For forty years, Harvey Mansfield has been worth reading. Whether plumbing the depths of MachiavelliOs Discourses or explaining what was at stake in Bill ClintonOs impeachment, MansfieldOs work in political philosophy and political science has set the standard. In Educating the Prince, twenty-one of his students, themselves distinguished scholars, try to live up to that standard. Their essays offer penetrating analyses of Machiavellianism, liberalism, and America., all of them informed by MansfieldOs own work. The volume also includes a bibliography of (...) MansfieldOs writings. (shrink)

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

In the climax to The Protestant Ethic, Max Weber writes of the stahlhartes Gehäuse that modern capitalism has created, a concept that Talcott Parsons famously rendered as the "iron cage." This article examines the status of Parsons's canonical translation; the putative sources of its imagery ; and the more complex idea that Weber himself sought to evoke with the "shell as hard as steel": a reconstitution of the human subject under bureaucratic capitalism in which "steel" becomes emblematic of modernity. (...) Steel, unlike the "element" iron, is a product of human fabrication. It is both hard and potentially flexible. Further, whereas a cage confines human agents, but leaves their powers otherwise intact, a "shell" suggests that modern capitalism has created a new kind of being. After examining objections to this interpretation, I argue that whatever the problems with Parsons's "iron cage" as a rendition of Weber's own metaphor, it has become a "traveling idea," a fertile coinage, in its own right, an intriguing example of how the translator's imagination can impose itself influentially on the text and its readers. (shrink)

This article reacts against the undesirable ideological separation between dialectical and rhetorical approaches to argumentative discourse. It argues that a sound evaluation of argumentation requires an analysis that reveals all aspects of the discourse pertinent to critical testing. To explain the rationale of the various moves made in the discourse and the strategic patterns behind them, not only the interlocutors' dialectical goals must be taken into account, but also their rhetorical goals. After explaining how rhetorical insight can be instrumental in (...) deepening and justifying a dialectical analysis, an integrated analysis is made of the rhetorical strategies that are brought to bear in an advertorial published by the oil company Shell. (shrink)

Two kinds of factors set the tempo and direction of organic and cultural evolution, those external to biotic evolutionary process, such as changes in the earth’s physical and chemical environments, and those internal to it, such as the time required for chance factors to lead lineages across adaptive valleys to a new niche space (Valentine 1985). The relative importance of these two sorts of processes is widely debated. Valentine (1973) argued that marine invertebrate diversity patterns responded to seafloor spreading as (...) this process generated more or less niche space. He suggested that natural selection is a powerful force and that earth’s biota are in near equilibrium with the niches available on the geological time scale. Walker and Valentine (1984) modeled the evolution of species assuming a logistic speciation rate limited by internal factors and a diversity-independent death rate caused by ongoing environmental change. Fitting this model to the observed evolution of shelled marine invertebrates suggests that the lag between extinctions and the evolution of new species leaves perhaps 30% of ecological niches unfilled. In this model, the biota lag environmental change by perhaps a few million years. However, as Valentine (1985) notes, if adaptive landscapes have whole suites of niches protected by deep maladaptive valleys, the waiting time for some pioneering species to cross the divide may be very long, generating the rare events that set new body plans and generate major adaptive radiations. Eldredge and Gould (1972) and Gould (2002) championed the idea that internal processes such as genetic and developmental constraints, coupled with the complexity of the adaptive landscape, resulted in a highly historically contingent evolutionary process. On Gould’s account, most of the history of life had to do not with a relatively close tracking of a changing environment but with the halting evolutionary exploration a deeply fissured niche space, mostly by rapid bursts of evolution as a fissure was crossed, followed by long periods of stasis.. (shrink)

