W. H. Auden and Hannah Arendt belonged to a generation that experienced the catastrophic events of the mid-twentieth century, and they both sought to respond to the enormity of the novel phenomena they witnessed.

At the beginning of the twentieth century the tropes of messianism, apocalypse and redemption, which had been so central to the West's religious formation, seemed spent forces in Germany. Nietzsche had pronounced God as dead and theology seemed to be travelling the same secular route as philosophy. But World War I changed that. This book introduces some of Germany's key thinkers in theology, philosophy, literature and social and political thought through their engagement with these previously discarded concepts. They (...) initiated a new and urgent dialogue between philosophy and theology. This imaginative and innovative collection brings together essays by established scholars on Messiamism, Redemption and Apocalypse in twentieth century German thought. Major theologians such as Barth, Buber, Bonhoeffer, Rahner, Pannenberg and Moltmann are discussed alongside leading intellectuals such as Adorno, Benjamin, Bloch, Heiddeger and Rosenzweig. Literary figures, such as Kafka and George, are also included. The interfaces imply a different way of reading theology and challenge the reader to think what the implications of immanence in a specific philosophical culture are for the theological project. Some of the essays introduce thinkers who are little known to English speaking readers. Others cast new light on more familiar figures. The collection as a whole contextualises German religious and philosophical thought on these crucial topics in very useful ways. The dialogue at work in these pages is a very important one and should be carried further. (shrink)

The use of messianism in 20th century literary and cultural theory. The essays critique the claim that religious paradigms simply underlie secular thought. In specific, they problematize the renewal of metaphysics by means of messianic temporality, by exposing pitfalls and paradoxes in the messianic idea.

The German humanist Johann Reuchlin (1455-1522) defended the value of Jewish scholarship and literature when it was unwise and unpopular to do so. As G. Lloyd Jones points out, "A marked mistrust of the Jews had developed among Christian scholars during the later Middle Ages. It was claimed that the rabbis had purposely falsified the text of the Old Testament and given erroneous explanations of passages which were capable of a christological interpretation." Christian scholars most certainly did not advocate (...) learning the Hebrew language. Reuchlin was exceptional in pursuing and promoting Hebrew studies, believing that a working knowledge of that language was essential for a true appreciation of the Bible and rabbinic literature. Refusing to join Christian contemporaries who wished to destroy the Kabbalah and the Talmud, he spoke out against ignorance. Christians could have a useful dialogue with Jews if they gained a thorough knowledge of the writings of Jewish exegetes and philosophers. Toward that end he proposed university endowments that aroused the fury of opponents and led to the famous "battle of the books." Reuchlin's keen interest in Jewish mysticism resulted in the publication of De arte cabalistica in 1517. The first part of this dialogue reflects on messianism, the second part on the relation of the Pythagorean system to the Kabbalah, and tdhe third on the "practical Kabbalah." According to Jones, "Reuchlin demonstrates how Christians can make profitable use of Jewish mystical writings, and therefore shares with the reader his understanding of the art of the Kabbalah." That art will reach more readers in this modern English-language translation by Martin and Sarah Goodman.In addition to an introduction by G. Lloyd Jones, this edition of On the Art of the Kabbalah features a new introduction by Moshe Idel, a professor at the Hebrew University in Jerusalem and the author of many books, including Kabbalah: New Perspectives. (shrink)

This paper argues that Ibsen’s An Enemy of the People constitutes one his most ambitious literary and political achievements. In literary terms, the play seeks to reinvent the genre of history drama in a manner deliberately opposed to Hegelian aesthetics. Ibsen does so by systematically deepening the play’s central conflict. What at first appears to be a problem grounded in personal rivalries, reveals itself to be a social and political struggle, which in turn yields a moral crisis, to, finally, a (...) problem of history. In this manner, Ibsen combines two positions that at first sight seem incompatible: the most relativistic impulses of the historicism of his day and a metaphysical form of tragedy that he identifies with Shakespeare. Politically, Ibsen stages what might be characterized as a profoundly pessimistic form of messianism. On that view, it is necessary to categorically reject any existing political project and instead champion the possibilities articulated by those in society who have no investment in the present. This is not because those individuals have greater access to utopian ideals that should be actualized, since any political success automatically invalidates the ideals in question. Instead, the defense of the socially marginalized is grounded in the view that their saving power lies with their ability to articulate ideals that have no stake in the persistence of our world. Against this background it becomes possible to fully understand the structure and continuing significance of this play. (shrink)

