In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructing Literature in the Roman Republic: Poetry and Its ReceptionJoseph FarrellSander M. Goldberg. Constructing Literature in the Roman Republic: Poetry and Its Reception. Cambridge: Cambridge University Press, 2005. xii + 249 pp. Cloth, $70.Just what forces in the earlier centuries of the Roman Republic gave shape to the literature of the late Republic and early Principate is an old question that has received new (...) interest in recent years. Sander Goldberg suggests that to put the question as I just have is to put things backwards. In this book he argues that it is not so much a matter of how earlier literature shaped later literature but rather of how scholars and readers in the late Republic converted the poetic remains of earlier centuries into "literature." For Goldberg, literature in the fullest sense did not exist at Rome before a sufficiently large and critically sophisticated reading public had emerged, and until the available texts had been collected, studied, and canonized; and this process, he believes, did not happen or at any rate was not complete until the time of Cicero and, especially, Varro. The latter, one of the heroes of Goldberg's story (and rightly so), was instrumental in (for instance) turning the scores of plays that traveled in his day under the name of Plautus into an authenticated oeuvre of the sort that defines literature: a corpus that can be owned, read and reread, studied, commented upon, argued over, and shared by a community of more or less like-minded, cultivated individuals. Literati, in fact.The idea is developed over a series of six chapters, plus an introduction and "Retrospective." The chapters are advertised as framing a continuous argument but also as capable of being read independently. They are arranged chronologically and bracketed thematically or imagistically by two arrivals: that of the Muse under the aegis of Rome's earliest poets and that of the one desired by Ovid, if not for himself back into Rome then for his works into the state-sponsored collection in the Palatine library. To my mind chapters 2 ("Constructing Literature") and 3 ("Comedy at Work") are the core of the book, as I have hinted [End Page 283] above and will explain further below; but subsequent chapters on tragedy (4, "Dido's Furies") and satire (5, "Enter Satire) offer novel commentaries on the history of these genres.In staking out his position, Goldberg distinguishes himself from two groups who already are rather at odds with one another. On the one hand there are those who think that Roman literature was indeed already literature from "the beginning"—i.e., from the time of Livius Andronicus. On the other are those who might agree with Goldberg that the Romans did not invent literature until the dying days of the Republic but who give credit (or blame) for this achievement mainly to a relatively small group of elite writers. So it will be fascinating to follow the reception of Goldberg's argument in both these camps. I, for my part, would not want to predict what effect the argument will have. Instead, I will mention what strike me as some of Goldberg's more salient points and will add a few comments by way of reaction.The decision to focus on readers strikes me as a positive contribution. Roman literary culture did not just happen, nor was it or could it have been created by writers alone. A public that wanted there to be a literature in Latin, one that was alive to ideas but also to the techniques that writers used to convey these ideas, was essential. Beyond this, scholars and teachers interested in the texts themselves and in showing readers what to do with them, scholars who were ambitious to create a culture of learning similar to the one that had for generations supported Greek literature, played an enormous role. Of course the writers are more visible to us, both as writers and as a peculiarly important audience for one another's work. But even in the smallest estimate of the literate population, there were many more readers than writers, and these numbers of readers are surely as important or more... (shrink)

The article aims to explore the ways in which scholars from Poland and Ukraine engage with Graham Harman’s philosophical work1. The introductory part briefly describes Harman’s ontology and demonstrates the link connecting Harman with Polish and Ukrainian intellectual environments. Harman’s object-oriented ontology (OOO) states that objects are the fundamental building blocks of reality and cannot be reduced either to what they are made of or to what they do, that is, either to their constituents or to their effects. The (...) connection with Poland and Ukraine goes back to the theory of objects suggested by the Polish philosopher Kazimierz Twardowski, whom Harman names among the predecessors of his ontology and who influenced both Polish and Ukrainian intellectual milieus. The next part of the article examines the history of the reception, identifying its key events and publications. The reception in Poland proves to be much more substantial than in Ukraine. A common tendency is determined: a conflation of Harman’s OOO and speculative realism by mistakenly ascribing the features of the former to the latter (broader concept), which suggests that speculative realism is being received through the lens of Harman’s project. The next part establishes the key discursive points that are used to map Harman’s ideas within the contemporary philosophical landscape. They can be summarised by the terms antianthropocentrism and antireductionism. The final part analyses the strategies for applying Harman’s theory showing that it can become the lens for interpretation and direct our attention to nonhumans and the hidden, inexplicable dimension of things or provide an ontological grounding for semi-literary and literary discourses. The methodology of this application, though, needs further development and clarification. Overall, in Poland, two of Harman’s books and two articles have been translated, and at least two books, one Ph.D. dissertation, and around two dozen articles discuss or apply his ideas. Apart from philosophy, his OOO is used for discussing literature, video games, films, humanities in general, education, management processes, antique studies, and ecocriticism. In Ukraine, one of Harman’s articles has been translated, and around ten articles and one collective monography engage with his philosophical project. Some of the Ukrainian works also apply Harman’s OOO in contexts that are not strictly philosophical, namely, in literary criticism, urban studies, film studies, and humanities in general. This paper can be of use to researchers studying OOO and its reception in different countries. In addition, it can help Ukrainian and Polish scholars who want to discuss or use OOO to familiarize themselves with the previous reception in their countries, thus facilitating domestic philosophical interaction. (shrink)

This paper describes the process of reception of Catholic Modernism in Poland as well as the Polish contribution to this movement. It shows the Polish antimodernist perspective on modernistic thought. The neglect of Polish modernism was caused by the nationalistic character of the Polish theology and has resulted in absence of historical studies of Polish Catholic Modernism. Based on the results of archival and literature research the paper presents a variety of Polish (...) Catholic Modernists and non-Catholic supporters of the modernist thought. A unique place among Polish modernists belongs to Marian Zdziechowski (1861–1938) who was the only Polish participant of the international intellectual debate on the “modernisation” of Roman Catholicism. The paper analyses the development of Zdziechowski’s thought and shows that his main demand throughout the modernist debates was to create a new, more efficient apologetics, which would be grounded in the religious experience of the individual. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 23 Heft: 1 Seiten: 223-246.

The first mention of Charles Sanders Peirce we find in Polish philosophical literature is in the third volume of Historia filozofii (History of Philosophy) by Władysław Tatarkiewicz, edited for the first time in 1931 in Lwów. Władysław Tatarkiewicz was a Polish philosopher and historian of philosophy and his History of Philosophy has been until now the most popular history of philosophy textbook in Poland. However, in Tatarkiewicz’s History of Philosophy, there is no chapter devoted to Peirce...

