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)

New materialism challenges conventional theories of understanding human being and subjectivity, which it regards as shaped by mechanistic models characteristic of early modern philosophy that regarded matter as largely passive. Instead it gives weight to topics often overlooked in such accounts: the body, the role of affect and the emotions, gender, temporality, agency and vitalism. This collection, which includes an international roster of contributors from philosophy, history, literature and science, is the first to ask what is 'new' about (...) the new materialism and place it in interdisciplinary perspective. Against current theories of new materialism it argues for a deeper engagement with materialism's history; questions whether matter can be 'lively'; and asks whether new materialism's wish to revitalize of politics and the political lives up to its promise. (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)

The analysis of historical literature allows to consider profoundly the development of national culture and science of the 18th-first half of the 20th centuries and the formation and change of different historical concepts. With the analysis of historical periods that are highlighted in the research, general trends in the changing of paradigms about Russian historical development were concluded, which were translated to mass historical consciousness from the beginning of the 18th century up to 1917. The periods were closely connected (...) with the specific political, historical and economic changes in Russian Empire and with the dominance of certain textbooks during this time. The books were selected because of a number of factors: their inclusion to the school curriculum, the number of publications, the equal number of textbooks devoted to different historical periods. For the analysis were used 19 textbooks, schoolbooks for different courses of secondary schools and primary schools. All the sources of educational literature were grouped into two concepts - officially-state and the liberal. Each publication was highlighted the dominant concept as a base for the whole textbook. There is also a characteristic of the concepts that are presented chronologically. The analysis represents school history books as an important source for the formation of state policy in the representing of Russian history, and, that is more important, for creation of the concept of the state of Russian history. (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)

SUMMARYThis paper offers practical guidance for empirical interpretation in the history of political thought, especially uncovering what authors meant and why they wrote what they wrote. I thus seek to fill a small but significant hole in our rather abstract methodological literature. To counter this abstraction, I draw not only on methodological theorising but also on actual practice—and on detective-work, a fruitful analogy. The detective analogy seeks to capture the intuition that we can potentially find right answers but (...) must handle fragmentary evidence that different people can plausibly read in different ways. Placing the focus on evidence, and on combining different types of evidence, suggests that orthodox categories like ‘contextualist’ and ‘Marxist’ too often accentuate differences between scholars. This paper instead highlights core principles that unite us—ideas that underpin good textual interpretation across all ‘schools of thought’. (shrink)

This paper sets out an agenda for the study of the history of analytic and post-analytic political philosophy. It builds on a growing literature on the history of analytic philosophy to make three main suggestions. First, analytic philosophy arose as part of a wider shift from the developmental historicism of the nineteenth century to more modernist modes of knowledge. Second, analytic philosophy included a wide range of approaches to moral and political issues, many of which reflected distinctive (...) concepts of analysis, logic, and science. Third, analytic philosophy only became widespread when the work of Quine and Wittgenstein moved it in a more post-analytic direction. Crucially, the move toward post-analytic philosophy inspired people to rediscover and reinvent other traditions, including liberal humanism, democratic republicanism, virtue ethics, and historicism. The resulting history provides a fluid and diverse understanding of arguably the most powerful philosophical movement of the twentieth century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Latin Literature. A HistoryRichard F. ThomasGian Biagio Conte. Latin Literature. A History. Translated by Joseph B. Solodow. Revised by Don Fowler and Glenn W. Most. Baltimore and London: The Johns Hopkins University Press, 1994. xxxiii 1 827 pp. $65.00.The work under review is a translation of Gian Biagio Conte’s 1987 book Letteratura latina; Manuale storico dalle origini alla fine dell’ impero, a book whose title (...) page acknowledged the collaboration of Alessandro Barchiesi, Emanuele Narducci, Giovanni Polara, Giuliano Ranucci, and Gianpiero Rosati. In the translation these scholars have been moved into C.’s “Acknowledgements,” making room for the new group on the title page, as given above. Of these, Don Fowler provided a bibliography and “in a sense has helped to direct the whole editorial enterprise,” while Glenn Most (like Solodow, one of C.’s English translators), rewrote sections on reception. Elaine Fantham introduces the work with an encomiastic “blurb” and general appreciation of the scholarship of C. C.’s own preface adds to the “gang of five” original collaborators a new group of three (Mario Labate, Alessandro Schiesaro, Rolando Ferri) who “have freely given me the support of their attentive and considerate criticism.” One recent reviewer talks of “the thorough control of the material by the single mind of the original author” (Robert P. Sonkowsky, The Key Reporter 61.3 [1996] 13), as does another for whom “the book is the production of a single mind” (J. Griffin, “The Long Latin Line,” review in New York Review of Books [Oct. 6, 1994] 43); it therefore seems only right to register my dissent from such a judgment.Much in Latin studies right now seems to involve a pack mentality: teams toil away for their grex, writing encomiastic and disingenuously uncritical reviews, or footnotes acknowledging the help of other teammates, attending conferences, organizing group-solidifying essay collections, even new series and manifestoes promising a “New Latin”—a term that seems to have no particular theoretical or intellectual content, nor a purpose other than to appeal vaguely for some sort of postmodernist approval. Barbara F. McManus’ summary of a paper on the uses of e-mail for mobilizing interest groups, delivered at a conference on computers and the classics by the very editor of the book under review, Don Fowler (“The Scroll and the Screen: Computers and Classical Literary Criticism”), gives a clear account of procedure and techniques in use:Electronic communication allows small groups with strongly related interests to form, cohere, and influence the larger disciplinary community; because such groups start with fundamental agreement on intellectual frameworks and approaches, they can develop ideas rapidly and in depth.(2/8/97 )What happens when other, less organized and more individual, insights fail to coincide with the “fundamental agreement” of the “group,” and how, we might wonder, will such individualism hold up in the face of this mission to “influence the larger disciplinary community”? [End Page 471]Be all this as it may and whatever the realities of authorship, the achievement of Gian Biagio Conte’s volume is a signal one. Latin Literature is a work of considerable value, a work which I have already used with success in teaching the history of Latin literature. Whatever the state of its authorship, I would now move to a review of some of its merits, which are considerable, and in which C. himself is obviously a participant throughout. The book begins with the origins of Latin literature and extends to Bede and the national literatures that were to transmit Latin literature into the vernaculars, that would in turn connect the essential themes and fundamental concerns of classical Latin literature to the cognate and evolving experiences of later antiquity and the middle ages. The original authors worked to a formulaic scheme: generally “Life,” “Works,” some treatment of cultural/political/social context, “Literary Success” (for the Italian “Fortuna”—I would have preferred “Reception”), and bibliography. This latter, again by Fowler, is developed from the Italian version and is generally made more international, often with the result that it sits somewhat uneasily with the original articles, which are largely unchanged, and whose authors presumably made... (shrink)

