Weltschmerz is a study of the pessimism that dominated German philosophy in the second half of the nineteenth century. Pessimism was essentially the theory that life is not worth living, and was introduced into German philosophy by Schopenhauer. Frederick C. Beiser examines the intense and long controversy that arose from Schopenhauer's pessimism, which changed the agenda of philosophy in Germany away from the logic of the sciences and toward an examination of the value of life. He examines (...) the major defenders of pessimism and its chief critics, especially Eugen Dühring and the neo-Kantians. The pessimism dispute of the second half of the century has been largely ignored in secondary literature and this book is a first attempt since the 1880s to re-examine it and to analyze the important philosophical issues raised by it. The dispute concerned the most fundamental philosophical issue of them all: whether life is worth living. (shrink)

Pessimism may be one of the most evident features of Arabic contemporary poetry; specifically, when the poet belongs to the Romantic school since s/he has been living in an imaginary world far from reality. The fact is that the effects of pessimism in Arabic poetry have been observed since old times to the present, and Romantic poets have been impressed by changes in their personal and social conditions and then began complaining about the grief and pain of the (...) time. Experiencing a painful life, Naji took a pessimistic view toward life. This paper attempts to focus on Ebrahim Naji’s pessimism to see whether he is the same as older poets, or whether his pessimistic attitude is derived from Romantic values which have a deep relationship with the romantic trend impressed by the west and its literature. (shrink)

We present an argument against a standard evidentialist position on the ethics of belief. We argue that sometimes a person merits criticism for holding a belief even when that belief is well supported by her evidence in any relevant sense. We show how our argument advances the case for anti-evidentialism in the light of other arguments presented in the recent literature, and respond to a set of possible evidentialist rejoinders.

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has (...) been attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

I aim to revive pessimism as a topic of discussion in the Anglo-American philosophical tradition. Toward that end, I defend a theory of pessimism designed to (a) locate pessimism within the existing Anglo-American philosophical literature and (b) to account for the epistemic and prudential conditions under which pessimism can be warranted. I argue for three theses: (1) that pessimism is a stance premised on a belief that the bad prevails over the good; (2) that (...) pessimism is not necessarily the product of an emotional problem, a character defect, or unjustifiable metaphysical assumptions; and (3) that pessimism can be prudentially appropriate and — perhaps most controversially — is often epistemically warranted. (shrink)

In the debate on climate change commentators often express pessimistic or optimistic views. We see this mainly in the media and popular literature, but also in various academic fields. The aim of this paper is to investigate different kinds of pessimistic and optimistic views put forward in this debate and suggest explanations of the diversity of views. The paper concludes that pessimism and optimism may concern, for example, climate change as an unmitigated or poorly mitigated process, mitigation of (...) climate change or specific measures of mitigation. These aspects are important to distinguish, because a person can be pessimist concerning climate change as an unmitigated or poorly mitigated process and optimist concerning mitigation of climate change, and be pessimist concerning one specific mitigation measure and optimist concerning another. It is suggested that the diversity of pessimistic and optimistic views is due to the uncertainty of scientific climate models and the influence of evaluative and ideological assumptions. (shrink)

This article discusses the influence that Schopenhauer’s thought had on Mihai Eminescu’s work with reference to the idea of “pessimism.” It also considers Schopenhauer’s influence on Romanian philosophy and literature at the end of the nineteenth century. We shall examine Eminescu’s alleged “Schopenhauerian pessimism,” considering firstly “pessimism” as a part of Eminescu’s “myth.” Secondly, we shall cover the critical reception of Eminescu’s “Schopenhauerian pessimism,” discussing the existing literary and philosophical scholarship. Finding that there are issues (...) for debate regarding Schopenhauer’s alleged influence upon Eminescu, we argue that Eminescu’s “Schopenhauerian pessimism” may be a “legend.” The article examines the connection between Eminescu and one of Schopenhauer’s most influential followers, Eduard von Hartmann. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature in MindH. G. Wells and the Evolution of the Mad ScientistAnne StilesIn 1893, H. G. Wells's article "Man of the Year Million" dramatically predicted the distant evolutionary future of mankind:The descendents of man will nourish themselves by immersion in nutritive fluid. They will have enormous brains, liquid, soulful eyes, and large hands, on which they will hop. No craggy nose will they have, no vestigial ears; their (...) mouths will be a small, perfectly round aperture, unanimal, like the evening star. Their whole muscular system will be shriveled to nothing, a dangling pendant to their minds.2The editors at Punch evidently found this prediction hilarious, publishing a poem and accompanying sketch ridiculing Wells's lopsided future humans (Figure 1, p. 318). But not everyone was laughing.As ridiculous as Wells's bodiless, large-headed "human tadpoles" may seem, they were based on the most rigorous evolutionary science of their day. Wells, a lower-middle-class academic prodigy, received a prestigious [End Page 317] Click for larger view View full resolutionFigure 1."1,000,000 A.D.," Punch, or the London Charivari, 25 November 1893, 250.[End Page 318]government scholarship to attend the Normal School of Science in South Kensington (later absorbed into the University of London). Though Wells left South Kensington in 1887 without earning his degree, he was greatly inspired by his biology teacher, famed physiologist Thomas Huxley. Wells absorbed Huxley's pessimistic take on late-Victorian evolutionary theory, particularly his emphasis on the inherent brutality of natural selection.Huxley's pessimism surfaces in Wells's dystopian scientific romances, which imaginatively probe the consequences of evolutionary theory run amok.3 Beginning with the eponymous mad-scientist villain of The Island of Dr. Moreau (1896) and continuing with alien invasion narratives like The War of the Worlds (1897–98) and The First Men in the Moon (1901), Wells depicts brains becoming steadily larger and more powerful as bodies grow smaller and more useless, emotions increasingly muted, and conscience all but silenced. Wells's nightmarish vision of the massively over-evolved brain unites these three works, as the ruthlessly intellectual biologist Moreau morphs into the amoral, top-heavy Martians and lunar inhabitants.Wells's malevolent mad scientists and extraterrestrials owe an intellectual debt not only to Huxley, but also to discussions of genius and insanity in late-Victorian issues of Mind (1876–present).4 The now-familiar trope of the mad scientist in fact traces its roots to the clinical association between genius and insanity that developed in the mid-nineteenth century. Authors like Scottish journalist and materialist philosopher John Ferguson Nisbet, English eugenicist Francis Galton, and Austrian Jewish physician Max Nordau—all of whose works were reviewed in Mind—argued that mankind had evolved larger brains at the expense of muscular strength, reproductive capacity, and moral sensibility.5 Wells drew upon these arguments in his fiction and even contributed his own article to Mind, a philosophical reflection on science entitled "Scepticism of the Instrument" (1904).In its unique role as "the first English journal devoted to Psychology and Philosophy." Mind was an ideal venue for an inherently interdisciplinary [End Page 319] subject like the clinical study of genius.6 The journal's first editor, George Croom Robertson, was particularly concerned that articles in Mind rise "above the narrowing influences of modern specialism."7 This disciplinary breadth attracted contributors from all fields, including fiction writers and literary critics like George Henry Lewes, Grant Allen, Andrew Lang, and, of course, H.G. Wells. During the same period, literary works probed ideas discussed in Mind, such as the nature of the soul, the possibility of free will, and the ramifications of biological determinism. In the four decades following its auspicious start, Mind provided a venue where scientists, philosophers and literary authors could find intellectual common ground.In this essay, the early fiction of H.G. Wells will serve as a case study of cross-fertilization between literature and scientific ideas discussed in Mind. The goals of this exploration are threefold: to gain a better understanding of the journal's history and influence; to investigate why Victorians associated genius with insanity; and to illuminate the shared... (shrink)