A inspiração positivista da revolução republicana de 1910 dificilmente se poderia harmonizar com os valores vigentes na sociedade portuguesa de então. Para compreender o seu êxito será necessário identificar as pontes esta-belecidade com orientações que lhe deveriam ser absolutamente estranhas, como era a do messianismo. A literatura da época, mormente a poesia de mais elevada inspiração, testemunha eloquentemente essa assimilação entre o ideal republicano e a esperança messiânica no advento de uma nova era redentora. Não menos significativa é, porém, a (...) construção teórica que, nesse mesmo sentido, foi elaborada por Sampaio Bruno. /// L'inspiration positiviste de la révolution républicaine de 1910 ne pourrait que difficilement s'harmoniser avec les valeurs régnant dans la société portugaise d'alors. Pour comprendre son succès il faudra reconnaître les ponts établis avec des orientations qui devraient lui être absolument étrangères, comme celle du messianisme. La littérature de l'époque, à savoir la poésie de la plus haute inspiration, est le témoin éloquent de cette assimilation entre l'idéal républicain et l'espérance messianique dans l'instauration d'une nouvelle ère rédemptrice. Non moins significative est cependant la construction théorique qui, en ce même sens, fut élaborée par Sampaio Bruno. /// The Republican revolution of 1910, inspired in positivism, was not harmony with the values which were dominant at that time in Portugal. In order to comprehend its success, one would have to establish its ties with themes that are quite foreign to positivism, like that of messianism. The literature of the epoch, especially in the poetry, bears witness to the assimilation of the republican ideal and the messianic hope in a new, redeeming era. In the context of this assimilation, Sampaio Bruno's theoretical construction can be seen as equally significant. (shrink)

The publication of Cora Diamond's important 2002 “The Difficulty of Reality and the Difficulty of Philosophy” (in Philosophy and Animal Life) stimulated the writing of this essay. “The Difficulty of Reality and the Difficulty of Philosophy” attempted to show that there are experiences of reality (recounted especially in literature like John Coetzee's novels and Ted Hughes' poetry) in relation to which philosophical concepts and words encounter difficulty. The experiences resist conceptualization. By examining several of Diamond's earlier writings, I try (...) to show that the difficulty of philosophical conceptualization of reality is due to the fact that reality does not exist external to experience. Reality being internal to experience means that reality contains an unfixed set of possibilities. Being experiential, reality is historical. The historical dimension of reality – such as the reality of animal life suffering – makes the words through we describe this reality too weak, i.e. they are not powerful enough to capture reality, hence the difficulty. Consequently, as I argue, for Diamond, the weakness of words means that words are never complete concepts. The meaning of them seems always still to come since reality seems always to have a surplus of possibilities. I suggest that because of this always still “to come” aspect of the meaning of words, we might characterise Diamond's thought as a messianism. (shrink)

How did medieval Jewish scholars, from Saadia Gaon to Yitzhak Abravanel, imagine a world that has experienced salvation? What is the nature of reality in the days of the Messiah? This work explores reactions to the seductive promises of apocalyptic teachings, tracing their fluctuations between intellect and imagination. The volume extensively surveys the tension between naturalistic and apocalyptic approaches to the history of the messianic idea so fundamental to the history of Jewish philosophy in the Middle Ages and reveals the (...) scope and challenges of medieval thought. (shrink)

"Not but by the spirit understood" : Milton's plain style and present-day Messianism -- Areopagitica and the ethics of reading -- Liberty before and after liberalism : Milton's politics and the post-secular state -- Samson, the peacemaker : enlightened slaughter in Samson Agonistes -- Can the suicide bomber speak?