The French philosopher Jacques Rancière has influenced disciplines from history and philosophy to political theory, literature, art history, and film studies. His research into nineteenth-century workers’ archives, reflections on political equality, critique of the traditional division between intellectual and manual labor, and analysis of the place of literature, film, and art in modern society have all constituted major contributions to contemporary thought. In this collection, leading scholars in the fields of philosophy, literary theory, and cultural criticism (...) engage Rancière’s work, illuminating its originality, breadth, and rigor, as well as its place in current debates. They also explore the relationships between Rancière and the various authors and artists he has analyzed, ranging from Plato and Aristotle to Flaubert, Rossellini, Auerbach, Bourdieu, and Deleuze. The contributors to this collection do not simply elucidate Rancière’s project; they also critically respond to it from their own perspectives. They consider the theorist’s engagement with the writing of history, with institutional and narrative constructions of time, and with the ways that individuals and communities can disturb or reconfigure what he has called the “distribution of the sensible.” They examine his unique conception of politics as the disruption of the established distribution of bodies and roles in the social order, and they elucidate his novel account of the relationship between aesthetics and politics by exploring his astute analyses of literature and the visual arts. In the collection’s final essay, Rancière addresses some of the questions raised by the other contributors and returns to his early work to provide a retrospective account of the fundamental stakes of his project. _Contributors_. Alain Badiou, Étienne Balibar, Bruno Bosteels, Yves Citton, Tom Conley, Solange Guénoun, Peter Hallward, Todd May, Eric Méchoulan, Giuseppina Mecchia, Jean-Luc Nancy, Andrew Parker, Jacques Rancière, Gabriel Rockhill, Kristin Ross, James Swenson, Rajeshwari Vallury, Philip Watts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Two Stories in One: Literature as a Hidden Door to the History of Seventeenth-Century FranceChristian Jouhaud (bio)Translated by Cynthia J. Koepp (bio)I would like to take you into the history of seventeenth-century France through a narrow door—a door that is not only narrow but hidden. Why should we struggle to squeeze through this passage? Well, there are at least two reasons. First, it is an attempt (...) to experience a disorienting perspective on a landscape that we believe we already know completely; and second, the narrowness of the path underlines its particularity and in that way elicits a comparison with other paths elsewhere. This narrow passage is a text, perhaps an insignificant one, written by a seventeenth-century author. After making a few observations concerning its mechanics, I will use this text as a model to interpret something else, to understand it as something that stimulates thinking about historiographical hypotheses: as a convenient tool to shake up the political history of seventeenth-century France. In other words, I propose to utilize literature as a hidden door in order to enter the arena of political history, where we usually do not find any door at all.Deux histoires en une, or Two Stories in One, is a brief text by Jean-Louis Guez de Balzac, a work of uncertain status, published among dozens of other pieces in a collection known by two titles: Moral Treatises and Conversations. Guez de Balzac, who lived between 1595 and 1654, does not appear on the short list of the most celebrated writers of seventeenth-century France: Molière, Racine, Corneille, La Fontaine, Sévigné, Bossuet. At the time, however, he occupied center stage in French literary life. He was perhaps the first author recognized as a grand écrivain; he was widely admired, celebrated, criticized. At the center of protracted literary debates, Guez de Balzac exercised an immense critical authority in the world of belles lettres.Since I first began working on the question of the birth of literature as a specific social space in seventeenth-century France, I have not stopped reading and rereading Balzac’s Two Stories in One. This text resists interpretation—even comprehension. It gives the reader the feeling—to be honest, an exasperating feeling—of extraordinary richness and also of an extraordinary capacity to steal away from view. The importance of this text for the comprehension of something other than itself, however, has become clear to me. This leapt out at me, by chance, when I was reading it for the nth time—at nearly the same time that I was rereading several pages of Marcel Proust. Not that the author of À la recherche du temps perdu had any connection at all to Guez de Balzac. Rather, it was Proust’s evoking, in his way, two stories in one—or rather one story in two parts—that for me rendered suddenly palpable something of the force of Balzac’s text.At the beginning of À l’ombre des jeunes filles en fleurs, Proust meditates on the story of Swann before and after his marriage. He emphasizes our incapacity to think of two successive states in the history of our life at the same time: for example, that of a jealous lover and that of an appeased husband. If one succeeds in thinking both things at once, the two moments then cease to appear distinct to us, and are mixed up one in the other. If the [End Page 92] mind wants to distinguish them, it loses the ability to think them both at once. I would like to propose an hypothesis that the import of Balzac’s Two Stories in One, contrary to Proust, is an attempt to open up to speculation an improbable space, a space imperceptible to sensory experience. This space lies at the interstice of “both at once” and “separately.” Thus Balzac attempts to escape the dilemma of superimposition (that is to say, fusion) or of succession (that is, separation). He attempts to subvert the elementary rule of logic that states that “a” is either different from “b” or is the same as “b.”What is striking when one first reads Two Stories in... (shrink)

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)

