Arthur Danto's philosophical writing is replete with literary references. Philosophy is purely a conceptual enterprise, aimed at solving problems about the natures of things precisely where no empirical information is available to settle what they are. Danto chose the philosophy of literature, and in particular the relations between literature and philosophy, as the topic of his 1983 APA Presidential Address. Danto describes “the bottom‐line view of philosophy” that undertakes to develop only via impersonal theses and arguments, and that (...) requires “the suppression of voice” as “abstract, distorted, and surrealistic” in being too severed from our actual experiences as historical and embodied beings. Philosophy, at least as a matter of its defining ambitions and at the highest reach of its achievements, is, in Danto's perception, essentially written for the sake of transfiguration; its very life is lost when its texts are “flattened into papers”. (shrink)

The history of the school required reading shows us how and why pupils approached literature and how it impacted their convictions about reading, art and identities. The education systems were not only working on the strictly personal development of pupils, but were also implementing certain political values and ideas. The literature education thus encouraged ideas about national and supernational communities. The Yugoslav system presented the wide and complex notion of culture and literature, but in the demanding and (...) counterproductive fashion. The Croatian system implemented the mononational approach to literature, while retaining the rigidness of the old system. For those reasons it is likely that pupils didn't connect with their national identities through literature and that they didn't develop reading habits. (shrink)

From the very beginning, Blanchot's thought on literature was intimately linked to his experience and conception of politics. It is this beginning that this article sets out to explore. In particular, it examines how Blanchot's discourse, insofar as the literature/politics relation is concerned, begins to shift toward the second half of the 1930s. Initially, literature is seen as a propitious ground to prepare what Blanchot terms a ‘healthy’ politics — not in any partisan or (...) programmatic sense but in the more fundamental sense of being the active site of what he refers to as ‘concrete’ values, that is, national, cultural and spiritual values which may call upon writers to commit themselves politically and take action to defend those values in the real world as part of an effort to stimulate national, spiritual renewal. Gradually, however, Blanchot's discourse breaks with this logic of continuity established between literature and the field of political realities. From 1937 onwards, the political element provides Blanchot, this time in the form of a revolutionary force detached from its empirical conditions, with a conceptual framework to theorize literature and to account for the violent, negating force encountered, according to him, in the literary work. As a result, it is no longer — or just — about literature contributing to a revolutionary project in the socio-political world; what is at stake, instead, is how the political, understood as a ‘force of opposition’ or negation, can contribute to literary criticism and thought by offering Blanchot a new language to explore the experience and violence of literature. (shrink)

This book looks in particular at Achebe's Anthills of the Savannah and Petals of Blood by Ngugi wa Thiong'o, but situates these within the broader context of developments in African literature over the past half-century, discussing writers from Ayi Kwei Armah to Wole Soyinka. M.S.C. Okolo provides a thorough analysis of the authors' differing approaches and how these emerge from the literature. Okolo argues that these authors have been profoundly affected by the political situation of Africa, but have (...) also helped to create a new African political philosophy. (shrink)

Samuel Hollander is widely recognized as one of the most important and controversial historians of economic thought. This second volume collects together essays extending beyond classical economics, the subject with which he is most associated. This collection includes: * studies in Scholastic, Smithian and Marshallian literature * papers on the Corn-Law pamphlet literature of 1815, the post-Ricardian dissension, and the marginal revolution * essays on T.R. Malthus, including four bibliographical studies The volume also includes an autobiographical section and (...) reviews of a broad range of important books published in the last thirty years. (shrink)

Utopian Horizons comprises chapters discussing diverse aspects of utopia ranging from its definitions and relations to ideology and different possible uses to practical studies of selected political, ideological, and cultural phenomena. The editor's introduction, apart from providing a useful overview of the reception of utopia, considers the problem of the ways in which fiction, an indispensable element of literary utopias, affects their possible ideological impact. This is a highly relevant issue all too often ignored in utopian studies, despite repeated claims (...) to the contrary.The first part of the book introduces five essays discussing some of the fundamental oppositions... (shrink)