A novel photon-based proton model is developed. A proton’s ground state is assumed to be coherent to the degree that all of its mass-energy precipitates into a single uncharged spherical structure. A quantum vortex, initiated by the strong force, but sustained in the proton’s ground state by the circular Unruh effect and a spherical Rindler horizon, is proposed to confine the proton’s mass-energy in its ground state. A direct connection between the circular Unruh effect, the zitterbewegung effect, spin, and general (...) relativity is proposed. Such a structure acts as an uncharged zitterbewegung fermion, and may explain neutrino mass. A ground-state proton’s central zitterbewegung fermion is assumed to be surrounded by a halo of charge shells of both signs. Virtual photon standing waves are assumed to synchronize the inner shell with the central zitterbewegung fermion. The charge shells are proposed to be associated with isospin and proton g-factor. There are only two model inputs—proton mass and quantized electronic charge—and just one adjustable parameter. The adjustable parameter, reduced only by about 0.4% from an initial estimate, provides the proton’s experimentally determined magnetic moment to arbitrary precision. The resulting modeled proton charge radius agrees very well with the 2018 CODATA value. Magnetic moment and charge radius are calculated algebraically in a manner easily understood by undergraduate physics students. This proposed ground-state proton model could be considered a low-energy approximation to a full quantum chromodynamical proton model. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

A modern version of Lewis’s theory of valency is presented. This takes account of the results of quantum–mechanical calculations on molecules. Topics covered are polar covalent bonds, hypervalency, coordinate bonds, nonintegral bonds, oxo-anions, variable valency among transition elements, and nonclassical compounds. A distinction is drawn between the valence shell of an atom and the Lewis shell. The concept of a fractional bond pair is presented.

The valencies of the lanthanides vary more than was once thought. In addition to valencies associated with a half-full shell, there are valencies associated with a quarter- and three-quarter-full shell. This can be explained on the basis of Slater’s theory of many-electron atoms. The same theory explains the variation in complexing constants in the trivalent state. Valency in metallic and organometallic compounds is also discussed.

The author's fascination with Me'Shell NdegeOcello's Leviticus: Faggot, is turned into an investigation in this chapter involving three basic questions. The first question interrogates the common thought that there is such a thing as black music, and asks what this music is, and what constitutes its blackness. The second question asks what this blackness is supposed to mean for music, by interrogating the familiar thought of Leopold Senghor: that blackness is somehow bound up with rhythm. The third question deals (...) with the way music's rhythms move us. Taking up Peter Kivy's questions in relation to rhythmic music is helpful, as it helps close the gap between the how‐possible and the how‐wondrous, and locate the point at which the preoccupations of analytical aesthetics overlap with the concerns of critical race aesthetics. The key to both moves lies in Kivy's argument against what he calls “the stimulus theory” of musical enjoyment. (shrink)

With the collapse of the bipolar system of global rivalry that dominated world politics after the Second World War, and in an age that is seeing the return of "ethnic cleansing" and "identity politics," the question of violence, in all of its multiple ramifications, imposes itself with renewed urgency. Rather than concentrating on the socioeconomic or political backgrounds of these historical changes, the contributors to this volume rethink the _concept_ of violence, both in itself and in relation to the formation (...) and transformation of identities, whether individual or collective, political or cultural, religious or secular. In particular, they subject the notion of self-determination to stringent scrutiny: is it to be understood as a value that excludes violence, in principle if not always in practice? Or is its relation to violence more complex and, perhaps, more sinister? Reconsideration of the concepts, the practice, and even the critique of violence requires an exploration of the implications and limitations of the more familiar interpretations of the terms that have dominated in the history of Western thought. To this end, the nineteen contributors address the concept of violence from a variety of perspectives in relation to different forms of cultural representation, and not in Western culture alone; in literature and the arts, as well as in society and politics; in philosophical discourse, psychoanalytic theory, and so-called juridical ideology, as well as in colonial and post-colonial practices and power relations. The contributors are Giorgio Agamben, Ali Behdad, Cathy Caruth, Jacques Derrida, Michael Dillon, Peter Fenves, Stathis Gourgouris, Werner Hamacher, Beatrice Hanssen, Anselm Haverkamp, Marian Hobson, Peggy Kamuf, M. B. Pranger, Susan M. Shell, Peter van der Veer, Hent de Vries, Cornelia Vismann, and Samuel Weber. (shrink)