The pessimistic induction plays an important role in the contemporary realism/anti-realism debate in philosophy of science. But there is some disagreement about the structure and aim of the argument. And a number of scholars have noted that there is more than one type of PI in the philosophical literature. I review four different versions of the PI. I aim to show that PIs have been appealed to by philosophers of science for a variety of reasons. Even some realists have (...) appealed to a PI. My goal is to advance our understanding of what the various PIs can teach us about science and the threat posed by PIs to scientific realism. (shrink)

This article aims to elucidate and explore the significance of a distinction in Schopenhauer's pessimism which has not yet received detailed attention in the secondary literature. Schopenhauer is well known to have argued for the thesis that the fundamental feature of sentient life is pervasive suffering, and on these grounds held that individual lives are not worth living. However, he similarly claims with frequency that the nonexistence of the world “as a whole” is preferable to its existence. This (...) is a distinct thesis, and it is unclear how Schopenhauer thinks it relates to the first. This investigation seeks to rectify this, arguing that the ambiguous concept of the world “as a whole” has at least two interpretations in Schopenhauer's texts. Moreover, that this “world-pessimism”—once properly understood—may avoid certain objections that pessimism at the level of the individual is vulnerable to. (shrink)

Ancient Israel's wisdom literature dealt explicitly with moral education. Applying this literature to modern challenges of business ethics requires reading the texts in the light of existential structures that bond the ancient with the modern world. Such structures could include the temporal categories of present and future along with the challenging angst of managing the future. By providing conflicting positions the ancient wisdom literature provides an attitude of heart for the modern person, especially the modern business person, (...) whose all-absorbing attention to the future may well be based on an underlying existential situation behind much unethical behavior in modern business. (shrink)

Contemporary global events, such as the wars in Iraq and Afghanistan, the unresolved conflict in the Middle East, and the pessimistic relationships with Muslim countries, pose challenges for Muslims living in the United States in all walks of life. In addition, Muslims encounter daily struggles to live within a society that follows considerably dissimilar beliefs, norms, and way of life. Therefore, Islamic schools and other organizations emerged in response to those challenges. There are several debates in the literature about (...) Islamic schools; among those debates is whether Islamic schools segregate Muslim students, inspire religious intolerance, and rejection of social pluralism's ideals. In addition, there are debates of whether Islamic schools are capable of developing a strong Muslim identity skilled to tackle future challenges. Discussing these debates is considered the first step to critically tackling the challenges meeting Islamic schools, their relevance, and their continuity in a way that benefits Muslim generations and the American society. Furthermore, such debates draw attention to the impediments facing the success of these schools and the possible strategies to resolve problematic issues. This article explores each of these debates in detail. (shrink)