Recent debates among scholars in Literature education have led to polarizing views about the aims of the subject. The debate reignites ancient quarrels about the aesthetic and political values of literary study and relatedly, the different pedagogical approaches to teaching. In the first part of this paper, I explore the aesthetic-political divide in Literature education paying particular attention to how this was reinforced by New Criticism and Poststructuralist Criticism as these were key movements that have had a significant (...) influence on the teaching of Literature in schools. More importantly, I argue that such a divide exemplified the different goals of the West, in which Literature education originated as a platform for the cultivation of taste, and Postcolonial countries, in which the subject was utilized as a political tool for colonization resulting in acts of mimicry and subversion among colonized subjects. In the second part of the paper, I apply third space theory to disrupt the aesthetic-political divide. I discuss the need to create third spaces in Literature classrooms that are critical, inclusive, negotiated and ethical allowing students to engage with aesthetic, political and ethical dimensions of literature. (shrink)

Don't pray for war -- Is democracy worth it? -- Taking speech seriously -- In recognition of limits -- The limits of politics.

Like Leo Strauss and Karl Popper, most readers take it that one cannot have a political reading of the Republic at all, except by interest in Plato’s attitude toward the proposals developed by Socrates and his interlocutors. But this is not true. I do not mean that it is a good idea to cultivate apathy concerning Plato’s attitudes to sexual equality, private property, food, war, and so on. I mean that there is this possibility mentioned by Stanley Rosen, that “Plato (...) speaks in the story he tells, not in the arguments he assigns to his dramatis personae.”1 That possibility, more usually deployed against Popper, might also worry Strauss. For it is not obvious that treating Socrates as Plato’s satirical voice is any.. (shrink)

Resumen: El objetivo de este ensayo es presentar el procedimiento, hallazgos y lecciones de una revisión de literatura soportada en elementos estructurados y sistemáticos en una investigación cuyo objetivo es encontrar condiciones de satisfacción para una teoría integrada de la acción colectiva desde la economía política. El resultado de este ejercicio es la exposición de cómo la revisión sistemática de literatura interioriza en el aspecto metodológico de las investigaciones cualitativas la intuición de los autores, sin dejar de lado la asepsia (...) de las revisiones estructuradas. El aporte radica entonces en discutir la importancia de la adopción de reglas para la búsqueda y revisión bibliográfica, al tiempo de advertir la necesidad de incorporar algunos criterios subjetivos para complementar dichas reglas rígidas que supone un protocolo estructurado.: This essay presents the procedure, findings and lessons of a review of literature supported by structured and systematic elements in a research whose objective is to find satisfaction conditions for an integrated theory of collective action from political economy. The result of this exercise is the exposition of how the systematic review of literature internalizes in the methodological aspect of qualitative research the intuition of the authors, without neglecting the asepsis of structured reviews. The contribution then lies in discussing the importance of adopting rules for searching and reviewing the literature, while noting the need to incorporate some subjective criteria to complement these rigid rules that are a structured protocol. (shrink)

Although Sir Samuel Ferguson is generally recognized as one of the key figures of mid-nineteenth-century Irish literature, there has been no major edition of his poems since 1916, as a result of which his work tends to be known to the general reader through selections published in anthologies. The essay analyzes the selections of Ferguson’s work in anthologies of Irish literature published between 1895 and 2010 in an attempt to assess the impact of the cultural dynamics of twentieth-century (...) Ireland on the interpretation of Ferguson’s achievement as a poet. The evidence collected demonstrates that the image of Ferguson perpetuated by most twentiethcentury anthologists, most of them Hibernocentric in approach, was that of a respectable if rather old-fashioned Romantic nationalist antiquarian, whose work focused primarily on familiarizing the Victorian reader with the ancient myths and traditions of Ireland. This interpretation of Ferguson’s achievement, motivated, it is argued, by the predominantly nationalist agenda of modern Ireland’s cultural establishment, has largely marginalized the other side of Ferguson—a political thinker committed to the unionist cause and vehemently opposed to the violence perpetrated by the emergent Irish republican movement and culminating in the Phoenix Park murders of 1882, which formed the subject of two of Ferguson’s most powerful late poems, “At the Polo-Ground” and “In Carey’s Footsteps.”. (shrink)

A fresh look at the often-censured but imperfectly understood traditions of Utilitarianism and political economy in relation to Victorian literature and culture. Setting the writings of Bentham, Smith, Malthus, Mill, Dickens, Carlyle, Trollope, Eliot, Gaskell, and Tagore in historical context, Blake widens awareness of commonalities across the age.