This is the first volume to explore the modern reception and contemporary relevance of Aristotle and his philosophy in Japan, making it a valuable contribution to both global Aristotelian studies and studies of Japanese philosophical traditions. The study of Aristotle's philosophy in Japan is already over a hundred years old, yet the fruits of these efforts have mostly been published in Japanese and thus circulated almost entirely within Japan. Japanese scholarship, however, has not been conducted in isolation, but rather (...) has developed by keeping up with crucial contemporary trends in international scholarship. Aristotelian studies in Japan have therefore been neither particularly Japanese nor Far East Asian at first glance, which is one reason why they have not received much attention in Japanese philosophical literature. This volume addresses this gap, exploring the long historical struggle of Japanese people to read, understand and adopt Aristotle's philosophy in a philosophical tradition different from the West. It also examines the applicability of Aristotle's philosophy to contemporary issues and demonstrates the extent to which his philosophy remains relevant today, whether in the East or West. Aristotle in Japan: Reception, Interpretation and Application is of interest to students and scholars of Aristotelian philosophy, as well as those working on Japanese philosophy and classical reception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.2 (2002) 96-119 [Access article in PDF] Re-Marking Slave Bodies: Rhetoric as Production and Reception Steven Mailloux There is much talk nowadays about the double nature of rhetoric: rhetoric as a practical guide for composing and rhetoric as a theoretical stance for interpreting. The two uses can be viewed as complementary, as flip sides of the same holistic approach to rhetorical studies. But they can (...) also appear in conflict: production models of writing and speaking versus reception models of reading and listening; models for inventing rhetoric versus models for analyzing it. Indeed, though the two models can be mutually supportive, they have often developed in tension within the evolution of academic disciplines over the last 125 years. Different emphases on one or the other model have resulted in different departmentalized disciplines and varied divisions within those departments, as we are all so well aware. One might even claim that advocating one or the other model has contributed significantly to the fragmentation of rhetoric as an interdiscipline during the last century and to the distribution of its parts into various academic units. In many English departments, for example, the continuing divisions between literature and composition faculty arise from contrasting professional interests in reception models focused on interpreting literary works versus production models focused on composing student texts. A similar reception/production antagonism appears in the history of speech departments separating from English departments. In 1915, when seventeen teachers of public address broke off from the National Council of Teachers of English, the production (oratory or debate) model they favored was at odds with the reception (philological or hermeneutic) model of most literature faculty. 1I don't mean to suggest that different choices between models of production and reception fully account for the academic fragmentation of rhetorical study. Nevertheless, practical antitheses do constitute disciplinary [End Page 96] identities. Antitheses between production and reception—between writing/speaking, on the one hand, and reading/listening, on the other—have variously combined with other distinctions between written texts versus oral performances as objects of study and between scientific research versus humanistic scholarship as intellectual traditions, and these assorted configurations of interpretive practices and institutional formations did help shape disciplinary identities throughout the past century. We are now faced with a situation in which rhetoric is distributed across several departments and programs, not in an integrated interdiscipline but as disciplinary fragments, where rhetorical critics in literary and cultural studies, for example, don't read deeply either in the work of rhetoric/ composition faculty in their own departments or the rhetorical scholarship produced in other departments such as communications or classics.Historically, I believe, the separation of written rhetoric (literature and composition) from oral rhetoric (public address and debate) within the academic humanities, this separation of English and speech departments, has been just as debilitating for rhetorical study as the literature/composition split within English departments alone. One might speculate about how these divisions encouraged the eventual exclusion of oratory from British and U. S. literary canons. More important, these divisions have resulted in a fragmented disciplinary approach to everything having to do with tropes, arguments, and narratives in culture, including most recently the study of local and global communication networks, old and new literacies, and past and present media revolutions.In the present essay I suggest an alternative to this disciplinary fragmentation of rhetoric. This alternative, call it rhetorical hermeneutics, learns from the more holistic approach to language arts found at the elementary and secondary levels of our U. S. educational system, where writing, speaking, reading, and listening (and sometimes viewing) are practices often taught in relation to one another. 2 Here production and reception models form parts of the same integrated framework for understanding and participating in the cultural conversations of diverse public spheres. In the following sections, I address these issues of model selection first by considering the objection that rhetorical hermeneutics is exclusively a method of reading and not a heuristic for writing. Then I move to an example of rhetorical hermeneutics in practice: a reception study of rhetorical productions... (shrink)

It is possible to study the reception of Aristotle's natural philosophy by means of the various tools that were used by intellectuals during the thirteenth century. This type of literature is often forgotten. Four samples are taken here to illustrate the interest of such works, and the information that we can extract from them. The examples are the sermons by Anton of Padua ; an encyclopedia composed by Arnold of Saxony during the second quarter of the thirteenth century, (...) which includes extracts from recent translations mixed together with Neoplatonic passages; an Aristotelian florilegium, which illustrates thirteenth-century censorship of Aristotelian texts; and a translation of the Meteorologica into the vernacular, which documents the popularity of this treatise at the end of the thirteenth century and the creation of a technical vocabulary in old French texts. The third example is an anthology that originated in a Franciscan milieu and was compiled in its definitive form at the end of the 13th century. This latter presents a series of purged texts about natural science. Finally, it discuss the French translation of Aristotle's Meteorology by Mahieu le Vilain, master at the Arts Faculty of the University of Paris at the end of the 13th century. This is the first translation of an Aristotelian treatise into vernacular, allowing us to understand the popularization of this treatise and its importance for the technical vocabulary of this discipline. (shrink)

To note that the study of Sanskrit narrative literature, in particular the Epics and Purāṇas, has been plagued with the propensity towards diachronic dissection would be little more than a truism in most scholarly circles. Yet it is with this truism we are forced to begin as we strive to shed the old skin of colonial era receptions of these texts. While there have been notable efforts made to embrace Sanskrit narrative as synchronic wholes, there isn’t much in the (...) way of a systematic methodology for doing so. This paper, therefore, is aimed at charting a methodology for synchronic study of Sanskrit narrative literature, paying particular attention to narrative frames. It advances five avenues of thematic import based on the structure of Sanskrit narrative: inception import, association import, exposition import, framing import, and impetus import. Examples are primarily drawn primarily from the Mahābhārata and the Mārkaṇḍeya Purāṇa. Note that key terms arising from the discussion in this chapter are bolded throughout and appear in a “terminology guide” appended to the end of this study for the sake of reader reference. (shrink)

In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (Aeschylus’s (...) Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation. (shrink)

As prose dramatic texts Plato's dialogues would have been read by their original audience as an alternative type of theatrical composition. The 'paradox' of the dialogue form is explained by his appropriation of the discourse of theatre, the dominant public mode of communication of his time. The oral performance of his works is suggested both by the pragmatics of the publication of literary texts in the classical period and by his original role as a Sokratic dialogue-writer and the creator of (...) a fourth dramatic genre. Support comes from a number of pieces of evidence, from a statue of Sokrates in the Academy to a mosaic of Sokrates in Mytilene, which point to a centuries-old tradition of treating the dialogues in the context of performance literature and testify to the significance of the image of 'Plato the prose dramatist' for his original and subsequent audiences. (shrink)

There are few contemporary thinkers in the tradition of American pragmatism as prolific or as creative as Richard Shusterman. His thought and work range from analytic aesthetics to political philosophy, from ethics to the importance of bodily habits in modern society. The volume edited by Dorota Koczanowicz and Wojciech Malecki highlights the remarkable international reception of Shusterman’s ideas. The majority of the contributors to this volume are Polish academics, a fact that stems from its origin in a 2008 (...) conference in Poland on Shusterman’s work. A few additional essays were solicited from scholars in the United States and other parts of Europe to round out the diversity of this collection’s offerings. .. (shrink)

The article presents the problem of dealing with the pestilence on the territory of the old Republic of Poland, with particular focus on the Żywiec County in the 16th to 8th century. The paper attempts to answer the questions of how the medics of that time dealt with epidemics, what actions were taken by ordinary people for whom the raging plague was often the result of the interference of demonic forces, and finally, what preventive measures against the plague were proposed (...) to the faithful by the Church. The source for the considerations is the Chronografia albo Dziejopis żywiecki [Chronography or the Żywiec Chronicle], the account of history of the town of Żywiec and the surrounding area covering the years 1400–1728, written by the mayor, Andrzej Komoniecki. The Chronicle brings back an extraordinarily colorful picture of old customs, beliefs and superstitions, as well as paramedical practices, which to our contemporary cultural sensitivity may appear bizarre, gruesome and terrifying. In preparing the article, the author also used extensive literature, primarily in the history of medicine.Among the research methods used in the study, it is worth mentioning, first of all: the explicative method, the method of document research, the method of analysis and criticism of sources, the method of cultural analysis and the method of stylistic-rhetorical analysis. In contemporary socio-cultural reality, the reading of the Chronografia takes on new meanings. In the context of the pandemic that struck the world in the 21st century, the extremely accurate accounts of the Żywiec chronicler seem particularly interesting, as they allow us to compare the attitude of our old Polish ancestors and ourselves in the face of a similar threat. This comparative leads us to believe that some of the measures taken to prevent the spread of infections, such as keeping a distance, limiting the number of participants at funerals, or not letting strangers into towns, are still taken today, while others, such as locking the sick up in huts, setting fire to infected houses, burying plague victims under fences, drowning them in rivers, or desecrating the bodies of the dead suspected of having caused the plague, are now happily forgotten. (shrink)