In his book _The Corded Shell_, Peter Kivy attempts to solve the problem of the expression of emotions by music. the task he sets himself is to explain away the apparent contradiction between the following propositions, each of which seems independently plausible: Music can correctly be described in terms drawn form the human emotions and the connotations of such emotion terms preclude their application to music. Most of us would, I think, accept. Why should we accept? Kivy's argument is (...) that in the central uses of emotion terms there is an equivalence between _being_ sand and _feeling _ sad. Music is insensate; it cannot feel anything and - therefore - cannot feel sad. But, according to the above equivalence, if it cannot feel sad it cannot be sad. And if it cannot be sad, music criticism which describes apiece in this way is, at best, confused. (shrink)

I begin by acknowledging the profusion of Peter Sloterdijk’s published work, the suggestion by Bruno Latour that it may be on the side of design, and Sloterdijk’s pugnacious aversion to professorial critique. I focus on what I consider to be the crucial and vexed relationship between the general immunology of the Spheres trilogy [1998–2004] and the general ascetology of You Must Change Your Life [2009]. I present an analytical reconstruction of Sloterdijk’s account of originary spheric being-with in the trilogy, (...) focused on its culmination in the foam-world; I suggest this account is too ambiguous on key matters of basic ontological structure and I question whether the foam metaphor is adequate as a description of intersubjectivity today. Against the backdrop of this discussion I consider whether the general ascetology of Sloterdijk’s second anthropotechnics involves practising in, or practising on, the shells of symbolic immunity and conclude the latter. Setting this alongside the trilogy’s insistence that cells in the foam are “co-fragile,” I argue that anthropotechnical practising in the foam-world is suffused with a violence which Sloterdijk is reluctant to theorize. Registering one significant undeclared context of his discussion of self-enhancement, in postmodern management theory, I suggest that successful anthropotechnical practising in the foam-world requires the capacity to ignore other people and their interests. I note that Sloterdijk’s one-eyed embrace of competitive self-enhancement in You Must Change Your Life has since been qualified in brief remarks in What Happened in the 20th Century? [2016] but not substantively reconsidered. In conclusion, I pay tribute to the anthropotechnical lesson of Sloterdijk’s theoretical project, notwithstanding its design flaws and continuity errors. (shrink)

This paper deals with a number of technical achievements that are instrumental for a dis-solution of the so-called "Hole Argument" in general relativity. Such achievements include: 1) the analysis of the "Hole" phenomenology in strict connection with the Hamiltonian treatment of the initial value problem. The work is carried through in metric gravity for the class of Christoudoulou-Klainermann space-times, in which the temporal evolution is ruled by the "weak" ADM energy; 2) a re-interpretation of "active" diffeomorphisms as "passive and metric-dependent" (...) dynamical symmetries of Einstein's equations, a re-interpretation which enables to disclose their (up to now unknown) connection to gauge transformations on-shell; understanding such connection also enlightens the real content of the Hole Argument or, better, dis-solves it together with its alleged "indeterminism"; 3) the utilization of the Bergmann-Komar "intrinsic pseudo-coordinates", defined as suitable functionals of the Weyl curvature scalars, as tools for a peculiar gauge-fixing to the super-hamiltonian and super-momentum constraints; 4) the consequent construction of a "physical atlas" of 4-coordinate systems for the 4-dimensional "mathematical" manifold, in terms of the highly non-local degrees of freedom of the gravitational field (its four independent "Dirac observables"). Such construction embodies the "physical individuation" of the points of space-time as "point-events", independently of the presence of matter, and associates a "non-commutative structure" to each gauge fixing or four-dimensional coordinate system; 5) a clarification of the multiple definition given by Peter Bergmann of the concept of "(Bergmann) observable" in general relativity. This clarification leads to the proposal of a "main conjecture" asserting the existence of i) special Dirac's observables which are also Bergmann's observables, ii) gauge variables that are coordinate independent (namely they behave like the tetradic scalar fields of the Newman-Penrose formalism). A by-product of this achievements is the falsification of a recently advanced argument asserting the absence of (any kind of) "change" in the observable quantities of general relativity. 6) a clarification of the physical role of Dirac and gauge variables as their being related to "tidal-like" and "inertial-like" effects, respectively. This clarification is mainly due to the fact that, unlike the standard formulations of the equivalence principle, the Hamiltonian formalism allows to define notion of "force" in general relativity in a natural way; 7) a proposal showing how the physical individuation of point-events could in principle be implemented as an experimental setup and protocol leading to a "standard of space-time" more or less like atomic clocks define standards of time. We conclude that, besides being operationally essential for building measuring apparatuses for the gravitational field, the role of matter in the non-vacuum gravitational case is also that of "participating directly" in the individuation process, being involved in the determination of the Dirac observables. This circumstance leads naturally to a peculiar new kind of "structuralist" view of the general-relativistic concept of space-time, a view that embodies some elements of both the traditional "absolutist" and "relational" conceptions. In the end, space-time point-events maintain a "peculiar sort of objectivity". Some hints following from our approach for the quantum gravity programme are also given. (shrink)