There are nine antirealist explanations of the success of science in the literature. I raise difficulties against all of them except the latest one, and then construct a pessimistic induction that the latest one will turn out to be problematic because its eight forerunners turned out to be problematic. This pessimistic induction is on a par with the traditional pessimistic induction that successful present scientific theories will be revealed to be false because successful past scientific theories were revealed to (...) be false. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Schopenhauer's Pessimism and the Unconditioned Good MARK MIGOTTI SCHOPENHAUERTOOK PESSIMISMtO be a profound doctrine that had long been accepted by the majority of humanity, albeit usually in the allegorical form given to it by one or another religious creed. Accordingly, he credited himself, not with the discovery of pessimism, but with the provision of a satisfactory philosophical exposition and defense of its claims. It was, he contended, (...) only within the context of his philosophy, animated by the "single thought" that "the world is the self-knowledge of the will,"' that the ultimate significance of pessimism and the arguments demonstrating its inescapability can be brought to light. If, nevertheless, he sometimes appears to protest too much, to defend pessimism as if it were a striking and novel affair, he would have attributed this to the fact that he was, unfortunately, writing in the midst of one of the most naively optimistic cultures known to world history. 2 The philosophical reception of Schopenhauer's pessimism since the publication of The World as Will and Representation in 1818 would, one suspects, have been taken by him as further evidence of modern Western philosophy's optimistic somnambulance. For while other, comparably fundamental aspects of his thought--for example, his theories of action, of the self, and his criticisms of Kant--have received a welcome amount of fruitful, critical attention, his I would like to thank John Atwell, David Schmidtz, Susan Haack, Rudolf Makkreel and, especially,two anonymous referees, for prompting me to make substantial improvements to an earlier draft of this paper. ' Arthur Schopenhauer, Der handschrifllicher Nachlass 1, ed. Arthur Hiibscher (Frankfurt-amMain : Kramer, 1967),462; Manuscript Remains 1, trans. E. F.J. Payne(NewYork: Berg Publishing, 1988), 512. 'See, for example, Arthur Schopenhauer, D/e Welt als Wille und VorsteUung II. In Arthur Schopenhauer. Ziircher Ausgabe, ed. Arthur Hiibscher et. al. (Zurich: DiogenesVerlag, 1977),w 4:721, 732-33; The World as Will and Representation II, trans. E. F. J. Payne(New York: Dover Press, 1969),615, 625-26. Future references to this work willbe made within the text, by the abbreviation WW followed by section number, German edition volume and page number and English translation page number. [643] 644 JOURNAL OF THE HISTORY OF PHILOSOPHY 33:4 OCTOBER ~995 pessimism has not. Amongst enthusiastic followers it has sometimes been swallowed more or less whole, but from more independent-minded readers it has generally met with disdainful mockery or well-intentioned neglect.3 The aim of this paper is to help rectify' this imbalance. In the first of its four sections, I present an account of Schopenhauerian pessimism that can claim a good measure of textual support, and the essential features of which are found often enough in the secondary literature to warrant calling it the mainstream interpretation.4 In section 2 I show that, as critics have charged, the arguments for pessimism on this interpretation suffer from a pair of fatal ambiguities, and in section 3 I sketch an alternative argument for pessimism, one not so obviously open to the sort of knock-down refutation to which the first argument succumbs. In the paper's final section l explore further the philosophical consequences of this alternative argument for pessimism. 3Gyorg'yLukacs, "Schopenhauer," chapter ~,section 4 of The Destruction of Reason, trans. Peter Palmer (London: Merlin Press, 1979), 19~-243, isthe locusclassicusof an attitude of superior scorn. Bryan Magee, The Philosophy of Schopenhauer (Oxford: "the Clarendon Press, 1983), z3-14, D. W. Hamlyn, Schopentmuer (London: Routledge, z98o), *43, Michael Fox, "Schopenhauer on Death, Suicide, and Renunciation." in Schopenhauer: His Philosophical Achievement, ed. Michael Fox (Totowa, NJ: Barnes and Noble Books, 198o), ]47-7o, and David Cartwrigh*, "Schopenhauer on Suffering, Death, Guilt, and the Consolation of Metaphysics,"in Schopenhauer: New Essays in Hotwr ofHis 2ooth Birthday, ed. Eric yon der Luft (Lewiston,NY: Edwin Mellen Press, t988), 66, all incline to the viewthat it was temperament, not argument, that drove Schopenhauer to pessimism, while Patrick Gardiner, Schopenhatwr (London: Penguin Books, ]963), does not discuss pessimism by name. Not even Nietzsche, the deepest and most astute of Schopenhauer'scritics,can resistbarbs of the following sort: "Schopenhauer, although a pessimist, in ]act played the flute... (shrink)

This book argues that philosophical pessimism can offer vital impulses for contemporary cultural studies. Pessimist thought offers ways to interrogate notions of temporality, progress and futurity. When the horizon of future expectation is increasingly shaped by the prospect of apocalypse and extinction, an exploration of pessimist thought can help to make sense of an increasingly complex and uncertain world by affirming rather than suppressing the worst. This book argues that a cultural logic of the worst is at work in (...) a substantial section of contemporary philosophical thought and cultural representations. Spectres of pessimism can be found in contemporary ecocritical thought, antinatalist philosophies, political thought, and cultural theory, as well as in literature, film, and popular music. In its unsettling of temporality, this new pessimism shares sensibilities with the field of hauntology. Both deconstruct linear narratives of time that adhere to a stable sequence of past, present and future. Mark Schmitt therefore couples pessimism and hauntology to explore the spectres of pessimism in a range of theories and narratives—from ecocriticism, antinatalism and queer theory to utopianism, from afropessimism to the fiction of Hari Kunzru and Thomas Ligotti to the films of Camille Griffin, Gaspar Noé, Denis Villeneuve and Lars von Trier. (shrink)

The literature on autonomous language learning reveals both, scholars’ great enthusiasm for the revolutionary potential of learner autonomy as well as pessimism for its continual depoliticization within higher education. Similar to how ‘learner autonomy’ is still today an unfinished construct that raises considerable confusion among scholars, the critical theory of learner autonomy in the field of language learning remains largely unexplored; and thus, yet to be fully articulated. Building on the relevant literature, this article attempts to provide (...) a coherent and nuanced theoretical framework for the critical practice of learner autonomy in higher education. Results show how the field of language learning is dominated by uncritical and apolitical approaches that render learner autonomy a politically impotent practice. Critical autonomous language learning must be both critically aware—so it can raise students’ awareness of the structural and discursive constraints on their autonomy—and politically active—so it may lead to education reform and social change—, while also aiming at reaching the highest levels of institutional material support and student control possible. (shrink)

The global pessimistic meta-induction argues from the falsity of scientific theories accepted in the past to the likely falsity of currently accepted scientific theories. I contend that this argument commits a statistical error previously unmentioned in the literature and is self-undermining. I then compare the global pessimistic meta-induction to a local pessimistic meta-induction based on recent negative assessments of the reliability of medical research. If there is any future in drawing pessimistic conclusions from the history of science, it lies (...) in local meta-inductions, but these meta-inductions will not result in global distrust of the results of science. (shrink)

Schopenhauer’s argument against suicide is typically received negatively in the scholarly literature, insofar that it appears to be one of the numerous inconsistencies that haunt his philosophical system. Thus, after elaborating upon the unique characteristics of Schopenhauer’s argument against suicide, I will discuss the well-known objection to it. By offering a fresh outlook on Schopenhauer’s ethics, I will suggest a new way of appreciating Schopenhauer’s argument so as to rehabilitate his understanding of suicide within the framework of his pessimistic (...) philosophy. Central to developing this new outlook is to acknowledge structural similarities between Schopenhauer’s ethics and Protestant soteriology. (shrink)

THE aim of this chapter is to offer a critical examination of some recent contributions to compatibilist literature on freedom and responsibility that aim to provide broadly reasons-responsive accounts of moral agency. Although the views of several authors will be considered, discussion will be organized primarily around Daniel Dennett's "Elbow Room" (1984), an important work in the evolution of the "new compatibilism.".

