily from error than from confusion, for he strives after simplicity and clarity in his writing with the consequence that disagreement is more closely focused. In this, he has lived out his central concept of critical rationality. At a more mundane level, there are all-too-human moments recorded, such as Popper’s reception at Oxbridge. Besides some enjoyable anecdotes, there is a little gentle self-mockery too. (shrink)

Hailed on publication in 1957 as "probably the only book published this year that will outlive the century," this is a brilliant of the idea that there are ...

Abstract: The State of Nature, Prehistory, and Mythmaking Karl Widerquist This chapter provide an overview of two books, in which Grant S. McCall and I name, define, and debunk the following false claims that still play important roles in contemporary political theories although they are not always defined and defended explicitly: 1. The Hobbesian hypothesis: sovereign states and/or the liberal private property rights system benefits everyone (or at least harms no one) relative to how well they could reasonably expect (...) to live in the state of nature—i.e. a society lacking one or both of these institutions. 2. The appropriation hypothesis: private property in the form of liberal ownership rights develops naturally while collective, communal, common, or government-held property rights systems do not. 3. The natural inequality hypothesis: inequality is natural and inevitable, i.e. economic, social, and/or political equality cannot exist and/or cannot be created without a significant loss in negative freedom. 4. The market-freedom hypothesis: a market economy (and/or capitalism) is more consistent with negative freedom than any other economic system. The third and fourth of these claims are not obviously claims about prehistoric or small-scale societies, but they are universal claims about all societies and so they include claims about even the most remote and distant societies from contemporary thinking. (shrink)

Ancient and medieval dialecticians: the lengthening shadow of Plato.--Traveller on the royal way: Martin Luther on simul justus et peccator.--Musician in the concert of God's joy: Jacob Boehme on ground and unground.--Prodigy between finite and infinite: Pascal's dialectic of grandeur and misery.--Thinker of the thoughts of God: Hegel and the dialectic of movement.--Venturer at the brinks: Kierkegaard and the dialectic of the suffering self.--Walker on the narrow ridge: Karl Barth and the dialectic of the human and divine.--Bridge-builder beyond the (...) boundaries: Tillich's dialectic of estrangement and reconciliation.--Wanderer in the forest: Heidegger on the being of beings.--Man suspended in mid-air: Rudolph Bultmann on the believer as free for the future.--Struggler under the twofold verdict of God: Werner Elert and the dialectic of law and gospel.--Epilog.--Selected bibliography (p. 159). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:William Thomas Jones 1910–1998Charles M. YoungWilliam Thomas Jones, a friend and supporter of this journal since its inception, died on September 30, 1998, in Claremont, California, at the age of eighty-eight. Born in Natchez, Mississippi, Will was educated at Swarthmore, Oxford (as a Rhodes scholar), and Princeton. After a legendary teaching career spanning nearly fifty years, thirty-four at Pomona College and another fifteen at the California Institute of Technology, (...) Will retired in 1985. He published a host of articles and books, among them the highly regarded five-volume A History of Western Philosophy, now in its fourth edition. Will received numerous awards and honors, including Lippincott, Procter, Ford Faculty, and Guggenheim Fellowships; he was also a Phi Beta Kappa Visiting Scholar, and twice a Resident Scholar with the Rockefeller Foundation at Villa Servelloni. In 1969–70, he was President of the American Philosophical Association’s Pacific Division.In 1961, Will joined Karl Aschenbrenner, John D. Goheen, Paul O. Kristeller, Oskar Piest, Benson Mates, Ernest Moody, Richard H. Popkin, Herbert W. Schneider, and E. W. Strong (as chair) to form the Executive Committee (now Board of Directors) of the Journal of the History of Philosophy. The first issue of the JHP appeared some two years later. Will provided much valuable counsel and support in the turbulent early years of the JHP, helping in particular in securing much needed financial support from the Claremont Colleges. We join Will’s family, friends, colleagues, and students in mourning the loss of a fine historian, philosopher, and teacher.Copyright © 1999 Johns Hopkins University Press... (shrink)

The intent of Jaspers' philosophizing then is simply to recall us to our authentic situation. This recall is not itself a doctrine; it is only the stimulus to an inward action each must perform for himself in communication with others. Jaspers' Existenz-philosophy is thus an attempt to consider and enact human honesty; it is philosophy, not as wisdom, but as the love of wisdom.

Voltaire, 1694-1778 -- Guizot 1787-1874 -- Burckhardt 1818-1897 -- Lamprecht 1856-1915 -- Huizinga 1872-1945 -- Ortega y Gasset 1883-1955.

