Humans are by nature social beings tuned to communicate and interact from the very beginning of their lives. The sense of touch represents the most direct and intimate channel of communication and a powerful means of connection between the self and the others. In our digital age, the development and diffusion of internet-based technologies and virtual environments offer new opportunities of communication overcoming physical distance. It however, happens that social interactions are often mediated, and the tactile aspects of communication (...) are overlooked, thus diminishing the feeling of social presence, which may contribute to an increased sense of social disconnection and loneliness. The current manuscript aims to review the extant literature about the socio-affective dimension of touch and current advancements in interactive virtual environments in order to provide a new perspective on multisensory virtual communication. Specifically, we suggest that interpersonal affective touch might critically impact virtual social exchanges, promoting a sense of co-presence and social connection between individuals, possibly overcoming feelings of sensory loneliness. This topic of investigation will be of crucial relevance from a theoretical perspective aiming to understand how we integrate multisensory signals in processing and making sense of interpersonal exchanges, this is important in both typical and atypical populations. Moreover, it will pave the way to promising applications by exploring the possibility to use technical innovations to communicate more interactively in the case of people who suffer from social isolation and disconnection from others. (shrink)

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing literature’s (...) exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)

The boundary work approach has been established as one of the main ways to study controversies in science. However, it has been proposed that it does not meet the power dynamics of the scientific field sufficiently. This article concentrates on the intertwining of boundary work and power. It combines the boundary work approach developed by Thomas Gieryn and the analysis of power in the work of Pierre Bourdieu. Based on a literature review and an analysis of a controversy over therapeutic (...) touch, it finds four forms of boundary work: intradisciplinary, interdisciplinary, between science and society, and between science and other knowledge systems. The article shows how the different forms of boundary work reveal multiple power struggles, hierarchisations and tensions. The controversy appeared in Finnish nursing science when the Finnish Association of Sceptics gave its annual Humbug Award to a book on therapeutic touch. The book was based on a master’s thesis at the University of Tampere department of nursing science. The nursing scholars in the department reacted abruptly and banned certain books, which astonished the students, and a lively public debate followed. In the debate, nursing science was both defended and challenged. The framework of the study shows that the boundary work approach can be used to study different aspects of power. The article proposes that the framework could be used in other controversies as well to study the layers of power in boundary work. (shrink)

This article is concerned with the ways in which literary spaces can become sexualized by the transfer of objects between women, as well as by the ways in which bodies themselves touch. It discusses how lesbian desire changes both spatial and temporal structures, via a consideration of the use of pearl imagery. In particular, it analyses the link between sexual, class and bodily construction in two texts: Daphne du Maurier's novel Rebecca (1938) and Carol Ann Duffy's poem ‘Warming Her (...) Pearls’ (1987). These texts encode contrasting ideas about the lesbian body, ideas that are discursively textured by the periods in which they were written and by the relative ideological resistance of their writers. While du Maurier's novel establishes a concept of spatial and temporal enclosure, Duffy's poem creates an unconfined and unstable lesbian body-text. Within this, the pearl can be seen as a subversive device, destructuring and stretching the parameters of lesbian desire. (shrink)

What is active touch? A common conception of active touch gives a rough but rather intuitive sketch. That is, active touch can be understood as mainly object-oriented, controlled movement. While parts or the totality of this characterization is espoused by an important number of researchers on touch, I will argue that this conception faces important challenges when we pay close attention to each of these features. I hold that active touch should be considered as before (...) all else purposive. This view has its roots in the active sensing literature in robotics but will be amended to give insight into human touch in the natural world. (shrink)

AGAINST THE BACKGROUND OF THE NEAR-PROHIBITION OF TOUCH IN RElations between unequals, this essay addresses very different questions: When do more-powerful people owe touch to less-powerful people as a consequence of their moral responsibility to care and nurture? How are we to understand morally the enjoyment that powerful adults receive from such contacts with their charges? This essay draws on psychological literature on touch to argue that touch is a condition of human flourishing. Consequently, in many (...) circumstances the obligation to care not only permits but requires physical affection. It argues as well that the lines separating required, permitted, and forbidden touch are somewhat culture-dependent but nevertheless can be adjudicated. Finally, it suggests how traditional theologies and ethics of embodiment might support and be developed by these claims, showing that a positive ethic of touch shares the same theological foundations as the existing ethic of protection. (shrink)