The early 18th century saw the beginnings of Russian military occupation of Poland, followed by a secret agreement by the neighboring countries, meant to maintain a political status quo in the internal affairs of the Polish-Lithuanian Commonwealth. Then, the dynamics of the economic transformations of the European continent led to a permanent economic deadlock, particularly in the regions with large agricultural areas, such as Poland. Five years from the turn of the 18th century the Polish polity disappeared from (...) the map of Europe for 123 years. Analyzing the relationships and causes of a number of phenomena related to Old Poland is made all the more difficult by some historical processes which blow some ritual events of limited importance out of proportion, such as theadoption of the Constitution of 3 May ; these also glorify the past of the society and the state as a “golden myth” of social harmony in relationships obtaining within the classes and between them. (shrink)

The early 18th century saw the beginnings of Russian military occupation of Poland, followed by a secret agreement by the neighboring countries, meant to maintain a political status quo in the internal affairs of the Polish-Lithuanian Commonwealth. Then, the dynamics of the economic transformations of the European continent led to a permanent economic deadlock, particularly in the regions with large agricultural areas, such as Poland. Five years from the turn of the 18th century the Polish polity disappeared from (...) the map of Europe for 123 years. Analyzing the relationships and causes of a number of phenomena related to Old Poland is made all the more difficult by some historical processes which blow some ritual events of limited importance out of proportion, such as theadoption of the Constitution of 3 May (1791; particularly due to its content being rather reactionary); these also glorify the past of the society and the state as a “golden myth” of social harmony in relationships obtaining within the classes and between them. (shrink)

“Ovid’s Old Age” is a sung poem written by the Polish poet and musician Jacek Kaczmarski which engages with the myth of Ovid’s exile. Kaczmarski’s works were heavily influenced both by classical culture and his experience of political emigration during the communist era. He was famed as an unofficial bard of the opposition movement, but is as yet little known to classical reception scholars. This paper presents Kaczmarski’s creative engagement with Ovid as both a deeply personal reflection on (...) the nature of exile and at the same time a universal commentary on poetry under authoritarian regimes. Our interpretation is based on a thematic analysis of the poem, including landscape, imperialism, displacement, “national” poets in exile, nostalgia, and the force of poetry. We set the reception in its social, political, and biographical context, with reference to several mediating receptions of the Ovidian exile. In Kaczmarski’s poem, the Ovidian voice helps the poet to express the trials of emigration and reveals their effect on his art. It shows how engagements with classical culture may flourish, even while the formal discipline of Classics has been undernourished. We provide a bilingual translation of “Ovid’s Old Age” to foster the understanding of migratory experiences in contemporary poetry and enrich international scholarship on the reception of Ovid with a response from communist Poland. (shrink)

The aim of this article is to familiarize the Polish reader with Poets and the Poetry of Poland, the first extensive anthology of the Polish literature published in English in the United States by Paweł Sobolewski. Particular emphasis was placed on the characteristics of this work, recreating the traces of reception of this work and showing the most important sources on which the author relied. The presented article also points out the importance of Sobolewski’s literary and (...) cultural activity, as he initiated multifaceted, often pioneering projects, becoming one of the leading Polish diaspora activists in the 19th century’s United States, also active in the American community. This paper was partially based on the source materials collected by Mieczysław Haiman at the Polish Museum in America, to which the access was possible thanks to a Kościuszko Foundation scholarship. The historical analysis of the sources based on the descriptive-historical paradigm was adopted as the basic tool. Noteworthy, the Poets and Poetry of Poland was the crown work of Sobolewski’s many-year mission, related to the desire to make Americans familiar with the Polish culture and to present it in representative forms. The anthology, including the translations of the works of 60 authors from the sixteenth to the nineteenth century, gave an insight into the multi- faceted recognition of the biographies and literary works of eminent Polish poets, mostly belonging to the times of Romanticism and the Enlightenment. Despite the strong inspiration from Rycharski’s textbook and other sources, the final shape of the volume was influenced by the editor’s personal experiences, his reading preferences and contact with the authors. The selection of works and the structure of the conducted argument reflect the spirit of affirmation for the great tradition created by the first generation of romantics and the significance of the November Uprising, in which Sobolewski took part. (shrink)

Conventional wisdom has it that Ashkenazic rabbinic culture was far less receptive to non-Jewish learning and worldly disciplines than its Sephardic counterpart. Whereas great Sephardic rabbis such as Maimonides and many others were masters of philosophy, medicine, and science, Ashkenazic rabbis usually restricted their intellectual horizons to talmudic literature and, in the best of cases, “broadened” them to include the Bible and/or Kabbalah. Ashkenazic rabbinic culture was, according to this image, insular and unidimensional.

Despite their tensions and contradictions, the various discourses about globalization reveal a desire to build the space and time of the encounter between worlds and cultures, through the persistence of a dialogue that approximates distances, but respects differences. A considerable part of the political, cultural, urban, linguistic formation of the Western world has given rise to motives and solutions of the institution of the poles and cosmopolis of the Ancient World. On the other hand, mobility can even be considered a (...) characteristic trait of Luso-Brazilian culture, from the Portuguese discoveries and their cultural production, in the first steps of the Jesuit literature in Brazil, especially in José de Anchieta, passing by António Vieira, Machado de Assis, Guimarães Rosa, among others. For this reason, the presence and the different nuances of the theme of mobility and the cosmopolis of old in the reception of Classical Antiquity in the Portuguese language literature are also a central theme of the volume... https://books.google.be/books/about/Cosmópolis.html?id=4C3ODQAAQBAJ&redir_esc=y. (shrink)

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain (...) constructs the world in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011 ). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives. (shrink)

This study contains some comments on the Old Polish Convival gathering in the light of litetary relations. The author pionted a few aspects o f the concept “ convival gathering”, which used to function in the age o f Renaissance and Baroque. Than she carried out the analysis o f Anonim Protestant’s work titled Biesiada o dobrym gospodarzu, setting it in the wide literary and cultural background. She proved that the poet created plebeian inapproval satire, that he was not (...) the uncritical admirer of life in “ the pecelul and jouful county". He also had the tendency to hyperbolize phenomena pictures from the social life. However, everything that was the subject of criticism for the 16th century critics, in the plebeian and epistolary literature o f 17th and 18th century was seen and was presented as the social norm. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed (...) on a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