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

This book engages with the conceptual intersections of post-Yugoslav literature, focusing on analyses of postism and temporality.

I present a fictional and somewhat unpleasant tutorial. In it a use of the term “ideal political theory” is connected with the reflective equilibrium method: an ideal theory requires no adaptation of specific moral judgments to fit with the theory. I have not been in a tutorial closely resembling this, I should say.

ABSTRACTEffects of metaphorical framing of political issues on opinion have been studied widely by two approaches: a critical-discourse approach and a response-elicitation approach. The current article reports a systematic literature review that examines whether these approaches report converging or diverging effects. We compared CDA and REA on the metaphorical frames that were studied and their reported effects. Results show that the CDA frames are typically more negative, nonfictional, and extreme than REA frames. Reported effects in CDA and REA studies (...) differ in terms of presence, directionality, and strength, with CDA typically reporting strong effects in line with the frame, compared to REA. These differences in effects can be explained by the different frame characteristics. However, differences in the methods applied by CDA and REA could be responsible for these differences as well. In all, we conclude that the research field is fragmented on the impact of metaphors in politics. (shrink)

In Political Self-Deception, Galeotti carves out valuable space for the analysis of behaviour on the part of political leaders that lies between straightforward deception and honest mistakes. In these comments I consider whether the concept of self-deception can travel from the political to the academic arena, to illuminate problems in how political theorists treat empirical data in the course of their normative work. Drawing on examples from the literature on the social bases of self-respect, I show that political theorists (...) too are vulnerable to the motivationally biased treatment of data. I suggest that this problem can helpfully be located on the same broad terrain Galeotti outlines, between lying and mistakes. I also identify some potential analogues, for the academic sphere, of Galeotti's proposed remedies for political SD. The paper goes on to reflect on how Galeotti herself employs empirical evidence in developing her account of self-deception. In particular, I challenge the empirical basis of her assumption that political self-deception is significantly more predictable, and therefore preventable, than political lying. My discussion seeks to show that, in addition to its intended contribution to the study of political deception, Political Self-Deception offers a valuable perspective on recent debates about the place of empirical evidence in political theory. However, approaching the book from this methodological angle reveals, in turn, some weaknesses in the empirical foundations of one of Galeotti's own key normative claims. (shrink)

This article examines the use of political metaphors and analogies in ancient discussions of Epicurean atomism, ranging from the philosophical dialogues of Cicero in the 1st century BC to Claudian’s epic invective In Rufinum in the 390s AD. Building on earlier scholarship that traces the emergence of monarchical and imperial analogies for the Greco-Roman pantheon in Post-Hellenistic philosophy, I argue that ancient critics of atomism shared a common tendency to depict Epicurean physics as the conceptual opposite of a well-ordered state. (...) In particular, depictions of Epicurean theology as a form of divine ‘banishment’ and of atomic cosmology as a form of cosmic ‘democracy’ or ‘anarchy’ appear in texts by a wide range of Greek and Roman authors, revealing the great extent to which philosophical disagreements over atomic physics were influenced by political and social ideas. (shrink)

---Introduction: Appendix A. The Tudor literature on church and state. Appendix B. Crowell's interpreter. Appendix C. James and the Puritans. Appendix D. A conference about the next succession to the crown of England, and other books by Robert Parsons. Appendix E. Bibliography, ---The political works of James I : Basilikon Doron. The trew law of free monarchies. An apologie for the oath of allegiance. A premonition to all Christian monarches, free princes and states. 'A defence of the right of (...) kings, against Cardinall Perron. Speech of 1603-1604. Speech of 1605. Speech of 1607. Speech of 1609-1610. Speech in the Star chamber, 1616. ---Index. (shrink)

The Political Institutions of the Ancient Greeks is an unchanged, high-quality reprint of the original edition of 1895. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of (...) class='Hi'>literature which has become rare and historical knowledge for the future. (shrink)