Stefan Jonsson uses three monumental works of art to build a provocative history of popular revolt: Jacques-Louis David's _The Tennis Court Oath_ (1791), James Ensor's _Christ's Entry into Brussels in 1889_ (1888), and Alfredo Jaar's _They Loved It So Much, the Revolution_ (1989). Addressing, respectively, the French Revolution of 1789, Belgium's proletarian messianism in the 1880s, and the worldwide rebellions and revolutions of 1968, these canonical images not only depict an alternative view of history but offer a new understanding (...) of the relationship between art and politics and the revolutionary nature of true democracy. Drawing on examples from literature, politics, philosophy, and other works of art, Jonsson carefully constructs his portrait, revealing surprising parallels between the political representation of "the people" in government and their aesthetic representation in painting. Both essentially "frame" the people, Jonsson argues, defining them as elites or masses, responsible citizens or angry mobs. Yet in the aesthetic fantasies of David, Ensor, and Jaar, Jonsson finds a different understanding of democracy-one in which human collectives break the frame and enter the picture. Connecting the achievements and failures of past revolutions to current political issues, Jonsson then situates our present moment in a long historical drama of popular unrest, making his book both a cultural history and a contemporary discussion about the fate of democracy in our globalized world. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

ABSTRACTThe aim of this article is to shed light on the political ambitions of Agamben’s book The Time That Remains. First, the article examines Agamben’s political messianism in The Time That Remains by taking into account the question of political theology. Second, the article elaborates on a number of important concepts and ideas that are at the forefront of Agamben’s political messianism. Third, the author elucidates the general framework within which one has to view Agamben’s political messianism. (...) In the fourth and last part of the article, the author assesses the innovative nature of Agamben’s political messianism by sketching out a comparison between The Time That Remains and Heidegger’s phenomenological interpretation of Paul the apostle. (shrink)

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

In _The Time That Remains_, Agamben seeks to separate the Pauline texts from the history of the Church that canonized them, thus revealing them to be "the fundamental messianic texts of the West." He argues that Paul's letters are concerned not with the foundation of a new religion but rather with the "messianic" abolition of Jewish law. Situating Paul's texts in the context of early Jewish messianism, this book is part of a growing set of recent critiques devoted to (...) the period when Judaism and Christianity were not yet fully distinct, placing Paul in the context of what has been called "Judaeo-Christianity." Agamben's philosophical exploration of the problem of messianism leads to the other major figure discussed in this book, Walter Benjamin. Advancing a claim without precedent in the vast literature on Benjamin, Agamben argues that Benjamin's philosophy of history constitutes a repetition and appropriation of Paul's concept of "remaining time." Through a close reading and comparison of Benjamin's "Theses on the Philosophy of History" and the Pauline Epistles, Agamben discerns a number of striking and unrecognized parallels between the two works. (shrink)