Purpose. Aging is intricate process of self-transformation in view of involution of body, loss of sexual attractiveness, but at the same time, old age is a time for reconsideration of self-existence in time and in the world within coherence of life sense targets and their realization. Unique individual experience of growing old implemented in Ukrainian literature can complete the data received by gerontology. Moreover gender approach in literary gerontology highlights masculine / feminine phenotypical features of internal reverberating of aging. (...) Theoretical basis. To inquire into existential and psychological problems of aging exemplified in the twentieth-century Ukrainian Lyrics it is seems to be the most effective to employ philosophical and psychological approaches in gerontology, as well as feministic studies on elder female body discrimination, in particular in literature. Originality. This research paves the way to the development of gender and literary dimensions in Ukrainian gerontology and anthropology in general. Some of the existential and psychological problems of aging are revealed on the material of 20th-century Ukrainian poetry. The individual lyric experience of aging in different gender moods is anchored mostly in psychic, mental, sense-life strategies. Conclusions. Among the feminine strategies of aging self-reception there are observation of own elder body with anxiety and fear, its "invisibility", deepened feelings of loneliness, self-estrangement, but also finding the sense of life and soul harmony in own family, offspring. Masculine self-reception of aging deals with ideal spiritual model of Wise old man – more abstract than personal; masculine anxiety is caused by physical bodily declining, not attractiveness, but strength and power loosing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Roman Literature, Gender, and Reception: Domina Illustris ed. by Donald Lateiner, Barbara K. Gold, and Judith PerkinsTeresa RamsbyDonald Lateiner, Barbara K. Gold, and Judith Perkins eds. Roman Literature, Gender, and Reception: Domina Illustris. New York, N.Y.: Routledge, 2013. x + 337 pp. 5 black-and-white photos. Cloth, $125.Although the Festschrift appears less frequently in publication than it once did, the incentive to publish one is (...) heightened when the honoree is someone with such an extensive record of influence upon and participation within the discipline. This is certainly the case with Judith P. Hallett. She has done stalwart service for the profession, having held many titles and leadership positions in the major Classics organizations, and has mentored many young academic professionals, as is attested in several of the chapters of Roman Literature, Gender, and Reception. This collection appropriately reflects the many strands of scholarship with which Prof. Hallett has fruitfully engaged in her career, and a complete list of her works appears in an eight-page list at the end of the volume.The introduction of the book is a short biography entitled “Judith Peller Hallett: An Introduction to a Force of Nature,” by Donald Lateiner and Amy Richlin. The essay describes the significant obstacles for a woman in academics in the 1960s and 1970s. The insensitive remarks of students and professors are hurtful enough to encounter in these pages, but it is revealed here that she lost her funding in her second year of graduate school—not because she had fallen behind in her studies—but because she got married. Despite this, she did complete her Ph.D. and held her first position at Boston University for seven years before landing happily at the University of Maryland. The essay also makes note of her wide-ranging participation in the promotion of women in academia and in literary enterprise: she was a founding member of the Women’s Classical Caucus in 1972. Professor Hallett is a key pioneer in the study of female voices and writings by women in the Roman world, bringing the attention of Classical scholarship in particular to Cornelia, mother of the Gracchi, and the poet Sulpicia. The introduction offers a warm and quite personal tribute to her as scholar, teacher, mentor, and friend.There are nineteen essays in this collection. The table of contents offers [End Page 682] a glimpse of the breadth of Professor Hallett’s interests and the wide circumference of scholarship relevant to her own work. The editors, Donald Lateiner, Barbara K. Gold, and Judith Perkins, have brought together an impressive array of scholars whose works cover a wide variety of perspectives from a variety of periods, genres, and disciplines. Almost all the essays in the book contain a note or a few sentences to honor and thank the dedicatee, and some (such as Richlin’s and Wiseman’s essays) contain a structure of argument built around some facet of Professor Hallett’s lines of inquiry. That said, other than the loose, tripartite structure outlined in the title, there is no essay by the editors to tie the pieces of this collection together, and there seems little momentum within the collection itself besides the personal connections of writers to the dedicatee.The first section on Roman literature contains six essays. Erich Gruen, in “Cicero and the Alien,” challenges the attributions of bigotry or racism to Cicero’s writings on the other. Gruen systematically parses and contextualizes the comments Cicero makes about foreigners and sees a consistent analysis that condemns even the Romans when their actions fall short of what Cicero sees as the key principle of good government, namely, that participation of all members of a polity should be viewed as essential to the health and wellbeing of the state. In “Frigidus Sanguis: Lucretius, Virgil and Death,” Michael Putnam shows that, although Lucretius was ready to discount the power and fear of death through his examination of philosophical principles and scientific phenomena, Vergil was not so convinced. In the Georgics and the Aeneid alike, Vergil poetically expresses the notion that “death ever impends and the fear that it engenders cannot be argued... (shrink)

Although the works of the authors of the Golden Age of Latin Literature play an important formative role for Early Modern philosophers, their influence in Early Modern thought is, nowadays, rarely studied. Trying to bring this topic to light once again and following the seminal works of Kajanto (1979), Proietti (1985) and Akkerman (1985), I will target Spinoza’s Latin sources in order to analyze their place in his philosophy. On those grounds, I will offer an overview of the problems (...) of the reception of classical literature in Early Modernity and then dwell on the particular case of Ovid and Spinoza. The present paper will argue that although Spinoza’s references to Ovid fill a rhetorical purpose as suggested by the existing literature, these mentions have a prior philosophical motivation. That is, the references in the Ethics are not merely illustrative; instead, they indicate that Spinoza acknowledges Ovid’s beliefs about human experiences and deliberately elaborates on Ovid’s view to construct and defend his own theses. To this end, the paper will analyze some citations mapped by Proietti (1985) and add a new one in an attempt to enlarge the list of places and topics that merit further investigation. To conclude, I will point out how the references to Ovid are part of Spinoza’s own defense of the powers of imagination. (shrink)

Michael Polanyi’s philosophical ideas are interpret in various ways worldwide. In Poland the name remains (barely) listed among such philosophers of science as Thomas Kuhn and Paul Feyerabend, whereas English or German authors regard him rather as a theorist of knowledge and place aside Gilbert Ryle, Charles Sanders Peirce, Hans-Georg Gadamer or Maurice Merleau-Ponty. The aim of the paper is to describe typical ways of how Polanyi’s ideas are being currently received and to report his main statements. It is proceeded (...) in four steps. After short biography of the author briefed in first point, second one sums up the content of all his main works, depicting thereby the evolution of his views. In third point receptions published in Polish, English and German literature are screened and discussed, focusing on issues of rationality, personal knowledge, tacit knowledge and tacit knowing. Fourth point states a problem of alleged holism and eclecticism as interpretative characteristics of Polanyi’s philosophical views. (shrink)

The author portrays the reception of Janusz Korczak’s writings and ideas in Israel. She presents Israeli writers both Polish- and Israeli-born, considering their writings as consequence of extensive interest in universal values and universal figure suck as Janusz Korczak.

Usually thoughts are not in isolation but in varing degrees have interrelations with each other. With regard to this historical fact as a classist want to explore the reception of a few medieval Arabic texts and writers of Socrates available teachings about politics.

