In a rich blend of intellectual hisory and philosophy, the authors present the major themes and personages that figure in both the theory of and history of history. They survey the questions and problems, concerns and motivations that have been the lot of the historian from the beginning. --.

An examination of its employment in ethical disputes reveals that the generalization argument (the question, 'What if everyone did x?') is not based upon utilitarian calculation and that its effectiveness depends upon the existence of institutions contrary to the ones it hypothesizes. The basis of moral valuation, therefore, remains in the actual institutions presupposed by the generalization argument rather than in the argument itself which is used exclusively against persons whose acts violate current institutional rules. It seeks to discourage such (...) acts by showing the un-desirability of institutions under which such acts would be permissible. (shrink)

An international group of distinguished scholars brings a variety of resources to bear on the major issues in the study and teaching of mathematics, and on the problem of understanding mathematics as a cultural and social phenomenon. All are guided by the notion that our understanding of mathematical knowledge must be grounded in and reflect the realities of mathematical practice. Chapters on the philosophy of mathematics illustrate the growing influence of a pragmatic view in a field traditionally dominated by platonic (...) perspectives. In a section on mathematics, politics, and pedagogy, the emphasis is on politics and values in mathematics education. Issues addressed include gender and mathematics, applied mathematics and social concerns, and the reflective and dialogical nature of mathematical knowledge. The concluding section deals with the history and sociology of mathematics, and with mathematics and social change. Contributors include Philip J. Davis, Helga Jungwirth, Nel Noddings, Yehuda Rav, Michael D. Resnik, Ole Skovsmose, and Thomas Tymoczko. (shrink)

The essays in this book, by a variety of leading Augustine scholars, examine not only Augustine's multifaceted philosophy and its relation to his epoch-making theology, but also his practice as a philosopher, as well as his relation to other philosophers both before and after him. Thus the collection shows that Augustine's philosophy remains an influence and a provocation in a wide variety of settings today.

A tension runs through the lucidly militant work of Alain Badiou. It takes various shapes, such as the tension between the rigorous ontology of mathematics and the structures of narrative, or between fiction and argument, image and formula, poem and matheme, or Anglo-American analytic rationalism and continental lyricism. However, the shape of that tension that interests me most is between the triumphant banishing of theology via mathematics and its perpetual recurrence in his thought. For all Badiou’s efforts to dismiss theology (...) as the philosophy of the ‘One’, for all his efforts to read Pascal, Kierkegaard or Paul as exemplars of the ‘event’ without buying into the belief system they purvey, for all his dismissals of the pious myth or fabulous core of Christianity, it seems as though he cannot avoid theology. The question then is whether this philosopher who is ‘rarely suspected of harbouring Christian zeal’ may actually provide an insight or two into theology. The texts on which I base my reading are Being an Event, the short book on Paul, Logiques des Mondes, especially the section on Kierkegaard, and parts of the disparate collection, Theoretical Writings. A rather formidable collection, to say the least. In what follows I begin by considering the absolute blockage of theology in Badiou’s philosophy, specifically through his banishment of the One. And yet, despite his best efforts to seal his system against theology, it has an uncanny knack of returning. I am particularly interested in the way theology has a ghostly presence in what appears for all the world like a fifth ‘procedure of truth’ (alongside the four pillars of art, science, politics and love), in his enthusiastic affirmations of Pascal and Kierkegaard, and the play between fable and truth in his engagement with the apostle Paul. (shrink)

We assess St. Paul's account of kenōsis in Philippians 2:5–8 from a neurophenomenological horizon. We argue that kenōsis is not primarily a unique event but belongs to a class of experiences that could be called kenotic and are, at least in principle, to some degree accessible to all human beings. These experiences can be well analyzed, making use of both a phenomenological approach and the cognitive neuroscience of altered states of consciousness. We argue that kenotic experiences are ecstatic, in (...) that they involve—both phenomenologically and neurologically—one's "stepping out of" his/her self and history. This seemingly impossible task of stepping out has led to the understanding of kenōsis as a unique event. We conclude that kenotic experiences are continuous with common, everyday experiences of the self's intimate communion with everything that exists. This means that kenotic Christology does not necessarily have to rest solely on the scriptures but can also be arrived at by way of the worldly experiences of actual, living persons. (shrink)