The great pessimist who believed in the best and expected the worst from writers here applies his caustic wit to literature and the literary scene. Schopenhauer's piercing analyses of style, critics, literary values, learning, and genius make this volume a handbook on writing--illuminated by the author's own shining, powerful style. The best way to discover the finest qualities of style and to form a theory of writing, he advises, is not to follow a trendy mannerism, but to study the (...) ways in which great authors executed their best work. Schopenhauer provides excellent examples for aspiring writers in this collection of essays from his celebrated work Parerga . Translated by T. Bailey Saunders. (shrink)

This thesis is primarily an attempt at solving some issues in Schopenhauer’s theory of salvation. My aim is to provide ways in which Schopenhauer’s soteriology could work. It is a partially reconstructive project in that I will be bringing to the forefront some of Schopenhauer’s assertions at the expense of others. My aim is to show that we are able to provide a much more cohesive and satisfying reading of Schopenhauer’s philosophical project if we let go of some of the (...) more orthodox assumptions in the Schopenhauer scholarship – chief amoung these being that Schopenhauer is committed to the view that the will constitutes ultimate reality. While this reading is a departure from the vast majority of the traditional readings of Schopenhauer’s philosophy, I believe it has the twin advantages of both aligning Schopenhauer’s thought much closer with the eastern traditions he believes his work is in sympathy with, and ultimately, providing a new platform from which to assess the ‘traditional’ reading of Schopenhauer’s thought as ‘hopelessly pessimistic’. It is my contention that while it remains true that Schopenhauer is very much a pessimist about the world as manifested will, it is the perceived difficulties of his philosophy of salvation that have provided the most significant road block preventing critics from seeing that there are dimensions to Schopenhauer’s thought that cannot so easily be labelled as either pessimistic or optimistic. This thesis is an attempt to shed light on possible new readings of Schopenhauer’s project in light of attempts to resolve issues in his soteriology. I begin with the question – why do we need saving? I attempt to answer this through an analysis of the terms ‘will’, ‘will-to-life’ and ‘affirmation and negation of the will-to-life’. Next, I attempt to argue that the will should not be seen as ultimate reality in Schopenhauer’s system and that this is both closer to the account which Schopenhauer himself was inclining towards later in his writings as well asa necessary sacrifice in order to save Schopenhauer from more problematic inconsistencies. I next attempt to solve inconsistencies in Schopenhauer’s account of personal identity. I argue that there can only be a denial of the will-to-life if there is more to our identity than willing. I will also examine the possibility of a denial of the will-to-life at all. I will be engaging with recent scholarship from Christopher 3 Janaway on the possibility of negating the will-to-life and the implications of this for Schopenhauer’s account of willing. I will then attempt to resolve the on-going debate in the secondary literature concerning Schopenhauer’s ethical pronouncements and his theory of the negation of the will-to-life. I will argue, contrary to Sandra Shapshay and Tristan Ferrell, that it is possible to be one in whom the will has denied itself while remaining one who wills ethically and that this can be the case if we focus our attention on what Schopenhauer may truly mean by a compassionate will to help others. Next, I will be asking why exactly it is good to be one in whom the will has denied itselfand what this means for our understanding of value for the will-less subject. Finally, I will be focusing on Schopenhauer’s pessimism and how a new reading of Schopenhauer’s soteriology means that we can introduce new ways of assessing both the world as well as the place of Schopenhauer’s philosophical system within it. Ultimately, I will conclude that any interpretation of Schopenhauer’s philosophy presents the scholar with a choice and that we are subsequently only able to make new evaluative assessments on Schopenhauer’s philosophy, as well push back against the charge that it is wholly pessimistic, if we choose to accept major revisions to his metaphysics of the will. However, because Schopenhauer himself seemed to be moving towards such revisions, we should not be afraid of doing so either. (shrink)

The innovative, wide-ranging study deftly traverses fields of art, politics, philosophy, psychology, and literature. Reimagining Life redefines Surrealism's place in modern intellectual history and offers a new vision of how Surrealist discourse can be connected to contemporary debates in cultural, critical, and theoretical studies.

The realities of modern war provide lots of reasons for pessimism and despair. In this article, I identify ways pessimism cannot only undercut the types of political action needed to end war but also conflict with central democratic norms, e.g. equality and political autonomy. Contrary to the growing literature on pessimism, which stresses its resources for negotiating the moral chaos and disenchantment of modernity, I highlight the democratic costs of relying on pessimism to stop war. (...) To do this, I clarify the meaning of despair, identify two sources of hope, and distinguish three different types of despair. (shrink)

ABSTRACT While a common view in the literature is that Nietzsche cannot successfully argue against Schopenhauer’s pessimism, a detailed explanation of why this is so is lacking. In this paper I provide such a detailed analysis. Specifically, a consideration of three of Nietzsche’s strategies for a revaluation of pain and suffering reveals two problems: the problem of ‘the direction of revaluation’ and the ‘dilemma of the intransigence of hedonism’. According to the first, the success of a revaluation cannot (...) be guaranteed on strictly argumentative grounds and can in principle bring about a revaluation that proceeds in the opposite direction than the one desired. According to the second, Nietzsche’s revaluations are of no significance since they either ground an un-Nietzschean affirmation of life, or they do not engage pessimism’s hedonistic perspective on the basis of which it condemns life. I then examine two strategies that Nietzsche can be seen to employ in his attempts to revalue the hedonistic perspective itself and explain why they too are unsatisfactory. The analysis illuminates the nature of the dialectical stand-off between Nietzsche and Schopenhauer and clarifies the limitations of Nietzschean revaluations as a philosophical tool. (shrink)