In athletics, coaches and athletes share a unique and important relationship. Recently Jowett and her colleagues (Jowett & Cockerill, 2003; Jowett & Meek, 2000; Jowett & Ntoumanis, 2003, 2004; Jowett & Timson-Katchis, 2005) utilized relationship research (focusing on, for example, marital, familial and workplace relationships) from conjoining fields, and in particular social and cognitive psychology, to develop and test a four-component model (4 C’s) that depicts the most influential relational and emotional components (closeness, commitment, complementarity and co-orientation) of coach-athlete relationships. (...) Proceeding from a review of the literature on human touch communication to examine research on the power of touch to exchange relational and emotional messages (Hertenstein et al., 2006), the present study explores coaches’ and athletes’ collective experiences of communicating via touch, utilizing in-depth interviews with eight college coaches and athletes. A phenomenological approach was used to gather, analyze and interpret the data, drawing on Merleau-Ponty’s (1945/1962) philosophical exploration of perception and human experience, which emphasizes the body as a means of communicating with the world. The findings indicate that touch between coaches and athletes increased at major events when emotions and tensions ran high. In addition, touch involved showing appreciation, instructing, comforting and giving attention, and affected perceptions of relationships. The findings also show that touch communication is influenced by societal factors, such as gender, relational stage, and what spectators, parents and other athletes may think. By illustrating how touch is enacted and experienced by a group of college coaches and athletes, the study represents an initial step toward understanding touch communication in the coach-athlete dyad. Indo-Pacific Journal of Phenomenology , Volume 7, Edition 2 September 2007. (shrink)

Die Studie beschreibt das begriffliche und metaphorische Feld dessen, was in der Aufklärung als Tastsinn/Gefühl figuriert. Dabei bezieht sie sich auf ein Phänomen, dessen operative und physiologische Bestimmung in Frage steht. Denn wo dieser Sinn anatomisch zu verorten und wie seine Funktion zu spezifizieren sei, stellt sich in Anbetracht der diskutierten Ansätze vor allem als ein Problem dar. Das zugrundegelegte Korpus umfasst literarische, philosophische und naturkundliche Texte. Diese werden einer Lektüre unterzogen, die unter Rekurs auf systematische Begriffe die Vielschichtigkeit des (...) Gegenstandes auszuloten ermöglicht. Den Ausgangspunkt bildet Descartes' Erklärung des neuzeitlichen Sehverständnisses unter Einbeziehung des Tastvergleichs, den Abschluss Herders ästhetisches Konzept. Der zwischen diesen beiden Kapiteln gespannte historische Bogen umgreift über hundert Jahre, in deren Verlauf sich die Differenz von Sehen und Tasten als diskursiver Bezugspunkt sowohl verfestigt als auch auflöst. Anhand ausgewählter Texte von u.a. Berkeley, Wolff, Brockes, Bodmer, Breitinger, Diderot oder Lessing zeichnet die Studie die wechselnden Konstellationen sowie Medien des Tastsinns nach und zeigt auf, dass dieser bereits seit dem 17. Jahrhundert nicht mehr als Kategorie der leiblichen Präsenz gedacht wird, die es gegenüber dem Sehsinn zu rehabilitieren gelte, sondern in ein komplexeres Reflexionsgefüge eingebunden ist. (shrink)