This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

In this article, I respond to John Betz who has recently rejected claims that I have made about Erich Przywara’s anti- Semitism and his relationship to Nazi era ideology. Although I admire much of Przywara’s theology and have great sympathy for the teaching about the analogy of being, in this article I address some of the problems of Przywara’s work. I address literature from Przywara on the Jews where he talks about the essence of “the Jew” as “restless” and (...) “revolutionary,” and where he brings up the “wandering Jew” theme or claims Judaism is an “insolent disturber” of the “folkdom.” Przywara’s rejection of “Jewish messianism” and his claims about the “basic tension of the Jew” are also addressed. I analyze his conception of the essence of “the Jew” as, among other things, a “rising will of destruction” and his claim that “Christianity” ultimately becomes the “enemy” of Judaism. Beyond these things, Przywara’s desire to “overcome” Judaism with the right “weapons” is addressed. I also draw attention to his rejection of “Jewish capitalism” and his justification of “the hatred towards the Jews in world history.” In addition to this, his use of ideologically charged Nazi terminology, such as “host-peoples,” and his support of Catholic integralism in Nazi Germany are addressed. Furthermore, Przywara’s remarks on “the positive sense” of the German “movements” in the 1930s are presented. I also show that Przywara”s work was praised by a leading representative and ideologue of National Socialism. With this, I address the internal Nazi correspondences on the very influential German Catholic Jesuit journal titled Stimmen der Zeit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 356-360 [Access article in PDF] Book Review Ghostly Demarcations: A Symposium on Jacques Derrida's 'Specters of Marx' Ghostly Demarcations: A Symposium on Jacques Derrida's 'Specters of Marx', edited and introduction by Michael Sprinker; 278 pp. London: Verso, 1999, $20.00. "Comrades, encore un effort!" (p. 233) is the Communist battle cry by which Derrida signals to his fiercest Marxist critics that he is not (...) ready to throw in the towel and concede defeat. The ten essays included in Ghostly Demarcations are intended to remedy what the editor in his brief introduction describes as the insufficiency or incompleteness of Derrida's first major attempt, in Specters of Marx (1993), to come to terms with Marx, more so than with Marxism. As Sprinker puts it, if one came to the book "in the hope that now, at long last, Derrida's... relationship to Marxism will be profoundly clarified, or definitely resolved, one will almost certainly be disappointed" (p. 1). Derrida himself feels good about Specters of Marx, He wrote that book with a "certain gaiety of affirmative thinking," he says. "It is," as he sees it, "a gay, humorous book. It is more light-hearted than I am, undoubtedly..." (p. 259), which he could hardly claim for its sequel, "Marx & Sons," the essay by which Derrida responded to his critics in Ghostly Demarcations.The texts included in this polemical volume present a broad spectrum of views, some of them critical enough to deeply wound Derrida. It takes Derrida nearly five pages of deconstructive maneuvers to warm up for his rebuttal. [End Page 356] Then, with all his fresh energy, the first punch is directed at a woman, obviously one of his demons, since there are no essays by women included in this volume. Addressing this absent female foe, Derrida speaks of her "unbridled manipulation of a rhetoric" (p. 223), her "final gleam of lucidity" (p. 222), and "outright inability to read" (p. 223). He is actually referring to absent Gayatry Chakravorty Spivak whose superb reading, translation and preface to Derrida's Of Grammatology in 1974, contributed in no small measure to Derrida's initial success by making his work accessible and comprehensible to English speaking scholars.Derrida's appreciation of the nine, all-male contributors, whose essays are indeed present in Ghostly Demarcations, appears in direct relation to the amount of critique or homage paid him and his deconstructive theories. The shortest (five pages) but clearly the most provocative essay, is by Terry Eagleton who, similar to other Marxists, refuses to accept Derrida's claim that deconstruction is a "radicalization of Marxism" (p. 101). "There is also something unavoidably opportunist about his political pact" (p. 86), says Eagleton, his "sudden dramatic somersault onto a stalled bandwagon" (p. 84). "Where was Jacques Derrida, he asks, when we needed him?" (p. 83). Fearlessly, Eagleton likens deconstructive rhetoric to senseless Panglossian discourse using absurd word clusters such as "onto-teleo-theological animus," and "tele-techno-medio-economic and scientifico-military forces" (p. 85). En revanche, Derrida makes irate comments about Eagleton throughout his text, mocking the critic's "triumphant air [who] doubtless assumes that he will spark the plaudits, mirth, or wrath of the crowd..."( p. 251).The longest, somewhat Proustian essay (44 pages) by Werner Hamacher, about "the messianism of commodity language," is a well written but essentially uncritical, deconstructive reading of Marx and Derrida built around abundant quotations from Derrida's text such as: "Pluriformative and reformative, the revolutionary performative of the absolute messianic promise is also a performative that turns against itself..." (p. 196). Derrida praises the "many luminous, powerful gestures [made to Derrida!] of his [Hamacher's] interpretation," calling it "impressive, admirable and original" (p. 224). Similar praise, for his "perceptive essay" (p. 244), goes to Warren Montag who adheres to Derrida's critical jargon and supports the philosopher's polemics surrounding "ontology."While Antonio Negri is sympathetic to Derrida, he also feels, as do other critics, that "Derrida is a prisoner of the ontology he critiques" (p. 13): "In playing with... (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Dynamic Repetition proposes a new understanding of modern Jewish theories of messianism across the disciplines of history, theology, and philosophy. This book explores how ideals of repetition, return, and the cyclical occasioned a new messianic impulse across an important swath of late nineteenth and early twentieth century German Jewish thought.