In much environmentally concerned literature, there is a burgeoning concern for the status and sustainability of human hope. Within Christian circles, this attention has often taken the form of eschatological reflection. While there is important warrant for attention to eschatology in Christian examinations of hope, I claim that to move so quickly from hope to eschatology is to confuse a species of Christian hope for a definition of hope itself; as such, it is important for theological ethicists to examine (...) hope also from the experiential perspective of the human hoper. In particular, this is important today given the shortcomings of an eschatological focus in addressing anxieties arising due to the environmental crisis. Through examining hope as a fallible human activity, one can come to better understand hope's importance to human life, its profound ambiguity, and the potential threat that the environmental crisis poses to it. (shrink)

Nietzsche’s relationship with Wagner has long been a source of controversy and has given rise to a number of important studies, including this major breakthrough in Nietzsche scholarship, first published in 1982. In this work Hollinrake contends that the nature and extent of the anti-Wagnerian pastiche and polemic in _Thus Spake Zarathustra_ is arguably the most important factor in the association between the two. Thus Wagner, as the purveyor of a particular brand of Schopenhauerian pessimism, is here revealed as (...) one of the principle sources – and targets – of _Zarathustra_. Whilst addressed primarily to students of German Literature, this book will also be of interest to musicians, philosophers and students of the history of culture and ideas. (shrink)

In showing how the bureaucratic space negatively influences the moral conscience of managers, Robert Jackall’s sociological writings have pointed up one of the darkest sides of organizations. In fact, in the business ethics literature there is much to support Jackall’s pessimistic contentions, suggesting that bureaucracy can rob individual managers of their sense of responsibility. How then can this space for individual freedom, so essential in re-establishing responsible management, be recreated? In order to answer this question, we propose to interpret (...) Jackall’s Moral Mazes ( 1988 ) from the standpoint of Blaise Pascal’s Jansenist ethics and conception of humankind. Our discussion here of Pascal’s “reason of effects,” his theory of “double thought” and his distinction between respect and esteem takes Jackall’s analysis forward and opens new lines of thought about managerial responsibility. The article concludes with some thoughts on further research in the field of business ethics arising from Pascalian anthropology or what we call here “skeptical humanism.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Homeric Durability: Telling Time in the Iliadby Lorenzo F. GarciaJonas GrethleinL orenzoF. G arcia. Homeric Durability: Telling Time in the Iliad. Hellenic Studies 57. Washington, D.C.: Center for Hellenic Studies, 2013. Distributed by Harvard University Press. viii + 321 pp. Paper, $22.50.The philosophy of Heidegger continues to cast a spell on some Classicists. It is less Heidegger’s own interpretations of Greek authors that serve as stimulus than the (...) main work of his early career, Sein und Zeit(Halle 1927), that seems to invite applications to ancient texts. Reading such studies as Shanske’s Thucydides and the Philosophical Origins of History(Cambridge 2007), I keep wondering to what extent the attractiveness of Heidegger to some Classicists ultimately derives from the impact that ancient texts may have had on the formation of his philosophy. Attending a humanistisches Gymnasium, Heidegger received a thorough training in Greek and must have read a fair amount of ancient texts in the original. Besides tying in with the existentialism of his day, the gloomy nature of Heidegger’s philosophy is highly reminiscent of what is traditionally referred to as Greek pessimism. It is easy, for instance, to sense in the concept of “ Sein zum Tode” an echo of the sentiment of the Herodotean Solon that “we must look to the conclusion of every matter and see how it will end” (Hdt. 1.32.9). The common tenor notwithstanding, applying Heidegger’s philosophy of Being to the interpretation of ancient literature is a daunting task.In Homeric Durability: Telling Time in the Iliad, Garcia draws on Heidegger to show that “the subject of the Iliad... is time itself and the durability of its objects to withstand time’s withering flow” (5). Garcia claims that the tenet of Heidegger’s philosophy of time plays out in the Iliadat various levels. For Heidegger, Daseinis defined by death, which is always impending and thereby constitutes its totality. Daseinis essentially Sein zum Tode(“being-toward-death”). This, Garcia argues, is reflected in the temporal economy of the Iliadwhich hinges on the notion of “not yet” already encapsulating a “no longer.” Various physical objects, humans, and, to some extent, also gods are presented as enduring, but fated to fade. Garcia’s central argument is that they thereby reflect the temporal dynamics of epic poetry itself. To him, kleos aphthitondoes not imply the idea of eternity, but a duration that entails its own ending. Before discussing the soundness of this argument in conjunction with its deployment of Heidegger, let me give a brief synopsis of the individual chapters.In chapter 1, Garcia elaborates on “the rhetoric of time and memory”; while “time has disintegrating effects..., memory in a pure or ideal form, on the other hand, preserves its object against time” (45). This dialectic comes to the fore in Iliad2 where the rotting of the ships and the flagging morale of the [End Page 481]Greeks indicate the “loss of cohesion through waiting” (55). At the same time, Garcia claims, Odysseus’ intervention illustrates the power of memory. Odysseus reminds the Achaeans of Calchas’ prophecy which he remembers as if “it was either yesterday or the day before” and “thereby seeks to undo the disintegration of the Achaeans’ emotional resolve” (63). The tension between the decaying force of time and the attempt at recuperation through memory yields the framework for the investigation of various entities and their temporal dynamics in the main part of the book.The second chapter is devoted to the fate of the bodies of Sarpedon, Patroclus, and Hector. In the eyes of Garcia, “the preservation of these exquisite corpses serves as an analogue within the poem for the very project of the epic commemoration of Achilles—as if the epic were a ‘freezing’ of temporal flow against the ravages of time” (66). However, neither the application of ambrosia and nectar nor funeral rites achieve permanent preservation: bodies can be removed from time only temporarily. They are subject to “the logic of the ‘still perfectly’ and ‘not yet’” (94) and thereby mirror the fame of Achilles which, despite its longevity, carries its termination in itself.In chapter... (shrink)