Commentators on the work of Immanuel Kant have long held that his later "critical" writings are a radical rejection of his earlier, less celebrated efforts. In this pathbreaking book, Susan Shell demonstrates not only the developmental unity of Kant's individual writings, but also the unity of his work and life experience. Shell argues that the central animating issues of Kant's lifework concerned the perplexing relation of spirit to body. Through an exacting analysis of individual writings, Shell maps (...) the philosophical contours of Kant's early intellectual struggles and their relation to his more mature thought. The paradox of mind in matter and the tensions it generates—between freedom and determinacy, independence and community, ideal and real—are shown to inform the whole of his work. Shell's fresh, penetrating analysis of the precritical works will surely catapult them to new prominence in Kant studies. Shell's critique goes further to consider the context of contemporary intellectual life. She explores the fascinating realm of Kant's sexual and medical idiosyncracies, linking them to the primary concerns of his critical philosophy. She develops a sure-to-be controversial treatment of the connection between Kant's philosophy and his chronic hypochondria, and illuminates previously unforeseen connections in a remarkable convergence of life and thought, with important theoretical and practical implications for modern times. (shrink)

"Shell offers admirably close readings [which are] often brilliant... Summary could do little more than hint at the riches laid open."-- The Eighteenth Century "A remarkable piece of work. Valuable for a wide range of readers from the expert to the inquiring generalist."-- Religious Studies Review In Money, Language, and Thought , Marc Shell explores the interactions between linguistic and economic production as they inform discourse from Chretien de Troyes to Heidegger.

Carazan's dream : Kant's early theory of freedom -- Kant's archimedean moment : remarks in observation concerning the feeling of the beautiful and the sublime -- Rousseau, Count Verri, and the true economy of human nature : lectures on anthropology, 1772-1781 -- The paradox of autonomy -- Moral hesitation in religion within the boundaries of bare reason -- Kant's true politics : Völkerrecht in toward perpetual peace and the metaphysics of morals -- Kant as educator : conflict of the faculties, (...) part one -- Archimedes revisited : honor and history in the conflict of the faculties, part two -- Kant's Jewish problem. (shrink)