Lässt sich Kunst definieren? Von vielen analytischen Kunstphilosophen wird das bezweifelt. Für sie ist der Kunstbegriff ein “offener Begriff”, der auf unterschiedlichste Phänomene angewandt werden kann, selbst wenn diese keine gemeinsame Eigenschaft miteinander verbindet. Wer danach fragt, was Kunst denn eigentlich sei, verkennt in ihren Augen das Wesen des Kunstbegriffs. Träfe diese Auffassung zu, wären philosophische Theorien über das Wesen der Kunst bloße Spekulation. Der Streit um den Kunstbegriff, der bis heute nicht beigelegt ist, ist deshalb ein Streit um die (...) Grundlagen und die Möglichkeit einer Ästhetik der Kunst. Der Band stellt die wichtigsten Protagonisten dieses Streits in Aufsätzen vor, die hier größtenteils zum ersten Mal in deutscher Übersetzung vorliegen. Er enthält Beiträge von Berys Gaut, William E. Kennick, Maurice Mandelbaum, Robert J. Matthews, Robert Stecker, Morris Weitz und Paul Ziff. (shrink)

Set in the immediate context of the recent UN conference on climate change in Glasgow and the sudden emergence of the variant, Omicron, this paper involves discussion of the present state of discourse concerning globalization in the broadest sense. It begins by contrasting the approaches and substance of two specific books: Globalization Matters by Manfred Steger and Paul James and Grave New World by Stephen King. The difference between the two books is brought into sharp relief by the economism (...) of the book by King and the multidimensionality of the volume by Steger and James. More generally, these recent books are chosen because they are almost complete opposites, the central difference being the adamant optimism about globalization in Globalization Matters and the extreme pessimism and negativity in Grave New World. It is also very important to emphasize the wide ranging and penetrative character of Globalization Matters compared with the latter. Also invoked is recent and very significant work by Dipesh Chakrabarty. Two themes are claimed here to be neglected, namely global history and the concept of glocalization. Attention is also drawn to the crucial omission of the fact that much of globalization talk began in the fields of religious study and theology. The disparity between these two latter fields of study and mainstream social science and conventional history is given attention. The contributions of other crucial commentators to the overall debate, Lovelock and Latour, are also invoked. The focus by Steger and James, on the one hand, and Chakrabarty on the other, on the Anthropocene is given attention. Overall, the article concludes by placing the global-local problematic at the centre of what is called here globalization discourse. (shrink)

One of the remarkable developments in the contemporary study of Paul is the dramatic interest in his thought amongst European philosophers. This collection of insights from leading scholars makes accessible a discussion often elusive to those not already conversant in the categories of European philosophy"--Publisher description.

De invloed van het denken van Paul Moyaert is zeer groot. Daarom wil 'Orde scheppen' hulde brengen aan deze filosoof en zijn intellectuele bezetenheid. De thematische diversiteit van het boek weerspiegelt de biodiversiteit van Moyaerts eigen werk, die met enig geweld tot drie grote thema's of domeinen kan worden herleid: wijsgerige antropologie, psychopathologie en religie. Onderwerpen zijn: het symbolische, de liefde, uchronie, de echtheid van beelden, en poëzie; de afstemming bij jongvolwassenen met een meervoudige handicap, homoseksualiteit bij vrouwelijke adolescenten, (...) en Kant en Foucault; en ten slotte de hardnekkigheid van religie, christelijke ascese, de vele gezichten van Kierkegaard, Franciscus van Assisi, en de oorlogsdagboeken van Hans Keilson. (shrink)