The concept of intellectual equality dominates Jacques Rancière’s prolific (and ever increasing) bibliography and remains fundamental to his aesthetic philosophy. Whereas equality’s relationship to Rancièrean pedagogy, politics, and literature has been discussed at length in recent years, however, I argue that translation represents a sustained and specific focus in Rancière’s political-aesthetic framework, one that scholarship has so far overlooked. This article considers the important but rarely-cited essay “Politics, Identification, and Subjectivization” alongside several of Rancière’s more canonical works (...) in order to trace the role of translation as a metonymy, a scholarly style, and a political activity in his philosophical thought. The intersection of translation with ways of “doing, being, and saying” clarifies Rancière’s elegant elision of poetics and politics and ultimately sheds new light on his specific contribution to literary studies. (shrink)

The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on literature and (...) science, this volume presents fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)

This book suggests that modern cultural and critical institutions have persistently associated questions of aesthetics and politics with literature, theory, technics, and Romanticism.

The present essay focuses on political torture during the twentieth century. It takes a multidisciplinary approach, because it entails insights from history, politics, ideology, anthropology, psychology and literature. The aim of the present essay is to discuss the relation between "Classical" torture (in the past centuries) and "Modern" torture (in the twentieth century), analyzing the phenomena in a comparative perspective and paying attention to the hidden and unconscious motives behind historical facts. What I am interested in is the (...) mechanism by which, in the twentieth century, torture has been reintroduced particularly for political prisoners - that means torture for ideas and conscience, torture as a technique of power and not merely as a technique of punishment. What torture destroys first is the dignity and privacy of the victim; only then does it destroy the victim's freedom and integrity. For this reason, every torture is an act of rape, even a symbolic one. I mean this in psychological terms, not as a demonstration of feminist vocabulary. Every touching of the victim's body is rape, emphasizing the "virility" of the torturer. First of all, the torturer wants to become a master of his victim's body, and only later, a master of the tortured person's mind. I include imagination in the concept of torture, imagination being one of the tools of the act of torturing. In torture, imagination becomes, in my demonstration, a never-ending weapon. (shrink)

What is this thing called literature? Why study it? And how? Relating literature to topics such as dreams, politics, life, death, the ordinary and the uncanny, This Thing Called Literature establishes a sense of why and how literature is an exciting and rewarding subject to study. Andrew Bennett and Nicholas Royle expertly weave an essential love of literature into an account of what literary texts do, how they work and the sort of questions and (...) ideas they provoke. The book's three parts reflect the fundamental components of studying literature: reading, thinking and writing. The authors use helpful and wide-ranging examples and summaries, offering rich reflections on the question 'What is literature?' and on what they term 'creative reading'. The new edition has been revised throughout with extensive updates to the further reading, and a new chapter on creative non-fiction. Bennett and Royle's accessible and thought-provoking style encourages a deep engagement with literary texts. This essential guide to the study of literature is as an eloquent celebration of the value and pleasure of reading. (shrink)

Of the six sections composing «The Methodology of Posive Economics», the first one («The Relation between Positive and Normative Economics») is apparently the less discussed in the F53 literature, probably as a result of being the shortest one and the less relevant for the realism issue, all at once. In view of Milton Friedman’s subsequent career as a political preacher, it seems difficult not to wonder whether this first section ruled it the way the other five directed Friedman’s scientific (...) performance. After all, the role of prediction in defining positive economics was already advanced therein: when an economist predicts, her results are «independent of any particular ethical position or normative judgments». This is also why positive economics is a politically relevant discipline: as long as the differences about economic policy –among disinterested citizens– derive only from different predictions about the economic consequences of taking action, these differences could be eliminated by the progress of positive economics. Our plan in this paper is to present, in the first place, the role of political motivations in the development of Friedman’s methodological stance. As we will discuss in §2, Friedman was involved in the policy-making process right from the beginning of his professional career, and could experience at first hand the relevance of economic predictions in generating a consensus not only among politicians or the public opinion, but among the profession itself. Conversely, Friedman could also appreciate how difficult was to reach a consensus on a particular policy when the economists disagreed on its practical consequences. In this respect, as we will see, «The Methodology» attempted at guaranteeing the political efficiency of economic research. However, the sociological turn in science studies suggests to question on what basis can we deem a prediction neutral. Is it simply that economists produce these positive predictions disinterestedly, even while deeply engaged in political debates? In §3, we analyse how Friedman himself produced predictions immediately before «The Methodology» was drafted, and how this procedure lies at the core of his Marshallian approach, which he contrasted to the Walrasian strategy on the grounds of its higher political relevance.. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This chapter brings together debates in political philosophy and epistemology over what we should do when we disagree. While it might be tempting to think that we can apply one debate to the other, there are significant differences that may threaten this project. The specification of who qualifies as a civic or epistemic peer are not coextensive, utilizing different idealizations in denoting peerhood. In addition, the scope of disagreements that are relevant vary according to whether the methodology chosen falls within (...) ideal theory or nonideal theory. Finally, the two literatures focus on different units of analysis that diverge according to the philosophical purpose behind their investigation of disagreement. Epistemologists analyze the rationality of individuals’ belief states whereas political philosophers focus on the just governance of a diverse society. Despite these differences, political epistemologists can learn valuable lessons by considering these debates side by side in order to provide insights that address a host of different challenges posed by political disagreement. The core lesson to draw from the disanalogies outlined in this paper is that to make progress, careful attention should be paid to specifying the goal of any particular project within political epistemology. (shrink)