Kant’s thought from the 1750s onward can usefully be understood as a series of efforts to overcome the challenge posed in Machiavelli’s Prince: namely, to reconcile our idea of justice with what is actually possible given human nature as it is, rather than as reason tells us that it “should” be. Especially following his reading of Rousseau, this effort took the form of successive translations of the metaphysical concept of a world into the juridical language of world-citizenship, which transformed a (...) rational and physical cosmology into moral and historical cosmopolitanism. The thought of both Hobbes and Rousseau proved instrumental to those efforts. Initially, Kant thought human history oscillated between Hobbesian and Rousseauian conceptions of civil order—i.e., between orders that guarantee, respectively, security and freedom. In his later works, Kant suggested that history progressed from Hobbes to Rousseau, but he hesitated to declare that a transformation from prudence-based security to virtue-based civil independence was completable even in principle. Speaking generally, Kant sought to reconcile a kind of historical providentialism with the sovereign authority of reason. This reconciliation blurs the distinction between, on the one hand, the metaphysical and/or religious and, on the other hand, the secular—a distinction on which Michael Rosen’s perspicuous intellectual history tends to focus. That this earliest version of Kant’s rational providentialism makes reward of effort morally central also suggests that it is ultimately even more important to Kant than the punitive theme on which Rosen himself focusses. (shrink)

For hundreds of years, Muslim Spain was the most tolerant place in Europe. Christians, Muslims, and Jews were able to live together there more or less peacefully. The three religious groups maintained a tolerant convivencia, or coexistence, thanks partly to a twofold distinction among kinds of people that was essential to the particularist doctrine of Islam influential in Spain. Islamic doctrine distinguishes first between Muslim and non-Muslim peoples and second between those non-Muslims who are, like Muslims themselves, “Peoples of the (...) Book” and those non-Muslims who are “pagan.” These two distinctions, taken together, could amount to the difference between life and death. For example, Muslim courts ruled on the basis of the Koran that those “others” who were Peoples of the Book could not legally be put to the sword for refusing to convert to Islam while those “others” who were pagan could be. Christians and Jews had to be put up with, and usually were.2 1. Henry Kamen, Inquisition and Society in Spain in the Sixteenth and Seventeenth Centuries , p. 264; my emphasis; hereafter abbreviated I.2. The Koran grounds the series of divisions outlined and is consistent with the well-known Pact of Umar I, which established special regulations for Christians and Jews living in Muslim lands: “’There is to be no compulsion in religion. Rectitude has been clearly distinguished from error. So whoever disbelieves in idols and believes in Allah has taken hold of the firmest handle. It cannot split. Allah is All-hearing and All-knowing’” . See also Sura 109:6: “To you your religion, to me my religion.” Marc Shell, a John D. and Catherine T. MacArthur Fellow for 1990-95, is head of the department of comparative literature at the University of Massachusetts in Amherst. His books include The Economy of Literature , Money, Language, and Thought: Literary and Philosophical Economies from the Medieval to the Modern Era , and The End of Kinship: “Measure for Measure,” Incest, and the Ideal of Universal Siblinghood . Children of the Earth is forthcoming. (shrink)

Wharton School professor G. Richard Shell lays out a systematic, values-to-action process that employees at all levels can use to manage conflicts, maintain their integrity, and achieve success in their lives and careers. Driven by dramatic, real-world stories from the front lines of today's workplace and based on the latest research, [this book] shows how to create value-based workplaces where everyone can thrive."--Back cover.

Unlike that of most liberal thinkers, Kant's theory of punishment is unabashedly retributive. For classical liberals punishment is justified only by the harms it can prevent, not by any allegedly intrinsic good served by making the guilty suffer. Here Hobbes' blunt insistence that the aim of punishment ‘is not a revenge, but terror’ is prototypical in substance, if not in style. Hobbes, Locke, Mill, Bentham and Beccaria, for all their differences, agree that punishment must look to future good rather than (...) to avenging past wrongs. This attitude on the part of classic liberalism toward retribution is not surprising, given its association with the kind of theocratic politics liberalism arose to combat. (shrink)