The sixty years between 43 BC, when Cicero was assassinated, and AD 17, when Ovid died in exile and disgrace, saw an unexampled explosion of literary creativity in Rome. Fresh ground was broken in almost every existing genre, and a new kind of specifically Roman poetry, the personal love-elegy, was born, flourished, and succumbed to its own success. Latin literature now became, in the familiar modern sense of the word, classical: a balanced fusion of what was best and most (...) stimulating in earlier Greek and Roman writing, charged with new and original life by the individual genius of, most particularly, Virgil, Horace and Ovid. Augustan literature, conventionally viewed as the expression in writing of the age itself - political and social stability reflected in artistic equilibrium - turns out on a close and critical reading to have been subject to the same stresses and strains as the society in and for which it was produced. In appraising the monumental literary achievements of the age the underlying tensions and contradictions are not ignored. The critical discussions in this volume do full justice to the complexity and subtlety of the literature itself. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the (...) works of Nietzsche and Max Weber. (shrink)

Poetry, fiction, literary history, and politics. These four cornerstone concerns of Roberto Bolaño's work have established him as a representative, generational figure in not only Chile, Mexico, and Spain, the three principal locations of his life and work, but throughout Europe and the Americas, increasingly on a global scale. At the heart of Bolaño's 'poemas-novela', his poet- and poetry-centered novels, is the history and legacy of the prose poem. Challenging the policing of boundaries between verse and prose, (...) poetry and fiction, the literary and the non-literary, the aesthetic and the political, his prose poem novels offer a sustained literary history by other means, a pivotal intervention that restores poetry and literature to full capacity. Framing Roberto Bolaño is one of the first books to trace the full arc and development of Bolaño's work from the beginning to the end of his career. (shrink)

The history of British political thought has been one of the most fertile fields of Anglo-American historical writing in the last half-century. David Armitage brings together an interdisciplinary and international team of authors to consider the impact of this scholarship on the study of early modern British history, English literature, and political theory. Leading historians survey the impact of the history of political thought on the 'new' histories of Britain and Ireland; eminent literary scholars offer novel (...) critical methods attentive to literary form, genre, and language; and distinguished political theorists treat the relationship of history and theory in studies of rights and privacy. The outstanding examples of critical practice collected here will encourage the emergence of fresh research on the historical, critical, and theoretical study of the English-speaking world in the period around 1500-1800. This volume celebrates the contribution of the Folger Institute to British studies over many years. (shrink)

Charting the origins of the modern ecology movement over more than two thousand years, this volume gives a voice to those hidden from history, revealing "green" themes within artistic and scientific thought.