In Roman literature, the Argo commonly ranks as the first ship. The Flavian poet Valerius Flaccus seems to place himself in this line of tradition too by constantly stressing the Argo’s pioneer status. Yet it has rightly been noted that nowhere in the Argonautica is the Argo explicitly said to be the first ever ship. Her exceptional role is based rather on her status as the first sea-going ship to sail across the open sea from Europe to Asia, opening (...) the seas to global marine trade. From this perspective, the hitherto inadequately explained mentions of ships in the Phlegyas simile (3,124–132) and the Lemnos episode (2,107–114; 285–305) can also be analysed as only apparent inconsistencies. The interpretive effort required here draws the attention of the reader or audience, which is called upon to compare the earlier ships to the Argo. In this, the poet suggests a pessimistic judgement: a consequence of the opening of the seas was shipping disasters and human tragedies. Also, it did not only lead to the expansion of civilising achievements, but also held the danger that rituals and customs of a periphery which is read as barbaric would penetrate into the cultural space of the Mediterranean world. (shrink)

This paper aims to clarify Schopenhauer’s a priori argument for pessimism and, to an extent, rescue it from standard objections in secondary literature. I argue that if we separate out the various strands of Schopenhauer’s pessimism, we hit upon problems and counterexamples stemming from psychology. For example, instances where striving does not appear to equate to suffering, which puts pressure on the Schopenhauerian claim that human life, qua instantiation of the will, is painful. Schopenhauer’s sensitivity to the (...) complexities of human psychology means that he may be able to stave off such concerns. However, this reveals that true force of Schopenhauer’s argument lies in the manner in which he combines an a priori formulation with empirical observation. I conclude that, though not unproblematic, Schopenhauer’s argument in its most refined forms offers a deep articulation of the human condition, and warrants serious consideration. (shrink)

This essay resists steering an unhappy third-way between avowedly “critical” approaches to happiness (Freud, Žižek) and more “positive” perspectives (Benjamin, Badiou), and instead turns the tables. In the first half, focusing upon Thomas Mann’s short story “The Will to Happiness,” it examines neurotic hedonism—a more sophisticated variant of the hysteric’s old game of deriving satisfaction from unsatisfied desire itself—and some of the “necessary fictions” which undergird it. In the second half, it explores what it might mean, at least in theory, (...) to move beyond neurotic hedonism by embracing a different perspective: dialectical pessimism. This pessimistic outlook is allied to the activity of critique, but it also requires a specific conception of the self; namely, the self as the “manure” (Gramsci) of history. How can the very idea of happiness be rethought from this “excremental” perspective? (shrink)

Perceptive, passionate, and often controversial, Raymond Tallis's latest debunking of Kulturkritik delves into a host of ethical and philosophical issues central to contemporary thought, raising questions we cannot afford to ignore. After reading Enemies of Hope , those minded to misrepresent mankind in ways that are almost routine among humanist intellectuals may be inclined to think twice. By clearing away the "hysterical humanism" of the present century this book frees us to start thinking constructively about the way forward for humanity (...) in the next. (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest (...) / penetrates the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

AN ATTEMPT AT SELF- CRITICISM. I. Whatever may lie at the bottom of this doubt- ful book must be a question of the first rank and attractiveness, ...

In 1872, Emil du Bois-Reymond delivered an astonishing lecture entitled “The Limits of Science” at a Congress of German Scientists and Physicians in Leipzig. No stranger to polemic and bellicose oratory, and possessing among his generation of physiologists unmatched rhetorical abilities, du Bois-Reymond had already attracted much public recognition and acclaim for his denigration of French culture at a time when belligerence and competition between Prussia and France had peaked. Yet, the topic of his 1872 lecture had a signal significance (...) which not only would inform du Bois-Reymond’s subsequent public lectures on literature, art, civilization and science, and the place of Darwin in the modern world, but would also elaborate a mechanistic and fatalistic view of consciousness, one that denied scientific understanding of the phenomenon as even obtainable. Controversy exploded—and from all quarters. Renowned scientists accused him of pessimism and of failing to apprehend the progress of in .. (shrink)

Analyse: Contient un chapitre sur Francis Giauque et une évocation de Henri-Frédéric Amiel.