‘Every now and then a book appears which is literally ahead of its time ... The Political Unconscious is such a book ... it sets new standards of what a classic work is.’ – Slavoj Zizek In this ground-breaking and influential study, Fredric Jameson explores the complex place and function of literature within culture. A landmark publication, The Political Unconscious takes its place as one of the most meaningful works of the twentieth century. First published: 1983.

ABSTRACT:I here advance a critical research agenda for the political perspective of corporate social responsibility (Political CSR). I argue that whilst the ‘Political’ CSR literature is notable for both its conceptual novelty and practical importance, its development has been hamstrung by four ambiguities, conflations and/or oversights. More positively, I argue that ‘Political’ CSR should be conceived as one potentialformof globalization, and not as aconsequenceof ‘globalization’; that contemporary Western MNCs should be presumed to engage in CSR for instrumental reasons; that (...) ‘Political’ CSR should be associated with a corresponding ‘political’ model of corporate governance; and that both a ‘Rawlsian’ and ‘Habermasian’ perspective of Political CSR are different from ‘Political’ CSR. In concluding, I use these four critiques to identify a number of areas within which increasingly robust and sophisticated positive and normative theories of Political CSR are required. (shrink)

What is politics? How is politics different from other spheres of human life? What is behind the debasement of political life today? This book argues that the most illuminating answers to these questions have come from Hannah Arendt. Arendt held that Western philosophy has never had a 'pure concept of the political', and that political philosophers have been guided and misguided by the assumptions implicit in their metaphysical questions. Her project was 'to look at politics … with (...) eyes unclouded by philosophy', and to retrieve the non-theoretical understanding of politics implicit in ancient Greek literature and history. David Arndt's original and accessible study shows how Arendt reworked some of the basic concepts of political philosophy, which in turn led her to a re-interpretation of American political history and even to a profoundly original reading of the US Declaration of Independence. (shrink)

In a recent paper, Nader Shoaibi (2024) makes a valuable contribution to the discussion on genealogies and conspiracy theories (CTs) by focusing on a particular kind of genealogy: what he calls 'political genealogies'. Roughly, political genealogies are not so much interested in the epistemic warrant (or rationality) of a given belief or theory. Rather, their function is to illuminate the social and political conditions that give rise to the spread of (unwarranted) CTs. Shoaibi also notes that such genealogies have an (...) important normative dimension: by drawing on the social/political conditions surrounding CTs we are also invited to engage in a ‘constructive strategy’ concerning CT-believers. This strategy, according to Shoaibi, can be cashed out in terms of ‘world-travelling’ which, as per feminist philosopher Maria Lugones, involves radical humility and playfulness. I agree with a lot of what Shoaibi has to say in his paper. I find his notion of CT political genealogies philosophically fruitful since it carves out what I take to be novel conceptual space in the literature. And I welcome the appeal to ‘world-travelling’ when dealing with proponents of unwarranted CTs. In this piece I respond to some of Shoaibi’s worries against epistemic genealogies, and I raise a concern about the possibility of political genealogies being hijacked by malicious actors. I also make some preliminary remarks about what could be called 'genealogical pluralism' about CTs, while also arguing for the primacy of epistemic genealogies. (shrink)