History, Metaphors, and Fables collects the central writings by Hans Blumenberg and covers topics such as on the philosophy of language, metaphor theory, non-conceptuality, aesthetics, politics, and literary studies. This landmark volume demonstrates Blumenberg's intellectual breadth and gives an overview of his thematic and stylistic range over four decades. Blumenberg's early philosophy of technology becomes tangible, as does his critique of linguistic perfectibility and conceptual thought, his theory of history as successive concepts of reality", his anthropology, or (...) his studies of literature. History, Metaphors, Fables allows readers to discover a master thinker whose role in the German intellectual post-war scene can hardly be overestimated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:162. THE HUME LITERATURE FOR 1979 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship : A Bibliographical Guide (Edinburgh University Press, 1978; ¿J 5. 50), which also lists the main earlier writings on Hume. Publications of the years 1977 and 1978 were listed in Hume Studies for the last two Novembers. What follows here will bring (...) the record up to the end of 1979. Readers are invited to inform me of any omissions, and to send me offprints of their own articles. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography covering the previous year, with addenda consisting of items omitted through ignorance in previous years. References to recentlyappearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQ American Philosophical Quarterly JHI Journal of the History of Ideas JHP Journal of the History of Philosophy JP Journal of Philosophy PAS Proceedings of the Aristotelian Society PB Philosophical Books PQ Philosophical Quarterly PR Philosophical Review RIP Revue Internationale de Philosophie RM Review of Metaphysics TLS Times Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). AIKEN, H. D. 'An Interpretation of Hume's Theory of the Place of Reason in Ethics and Polities', Ethics 90, 66-80. 163. ARDAO, A. 'Hume en Latinoamerica', Revista Venezolana de Fil., 143-6. BAIER, A. 'Hume on Heaps and Bundles', APQ 16, 285-96. BAIER, A. 'Good Men's Women: Hume on Chastity and Trust', Hume Studies 5, 1-19. BATTERSBY, C. 'Hume, Newton and "the Hill called Difficulty "', in S. C Brown, Philosophers of the Enlightenment (Royal Inst. Phil. Lectures, 12), 31-55. BATTERSBY, C. 'The Dialogues as Original Imitation: Cicero and the Nature of Hume's Skepticism', in D. F. Norton et al., McGiIl Hume Studies, 239-52. BEAUCHAMP, T. L. 'Self Inconsistency or Mere Self Perplexity ', Hume Studies 5, 37-44. BECK, L. W.? Prussian Hume and a Scottish Kant' in D. F. Norton et al.,· op. cit., 63-78. (repr. of 1978 paper. ) BELL, A. 'Some Spurious Hume Documents', Notes & Queries 26, 561. BIRO, J. I. 'Hume's Difficulties with the Self, Hume Studies 5, 45-54. BRANDT, R. 'David Hume: Neuere Bücher, Vorträge, Aufsätze', Philosophische Rundschau 26, 187-97. BROWN, S. C. 'The "Principle" of Natural Order: o£ What the Enlightened Sceptics did not doubt', in S. C. Brown [see BATTERSBY], 56-76. BUTT, J. The Mid-Eighteenth Century, 222-8, 312-14, 354-7. (The Oxf. Hist, of Eng. Lit., 8.) Oxford. CAPALDI, N. 'The Problem of Hume and Hume's Problem', introduction to D. F. Norton et al., op. cit., 3-21. CASULLO, A. 'Reid and Mill on Hume's maxim of conceivability ', Analysis 39, 212-19. CLARK, L. M. G. & LANGE, L. The Sexism of Social and Political Theory. Toronto"^ (includes reprints of Burns 1976 and Lacoste 1976) CONNON, R. W. 'The Naturalism of Hume Revisited', in D. F. Norton et al., op. cit. 121-45. COTTLE, C E. 'Justice as Artificial Virtue in Hume's Treatise', JHI 40, 457-66. 164. CRAIG, E. J. David Hume: Eine Einführung. in seine Philosophie. (144 pp.) Frankfurt am Main. DAVIE, G. E. 'Berkeley, Hume, and the Central Problem of Scottish Philosophy', in D. F. Norton et al., op. cit., 43-62. DEL BARCO COLLAZOS, J. L. 'Sobre la teoría de la imaginaci ón en la filosofía de Hume', Anuario filosofico 12, 131-43. DELEULE, D. Hume et la naissance du libéralisme économique. (400 pp.) Paris. FLEW, A. 'The Red Queen at Substraction? ', Hume Studies 5, 110-11. FORBES, D. 'Hume and the Scottish Enlightenment', in S. C Brown [see BATTERSBY], 94-109. GASKIN, J. C. A. 'Hume, Atheism, and the "Interested Obligation" of Morality', in D. F. Norton et al., op. cit., 147-59. GAUTHIER, D. 'David Hume, Contractarian', PR 88, 3-38. GAWLICK, G. 'Zwischen Empirizismus und Skeptizismus: Neue Literatur zu David Hume- (I) ', Philosophische Rundschau 26, 161-86. GOOSENS, W. K. 'Stove and Inductive Scepticism', Australas... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:131. THE HUME LITERATURE FOR 1978 The Hume Literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship : A Bibliographical Guide (Edinburgh University Press, 1978; J¿ 5.50), which also lists the main earlier writings on Hume. Publications of the year 1977 were listed in Hume Studies last November. What follows here will bring the record up to the end (...) of 1978. Readers are invited to inform me of any omissions, and to send me offprints of their own articles. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography covering the previous year, with addenda consisting of items omitted through ignorance in previous years. References to recently-appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQAmerican Philosophical Quarterly JHIJournal of the History of Ideas JHPJournal of the History of Philosophy JPJournal of Philosophy PASProceedings of the Aristotelian Society PBPhilosophical Books PQPhilosophical Quarterly PRPhilosophical Review RIPRevue Internationale de Philosophie RMReview of Metaphysics TLSTimes Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). ANSCOMBE, G. E. M. 'Rules, Rights, and Promises', Midwest Studies in Phil. 3, 318-23. ARMSTRONG, D. M. Universals and Scientific Realism, vol. 2: A Theory of Universals, 85-90. Cambridge. ATTFIELD, R. God and the Secular, esp. chs. 5-6. Cardiff. 132. BAIER, A. 'Hume's Analysis of Pride', JP 75, 27-40. (on Davidson 1976) BALDI, M. 'Le edizioni italiane dei Saggi economici di David Hume', Riv. crit. Stor. FiI. 33, 275-96. BARNOUW, D. 'Skepticism as a Literary Mode - Hume, David and Musil, Robert', Mod. Lang. Notes 93, 852-70. BASU, D. K. 'Who is the Real Hume in the Dialogues?', Indian Phil. Q. 6, 21-8. BEAUCHAMP. see ROBINSON. BECK, L. W. Essays on Kant and Hume. New Haven & London, (includes reprints of his 1967a and b, and 1974, and the first Eng. tr. of his 1969; also a new paper,? Prussian Hume and a Scottish Kant', on pp. Ill ff) BLACKMAN, L. L. 'The Logical Impossibility of Miracles in Hume', Int. J. Phil. Relig. 9, 179-87. BOSS, G. "1I Promise": Les fonctions du langage chez Hume et Austin', Revue Théol. et Phil. 110, 29-48. BRACKEN, H. M. 'Bayle, Berkeley, and Hume', EighteenthCentury Studies 11, 227-45. BROWNSEY, P. F. 'Hume and the Social Contract', PQ 28, 132-48. BURKE, J. J. 'Hume's History of England: Waking the English from a Dogmatic Slumber', Studies in 18th-century Culture 7, 235-50. CAPALDI, N. 'Hume as Social Scientist', RM 32, 99-123. CARNIE, R. H. 'The Hume-Hailes Relationship', Forum for Mod. Lang. Studies 14, 289-303. CARTWRIGHT, N. 'Comments on Wesley Salmon's "Science and Religion..."', Phil. Studies 33, 177-83. COHEN, Benjamin. 'Contrariety and Causality in Hume', Hume Studies 4, 29-39. CONNIFF, J. 'Hume on Political Parties: The Case for Hume as a Whig', Eighteenth-Century Studies 12, 150-73. CUMMINS, R. 'The Missing Shade of Blue', PR 87, 548-65. DOUBLE, R. 'Hume's Empirical Argument for Empiricism', Sth J. Phil. 16, 329-38. 133. ERDE, E. L. 'Founding Morality: "Hume v. Plato" or "Hume & Plato"?', S. -west. J. Phil. 9, 19-25. FARR, J. 'Hume, Hermeneutics, and History: A "Sympathetic" Account', Hist. & Theory 17, 285-310. FLEW, A. 'Inconsistency within a Reconciling Project', Hume Studies 4, 1-6. GASKIN, J. C. A. Hume's Philosophy of Religion, (xi, 188 pp.* London. [Times Higher Ed. Suppl. 21 July (1978), 17; TLS 28 July (1978), 863; RB 20 (1979), 68-71] GINSBERG, R. 'Hume and the Social Contract', EighteenthCentury Life 4, 91-4. GUPTA, G. 'Another Look at the Buddha-Hume "Connection"', Indian Phil. Q. 5, 371-86. GUPTA, R. 'Certain Aspects of the Causal Theories of the Buddhist, Hume and Mill', Indian Phil. Q. 5, 319-35. HAAKONSSEN, K. 'Hume's Obligations', Hume Studies 4, 7-17. HACKING, I. 'Hume's Species of Probability', Phil. Studies 33, 21-37. HALL, R. Fifty Years of Hume Scholarship: A bibliographical guide. (x, 150 pp.) Edinburgh. [British Book News... (shrink)