_Criticism and Conviction_ offers a rare opportunity to share personally in the intellectual life and journey of the eminent philosopher Paul Ricoeur. Internationally known for his influential works in hermeneutics, theology, psychoanalysis, and aesthetics, until now, Ricoeur has been conspicuously silent on the subject of himself. In this book--a conversation about his life and work with François Azouvi and Marc de Launay--Ricoeur reflects on a variety of philosophical, social, religious, and cultural topics, from the paradoxes of political power to (...) the relationship between life and art, and life and death. In the first of eight conversations, Ricoeur traces the trajectory of his life, recounting the origins of his convictions and the development of his intellect against the tragic events of the twentieth century. Declaring himself the "son of a victim of the First World War," Ricoeur, an orphan, sketches his early years in the house of stern but loving grandparents, and the molding of his intellect under the tutelage of Roland Dalbiez, Gabriel Marcel, and André Philip. Ricoeur tells the intriguing story of his capture and five-year imprisonment by the Germans during World War II, where he and his compatriots fashioned an intellectual life complete with a library and lectures, and where he, amazingly, was able to continue his dissertation research. Elegantly interweaving anecdotal with philosophical meditations, Ricoeur recounts his relationships with some of the twentieth century's greatest figures, such as Heidegger, Jaspers, and Eliade. He also shares his views on French philosophers and explains his tumultuous relationship with Jacques Lacan. And while expressing his deepest respect for the works of Claude Lévi-Strauss and Michel Foucault, Ricoeur reserves his greatest admiration for the narratologist Algirdas Julien Greimas. Ricoeur also explores the relationship between the philosophical and religious domains, attempting to reconcile the two poles in his thought. And readers who have struggled with Ricoeur's work will be grateful for these illuminating discussions that provide an invaluable key to his writings on language and narrative, especially those on metaphor and time. Spontaneous and lively, _Criticism and Conviction_ is a passionate confirmation of Ricoeur's eloquence, lucidity, and intellectual rigor, and affirms his position as one of this century's greatest thinkers. It is an essential book for anyone interested in philosophy and literary criticism. (shrink)

_William Empson: Prophet Against Sacrifice_ provides the most coherent account of Empson's diverse career to date. While exploring the richness of Empson's comic genius, Paul H. Fry serves to discredit the appropriation of his name in recent polemic by the conflicting parties of deconstruction and politicized cultural criticism. He argues that Empson is a larger, more important figure than the orthodox in either camp can acknowledge, deserving to be considered alongside such versatile critics as Walter Benjamin, Kenneth Burke and (...) Roland Barthes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Uncanonical Dante: The Divine Comedy And Islamic PhilosophyPaul A. CantorThe distorted notions of invisible things which Dante and hisrival Milton have idealized, are merely the mask and the mantlein which these great poets walk through eternity enveloped anddisguised. It is a difficult question to determine how far theywere conscious of the distinction which must have subsisted intheir minds between their own creeds and that of the people.Dante at (...) least appears to wish to mark the full extent of it byplacing Riphaeus, whom Virgil calls justissimus unus, inParadise, and observing a most heretical caprice in hisdistribution of rewards and punishments.—Percy Shelley, A Defence of PoetryIThe case of Dante provides an excellent opportunity to open up the question of the Western canon. In one sense, Dante is the perfect example of a canonical author. His name is one of the few certain to appear on anybody’s short list of the truly central authors in the Western literary tradition. But in another sense Dante can be regarded as uncanonical. In his own day he was widely suspected of being heretical in his religious views, 1 and a careful reading of his works does indeed raise serious doubts about his being the pillar of orthodoxy he is often taken to be today. 2 Out of this interplay between the canonical and the noncanonical Dante, I hope to show that the issue of the Western canon is more complicated than either its defenders or its attackers generally present it.In discussing the issue of the canon, it is important to sort out at the [End Page 138] beginning what we do and do not mean by the term. A canonical work may merely be a work that has been accepted into the literary canon, one that has become a touchstone in the reading and teaching of literature. But the term canonical can suggest something else, that the work is orthodox and somehow represents a central authoritative position in Western culture. The word canonical is so loaded with religious connotations that it is difficult to separate the relatively neutral first meaning of the term from the loaded second meaning. Dante is a case in point. When people refer to him as a canonical author, they usually do not simply mean that he is widely read and taught. Most discussions of Dante today treat him as representing an authoritative cultural moment in the Western tradition, as the supreme embodiment of the medieval mind. Viewed that way, Dante becomes an emblem of everything contemporary critics of the Western canon bitterly hate and reject. The reason they feel that they must attack authors like Dante and displace them from the center of literary study is that these authors have come to stand for orthodoxy and thus seem to enforce the hegemony of Western culture.Critics who wish to champion various forms of non-Western culture have a particular axe to grind with canonical authors like Dante. The contemporary debate over the Western canon seems to be premised on a sharp opposition between Western and non-Western cultures, as if they were complete and irreconcilable antitheses, and even wholly unrelated. One of the principal charges against the Western canon is that it is Eurocentric, that it remains confined within a narrow orbit of European ideas and beliefs, thus excluding all other views of the world. A corrolary of the idea of Eurocentrism is the concept of Orientalism, developed by Edward Said. 3 Said argues that throughout its history, the Occident has defined itself in opposition to the Orient, basing its elevated self-image on a debased vision of the cultural Other. In Said’s argument, the Occident views itself as rational as opposed to an irrational Orient, as emotionally disciplined in contrast to an emotionally uncontrolled Orient, and as masculine over against a feminine Orient.In medieval Europe the Orient was chiefly represented by the Muslim world, and one does not have to look far in medieval literature to find the kinds of orientalist stereotypes about which Said writes. The French Song of Roland contains excellent examples, but even the Divine Comedy seems to... (shrink)