This edited book considers the need for the continued dismantling of conceptual and cultural hegemonies of 'East' and 'West' in the humanities and social sciences. Cutting across a wide range of literature, film and art from different contexts and ages, this collection seeks out the interpenetrating dynamic between both terms. Highlighting the inherent instability of East and West as oppositional categories, it focuses on the 'crossings' between East and West and this nexus as a highly-charged arena of encounter and (...) collision. Drawing from varied literary contexts ranging from Victorian literature to Chinese literature and modern European literature, the book covers a diverse range of subject matter, including material drawn from psychoanalytic and postcolonial theory and studies related to race, religion, diaspora, and gender, and investigates topical social and political issues -including terrorism, nationalism, citizenship, the refugee crisis, xenophobia and otherness. Offering a framework to consider the salient questions of cultural, ideological and geographical change in our societies, this book is a key read for those working within world literary studies. (shrink)

This outstanding collection of essays explores Hannah Arendt's thought against the background of recent world-political events unfolding since September 11, 2001, and engages in a contentious dialogue with one of the greatest political thinkers of the past century, with the conviction that she remains one of our contemporaries. Themes such as moral and political equality, action and natality, and judgment and freedom are reevaluated with fresh insights by a group of thinkers who are themselves well known for their original contributions (...) to political thought. Other essays focus on novel and little-discussed themes in the literature by highlighting Arendt's views of sovereignty, international law and genocide, nuclear weapons and revolutions, imperialism and Eurocentrism, and her contrasting images of Europe and America. Each essay displays not only superb Arendt scholarship but also stylistic flair and analytical tenacity. (shrink)

In this paper, I do several things. First, I present a definition of ‘corruption’ as ‘abuse of power that builds or maintains the abuser’s power’, arguing that this definition is more generally applicable than other definitions offered in the literature and that it highlights a crucial property of corruption, namely its tendency to metastasise, presenting a more and more serious danger to society. To defend the emphasis I place on this tendency, I then argue that corruption (as commonly understood) (...) frequently produces three mechanisms pushing it to reproduce: self-perpetuation by the corrupt actors to protect themselves, formation of networks between corrupt actors which ensnare new participants, and normalisation of specific kinds of abuse of power in the corrupt actors’ social environments. From here, I turn to political parties, arguing that they present fertile soil for the mechanisms just described. In their stead, I argue for sortition—a system whereby legislators are randomly selected from the population at large. I make the case that each of the three metastatic mechanisms I have described would have much more difficulty taking root in a sortitional-democratic system than in an electoral-democratic one, before concluding by responding to a major potential objection to such a proposal’s feasibility—namely, that sortitional juries would be less competent than elected legislatures—and presenting a sketch of a sortitional-democratic system setting out how it could discharge the government’s executive functions, in addition to the legislative functions already covered. The paper as a whole, in addition to its explicit arguments, may be considered to make an implicit case for non-ideal over ideal theory, in that it attempts to show the importance of that quintessentially non-ideal factor, corruption, to the nature of any political order. (shrink)

Jean-Paul Sartre was one of the most important philosophical and political thinkers of the twentieth century. His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought (...) and literature. In _What is Literature?_ Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write. (shrink)

How can we achieve and sustain a "decent" liberal society, one that aspires to justice and equal opportunity for all and inspires individuals to sacrifice for the common good? In this book, a continuation of her explorations of emotions and the nature of social justice, Martha Nussbaum makes the case for love. Amid the fears, resentments, and competitive concerns that are endemic even to good societies, public emotions rooted in love—in intense attachments to things outside our control—can foster commitment to (...) shared goals and keep at bay the forces of disgust and envy. Great democratic leaders, including Abraham Lincoln, Mohandas Gandhi, and Martin Luther King Jr., have understood the importance of cultivating emotions. But people attached to liberalism sometimes assume that a theory of public sentiments would run afoul of commitments to freedom and autonomy. Calling into question this perspective, Nussbaum investigates historical proposals for a public "civil religion" or "religion of humanity" by Jean-Jacques Rousseau, Auguste Comte, John Stuart Mill, and Rabindranath Tagore. She offers an account of how a decent society can use resources inherent in human psychology, while limiting the damage done by the darker side of our personalities. And finally she explores the cultivation of emotions that support justice in examples drawn from literature, song, political rhetoric, festivals, memorials, and even the design of public parks. "Love is what gives respect for humanity its life," Nussbaum writes, "making it more than a shell." Political Emotionsis a challenging and ambitious contribution to political philosophy. (shrink)