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

Writers of fiction have always confronted topics of crime and punishment. This age-old fascination with crime on the part of both authors and readers is not surprising, given that criminal justice touches on so many political and psychological themes essential to literature, and comes equippedwith a trial process that contains its own dramatic structure. This volume explores this profound and enduring literary engagement with crime, investigation, and criminal justice. The collected essays explore three themes that connect the world of law (...) with that of fiction. First, defining and punishing crime is one of the fundamental purposes of government,along with the protection of victims by the prevention of crime. And yet criminal punishment remains one of the most abused and terrifying forms of political power. Second, crime is intensely psychological and therefore an important subject by which a writer can develop and explore character. Athird connection between criminal justice and fiction involves the inherently dramatic nature of the legal system itself, particularly the trial. Moreover, the ongoing public conversation about crime and punishment suggests that the time is ripe for collaboration between law and literature in thistroubled domain.The essays in this collection span a wide array of genres, including tragic drama, science fiction, lyric poetry, autobiography, and mystery novels. The works discussed include works as old as fifth-century BCE Greek tragedy and as recent as contemporary novels, memoirs, and mystery novels. Thecumulative result is arresting: there are "killer wives" and crimes against trees; a government bureaucrat who sends political adversaries to their death for treason before falling to the same fate himself; a convicted murderer who doesn't die when hanged; a psychopathogical collector whose quitesane kidnapping victim nevertheless also collects; Justice Thomas' reading and misreading of Bigger Thomas; a man who forgives his son's murderer and one who cannot forgive his wife's non-existent adultery; fictional detectives who draw on historical analysis to solve murders. These essays begin aconversation, and they illustrate the great depth and power of crime in literature. (shrink)

Starting symbolically from a place of transit and mobility such as the Galleria in Naples, I look at the pace of immigration movements to Italy from both ex-colonial territories and other countries. Precarity characterizes the migrant condition in Italy: entrance and stay permits; work and housing, which are difficult to obtain and always temporary; bureaucratic control is severe and the right to citizenship is distant. The collective amnesia of the colonial enterprise obscures the fact that at least some of the (...) guests of today were the hosts of yesterday. I analyse these, and other aspects, in the literature of migration that in recent decades has emerged in Italy, focusing on women's writing and confronting the problem of how long it will take for this literature to receive recognition in the Italian literary canon. In women's narratives, precarity emerges in the journey of emigration, described as a real odyssey; in tensions over identity and language; in contrasting cultures of departure and cultures of destination; in the problematic concept of ‘home’. Racial and gender differences subsumed in the colour of skin are a recurrent motif. For women, hardships may be more deeply felt: isolation and loneliness is augmented by the distance from children and family; the relationship between past and present more troublesome as it often leads to a double oppression. independence is more fiercely fought for in the affirmation of identity. Finally, I show that, alongside conditions of isolation and despair, strength and hope in the new life emerge from these writings, touching on the importance of writing in Italian and on the motives leading to this choice. (shrink)

This paper explores the unique phenomenology of habit and temporality put forth in Beauvoir’s La Vieillesse. I situate her understanding of temporality in relation to her early work Pyrrhus and Cinéas. I extract her notion of a boundary marked future that decreases anticipation for the future and thus rigidifies habits. In the final section I appropriate the notion of a boundary mark for a cultural phenomenology where we understand boundary marks as constituted by our understandings of ourselves in time and (...) not through aging alone. This cultural boundary mark can be used to understand how societal prejudice operates at the level of lived temporality. (shrink)

In this paper, the theory and practice of therapeutic touch (TT) is scrutinized from a number of perspectives. Firstly, the alleged close relationship between TT and Martha Rogers’ Science of Unitary Human Beings is evaluated. Secondly, the employment of the language of modern physics in Rogers’ theory and TT is critically examined. The authors then review the research literature on TT's efficacy, completing their critique by discussing the ethical issues involved in the practice of TT. As each of the (...) perspectives considered reveals some concerns, the paper concludes that TT is a questionable intervention, underpinned by a very weak theoretical, clinical and research base. (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)

There are different ways of looking at the achievements of outstanding personalities. In reading this book, the reader will be in touch with some of Jung's best insights into artistic and literary creation. The essays are on Paracelsus, Freud, Richard Wilhelm, Picasso, and Joyce's _Ulysses_. There are also two chapters on poetry and literature.