An interactive collaborative drawing ‘machine’ designed on the concept of a neural network, allowing participants to experience a shared creative process, using the principles of open-source and social networked communication through an analogue string system. The underlying concept of the String Neural Network is to introduce participants to the idea of collaborative-shared drawing practice, as a dispersed collective that alludes to Roland Barthes The Death of the Author (1967) whereby each participant plays an equal role as both viewer and (...) artist. Played out like a surrealist Exquisite Corpse game of consequences or as a piece of Haiku poetry, the drawing participants contribute marks, signs and signifiers to an open-content drawing, akin to the development of open-source software. The string network consists of five drawing table ‘nodes’ within a room/studio space measuring eight by eight metres square. Each node is linked to the other four via pulleys and washing lines, making it possible to peg a sheet of A4 paper to a line and winch it across to any one of the other nodes. The network system uses ten string connections between the five drawing tables, creating a pentagram within a pentagon neural network design. Representing the interconnected synapses and neurons of the brain, the role of each participant is that of cause and effect. A single instruction initiates a series of consequences that unfold in drawings, marks and patterns that are created whilst being hoisted simultaneously across the room in quick succession. The Neural String Network project was first set up in March 2012 to coincide with ‘DecodeRecode’, a telematic art project undertaken by students at MediaCityUK Salford University, as part of the centenary celebration of Alan Turing. Each participating student was given a single word drawn from the Turing theme, such as machine, brain, code and apple that were interpreted and communicated as a drawing by a collective consciousness. (shrink)

Noting that one may hear without listening, the article probes the phenomenological and epistemic distinction between hearing and listening. To listen is to be attuned to voices muffled by silence or camouflaged by a defensive rhetoric resonant with a voice inflected by festering wounds, existential and political. In exploring how one is to listen to these voices of silence, I draw upon Martin Buber’s concept of dialogical “inclusion” of others’ stories, to listen without interpretation to allow the voice behind his (...) – or her or their – story, be it merely etched viscerally in the language of silence, to dwell aside one’s own story in a dialogue unencumbered by perceptions of the Other forged by cultural, social, political constructs, and perhaps most insidiously one’s own defensive postures. (shrink)

_The Decision Between Us _combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an (...) ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, _The Decision Between Us _opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published _Writing Degree Zero_, then moves to 1980 and the “neutral mourning” of Barthes’ _Camera Lucida_, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, _The Decision Between Us_ is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning. (shrink)