In 1968, an antisemitic campaign, launched by the Polish government, caused around 13,000 Jews to leave Poland. About 2500 of these refugees came to Denmark, while only about 25 ended up in Norway. The migration to Norway could potentially have reached low hundreds, but as oral-history sources indicate, the Jewish congregation in Oslo turned down a government initiative in 1969. Based on written and oral sources, and secondary literature, I argue that there was an equally important factor differentiating (...) the two countries. Comparing the Danish and Norwegian refugee reception policies, the article finds that Danish authorities and their NGO partners at decisive stages in the process were more proactive than their Norwegian counterparts in their efforts to persuade Polish Jews to come. The most critical point was in June 1969, when Denmark’s embassy in Warsaw started issuing Jews with automatic visas, while Norway retained its existing application process. (shrink)

The article is an attempt to outline a long-neglected issue and relate a general category, usually placed outside the achievements of “traditional” art, to stricte literary phenomena. The first chapter, Na tropach kiczu (On the trail of trash), concentrates on establishing the range of meaning of the term discussed. It is not aimed at constructing an unambiguous definition but at producing a brief outline of the complex character of the issue. The author does not limit herself to a negative understanding (...) of the phenomenon, but also emphasizes its multi-aspect presence in widely termed culture. The second chapter, О kiczu literaturze (On trash in literature), deals with the general ways in which the phenomenon functions and the ways of revealing the phenomenon in literary works and discusses various manifestations of the problem in particular texts. It presents instances of plain trash as well as pieces of writing where trash appears at the level of the world presented and where it is often subject to all sorts of tricks and many kinds of mystification. Chapter third, entitled Kicz opisany i sparodiowany: proza Manueli Gretkowskiej (Trash described and parodied: the prose by Manuela Gretkowska), is directly connected with the issues raised in the title of the article. The subjecl of this part of the publication is the literary output of this contemporary Polish writer, particularly her first three novels: My zdies' emigranty [1992], Tarot paryski (The Paris Tarot) [1993] and Kabaret Metafizyczny (Metaphysical Cabaret) [1994]. However, the aim of this chapter is not to characterize the novels but to comprehensively present the issue of trash in actual practice; that is, to give examples of the problems briefly discussed above. In the prose trash manifests itself at various levels of meaning and is subject to parody, the aim of which is not only to discredit or mock the phenomenon, but also to reach its essence and reveal its unique mechanisms. In the texts discussed here trash seems to lead to parody and parody to trash, which means that both the categories are closely and inseparably linked with each other. This is especially visible at the level of the strategy of reception, which is part ol the novels. The issue is discussed in the fourth chapter, entitled Gdzie jest czytelnik, gdy go nie ma? Strategia odbioru według Manuell Gretkowskiej (Where is the reader when there is no reader? The strategy of reception by Manuela Gretkowska). The last chapter, with the title Wokół postmodernizmu (On postmodernism), is an attempt to summarize the above issues and place them in a wider context. It presents the three novels against a background of the achievements of contemporary literature and art, which are usually regarded as postmodernist, makes them part of aesthetics, using a specific sort of style called camp-art by Susan Sontag, which consists in deliberate staggering on the borderland between bad and good tastes, an apotheosis of exaggeration as well as exhibiting trash perceived as a cultural element, a symptom of “new sensitivity” and an absolutely ambiguous phenomenon. (shrink)

In this essay, I argue that Derrida cannot pursue the question of being/following unless he thinks through the question of sexual difference posed by figures of little girls in philosophical texts and in literature, specifically as posed by Lewis Carroll's Alice whom Derrida references in L'animal que donc je suis. At stake in thinking being after animals after Alice is the thought of an other than fraternal following, a way of being-with and inheriting from (other than human) others that (...) calls for an account of development that is not dictated by a normative autotelic and sacrificial logic. I argue that Derrida's dissociation of himself and his cat from Alice and her cat(s) in L'animal que donc je suis causes him to risk repeating the closed, teleological gestures philosophers like Kant and Hegel perpetuate in their accounts of human development. The more sweeping conclusion towards which this essay points is the claim that the domestication of girls and their subjection to familial fates in narratives and the reduction of development to teleology more generally, require the sacrifice and forgetting of ‘nature’, including animals, so that the fates of girls and ‘nature’ are intertwined in the context of projects of human world-building and home-making. (shrink)