Can Kant's theory of freedom be defended in contemporary "incompatibilist" terms, as Henry Allison believes, or is it vulnerable to Hegelian criticisms of the "compatibilist" sort that Allen Wood presents? I argue that the answer to both of these questions is negative, and that there is a third option, namely that Kant's real theory of freedom is not as well off as Allison contends, nor as weak as Wood claims. Allison tries to save Kant's theory of freedom from both what (...) he takes to be traditional and improper interpretations, notably including Hegel's and Wood's, of what that theory means, as well as from traditional and improper objections to its defensibility. I argue in part with Wood (and Hegel) against Allison on the issue of the meaning of Kant's theory, and in part with Allison against Wood (and Hegel) on the issue of the defensibility of Kant's theory. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Julius Sachs (1832–1897), who has been quite rightly called “the father of plant physiology,” was a German physiologist of international standing, whose research interests contributed to virtually every branch of the plant sciences, and whose work presaged plant molecular biology and systems biology. Here, we focus on one of his last publications, from 1892, wherein he argued that the term “cell” (_Zelle_) is misleading and should be replaced by “energid” (_Energide_), which he defined as “a nucleus together with the corresponding (...) protoplasm that is governed by it,” based on his observations of coenocytic algae such as _Caulerpa_ whose nuclei “can only control” so much cytoplasm. Although most of his colleagues did not accept this novel terminology for the description of the “basic, minimal living unit” (_Elementarorganismus_) of animals, plants, and microbes, we argue that the energid concept prefigured the subsequent discovery of mRNA. We also argue that the resistance to the energid concept revolved around a deep-seated philosophical debate between those adhering to cell theory versus organismal theory. The first English translation of the seminal work by Sachs, “Physiologische Notizen. II. Beiträge zur Zellentheorie. a) Energiden und Zellen,” originally published in _Flora_ (75: 57–67, 1892), is provided as a separate article in this volume as part of the journal’s “Classics in Biological Theory” collection ( https://doi.org/10.1007/s13752-022-00399-w ); the original German version is available here as supplementary material in the online version of this article. (shrink)

Karl Barth was, without doubt, one of the most significant religious thinkers of modern times. His radical affirmation of the revealed truth of Christianity changed the course of Christian theology in the twentieth century and is a source of inspiration for countless believers. Pope Pius XII declared that there had been nothing like Karl Barth's later thought since Thomas Aquinas. God Here and Now offers a succinct and accessible overview of that thought. In it, Barth outlines his position (...) on the fundamental tenets of Christian belief, from the decision of faith to the authority of the Bible, and from the interpretation of grace to the significance of Jesus Christ. In this way Barth challenges each and every reader to discover what it means to encounter God, here and now. (shrink)

Karl Pfeifer counters the thesis that laughter and pleasure are intimately connected with one another, and addresses the thesis of John Morreall (1982) that a pleasant psyohological shift is a causally necessary condition for laughter. A variety of examples suggesting that laughter does not have to have pleasure as its causal antecedent are presented. Imitative, nervous, hysterical, physiogenic, and acerbic laughter suggest that it is neither incoherent nor implausible to consider laughter as being caused by unpleasant or at least (...) not pleasant psychological states, but also suggest that the phenomenon is actually quite pervasive. An alternative reading of Morreall’s thesis is attempted and also found wanting, although in the end some interesting possibilities for a certain subdomain of laughter are hinted at. (shrink)

The traditional conception and validation of state identity, if not legitimacy, has in recent decades, so argues Jason Royce Lindsey, undergone profound alterations in response to novel transformat...

This paper argues that a guaranteed income is not only consistent with the principle of reciprocity but is required for reciprocity. This conclusion follows from a three-part argument. First, if a guaranteed income is in place, all individuals have the same opportunity to live without working. Therefore, those who choose not to work do not take advantage of a privilege that is unavailable to everyone else. Second, in the absence of an unconditional income, society is, in effect, applying the principle, (...) “(S)he who does not work, will not eat.” If the application of this principle is to be consistent with reciprocity, it must be applied to everyone. Most modern industrial societies exempt many citizens from that choice. For example, the owners of external assets do not face the work-or-starve choice and do take advantage of a privilege that is not available to others. An unconditional guaranteed income is one way to eliminate that violation of reciprocity. Third, this paper addresses the criticism that the guaranteed income exploits middle-class workers by demonstrating that a basic income will have a positive effect on wages, which will at least partially counteract the effect of the taxes needed to pay for it. (shrink)

This paper argues for a pluralist perfectionist response to ethical conflict. This sets for states and their public schools the task of helping people adjudicate conflicts between ethical orientations and of promoting or discouraging particular conceptions of a good life. The aim of deliberation is mutual ethical recognition and growth, judged against a thick yet universally shared conception of human flourishing. The political justification of perfectionism is that it provides a better defense against repression and discrimination than state neutrality on (...) issues of the good life. The paper addresses liberal concerns and counters claims that adjudication threatens human relationships. (shrink)

This book explores the impulses behind the fascination for that experience.

Name der Zeitschrift: Zeitschrift für Religionswissenschaft Jahrgang: 25 Heft: 1 Seiten: 90-131.