Beginning with Erich Auerbach's reflections on the Goethean concept of world literature, Ottmar Ette unfolds the theory and practice of Literatures of the World. Today, only those literary theories which are oriented upon a history of movement are still capable of doing justice to the confusing diversity of highly dynamic, worldwide transformations. This is because they examine transareal pathways in the field of literature. This volume captures literary processes of exchange and transformation between the Mediterranean, Atlantic and Pacific (...) as well as the interplay of different ways of narrating space and time. Thus, this volume speaks from a fractal point of view and unfolds multiple perspectives. Literatures of the World allow the reader to think in different logical frameworks at the same time, therefore shaping our future on the basis of the diversity of humankind. (shrink)

Many people object to genetically engineerehd (GE) food because they believe that it is unnatural or that its creation amounts to playing God. These objections are often referred to as intrinsic objections, and they have been widely criticized in the agricultural bioethics literature as being unsound, incompatible with modern science, religious, inchoate, and based on emotion instead of reason. Many of their critics also argue that even if these objections did have some merit as ethicalobjections, their quasi-religious nature means (...) that they are entirely irrelevant when interpreted aspolitical objections regarding what public policy ought to be. In this paper, we argue that this widespread view is false. Intrinsic objections have much more political import than has previously been recognized, and indeed the requirements of political liberalism and its associated idea of liberal neutrality, once properly understood, protect intrinsic objections from many of the most common objections. That is, policy-makers may not legitimately base public policy on grounds that are inconsistent with intrinsic objections, even when they believe those objections to be flawed in the ways mentioned above. This means that in the context of a political debate about GE food, the discussion should not center on the substantive merits of the intrinsic objections themselves but rather on the appropriate political norms for achieving democratically legitimate policy on issues that touch people’s deepest religious and moral beliefs. (shrink)

The Blood of Others begins at the bedside of a mortally wounded Résistance fighter named Hélène Bertrand. We encounter her from the point of view of Jean Blomart, her friend and lover, who recounts the story of their relationship : their first meeting, unhappy romance, bitter breakup, and eventual reunion as fellow fighters for the liberation of occupied France. The novel invites the reader to interpret Hélène and Jean’s story as one of positive ethical development. On this progressive reading, although (...) both characters are initially mired in bad faith and ethical irresponsibility, they ultimately transform themselves into ethically exemplary figures. Through their participation in violent political resistance against the occupation, they recognize their responsibility to humanity and actualize that responsibility in the form of positive political engagement. I will argue, on the contrary, that Jean and Hélène exhibit a unique form of bad faith that Beauvoir identifies in The Ethics of Ambiguity, a dangerous form of bad faith, distinct from the Sartrean conception, that promotes the indiscriminate use of violence for political ends. (shrink)

Public reason liberalism demands that political decisions be publicly justified to the citizens who are subjected to them. Much recent literature emphasises the differences between the two main interpretations of this requirement, justificatory and political liberalism. In this paper, I show that both views share structural democratic deficits. They fail to guarantee political autonomy, the expressive quality of law, and the justification to citizens, because they allow collective decisions made by incompletely theorised agreements. I argue that the result can (...) only be avoided by changing public reason’s role in collective decision-making. Instead of incompletely theorised agreements, we should demand agreement both on the public reasons themselves and on the other premises that justify political decisions. In this way, it is always possible to point to a procedure-independent reason that justifies democratic decisions, and the reasoning of the state is public and contestable. Finally, I explain how this, in turn, implies that only political liberalism can be rescued—by accepting what I will call strong political liberalism. Modifying justificatory liberalism in the necessary way will inevitably open the door to an objectionable form of perfectionism. (shrink)