The issues that Foucault raises about reception and reading are certainly part of the contemporary discussion of literature. However, they are not the only issues with which we, as today’s readers, are concerned. Discussions about the role of the author persist and so we continue to have recourse to the notion of authorship.For instance, in her recent book Sexual / Textual Politics , the feminist critic Toril Moi feels called on to return to these twenty-year-old issues in French (...) theory to tell us what it has meant to speak of the author, when she says: “For the patriarchal critic, the author is the source, origin and meaning of the text. If we are to undo this patriarchal practice of authority, we must take one further step and proclaim with Roland Barthes the death of the author.”3In the course of this essay I wish to reopen the question of whether it is advisable to speak of the author, or of what Foucault calls “the author function,” when querying a text, and I wish to reopen it precisely at the site where feminist criticism and post-structuralism are presently engaged in dialogue. Here in particular we might expect that reasons for rejecting author erasure would appear. However, theoretically informed feminist critics have recently found themselves tempted to agree with Barthes, Foucault, and the Edward Said of Beginnings that the authorial presence is best set aside in order to liberate the text for multiple uses.4 4. See Edward W. Said, Beginnings: Intention and Method , p. 162. Cheryl Walker is professor of English and humanities at Scripps College. She is the author of The Nightingale’s Burden: Women Poets and American Culture before 1900 and Masks Outrageous and Austere: Culture, Psyche, and Persona in Modern Women Poets . She is currently editing an anthology of nineteenth-century women poets and a book of essays about feminist criticism in the wake of post-structuralism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Materialism and Aesthetics: Paul de Man’s Aesthetic IdeologyJonathan Loesberg (bio)Declaring theories dead is an old and venerable method of declaring an end to our need to read them. As a result, theories die these days with dizzying frequency. It took most of the nineteenth century before Benedetto Croce declared what was dead in Hegel, and at least he intended to recuperate what he declared to be living. At the (...) 1996 MLA convention, in the space of only a couple of sessions, I heard both new historicism and cultural studies declared dead. Compared to Croce’s somewhat resigned attitude to Hegel’s mature demise, one must mourn the first theory, cut down suddenly in its vibrant adolescence, and the absolute infant mortality of the second. But surely the deadest of all dead theories is deconstruction. Indeed deconstruction must be dead, since its death has been declared with roughly the same frequency with which old vampire movies declare the death of the protagonist, who we know will nevertheless dependably arise for the next installment. Paul de Man, in particular, considering the regularity with which he is declared dead, threatens to become our most undead theorist. Certainly, he has published far more prolifically since his seeming demise in 1983 than he did prior to it. He made a prominent postmortem appearance when his World War II collaborationist writing emerged, and for a period, it became all but impossible to write about his later literary theoretical work without addressing these fifty-year-old newspaper articles. 1 By 1990, though, one could see de Man’s death reoccurring, though rather ambiguously. Thus in two articles written only a year apart in Diacritics, the same author first declared that de Man’s work was available “in near entirety” and that “substantial progress has been made in [its] interpretation” [Redfield, “Humanizing De Man” 35] and then later opened a second essay arguing that the theories had “not become any easier to assimilate” [Redfield, “De Man, Schiller, and the Politics of Reception” 50]. And now, with the doubly posthumous appearance of Aesthetic Ideology, the assured certification of deconstruction’s death occurs again. 2 For instance, a review in the New York Times, warning off those readers who might be attracted to the book because of the “lurid glow 8cast by the opportunistic anti-Semitism of the wartime years,” declares not merely de Manian deconstruction but the aesthetic theories of Kant and Hegel to be without current [End Page 87] interest. 3 And Lingua Franca, in a piece reporting the end of Minnesota’s Theory and History of Literature series (Aesthetic Ideology and Theodor Adorno’s Aesthetic Theory mark the last books of the series), sums up this last work in the series and possibly the last work of de Man this way: “the book also reminds us—in its pristinely linguistic approach to ‘great’ literary and philosophical texts—that the moment of unadulterated deconstruction has long since passed.” 4 Astonishingly, Minnesota Press sent this death certificate to me as part of the publicity packet it sends to reviewers.Of course theories die differently. Since their extinction, putative or actual, is not human, we may declare their death joyously and without guilt, or work toward their revivification without messy transactions in graveyards. They die so readily and return without melodramatics because they lack a real biological limit to which we attach their significance. When we see their significance, we declare them alive. Either not seeing their significance or wishing they had none, we as easily sentence them to death. Whether or not de Man’s theories of reading or language are living or dead, to this process of declaring theoretical death and life, Aesthetic Ideology relates directly. In the first instance, it does so in its status as a published object. In a certain sense, it is, as we have seen, dead on arrival. Its central essays on Kant and Hegel—“Phenomenality and Materialism in Kant,” “Sign and Symbol in Hegel’s Aesthetics,” and “Hegel on the Sublime”—have already been published and have received commentary as part of a larger coherent work on aesthetics that has long been announced. Even the previously unpublished essays—“Kant... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 119-122 [Access article in PDF] Mary Depew and Dirk Obbink, eds. Matrices of Genre: Authors, Canons, and Society. Center for Hellenic Studies Colloquia 4. Cambridge, Mass.: Harvard University Press, 2000. vi + 346 pp. Cloth, $50. The present collection of essays, which originated as a colloquium at the Center for Hellenic Studies, starts, in the words of editor and organizer Dirk Obbink, from (...) the premise that "genre is a conceptual orienting device that suggests to the hearer the sort of receptorial conditions in which a fictive discourse might have been delivered." Obbink goes on to note that, as the discussion at the colloquium developed, "a more text-based conception of authorial performance" began to emerge (6). This evolution in turn parallels the movement in the volume from an initial discussion of archaic and classical Greek genres to those of Hellenistic poetry and its Roman imitators. One can only applaud this attempt to provide a more sophisticated framework for the reading and reception of ancient literature. As befits the stature of the sponsoring institution and of the many distinguished participants, all the contributions are of an unquestionable competence. In the end, however, it is unclear that we have achieved a more complex, refined, or problematized concept of genre than that with which we began. Indeed, with a few exceptions, most of the modern debates about the concept of genre are either ignored or cited in passing rather than directly engaged. Nonetheless, there are a number of interesting and important individual papers in this volume and only a few that disappoint.Among the most praiseworthy is Eric Csapo's "From Aristophanes to Menander? Genre Transformation in Greek Comedy." Csapo takes dead aim at the traditional narrative of the evolution from a politically engaged Old Comedy of ribald invective to an apolitical plot-centered New Comedy typified by Menander and his Roman epigones. Csapo's argument is that this narrative was manufactured, not through the accidents of preservation, but through a deliberate selection and canonization of texts by early Peripatetic critics and scholars. When we characterize Old Comedy as being typified by Aristophanes' carnivalesque assaults on the Athenian political establishment and then point to his plays as proof, we are not only engaging in circular reasoning, we are also treading a path that has been deliberately and tendentiously drawn for us. Thus, while the traditional narrative depicts a linear evolution from iambic to Old Comedy to New Comedy, which is portrayed as a movement from the personal and the topical to the universal and the apolitical, Aristotle himself, as Csapo notes (117), admits that Crates, Aristophanes' predecessor, abandoned the iambic and began to compose generalizing plots (Po. 1449b7-8). In short, plots of the kind deemed [End Page 119] typical of New Comedy are to be found at the very beginning of the comic form. By the same token, we have evidence of political comedy surviving well past Aristophanes' supposed invention of the Middle Comic style in the Plutus. Indeed, the last example of an Athenian comedy of political invective is Demetrius' Areopagite, dating from circa 294 B.C.E.Csapo's argument, of course, is not a simpleminded refusal to acknowledge change but rather an attempt to rethink the historical evolution of the comic genre outside the bounds of a narrow, teleological narrative. Genres are always complex negotiations between competing conceptions of the same form by different producers and consumers. At various times, for various intrinsic and extrinsic reasons, different versions of the same form will be ascendant or fading into eclipse. But it is never a question of an essence that either unfolds its fullness over time or declines from a single ideal instantiation.Less revolutionary but equally persuasive is Joseph W. Day's "Epigram and Reader: Generic Force as (Re-)Activation of Ritual." Day examines the relation between dedicatory epigrams on cult statues and their ritual contexts by arguing that the dedicatory genre is essentially performative rather than constative. These epigrams do their social work by activating a performative context in the mind of the reader... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Pleasures of FictionDenis DuttonHuman Beings Expend staggering amounts of time and resources on creating and experiencing art and entertainment—music, dancing, and static visual arts. Of all of the arts, however, it is the category of fictional story-telling that across the globe today is the most intense focus of what amounts to a virtual human addiction. A recent government study in Britain showed that if you add together annual (...) attendances in plays and cinema with hours watching television drama, the average Briton spends roughly 6% of all waking life watching dramatic performances. And that figure does not even include books and magazines: further vast numbers of hours spent reading short stories, bodice-rippers, mysteries, and thrillers, as well as so-called serious fictions, old and new.The origins of this obsession with comic and dramatic fictions are lost in remote prehistory, as lost as the origins of language itself. But like language, we know the obsession with fiction is universal: stories told, read, and dramatically or poetically performed are independently invented in all known cultures, literate or not, having advanced technologies or not. Wherever printing arrives, it is used to reproduce fictions. Whenever television appears in the world, soap operas soon show up on the schedule. Both the forms that fiction takes and the ideas, types of characters, and kinds of conflict that make up its content can be shown to be strikingly similar across cultures. It has specialist practitioners—rhapsodes, novelists, playwrights, actors—and is governed both informally with stylistic conventions and sometimes formally—for example, by censorship laws. A love of fiction is as universal as governance, marriage, jokes, religion, and the incest taboo. [End Page 453]The question for any general aesthetics is: Why? Joseph Carroll is a literary theorist who has applied his probing mind over the last decade to the origins, nature, and functions of literary experience. His new collection of essays and reviews, Literary Darwinism: Evolution, Human Nature, and Literature (Routledge, $85.00 boards, $23.95 paper) looks at literature and literary theory through the lens of evolutionary psychology. At the same time, Carroll's eye is that of an extremely perceptive literary critic. In fact, I would judge him to be one of the most acute and knowledgeable readers of fiction I've ever encountered. It should not come as a surprise, therefore, that he is sometimes dubious, or even scathing, about evolutionary explanations of literature that have been offered up by writers whose grasp of psychology exceeds, in his opinion, their command of high literature. His complaints, however, are not to the fundamental notion that evolution by natural and sexual selection have made human beings into the story-loving animals they have become: his adjustments are intended to increase the accuracy and usefulness of Darwin's revolution. However critical he is of evolutionary psychologists, Carroll remains a Darwinian through and through.Carroll holds that the only way to attain a general theory of literature is through an account of human nature that builds from the ground up, from the most basic conditions for the evolution of the human species. A Darwinian literary theory first needs a Darwinian psychology. Once we have a basic Darwinian psychology in place, we can see that the narrative proclivities of human beings, far from being an incidental by-product of the evolved mind, are central to some of its most human functions. The structures of basic motives and dispositions are what would be appropriate for a species, as Carroll describes it, that "is highly social and mildly polygynous, that displays concealed ovulation, continuous female receptivity, and postmenopausal life expectancy corresponding to a uniquely extended period of childhood development, that has extraordinary aptitudes for technology, that has developed language and the capacity for peering into the minds of its conspecifics, and that displays a unique disposition for fabricating and consuming aesthetic and imaginative artifacts." Such a list alone, he contends, would make it impossible to imagine a blank-slate view of the mind, in which the mind evolves in a vacuum, goes onto produce culture, which then gives back to the mind all content and structure.Some of the mental processes that grow from... (shrink)