In lieu of an abstract, here is a brief excerpt of the content:A Just Share: Justice and Fairness in Resource Allocation*Pat Milmoe Mccarrick (bio) and Martina Darragh (bio)Each of us has some basic sense of what the words “fair” or “just” or “fairness” or “justice” mean. Each of us probably also has an idea of what is “fair” in health care. The attempt by the state of Oregon in the mid-1980s to quantify this notion made a previously private exercise a (...) public one. This transition has been chronicled in the bioethics literature that focuses on resource allocation. These works examine both theories of justice and concepts of “health”; the fair distribution of health resources has been of continuing interest since the beginning of bioethics in the 1960s. Early writing on justice includes authors Tom L. Beauchamp, Robert H. Blank, James F. Childress, H. Tristram Engelhardt, Paul T. Menzel, Paul Ramsey, and Robert M. Veatch (VII).During the 1980s, bioethicists such as Daniel Callahan and Norman Daniels proposed thinking of health care decisions not as moments of personal crisis but as choices that span a lifetime, possibly involving tradeoffs in other areas of one’s life, e.g., education. The Oregon experience added another dimension to the discussion. The initial rank-ordering of health services by cost produced a skewed list—for example, surgery for life-threatening conditions ranked below minor, elective procedures. For the project to make sense, the ranking algorithm could not be based on cost alone, but rather on a combination of costs and benefits both to individuals and to the community—“concatenations of individual and group goods” (I, Jecker and Jonsen 1995). Various metaphors have been used in the literature to facilitate discussion of this shift from individual to individual/community trade-offs: medical services as a “commons” (I, Asch 1995, Jecker and Jonsen 1995, Michels 1994); resource allocation as a “lifeboat” (I, Campbell 1995; III, Kaveny 1994); medical care as “shares” in a community health (III, Nelson 1992, Ford and Kissick 1995; II, Anderson 1993); and rationing as traveling through the desert with one jug of water for two people (a story from the Halachah literature) (I, Zoloth-Dorfman 1995). [End Page 81]Such metaphors do not promote any one “theory of justice” but rather draw from the work of a number of bioethicists as well as from theological, sociological, economic, and business literature. The five major conceptions of justice that are referenced most frequently are: “(1) a libertarian conception, which takes liberty to be the ultimate political ideal; (2) a socialist conception, which takes equality to be the ultimate political ideal; (3) a welfare liberal conception, which takes contractual fairness or maximal utility to be the ultimate political ideal; (4) a communitarian conception, which takes the common good to be the ultimate political ideal; and (5) a feminist conception, which takes a gender-free society to be the ultimate political ideal” (I, Sterba 1995).The use of new metaphors also draws on expanded concepts of “health.” “As health care is currently practiced, the most powerful symbols for public and professional alike are those that promise the defeat of time” (I, Campbell 1995). When medical care is perceived as an unrelated series of individual cures, the fact that health care resources are finite cannot be addressed.Reflections concerning the difficulties in limiting the use of health care resources have an ancient lineage and reveal a tight bond with the obsession to postpone death at all costs. Plato in Book 3 of the Republic recognizes the quandary of infinite expectations and finite resources that characterizes the challenge of health care choices. (I, Engelhardt 1996)The proliferation of expensive medical technologies and the loss of autonomy by health care professionals further complicates perceptions of the crucial issues at hand. Some have said that Americans place too much emphasis on individualism to address these issues. Daniels et al. believe that this is too pessimistic a view and that the American commitment to protecting equal opportunity for all provides a firm basis for developing a public consensus on what is fair in health care (III, Daniels, Light, and Caplan 1996). Finally, several authors suggest that the nature of all four principles of medical ethics, not justice alone, must be... (shrink)

How and why should hope play a key role in a twenty-first century democratic politics? Alan Mittleman offers a philosophical exploration of the theme, contending that a modern construction of hope as an emotion is deficient. He revives the medieval understanding of hope as a virtue, reconstructing this in a contemporary philosophical idiom. In this framework, hope is less a spontaneous reaction than it is a choice against despair; a decision to live with confidence and expectation, based on a rational (...) assessment of possibility and a faith in the underlying goodness of life. In cultures shaped by biblical teaching, hope is thought praiseworthy. Mittleman explores the religious origins of the concept of hope in the Hebrew Scriptures, New Testament, rabbinic literature and Augustine. He traces the roots of both the praise of hope, in Jewish and Christian thought, and the criticism of hope in Greco-Roman thought and in the tradition of philosophical pessimism. Arguing on behalf of a straightened, sober form of hope, he relates hope-as-a-virtue to the tasks of democratic citizenship. Without diminishing the wisdom found in tragedy, a strong argument emerges in favour of hope as a way of taking responsibility for the world. Drawing on insights from scriptural and classical texts, philosophers, and theologians - ancient and modern, Mittleman builds a compelling case for placing hope at the centre of democratic political systems. (shrink)

As we write this research paper, we notice an explosion in popularity of machine learning in numerous fields (ranging from governance, education, and management to criminal justice, fraud detection, and internet of things). In this contribution, rather than focusing on any of those fields, which have been well-reviewed already, we decided to concentrate on a series of more recent applications of deep learning models and technologies that have only recently gained significant track in the relevant literature. These applications are (...) concerned with artistic production (Sect. 2.1), the writing process (Sect. 2.2), music production (Sect. 2.3), text recognition and attribution (Sect. 2.4). After reviewing and analyzing the positive contributions as well as some of the major limitations of these technologies in each of those fields, we critically reflect (Sect. 3) on how their widespread implementation may affect humans and their creativity. In Sect. 4, we notice that deep learning models are here to stay; so, rather than embracing a negative or pessimistic stance with respect to their future applications in creative domains, we suggest a balanced approach for their assessment and beneficial usage. Finally (Sect. 5), we conclude by summarising what we have achieved and by pointing out possible future research directions. (shrink)

Philosophers have recently focused on critical, epistemological challenges that arise from the opacity of deep neural networks. One might conclude from this literature that doing good science with opaque models is exceptionally challenging, if not impossible. Yet, this is hard to square with the recent boom in optimism for AI in science alongside a flood of recent scientific breakthroughs driven by AI methods. In this paper, I argue that the disconnect between philosophical pessimism and scientific optimism is driven (...) by a failure to examine how AI is actually used in science. I show that, in order to understand the epistemic justification for AI-powered breakthroughs, philosophers must examine the role played by deep learning as part of a wider process of discovery. The philosophical distinction between the 'context of discovery' and the 'context of justification' is helpful in this regard. I demonstrate the importance of attending to this distinction with two cases drawn from the scientific literature, and show that epistemic opacity need not diminish AI's capacity to lead scientists to significant and justifiable breakthroughs. (shrink)

This chapter contains sections titled: Notes References Further Reading.

Elzenberg’s philosophy is usually defined as perfectionism, culturalism, pessimism, conservatism, or asceticism. Despite the accuracy and validity of the above mentioned terms it seems, however, that none of them fully encompass the characteristics of the view, tending rather to focus on its given profile. One term that, in my opinion, can be regarded as a suitable candidate for the role is “aristocratism of the spirit”, which embraces perfectionism, culturalism and asceticism as well as pessimism, conservatism and outsiderism. In (...) debating on the elzenbergian variety of this idea I would like to put forward his relation to, or entanglement with the tendency to think in the categories of the aristocratism of the spirit, that has been present since the dawn of philosophy. I use the tentative term “entanglement” here, as Elzenberg in his writings never declared, either openly or indirectly, any (formal) adherence to a movement, including the movement of the aristocratism of the spirit. My ascribing Elzenberg to this movement is a convention of interpretation, imposed upon his philosophy for heuristic reasons. (shrink)