Kant's brief ‘Postscript of a Friend’ serves as a peculiar coda to his life work. The last of Kant's writing to be published during his lifetime, it is both a friendly endorsement of Christian Gottlieb Mielcke's newly competed Lithuanian–German and German–Lithuanian Dictionary and a plea in Kant's own name for the preservation of minority languages, Lithuanian in particular. This support for minority languages has no visible precedent in his earlier writings, in which national, civic and linguistic identities and associated loyalties (...) tend to overlap. Indeed, Kant's understanding of the commonwealth as nation-state seems predicated on the fact or myth of ethnic and linguistic unity and homogeneity. The same apparent lack of precedent also applies to the Nachschrift's singling out as a people of peculiar civic merit of the Lithuanians, who are not otherwise mentioned in any of Kant's published or unpublished writings. The work thus raises an obvious question: why does Kant devote his last published work to a topic and cause in which he does not seem to have taken much earlier interest? (shrink)

This book presents the first full translation of the correspondence of Leo Strauss and Gerhard Krüger, showing for each the development of key and influential ideas, along with seven interpretative essays by leading Strauss scholars. During the early to mid-1930’s, Leo Strauss carried on an intense, and sometimes deeply personal, correspondence with one of the leading intellectual lights among Heidegger’s circle of recent students and younger associates. A fellow traveler in the effort to “return to Plato” and reject neo-Kantian conventions (...) of the day, Krüger was also a serious student of Rudolf Bultmann and the neo-orthodox movement in which Strauss also took an early interest. During the most intense years of their correspondence, each underwent significant intellectual development: in Krüger’s case, through a penetrating series of studies of Kant and Descartes, respectively, ultimately leading to Krüger’s conversion to Catholicism; and, in Strauss’s case, through the complex stages of what he subsequently called his “reorientation,” involving what he for the first time calls “political philosophy.” Readers interested in tracing the development of Strauss’s thoughts regarding a theological alternative that he found helpfully challenging—if not ultimately compelling—will find this correspondence to be an accessible point of entry. (shrink)

The following remarks are intended to help clarify Kant's position on international right and, specifically, the so-called ‘right of war’. They are part of a more general study of Kant's politics; but I also make them here in the hope that Kant's view of international law can furnish us with some much-needed practical help and guidance. More specifically, I will try to show that Kant is less averse to the use of force, including resort to pre-emptive war, and far more (...) attuned to possibilities for political catastrophe, than he is often taken to be. A greater appreciation for Kant's actual position can, I hope, make a small contribution toward mending the growing rift between so-called ‘Kantians’ who underrate the need for force, and self-styled ‘Hobbesians’ who underestimate the power of moral principle. (shrink)

The innkeeper’s sign recalls another “inn,” mentioned by Kant in a work published the previous year - the inn [Karavenserair; Wirthshausr] as emblem of the world, where “each man must be content at every turn-in in life’s journey to be soon pushed out by a successor.”. Kant there suggests that such an image of this world is what remains if one lacks hope that man in this world constantly progresses. If our world is to be better than a hostelry for (...) nomads the idea of perpetual peace must somehow be our orienting signal. Philosophy may critically secure itself a worldly home; but mankind generally finds itself, at best, perpetually moving in the right direction. Constant progress implies constant approach, and with it, a perpetually deferred arrival. Kant’s title, like the ambiguous signpost it replaces, advertises a repose at once attractive and repellent, promising a rest that draws us on while also putting us on guard. (shrink)

If there is one generally acknowledged “take away” from the election of Trump, it may well be that the old divisions between right and left no longer hold. Trump supporters were seemingly moved less by traditional conservative appeals to free markets and small government than by anger against perceived condescension and indifference on the part of the cultural elite to their own deeply held moral beliefs and sense of personal dignity. Kant offers both insight into and potential remedies for the (...) dilemmas growing out of our present situation. This is particularly true in matters of economic policy and civic engagement, where “top down” solutions have often left their would-be beneficiaries feeling ever more powerless and disrespected. By addressing these concerns in the name of common citizenship, Kant’s thought helps restore the meaning of the core constitutional principles of freedom, equality, and civic dignity that Trump’s presidency increasingly puts in question. (shrink)