(1996). Surprise in literature. Angelaki: Vol. 1, No. 1, pp. 58-68.

Today humanity is in the midst of the massive expansion of new and fundamental technology, represented by advanced artificial intelligence (AI) systems. The ongoing revolution of these technologies and their profound impact across various sectors, has triggered discussions about the characteristics and values that should guide their use and development in a responsible manner. In this paper, we conduct a systematic literature review with the aim of pointing out existing challenges and required principles in AI-based systems in different industries. (...) We discuss our findings and provide general recommendations to be considered during AI deployment in production. The results have shown many gaps and concerns towards responsible AI and integration of complex AI models in the industry that the research community could address. (shrink)

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:René Girard and Giorgio AgambenConvergent and Divergent Political and Theological ProspectsBart Leenman (bio)INTRODUCTIONUnfortunately, categorical violence (violence wrought against a scapegoat minority, like ethnic cleansing and genocide) is a perpetual human problem. Although many thinkers concerned themselves with the issue of categorical violence, I would like to discuss René Girard (1923–2015) and Giorgio Agamben (born in 1942), two contemporary thinkers who present intriguing perspectives on categorical violence. Rather than viewing (...) violence as an external element of societal life, they discuss the societal function of categorical violence while situating a sacred victim at the heart of their theories. Girard and Agamben are an unlikely pairing. Girard is renowned for his socio-anthropological mimetic theory, while Agamben is known for his political philosophy. However, despite these different perspectives, Girard's mimetic theory and Agamben's political philosophy share some intriguing similarities. For example, both thinkers employ an archaeological (anthropogenetic) methodology and situate their [End Page 203] thoughts against the background of Judeo-Christian concepts such as messianism, revelation, and apocalypse. However, the most striking similarity is their shared focus on violence and the sacred. Rather than viewing violence as an external element of human life, Girard and Agamben discuss the societal "function" of violence while situating a sacred victim at the heart of their theories. Girard situates this sacred victim (the scapegoat) at the heart of his socio-anthropological theory of violence, mimesis, and desire. In contrast, Agamben situates his sacred victim (the homo sacer) at the heart of his political philosophy. Despite this intriguing similarity, Girard's and Agamben's political and theological prospects diverge. Even though both thinkers turn to Judeo-Christian concepts in their political and theological explorations, they interpret this Judeo-Christian context differently. Girard relates his political–theological prospects to Christian revelation. In contrast, Agamben connects his political–theological prospects to a philosophical reading of St. Paul.In this article, I compare and discuss Girard's and Agamben's perspectives on violence, their sacred victims, and the theological and political implications of their theories. I argue that Girard's and Agamben's divergent theological and political prospects can be traced to their opposing definition of their sacred victims, which, in turn, derives from a fundamentally different ontological conceptualization of the sacred. Therefore, the research question arises: "What constitutes Girard's and Agamben's opposing definition of the sacred victim and their fundamentally different conceptualization of the sacred underlying this definition, and what are the political and theological implications of this fundamentally different conceptualization of the sacred?"In order to answer this research question, I begin by discussing the basics of Girard's mimetic theory and Agamben's political philosophy. Then, I provide an overview of pertinent academic literature concerning the comparison between Girard and Agamben. This overview demonstrates the academic embeddedness of Girard and Agamben and their discussion of a sacred victim. Furthermore, it helps us to explore the apparent similarities and fundamental differences between Girard's mimetic theory and Agamben's political philosophy. Following that, I explicate the fundamental differences and argue that one could trace these differences to Girard's and Agamben's divergent ontological conceptualization of the sacred. Finally, I argue that Girard's and Agamben's divergent political and theological prospects do not obstruct a comparison between Girard and Agamben but invoke further research concerning Girard, Agamben, and the ontological conceptualization of the sacred. [End Page 204]GIRARD, AGAMBEN, AND THEIR SACRED VICTIMSIn 1961, René Girard published Deceit, Desire and the Novel. In this book, Girard introduces the principles of his mimetic theory.1 These principles derive from a careful analysis of classic European novels. Until that point, Girard occupied himself predominantly with the study of literature, arguing that the classic European novels reveal a kind of (psychological–biological) truth. This truth has everything to do with the notion of desire and how it is portrayed in classic European novels. According to Girard, the classic European novels reveal that desire is triangular rather than bilateral.2 The subject (S) desires an object (O) through a model of mediation (M).3 In other words, people desire what the other desires, and desire is not authentic but mimetic. Although desire... (shrink)