Lewis was not, and is not, very popular in the academy. I think there are three reasons.First, he did not stick to his subject, which was medieval and Renaissance literature. He wrote highly successful children's books, theological works, and articles accessible to nonspecialists, and was an acclaimed broadcaster. All this allowed his critics to suggest that he was not a proper academic, because proper academics do not throw their nets so wide.Second, he was good at everything he did (except (...) perhaps some areas of philosophy: he was famously bested by Elizabeth Anscombe when he ventured onto her home ground). This was perhaps the most infuriating thing about him. The justification for academic superspecialization is that one cannot do more than one thing really well. But Lewis did. He was a better Renaissance scholar than those who criticized him, moaned about him in the Oxford cloisters, and blackballed him for appointments. He is relentlessly readable; therefore (said his detractors) his scholarship must be shoddy.Lewis infuriates me too. Often, when I think I have had an original thought in some domain a million miles from Renaissance literature, I discover not only that Lewis had had that thought already, but had explicated it, seeing angles I never noticed, and more often than not he had exploded it, using a tenth of the words I used, and all in devastatingly simple prose that would entertain and illuminate the most uninterested plumber.And third, of course, he was a Christian, which was then becoming an unforgivable sin, as it remains now in the humanities (though not the physical sciences or mathematics). The usual (stated) objection to academic Christians is that their theological commitment precludes objectivity, but Lewis's academic writing (notably his English Literature in the Sixteenth Century: Excluding Drama [1954]) was so good that that indictment could not stick, and his opponents descended into incoherent fulmination about superannuated paradigms.These reasons help to explain the chilly reception (or, more often, nonreception) by self-billed “serious thinkers” of Lewis's “space trilogy”: Out of the Silent Planet, Perelandra, and That Hideous Strength (hereafter THS). In relation to THS there is another reason: the novel is about them. No, about us. Lewis's view of us is just too keen, his diagnosis too alarming.The main concerns of THS are dehumanization, the role of institutions in that dehumanization, and the desire of individuals to be part of an esoteric circle. More broadly, it concerns the nature of evil. Its debt to the Divine Comedy and to Charles Williams, Lewis's fellow Inkling, are clear.The central character is a young academic, Mark Studdock. We all know him. His education had been “neither scientific nor classical—merely ‘Modern.’ That left him pathetically manipulable. The severities both of abstraction and of high human tradition had passed him by: and he had neither peasant shrewdness nor aristocratic honour.” Studdock was “a man of straw, a glib examinee in subjects that require no exact knowledge.” He stood for nothing; he weighed nothing.Humans are not supposed to be weightless. We will do anything to convince ourselves that we have mass. Many of our strategies are counterproductive. Some are disastrous and lead to dissolution. Studdock's strategy is one of the commonest and most catastrophic: he tries to get to the center of things—to the “Inner Ring” whose geography is described by Lewis in his 1944 lecture (and later essay) of that name. At some level, at least occasionally, Studdock knows the stupidity of this ambition, but he closes his eyes and his mind. And he begins to be used by forces far greater than any he had dreamed of.The book opens with a merciless (and horribly entertaining) account of academic politics. Read it and cringe in recognition: the mechanics of toadyism; the devices for getting your own way with a committee (put the real business in coded form at the end of an agenda, to be dealt with on a hot day after lunch); infuse everything with an appeal to self-interest, but never put it quite like that, for fear of awakening long-dormant altruism. Obfuscate: do not call the sale of an ancient woodland in which Merlin's body lies “the sale of Bragdon Wood” but the sale of “the area coloured pink on the plan.” Learn to talk like the bursar of Studdock's college, for each of his sentences was “a model of lucidity: and if his hearers found the gist of his whole statement less clear than the parts, that may have been their fault.” As a manual for getting your own way in institutions, The Prince is artless and benign beside THS.Studdock becomes a pawn in a big and diabolical game. A vast organization, the National Institute for Coordinated Experiments, known, of course, as “NICE” (never underestimate the importance of an acronym), which turns out to be the instrument of dark supernatural forces, is becoming a state within a state. It is unaccountable. That is its tagline, indeed: it will be free of the red tape that inhibits the research of more conventional institutions. And who can define with sufficient exactitude the difference in principle between tedious administrative red tape and moral stricture? If you are in with the NICE, anything goes.The NICE's project is the unmaking of everything that is quintessentially human and, eventually, everything that is biological. Life itself is just too unhygienic. Beauty is a joke. Sentiment a delusion. Love merely a result of chemical interactions in the brain. Nothing signifies.The NICE has a handful of opponents—a raggedy bunch (including a bear) under the direction of Ransom, who has traveled outside planet Earth in the previous two books in the trilogy. The company, it turns out, is the remnant of the old Arthurian kingdom of Logres, which has always been in tension, if not war, with the modern kingdom of Britain: “Haven't you noticed that we are two countries? After every Arthur, a Mordred; behind every Milton, a Cromwell: a nation of poets, a nation of shopkeepers: the home of Sidney—and of Cecil Rhodes.” They recruit Studdock's wife, Jane, who can spy clairvoyantly on the NICE, and then a revived Merlin comes from his tomb to their aid.THS is strong meat. Many will balk at its supernaturalism, and perhaps in particular its complementarian view of the relationship between the sexes. But hear Lewis out: you might not agree with him, but he is always interesting. When I read THS thirty years ago, I thought it a ripping yarn. It still is. But now I see it as prescient, prophetic, and profoundly important. It should be on every university reading list, for every subject, and no one should be allowed to hold any kind of public office until they have shown that they have assimilated its lessons. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:G. E STOUT AND THE THEORY OF DESCRIPTIONS ALASDAIR URQUHART Philosophy / Toronto Toronto, ON, Canada M5S rAr R ussell's famous essay "On Denoting" is rightly considered one of the fundamental sources of modern analytic philosophy. The literature of commentary and exegesis devoted to this one short paper is vast. The present note discusses the background ~6 the writing of the paper, and some questions connected with its (...) reception.l I. HOW "ON DENOTING" WAS WRITTEN We know more about the writing of OD than about most of the other short works from the early period of Russell's career. Russell chronicled his progress on the paper very clearly in his manuscripts and correspondence. The first indication ofthe new theory is in the unpublished manuscript "On Fundamentals" (Papers 4: 359-413). This manuscript is dated 1905, to which the note "Begun June 7" has been added; a marginal note on the first leafof the manuscript reads: "Pp. 18ff. contain the reasons for the new theory ofdenoting." This note refers to the series of numbered paragraphs beginning on folio 18, in which the new theory gradually emerges (Papers 4: 369£). On 13 June, Russell wrote Lucy Donnelly about his newideas, and presented her with the famous puzzle about George IV and the author of waverley (Auto. I: 177). The article itselfwas written at the end ofJuly 1905, under peculiarly trying circumstances. On 23 July 1905, Russell wrote in a letter to Louis 1 I would like to thank the Editor ofRussellfor very useful suggestions and for supplying historical information, and Sheila Turcon for correcting my transcription of Stout's letter. russell: the Journal of the Bertrand Russdl Archives McMaster University Library Press n.s. 14 (wimer 1994-95): 163-71 ism 0036-01631 164 ALASDAIR URQUHART Couturat: "As for existence, I shall be able to explain my opinion better when I have written my article (On Denoting Phrases'." On 3August he reported to Lucy Donnelly that she would be able to find the answer to the puzzle in his new paper: "I have written an article on George N for Mind, which will appear in due course; there you will find the (answer' " (Auto. I: 178). We can conclude from this that the article was written within a twelve-day period towards the end oOuly. This is not surprising in itself, given Russell's facility in writing. It becomes surprising if we put it together with the other events in Russell's life at that time. On Tuesday 25 July, one of Russell's closest friends, Theodore Llewelyn Davies, drowned in a pool on the fells near Kirkby Lonsdale, where his father was vicar. He had apparently struck his head on diving in, while on his way to the railway station. He was thirty-four years old. His brother Crompton, who had been particularly close to Theodore, sent the news to Russell in a note dated 27 July 1905 (Auto. 1: 195)· Theodore and Crompton were among the nrst friends Russell made at Cambridge; his reminiscences of the two brothers overflow with admiration and affection (Auto. I: 57-63). Russell had intended to visit Ireland for two weeks with AIys, where they had planned a visit with the Monteagles. 2 On 27 July, Russell wrote in a letter to Louis Couturat that he and Alys would be in Ireland from 29 July to 10 August. The news ofTheodore's death altered these plans. After accompanying AIys to Ireland, Russell returned to London to be·with Crompton. In his note of 27July, Crompton had told Russell: "I shall be back in London on Monday. Let me see you some time soon." On Tuesday, 1 August, Russell wrote again to Couturat from I, Barton Street,3 the quiet out-of-the-way street near Westminster Abbey where Crompton had lived with Theodore: "I just received your letter and postcard (in 1 Thomas Spring-Rice (1849-1926), 2nd Baron Monteagle, had literary and political interests and was the brother-in-law ofthe historian, Sir George Prothero, whom Russdl also knew. The next year The Limerick Chronicle for 28 August noted the Russells' presence at a house party given by the Monteagles and attended by... (shrink)