Madness, Language, Literature (2019) brings together a series of unpublished works on literature that belong to Michel Foucault’s first stage of production. This article focuses on those works that express a concept of madness as social partition or outside, and also on those that elucidate the concept of the ‘extralinguistic’ of literature. The combined reading of these texts sheds light on a concept of the extralinguistic outside of literature that enables Foucault to overcome a concept of (...) ontological outside and, therefore, using literature, think on this discourse’s historical possibilities of resistance. As a result of this new reading, I analyse some fundamental aspects of this early Foucault. First, his development of a politics of literary form in the 1960s. Second, I propose that Foucault’s studies on literature in the 1960s were a kind of laboratory in which he was already raising some questions concerning his political history of truth. And, lastly, I examine the capacity of literature to make visible a part of reality that remains hidden (the excluded), the processes by which literature creates (language’s mechanism of self-representation), the possible forms of subjectivation that the fiction of every episteme allows (what Foucault calls verisimilitude), and the formulation of novel forms of being (that he later developed as aesthetics of existence). (shrink)

The existentialist philosopher Karl Jaspers is the father of a discourse on the spiritual consequences of the Holocaust. First addressed as the Schuldfrage (the question of guilt) by Jaspers immediately after the Second World War in his famous Heidelberg lecture, it has reappeared in various forms in German life and letters. Post-unification Germany has witnessed the valorization of the German experience of the Second World War. This ongoing re-evaluation has its antecedents in the generational literature of the 1970s and (...) 1980s. Whereas the Vaterliteratur of the 1970s (by authors such as Christoph Meckel, Uwe Timm, and Peter Henisch) was often embedded in a left-wing critique of the establishment, recent contributions to this growing genre (by Marcel Beyer, Stephan Wackwitz, Wibke Bruhns, and Ulla Hahn among others) speak to the issue of collective identity and transgenerational family trauma outside distinct left- and right-wing interpretations of National Socialism. The current writings on the life during the Third Reich (filtered through the experiences of discrete generations) are a confluence of historical writing, memorial literature, biography, and fiction. They are closely related to the discussions that W. G. Sebald initiated in his 1997 lecture series on the silence of German postwar literature with respect to German suffering. The subsequent debate on how to bring closure to this ?German suffering? was intensified by Günter Grass's widening of the concept of German victimization beyond the air war controversy in his book Crabwalk (2002). As Grass distinguishes clearly between the various post-World War II generations (and their different perspectives on historical events), the question becomes whether these recent writings will bring about a final so-called ?zero hour? in German postwar history. (shrink)

The polis, the dominant political form around which ancient Greeks structured their lives and activities, is perhaps their most fundamental creation and enduring legacy. It was a highly successful form of social organization in which Greek culture thrived, including architecture, literature, and philosophy. In this book, ancient historian John Ma offers a new history of the polis from its origins in the Early Iron Age through its eclipse in Late Antiquity. He aims to answer a few big questions (...) about it-Why did it emerge? What needs did it fulfill? How did it work? In addition, it is often assumed that the polis, along with the concomitant values of democracy and freedom, came to an end with the Classical period. Taking a contrary view, Ma explores how it endured under imperial control (the Persian Achaimenids, the Hellenistic kings, the Roman Empire), as well as why and how it eventually ended. In addressing these questions, Ma examines not only the most well-known ancient city-states like Sparta and Athens but also many lesser-known ones. He shows how complex the relations of power, access, and membership between the city, the territory, and the members of the polis were. Ma also examines the polis's significance as a social form and looks to the people who constitute the polis, from free adult men-stakeholders in institutional power, slaveowners, or heads of households-and elites to women, foreigners, and enslaved peoples, however disempowered. He draws on recent work on gender and slavery to evaluate the place of domination and violence in the polis. In doing so, Ma shows how the composition of the citizen body is both a political and social issue. The powerful combination of central political ideas and conflict around the issues of autonomy and social power led, Ma argues, to a "great convergence" of polis forms, producing a relatively uniform, stable organism, centred on communitarian, democratic forms and bargains between the community and its elites. This convergence led to the diffusion and harmonization of polis forms, both within and beyond the Aegean, and which allowed them to endure for almost a thousand years with an even longer legacy. (shrink)

The interpretive literature in the history of political thought is now vast, complex and esoteric, posing as much a barrier to the understanding of the undergraduate student as it offers assistance. This unique and innovative text provides the student with a guide through this maze of argument. Each chapter sets out the major positions and debates that surround the texts of key thinkers, analyzes major problems of interpreting them, examines the sources of disagreement, and evaluates the different interpretations (...) in terms of their strengths, weaknesses and contributions to scholarship. (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)

This ambitious book looks into the reasons for the exceptional durability of the Chinese empire, which lasted for more than two millennia (221 B.C.E. - 1911 C.E.). Yuri Pines identifies the roots of the empire's longevity in the activities of thinkers of the Warring States period (453-221 B.C.E.), who, in their search for solutions to an ongoing political crisis, developed ideals, values, and perceptions that would become essential for the future imperial polity. In marked distinction to similar empires worldwide, the (...) Chinese empire was envisioned and to a certain extent 'preplanned' long before it came into being. As a result, it was not only a military and administrative construct, but also an intellectual one. Pines makes the argument that it was precisely its ideological appeal that allowed the survival and regeneration of the empire after repeated periods of turmoil. "Envisioning Eternal Empire" presents a panoptic survey of philosophical and social conflicts in Warring States political culture. By examining the extant corpus of preimperial literature, including transmitted texts and manuscripts uncovered at archaeological sites, Pines locates the common ideas of competing thinkers that underlie their ideological controversies. This bold approach allows him to transcend the once fashionable perspective of competing 'schools of thought' and show that beneath the immense pluralism of Warring States thought one may identify common ideological choices that eventually shaped traditional Chinese political culture. The result is a refreshingly novel look at the foundational period in Chinese intellectual history. (shrink)