As touch remains commonly defined by the closeness it physically implies and it rhetorically evokes, the mere notion of distant touch and of distal haptic perception seems peculiar. But Aristotle’s perspective, which I wish to take as a point of departure, is firm: we perceive the objects of touch, the hot and the cold, the hard and the soft, the curved and the sharp, through other things: δι' ἑτέρων. In this article, I would like to explore this (...) ἕτερος by showing how the otherness of perception always implies an intermediary, a middle point (μέσος), i.e. an other not so other, an other that is able to translate the much more distant otherness of the perceived object. To explore these forgotten layers of alterity that fall into what we commonly conceive of as the impalpable emptiness of distance, I propose to study the idea of distant touch from the perspective of phenomenological aesthetics. In order to do so, I will first examine some aspects of the Husserlian account of perception and will then focus on the phenomenology of distant touch in Alejandra Costamagna’s novel El Sistema del Tacto [The System of Touch] (2018). (shrink)

The body, touch and its sensations are present, sometimes viewed in contradictory ways, both expressed, visualized, and rejected, in early modern art and literature. In seven essays moving from the 16th to the mid-18th century, and from Italy and Spain to France and Sweden, this volume explores strategies used by early modern women poets, philosophers, and artists in order to create subversive expressions of the body, gender and the senses. Showing how body and soul, the carnal and the divine, (...) the senses and the mind, could be represented as intertwined and dependent on each other in various ways, it gives due attention to European women writers and artists that in unconventional ways responded to the period's two main intellectual and philosophical attitudes - Epicurean and Stoic - towards the body and its senses. These attitudes not only intersect in the period's discussions of virtue and other moral phenomena, but are central to critical assessment of the relations between emotions, perception, and reason. By following this topic from a gender perspective, the book highlights other forms of subjectivity than the ones usually related to the early modern period's dominating subjectivation of female bodies, thinking and desires. (shrink)

How our beliefs about the soul have developed through the ages, and why an understanding of it still matters today The concept of the soul has been a recurring area of exploration since ancient times. What do we mean when we talk about finding our soul, how do we know we have one, and does it hold any relevance in today’s scientifically and technologically dominated society? From Socrates and Augustine to Darwin and Freud, In Search of the Soul takes readers (...) on a concise, accessible journey into the origins of the soul in Western philosophy and culture, and examines how the idea has developed throughout history to the present. Touching on literature, music, art, and theology, John Cottingham illustrates how, far from being redundant in contemporary times, the soul attunes us to the importance of meaning and value, and experience and growth. A better understanding of the soul might help all of us better understand what it is to be human. Cottingham delves into the evolution of our thoughts about the soul through landmark works—including those of Aristotle, Plato, and Descartes. He considers the nature of consciousness and subjective experience, and discusses the psychoanalytic view that large parts of the human psyche are hidden from direct conscious awareness. He also reflects on the mysterious and universal longing for transcendence that is an indelible part of our human makeup. Looking at the soul’s many dimensions—historical, moral, psychological, and spiritual—Cottingham makes a case for how it exerts a powerful pull on all of us. In Search of the Soul is a testimony to how the soul remains a profoundly significant aspect of human flourishing. (shrink)

From 1347 onwards, new literature emerged in the Islamic and Western worlds: the Ṭā‘ūn [Plague] Treatises. The literature in Islamdom was underpinned by three things: (i) Because the first epidemic was a phenomenon that had been experienced since the birth of Islam, ṭā‘ūn naturally occurred on the agenda of hadith sources, prophetic biography, and historical works. This agenda was reflected in the treatises as discussions around epidemics, particularly plague, as well as the fight against disease in general in a religious (...) and jurisprudential framework. (ii) Works aimed at diagnosing the plague and dealing with various aspects of it tried to explain disease on the basis of Galenic-Avicennian medicine within the framework of miasma theory, thus deriving their basis from this medical paradigm. (iii) Finally, the encounter with such a brutal illness prompted a quest for all possible remedies, including the occultist culture. This background shaped the language and content of the treatises at different levels. This article first evaluates the modern studies on plague treatises written in the Islamic world. Then, it surveys the Islamic historical sources in order to pin down the meaning they assign to the concepts of wabā’ [epidemic disease] and ṭā‘ūn [plague]. Certain medical works that were the resources for medical doctrines and terminology for plague treatises are also evaluated with a focus on these two concepts. Thus, the aim of this survey is to understand the general conception of epidemic disease and plague in the Islamic world before the Black Death (1346-1353). I discuss and analyze the characteristics of the Ṭā‘ūn literature, which constitutes the main subject of the article and present a database on the literature. While the works from the Mamluk and Ottoman periods constitute a continuous tradition in some respects, Ottoman treatises differ from the Mamluk works in terms of certain features, especially content. Although this study touches on the common aspects of the works from the two periods, it instead analyzes this literature with a focus on points where the two traditions diverge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