W. Clark Gilpin - The Millenarian Turn: Millenarian Contexts of Science, Politics, and Everyday Anglo-American Life in the Seventeenth and Eighteenth Centuries. Vol. 3 of Millenarianism and Messianism in Early Modern European Culture - Journal of the History of Philosophy 40:4 Journal of the History of Philosophy 40.4 549-550 Book Review The Millenarian Turn: Millenarian Contexts of Science, Politics, and Everyday Anglo-American Life in the Seventeenth and Eighteenth Centuries James E. Force and Richard H. Popkin, editors. The Millenarian Turn: (...) Millenarian Contexts of Science, Politics, and Everyday Anglo-American Life in the Seventeenth and Eighteenth Centuries. Vol. 3 of Millenarianism and Messianism in Early Modern European Culture. Dordrecht: Kluwer Academic Publishers, 2001. Pp. xxv + 190. Cloth, $85.00. In the late 1960s and early 1970s, a significant body of scholars called attention to.. (shrink)

Through the examination of anti-psychiatric theory and literary texts, this timely and thought-provoking volume explores the possibilities of liberating our habitual patterns of perception and consciousness beyond the confines of a capitalist era. In Post-Capitalist Subjectivity in Literature and Anti-Psychiatry, Skott-Myhre asks the question, how might we be different if we didn't live in a capitalist society? By drawing on Marxist and post-Marxist theory, and conducting nuanced analysis of the professional writings of anti-psychiatrists including Basaglia and Laing, and the (...) work of fiction writers Kafka and Garcia Marquez, the text identifies alternative conceptualizations of the self. Focusing in particular on portrayals of institutions and the family, Skott-Myhre proposes that these social systems offer new modes of reading the world and ourselves which will transform social organization and free subjectivity from dominant capitalist structures. This transdisciplinary text responds to a revitalized interest in alternatives to traditional psychology, an interest in life beyond capitalism, and the crisis in the traditional family. Post-Capitalist Subjectivity in Literature and Anti-Psychiatry will offer timely reading for graduate students, researchers, and scholars in the fields of cultural studies, psychology, philosophy, family studies, and interdisciplinary studies. (shrink)

This paper begins by examining Erich Fromm’s “Manifesto and Program” written for the Socialist Party in 1959 or 1960, and addresses a simple question: Why would Fromm speak of something so apparently arcane as “prophetic messianism,” in his socialist program? When he insists that we have forgotten thatsocialism is “rooted in the spiritual tradition which came to us from prophetic messianism, the gospels, humanism, and from the enlightenment philosophers,” is this simply a literary flourish, a concession to liberalism, (...) or religious sentimentality? Part I, written by Nick Braune, answers the question by examining Fromm’ssocialist organizing commitments in the context of the late 1950s. Part II, written by Joan Braune, offers further defense of the term “prophetic messianism,” distinguishes two types of messianism, and suggests that Fromm may be attempting to address a problem in the Frankfurt School. (shrink)

This article examines the controversial issue of blasphemy in literature from the viewpoint of reception inside and outside the academia. The thesis of the article is that blasphemy in literature, though inherently related to religion and language, has a plurality of connotations and interpretations (dissidence, intertextuality, critique of colonialism, discursive strategy, alterity/Otherness, ethnicity, subversive text). Consequently, blasphemy in literature is an incentive for fruitful discussions regarding tolerance, freedom of expression, and the re-situation of the (post)modern self in (...) today’s world, dominated by an uncanny admixture of secular and religious values. (shrink)

It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...) at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale (...) in mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)