Leslie Stephen (1832–1904) was a writer, philosopher and literary critic whose work was published widely in the nineteenth century. As a young man Stephen was ordained deacon, but he later became agnostic and much of his work reflects his interest in challenging popular religion. This two-volume work, first published in 1876, is no exception: it focuses on the eighteenth-century deist controversy and its effects, as well as the reactions to what Stephen saw as a revolution in thought. Comprehensive and full (...) of detailed analysis, this is an important work in the history of ideas. Volume 2 focuses on eighteenth-century moral philosophy, political philosophy and literature, and on the literary and religious reactions to the revolution in thought. Utilitarianism is discussed at length, as well as the work of thinkers such as Shaftesbury, Mandeville, Burke and Adam Smith. (shrink)

The Battle for the American Mind brings together religion, politics, economics, science, and literature to present a compelling history of the American people. In this brief and entertaining book, noted historian Carl J. Richard argues that there have been three worldviews that have dominated American thought—theism, humanism, and skepticism. By clearly explaining what Americans believed, exploring why they did so, and showing how that impacted the nation's development, Richard presents a unique portrait of the United States—past and (...) present. (shrink)

In my essay on Austin I did not specify what I took the politics of my own discourse to be, but the institutional pressures on it, in particular the pressures of the professionalization of American philosophy, were in outline clear enough. I was more and more galled by the mutual shunning of the continental and the Anglo-American traditions of philosophizing, and I was finding more and more oppressive the mutual indifference of philosophy and literature to one another, especially, (...) I suppose, of American philosophy and American literature, and especially philosophy's indifference to the literary conditions of its own existence. I was still near the beginning of what is turning out to be a lifelong quarrel with the profession of philosophy. One of its recent manifestations has been the question put to me by certain professional colleagues whether I do not take satisfaction from the newer literary theory and criticism, especially as that has been inspired by developments over the past fifteen or so years in French intellectual life. This would seem to answer my plea at one stroke for both continental philosophy and for an understanding with literary matters. The fact is that my ambivalence toward these developments has been so strong, or anyway periodic, that I have found it difficult to study in any very orderly way.The reason for my difficulty is contained in what I mean by my quarrel with the profession of philosophy. That this is a quarrel means that I recognize the profession to be the genuine present of the impulse and the history of philosophy, so far as that present takes its place in our public intellectual life. This is what makes my quarrel with it a part of what I take my intellectual adventure to be. My point in the quarrel is that I can recognize no expression of mine to be philosophical which simply thinks to escape my profession's paradigms of comprehensibility; so that the invocations of the name of philosophy in current literary debate are frequently not comprehensible to me as calls upon philosophy. It may be that I should care less about this than I do, even less than my ambivalence asks. I mean to bear this in mind as I go on to spend the bulk of my time here considering in a practical way some passages from the writing of two literary theorists who have recourse to the work of Austin. In the case of the passages from Stanley Fish, it may be that my efforts will just amount to clearing up some unnecessarily confusing terminology; some passages from Paul de Man I find more troubling.Stanley Cavell, professor of philosophy at Harvard University, is the author of, among other works, Must We Mean What We Say?, The Senses of Walden, The Claim of Reason, and most recently Pursuits of Happiness. His previous contributions to Critical Inquiry are "On Makavejev On Bergman" , "A Reply to John Hollander" , and "North by Northwest". (shrink)

Providing a novel multi-disciplinary theorization of memory politics, this insightful Handbook brings varied literatures into a focused dialogue on the ways in which the past is remembered and how these influence transnational, interstate, and global politics in the present. With case studies from Africa, East and Southeast Asia, Europe, South America, and the United States, the Handbook focuses on the political features of historical memory in international relations. Chapters examine key concepts of memory politics, including accountability, commemoration (...) and memorialization, the Europeanization of memory, and the politics of trauma and victimhood, as well as analyzing different sites of memory, from the human body and memorial sites to media, film, and television. It also answers essential questions such as who and what determines the relevance of the past in the present; how does memory become a political question; and what are the political effects and ethical implications of its mobilization? Exploring the links between the politics of memory, international ethics, law, and diplomacy, this stimulating Handbook will be essential reading for students and scholars of politics and international relations, cultural studies, history, and transitional justice. Its discussion of notable agents and practices of memory politics will also be beneficial for practitioners working in human rights, politics, and public policy. (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)

Leslie Stephen was a writer, philosopher and literary critic whose work was published widely in the nineteenth century. As a young man Stephen was ordained deacon, but he later became agnostic and much of his work reflects his interest in challenging popular religion. This two-volume work, first published in 1876, is no exception: it focuses on the eighteenth-century deist controversy and its effects, as well as the reactions to what Stephen saw as a revolution in thought. Comprehensive and full of (...) detailed analysis, this is an important work in the history of ideas. Volume 1 contains a thorough discussion of the arguments for and against deism, and of the state of theology at the end of the century. Volume 2 focuses on eighteenth-century moral philosophy, political philosophy, literature, and on the literary and religious reactions to the revolution in thought. It also discusses utilitarianism in depth. (shrink)

The causes and consequences of revolutionary change have long been the subject of scholarly debate. Through a systematic integration of political economic elements into an analysis of contemporary social transformations, this article joins this conversation by asking how Karl Polanyi’s double movement framework can clarify, and be extended by, the Egyptian Revolution of 2011. By embedding a nuanced account of neoliberalism in Egypt’s modern politics and by bringing those in dialogue with Polanyi’s theoretical apparatus, this article contends that there (...) is a broad alignment between the first movement and the Egyptian neoliberal experience, a partial alignment between the second movement and the Egyptian Revolution, and a multilayered entanglement that implicates and encircles both movements. Not only does this research demonstrate that contemporary Egyptian history can find new currency in and be further illuminated by Polanyi’s political economy, it also critiques, complicates, reconceptualizes and extends Polanyi’s theoretical framework. In so doing, it redresses the underfocus of Polanyian political economy on the theory of revolution in general and the Egyptian Revolution in particular, problematizes extant accounts on neoliberalism and the double movement, and extends analyses between neoliberalism and revolution in political economy literatures. By clarifying our understanding of contemporary social change, this essay underscores how Polanyi’s work remains a pertinent, viable and valuable prism to examine momentous social transformations. (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)