Clement of Alexandria’s Quis dives salvetur is the first text of Christian literature expressly devoted to the problem of the relationship between wealth and poverty. Clement’s discourse clarifies how he considers the Scriptures as the basis of all pedagogy, inasmuch as they are normative in themselves and esteemed for the absolute value in them that transcends any contingency related to temporal, cultural, historical or sociological situations. This article offers a study of the reception of the Old Testament and (...) New Testament in Clement’s work, focusing on a particular scriptural text, Mk 10:17-31, that is primary and foundational for all of his thought. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books 1–5Stephen M. WheelerWilliam S. Anderson, ed. Ovid’s Metamorphoses: Books 1–5. With introduction and commentary. Norman and London: University of Oklahoma Press, 1997. vi 1 578 pp. Cloth $49.95; paper, $21.95.For those who labor in the vineyard of Ovid’s Metamorphoses, the vintage of 1997 should be a memorable one. One of the year’s most notable releases is Anderson’s second installment to his Oklahoma text and commentary. The first volume—introduction, (...) text, and commentary to books 6–10—appeared hysteron proteron in 1972. The new edition, covering books 1–5, resembles its older sibling in format and conception but also benefits from developments in Ovidian scholarship since 1972. The introduction follows the same basic framework as its predecessor in surveying Ovid’s career, subsequent reception of the Metamorphoses, plan and tone of the poem, poet at work, manuscript tradition, and selected bibliography. But the contents of each section are [End Page 170] updated, and exemplary discussions are recast to reflect the material of books 1–5. The Latin text is, of course, different too. Now Anderson reprints, without critical apparatus, the sixth edition of his Ovidius, Metamorphoses (Stuttgart and Leipzig: B. G. Teubner, 1993), which, incidentally, incorporates illa instead of illas at 1.2. After the text come the notes, which run to 420 pages. The average of one page of commentary per ten lines of poetry equals the rate of the earlier volume. This may seem a lot at first sight, especially given the compact format of the pages. Yet if one compares Anderson’s ratio of commentary to text with that of other commentaries on individual books of the Metamorphoses, there is little significant difference (Bömer is the exception!). Finally, the volume is equipped with a ten-page index.The format of the new commentary is more reader-friendly than the old. In addition to the headings (in capitals) for major episodes, Anderson now inserts subheadings (in italics) for individual scenes, which help to articulate what he takes to be the structural units within each book. Moreover, he introduces each book with a survey of its contents, and he prefaces each myth or scene with background information about sources, literary models, and Ovid’s own innovations. The notes themselves offer a reasonably current and welcome alternative to the existing English-language commentaries that cover books 1–5: A. G. Lee (book 1); J. Moore-Blunt (book 2); A. A. R. Henderson (book 3); and the briefer notes of D. E. Hill to books 1–4 and 5–8. Of these, the most closely comparable with Anderson are the school commentaries of Lee and Henderson. While Anderson cites Lee frequently in his comments on book 1, the differences of approach and interpretation between the two are so great that there is little danger of duplication and plenty of room for dialogue. Henderson’s commentary, which receives no notice from Anderson, is pitched primarily to the sixth-form pupil and first-year university student. Anderson aims a little higher: high enough indeed that he keeps his reader abreast of Bömer’s commentary. But Anderson generally refrains from citing secondary literature, even though his views are clearly informed by the work of scholars such as Bernbeck, Otis, Segal, Galinsky, and Solodow.Nowhere in the new edition does Anderson actually state who his audience is. Perhaps it goes without saying that such a commentary is directed toward students. But perceptive readers will realize that Anderson engages a multiple audience that includes teachers and scholars as well. It may therefore be helpful to spell out what level of competence Anderson expects of his readers. In the first place, thorough familiarity with Latin morphology is required, because Anderson provides few prompts. Naturally, rare verb forms receive explanation, and odd items, such as Greek declensional endings, are clarified. If Anderson is sparing in morphological assistance, he is quite generous in matters of syntax, regularly explaining case usage and complex verbal constructions. He also draws attention to characteristic syntactic features of Ovid’s style, such as the pluperfect tense to set a scene, participial subordination, or the relative [End Page 171] clause placed before... (shrink)

This article builds on the increasing recognition of divine communication and God’s plan as a central concept in the prologue to the Fourth gospel. A philological analysis reveals parallel structures with an emphasis on divine communication in which the Logos takes a central part. These should be understood within the context of this gospel, but have their roots in the Old Testament. The Septuagint offers parallel concepts, particularly in its wisdom literature. Apart from these derivative parallels, the revelatory concepts (...) and terminology involved in John 1:1–18, also find functional parallels in the historical environment of the fourth gospel. They share similarities with the role of Apollo Phoebus in the traditionally assigned geographical context of the region of Ephesus in Asia Minor. This functional parallelism served the reception of John’s biblical message in a Greco-Roman cultural setting.Keywords: John's Gospel; Apollo Phoebus; Logos; Revelation; Ephesus. (shrink)

This paper explores the relationship between Partonopeus de Blois and other contemporary Old French texts. Among the numerous reworkings of literary material recognisable within the narrative, the author focuses on how the narrator of the Old French text rewrites elements from the romances of antiquity, particularly material related to Thebes and to the story of Troy. He argues that the skillful integration of these elements and the inherent intertextuality of the structure of the romance informs our reception of the (...) text, and contributes to a complex reading of what is a superbly-architectured piece of work. He goes on to argue that it is only by understanding the subtle nuances of the literary interplay within Partonopeus de Blois that we will be able to further our knowledge of the place held by this particular romance in the pantheon of medieval literature. (shrink)

The cognitive value of film art. The implications of Stanisław Lem’s philosophy of literatureSince the mid-twentieth century, audiovisuality has taken over the means of communication. Progress in technology has contributed to the dynamic development of media such as film and television. Today we can safely admit that life is under the pressure of audiovisual media. The film is an element of common experience, part of everyday life. The question is whether it is also cognitively valuable? Can a movie be a (...) model that helps you to know yourself, your place in the world, relationships with others? And if so, how much can you trust such knowledge? The aim of this article is to reflect on the cognitive value of films, in the light of Stanislaw Lem’s theory of the reception of literature. The author compares a literary work to a model that represents a fragment or the whole of reality. Modeling is a design that lets us look at old problems from a new perspective or sheds light on the issues we did not realize before. An artwork becomes a model when, over time, it is recognized as outstanding by the public. Then the presented vision of the world begins to function as cognitively valuable. However, this is largely a random process. Similarly, it can be applied to a movie. The use of Lem’s theory for the analysis of literature and film aims to illustrate the importance of cognitive and culture-creating role of these arts. (shrink)