The burgeoning science of ethics has produced a trend toward pessimism. Ordinary moral thought and action, we’re told, are profoundly influenced by arbitrary factors and ultimately driven by unreasoned feelings. This book counters the current orthodoxy on its own terms by carefully engaging with the empirical literature. The resulting view, optimistic rationalism, shows the pervasive role played by reason, and ultimately defuses sweeping debunking arguments in ethics. The science does suggest that moral knowledge and virtue don’t come easily. (...) However, despite the heavy influence of automatic and unconscious processes that have been shaped by evolutionary pressures, we needn’t reject ordinary moral psychology as fundamentally flawed or in need of serious repair. Reason can be corrupted in ethics just as in other domains, but a special pessimism about morality in particular is unwarranted. Moral judgment and motivation are fundamentally rational enterprises not beholden to the passions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are (...) capable of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

Albert Camus, novelist, essayist, dramatist, and recipient of the 1957 Nobel Prize for Literature, is esteemed as one of the finest philosophical writers of modern France. The French existentialist philosopher, Jean-Paul Sartre wrote about him as "the latest example of that long line of moralistes whose works constitute perhaps the most original element in French letters." Camus' literary legacy includes three novels, namely L'Etranger of 1942, La Peste of 1947, and La Chute of 1957, and a fourth unfinished one (...) that was posthumously published as The First Man in 1995. Camus' works both intensively and extensively explored the theme that was prevalent in the intellectual climate of the post-World War II Europe, the absurdity of human existence together with the notions of alienation and disillusionment, and speculated beyond the crushing pessimism a glimmering faith on human dignity and brotherhood. These concerns, no matter how well ingrained they may be in the European history of ideas, would prove to be too cognitively remote for a contemporary Filipino reader. Thus, there is a need to mediate Camus' literary discourses with a more familiar Filipino text. (shrink)

The article introduces a new perspective on the impact of globalization on identity formation, which marks a shift from traditional understandings of fixed territorial (cultural) identities. It uses Deleuze and Guattari’s theoretical terms of Deterritorialization and Reterritorialization and establishes these as the essence of Globalization Scholte (Globalization: A Critical Introduction, Palgrave Macmillan, New York, 2005), rejecting the pessimism and fear of cultural imperialism as a by-product of globalization or a fear of standardization in multicultural work environments. It presents globalization (...) as a positive force creating new assemblages and a renewed understanding of ourselves in the contemporary society. The approach contributes to leadership and management literature, specifically in International Business and cross-cultural communication contexts, by presenting a new lens through which leaders and decision makers can view the subtle shifts brought about by the dissemination of global modernity and its impact on identity formation, allowing them to better lead a culturally diverse work force. (shrink)

The idea that the world, not only of man but also of nature, was subject to a continuous process of change has taken strong root since the beginning of the nineteenth century. In 1859, Charles Darwin demonstrated that these changes were the result of immutable, eternal laws - although everything was subject to change, it was only in accordance with these laws. from the second half of the nineteenth century down to the First World War, this vision of change and (...) determination was interpreted in many different ways, both pessimistically and optimistically. It is striking that a fear of degeneration often went hand in hand with a belief in an upward evolutionary process and was not confined to any particular political spectrum. This volume, number XIV in the series, contains the papers presented at a workshop on the reception and interpretation of the theory of evolution, organised by the editors in April 2003. It covers the many, often irreconcilable faces, of the theory of evolution concerning not only the concrete substantive interpretation but also the many different fields of late nineteenth century thought by concentrating on cultural life in the broadest sense - political, social, scientific and artistic, both literature and the visual arts. This volume illustrates the versatility of the concept of evolution, and of degeneration as well, with the emphasis on the Netherlands. It not only presents the contradictions and many-sidedness of the post-Darwinian world, but also the continuity with the world before 1860. Moreover, it reveals one clear co-ordinating theme, namely that the theory of evolution was used as justification for many different ideologies and practices. (shrink)

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

How should we handle ethical issues related to emerging science and technology in a rational way? This is a crucial issue in our time. On the one hand, there is great optimism with respect to technology. On the other, there is pessimism. As both perspectives are based on scarce evidence, they may appear speculative and irrational. Against the pessimistic perspective to emerging technology, it has been forcefully argued that there is a status quo bias (SQB) fuelling irrational attitudes to (...) emergent science and technology and greatly hampering useful development and implementation. Therefore, this article starts by analysing the SQB using human enhancement as a case study. It reveals that SQB may not be as prominent in restricting the implementation of emergent technologies as claimed in the ethics literature, because SQB (a) is fuelled by other and weaker drivers than those addressed in the literature, (b) is at best one amongst many drivers of attitudes towards emergent science and technology, and (c) may not be a particularly prominent driver of irrational decision‐making. While recognizing that SQB can be one driver behind pessimism, this article investigates other and counteracting forces that may be as strong as SQB. Progress bias is suggested as a generic term for the various drivers of unwarranted science and technology optimism. Based on this analysis, a test for avoiding or reducing this progress bias is proposed. Accordingly, we should recognize and avoid a broad range of biases in the assessment of emerging and existing science and technology in order to promote an open and transparent deliberation. (shrink)

Armed with a fresh analysis of Shakespeare's inherited resources for articulating anxieties rooted in philosophical doubt, Skulsky shows that in four plays—Hamlet, Measure for Measure, King Lear, and Othello—the drama of doubt in search of an exit gives its own kind of urgency to the more familiar Shakespearean drama of action and motive. From Skulsky's study, the four plays emerge as insidiously telling exercises in challenging our working faith in the objectivity of moral choice and the possibility of knowing other (...) minds. In particular, Skulsky notes that Shakespeare takes calculated risks with our personal interest in his heroes by assigning them disturbing convictions as well as contemptible actions. In one of the plays, such convictions end by looking just as threatening as they do at the outset. In the others, Shakespeare offers a special kind of affirmation and compassion—an affirmation designed to stand against the worst of pessimism, and a compassion that makes room for the worst of the damned. (shrink)