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)

Leslie Stephen was a writer, philosopher and literary critic whose work was published widely in the nineteenth century. As a young man Stephen was ordained deacon, but he later became agnostic and much of his work reflects his interest in challenging popular religion. This two-volume work, first published in 1876, is no exception: it focuses on the eighteenth-century deist controversy and its effects, as well as the reactions to what Stephen saw as a revolution in thought. Comprehensive and full of (...) detailed analysis, this is an important work in the history of ideas. Volume 2 focuses on eighteenth-century moral philosophy, political philosophy and literature, and on the literary and religious reactions to the revolution in thought. Utilitarianism is discussed at length, as well as the work of thinkers such as Shaftesbury, Mandeville, Burke and Adam Smith. (shrink)

The sixteenth century ‘Silver Age’ of scholasticism in Spain has been studied less than one would expect, particularly in English. There are a number of reasons for this comparative neglect - the lack of studies of the considerable manuscript and archival sources of Spanish economic, administrative and colonial history, the fact that Spain was almost untouched by the Reformation and by the scientific and industrial revolutions and, so, cast back upon her medieval heritage more than other nations; these, with (...) some other minor factors, are mentioned by Miss Hamilton. All the more reason, then, for her pioneering work in studying the political thought of four outstanding representatives of Spanish sixteenth-century political thinking. Not that there have not been monographs and studies - her bibliography is a good summary guide to the literature - but there is little, in English at least, with the range Miss Hamilton sets herself. (shrink)

Rewriting the Self is an exploration of ideas of the self in the western cultural tradition from the Renaissance to the present. The contributors analyze different religious, philosophical, psychological, political, psychoanalytical and literary models of personal identity from a number of viewpoints, including the history of ideas, contemporary gender politics, and post-modernist literary theory. Challenging the received version of the "ascent of western man," they assess the discursive construction of the self in the light of political, technological and (...) social changes. Contributors include: Peter Burke, Roger Cardinal, Stephen Connor, Jonathan Dollimore, Terry Eagleton, Kate Flint, E.J. Hundert, John Mullan, Linda Nead, Daniel Pick, Nikolas Rose, Jonathan Sawday, Jane Shaw, Roger Smith, Sylvana Tomaselli and Carolyn D. Williams. (shrink)

Our modern-day word for sympathy is derived from the classical Greek word for fellow-feeling. Both in the vernacular as well as in the various specialist literatures within philosophy, psychology, neuroscience, economics, and history, "sympathy" and "empathy" are routinely conflated. In practice, they are also used to refer to a large variety of complex, all-too-familiar social phenomena: for example, simultaneous yawning or the giggles. Moreover, sympathy is invoked to address problems associated with social dislocation and political conflict. It is, then, (...) turned into a vehicle toward generating harmony among otherwise isolated individuals and a way for them to fit into a larger whole, be it society and the universe.This volume offers a historical overview of some of the most significant attempts to come to grips with sympathy in Western thought from Plato to experimental economics. The contributors are leading scholars in philosophy, classics, history, economics, comparative literature, and political science. Sympathy is originally developed in Stoic thought. It was also taken up by Plotinus and Galen. There are original contributed chapters on each of these historical moments. Use for the concept was re-discovered in the Renaissance. And the volume has original chapters not just on medical and philosophical Renaissance interest in sympathy, but also on the role of antipathy in Shakespeare and the significance of sympathy in music theory. Inspired by the influence of Spinoza, sympathy plays a central role in the great moral psychologies of, say, Anne Conway, Leibniz, Hume, Adam Smith, and Sophie De Grouchy during the eighteenth century. The volume should offers an introduction to key background concept that is often overlooked in many of the most important philosophies of the early modern period.About a century ago the idea of Einfühlung was developed in theoretical philosophy, then applied in practical philosophy and the newly emerging scientific disciplines of psychology. Moreover, recent economists have rediscovered sympathy in part experimentally and, in part by careful re-reading of the classics of the field. (shrink)

Introduction In Rene Wellek wrote that the "political attack on literature is a foolish generalization." He was dismissing those who would deprecate ...

In the history of political thought a major problem has been to determine if philosophers should get involved in political affairs. From Aristotle to Antonio Gramsci, a wide variety of positions have been presented on this topic. Today academics often choose to isolate themselves in the ivory tower of the university. Although there are many exceptions to this general rule there is no consensus about how philosophers should relate to politics. We hope that this article which explores the (...) relation of Aristotle to Machiavelli can shed some light on this very relevant issue. (shrink)

Velvet revolutions, continued-. The strange toppling of Slobadan Milošević ; "The country summoned me" ; Orange Revolution in Ukraine ; The revolution that wasn't ; 1968 and 1989 ; 1989! ; Velvet Revolution in past and future -- Europe and other headaches. Ghosts in the machine ; Are there moral foundations of European power? ; The twins' new Poland ; Exchange of empires ; Why Britain is in Europe ; Europe's new story ; National anthems ; "O chink, where is (...) thy wall?" ; The perfect EU member -- Islam, terror and freedom. La Alhambra ; Islam in Europe ; The invisible front line ; Against taboos ; Respect? ; Secularism or atheism? ; No if and no buts -- USA! USA!. Mr. President ; 9/11 ; Anti-Europeanism in America ; In defence of the fence ; Zorba the Bush ; Warsaw, Missouri ; Dancing with history ; Liberalism -- Beyond the West. Beauty and the beast in Burma ; Soldiers of the hidden Imam ; East meets West ; The brotherhood against Pharaoh ; Cities of no God ; Beyond race -- Writers and facts. The brown grass of memory ; The Stasi on our minds ; Orwell in our time ; Orwell's list ; Is "British intellectual" an oxymoron? ; "Ich bin ein Berliner" ; The literature of fact -- Envoi. Elephant, feet of clay ; Decivilization ; The mice in the organ. (shrink)

I soon discovered that I was quite isolated in my attempts to pursue the sociology of literature. In any case, one searched almost in vain for allies if one wanted to approach a literary text from the perspective of a critical theory of society. To be sure, there were Franz Mehring’s articles which I read with interest and profit; but despite the admirable decency and the uncompromising political radicalism of the author, his writings hardly went beyond the limits of (...) a socialist journalist who wrote in essentially the same style about literature as about political and the economy. George Lukács had not yet published his impressive series of essays on Marxist aesthetics and interpretation of literature. Of course, I was deeply touched and influenced by his fine little book, The Theory of the Novel , which I practically learned by heart. Besides Levin Schücking’s small volume on the sociology of literary taste, the only other major influence I can recall was George Brandes’ monumental work on the literary currents of the nineteenth century.Nonetheless, I had the courage, not to say hubris, to plan an ambitious, socially critical series on French, English, Spanish, and German literature, the beginning of which was to be formed by the above-mentioned studies. My attention was especially focused on the writes and literary schools which the German literary establishment either punished by total silence or raised up into the clouds of idealistic babble or relegated to quasi-folkloric anthropology .In these studies, I limited myself to the narrative forms of literature; for reasons which I hold to be sociologically and artistically valid, I believe that novels and stories represent the most significant aspect of German literature in the nineteenth century. While I in no way feel ashamed of these documents of my youth, I am conscious of their weaknesses. If I were to write them over again, I would certainly be less sure of some of the direct connections I drew between literature and writers on the one hand, and the social infrastructure on the other. In later publications I attempted to analyze with greater circumspection the mediation between substructure and superstructure, between social currents and ideologies; but my views on the social world and the necessity to combine social theory and literary analysis have not changed in any essential way. In the last decades the sociology of literature has become progressively more fashionable. The writings of my contemporaries have often amazed me because some—frequently in unnecessarily complicated and esoteric language—are so concerned with “mediation” that the connections between social being and social consciousness became almost obscured. Leo Lowenthal is professor emeritus of sociology at the University of California, Berkeley. He is also professor emeritus at the University of Frankfurt in West Germany. His collected works have been published in five volumes in German and in a parallel English edition. Lowenthal’s autobiographical writings, edited by Martin jay, will appear in the fall of 1987 under the title An Unmastered Past. Lowenthal’s present studies deal with German postmodernism. Ted. R. Weeks is a graduate student at the University of California, Berkeley, specializing in imperial Russian history. (shrink)

First published in 1925. This book is a brief analysis of the historical relation of contemporary writers to their immediate predecessors. The author attempts to further a comprehensive summary of certain selected writers, with a criticism of their ideas, while in the last chapter an attempt is made at synthesis. Among those whose work is examined are Ramsay MacDonald, Bertrand Russell, Harold Laski, the Pauls, Hobhouse, Bryce, G. D. H. Cole, Norman Angell, etc. This title will be of great interest (...) to students of politics, philosophy and history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When Did Literature Stop Being Cultural?Sandy Petrey (bio)Debate over the future of French Studies in the United States has sometimes neglected a vital fact: even though the field of French Studies incorporates everything relevant to the francophone world, no single department of French Studies can be that comprehensive. If we want to teach anything serious, we must focus our collective energy and intellect on some manageable component of (...) the many topics French Studies can legitimately address. To try to cover everything is to condemn ourselves to watered-down, dumbed-down versions of history, political science, art, economics, sociology, and the many other areas pertinent to things French.I believe the makeup of French departments in the United States means that our dominant focus should remain literary. Since we aren’t going to retool ourselves so spectacularly as to master all the disciplinary perspectives relevant to the francophone world, we have to make choices. As far as I can see, the best choice is an orientation toward literary criticism, the area in which most productive scholars in French departments in the United States were trained. We’ve learned how to deal with words, and chances are very good that we will do more things that deserve doing if we address words than if we address immigration statistics, changing styles on Maghreb dance floors, or the status attached to owning a pit bull in French housing projects.This doesn’t mean that immigration statistics, dance styles, and pit bulls are forbidden topics, just that we can best approach them if our primary focus remains literary while we open secondary focuses onto other areas. Those openings can renew our field without compromising our identity, allow us to adopt the interdisciplinary concerns animating cultural studies without repudiating literature’s traditional place in foreign language programs. I categorically reject the idea that the literary studies/cultural studies opposition is absolute, that concentrating on literature imposes the necessity of ignoring dance floors and pit bulls. My answer to the question in my title, “When did literature stop being cultural?,” is that it didn’t, whether we take “cultural” in the dirty-word sense of “high culture” or the buzzword sense of “cultural studies.” Literature’s credentials among the accomplishments of high culture matter to language departments in a great many ways, but more relevant to current professional concerns is that cultural studies can address the monuments of the French literary tradition as well as the monuments of French reaction to the Spice Girls. To impose a choice between literary studies and cultural studies strikes me as horribly misguided, something like imposing a choice between breathing and eating.Yet that choice is being imposed with more and more insistence, its suicidal consequences accepted with less and less concern. At times, those preaching an either/or approach have done so in defense of literature, and I refuse the idea that literature is Emerson’s “jealous mistress” who tolerates nothing else in her domain. To study either high culture or popular culture as if the other were unworthy of concern impoverishes both, which means the literary studies/cultural studies binary is pernicious no matter which side defends it. Although the either/or model has sometimes been asserted in the [End Page 12] name of literature’s integrity, however, its most influential recent articulations have come from partisans of cultural studies. The sides have changed. Instead of the argument that the nature of cultural studies means it must be excluded from literary analysis, we now hear that the nature of literary analysis means that it must be excluded from cultural studies.Let me take as evidence the MLA’s most recent publication on trends in language and literature departments, Profession 1997, and the Russell Berman article it contains, a brief for a new form of “Graduate Education toward a Foreign Cultural Literacy.” Berman’s essay makes a strong and informed argument for interdisciplinarity, the best features of which have in Berman’s representation come together to create cultural studies. Throughout this argument, I find the scary logical and political missteps endemic to recent contentions that cultural studies and literary studies are mutually exclusive. Berman’s essay is doubly... (shrink)