_Taking Picture Books Seriously: What can we learn about philosophy through children's books?_ This warm and charming volume casts a spell on adult readers as it unveils the surprisingly profound philosophical wisdom contained in children's picture books, from Dr Seuss's _Sneetches_ to William Steig's _Shrek!_. With a light touch and good humor, Wartenberg discusses the philosophical ideas in these classic stories, and provides parents with a practical starting point for discussing philosophical issues with their children. Accessible and multi-layered, it (...) answers questions like, Is it okay for adults to deceive kids? What's the difference between saying the Mona Lisa is a great painting and vanilla is your favorite flavor? Each chapter includes illustrations commissioned especially for this book. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cervantes in Italy:Christian Humanism and the Visual Impact of Renaissance RomeFernando CervantesToward the end of 1569, shortly after his twenty-second birthday, Miguel de Cervantes arrived in Rome to serve as chamberlain to the young monsignor Giulio de Acquaviva, soon to be made a cardinal by Pope Pius V.1 The event marked the beginning of a six-year sojourn about which surprisingly little is known with certainty. From scattered semiautobiographical references (...) we can infer that Cervantes traveled widely and that he developed a particular fondness for Italy. We know for sure that he fought bravely against the Turks at the battle of Lepanto in 1571, where he received wounds that rendered his left arm useless for the rest of his life, and that he remained in service as a soldier, based in Italy, until his ill-fated attempt to return to Spain in 1575. Ten years later, in the dedication of his pastoral romance La Galatea to Ascanio Colonna, he reminded his dedicatee that the reverence he had for him did not only stem from having served under his illustrious father, the famous general Marco Antonio Colonna, but also from the many things that he had heard Cardinal Acquaviva say, "like prophesies," about him in Rome. There follows a brief encomium about the "noble virtues," "magnificence," "goodness," and "Christianity" that sustain the "clear and generous line" of the Colonnas, known to all for the "virtuous and heroic deeds" that have been their mark since time immemorial.2 Some of Cervantes's best lyric poetry dates from these years. In it, as in the rest of his work, the unmistakable mark of Petrarch, Boccaccio, Sannazaro, Ariosto, and Bembo, to name but the most explicit ones, leaves us in little doubt about his genuine love of Italian literature.For good reasons, modern biographers have been loath to take these scattered [End Page 325] references too candidly. Can we, for example, assume that Cervantes had more than a very superficial acquaintance with the Colonnas and the Acquavivas? Could a writer still widely regarded as a self-taught, untutored mind realistically have attracted the favors of some of the most illustrious Roman and Neapolitan noble families? More pointedly, is it safe to take the varied and abundant observations about Italy scattered throughout his works as reliable reflections of his own personal experiences? After all, between the latter and the written page there is a time lag often approaching forty years. Add to this the weight of subsequent intellectual influences and of literary conventions, of novelistic invention and of the viewpoints of the characters themselves, and we are left on rather shaky ground. As Jean Canavaggio has remarked, it is not Cervantes the keen visual observer, but rather Cervantes the devoted reader of Boccaccio and the novellieri who brings Italy and Italian themes into his fiction. Even the memorable descriptions of Italian cities to be found in some of his novelas are rather formulaic passages, perfectly in tune with the rhetorical canons of the time.3Our topic, however, is not biography but intellectual history; and here we can afford to be more candid. There can be no doubt that many of Cervantes's descriptions have the unmistakable ring of genuine experience. Take Tomás Rodaja's arrival, "soaked, sleep-deprived and with bags under the eyes," in Genoa's "sheltered Mandraccio,"4 where he becomes acquainted withthe smoothness of the Trebbiano, the fullness of the Montefiascone, the strength of the Asperino, the generosity of the Greeks Candia and Soma, the grandeur of the one from the Five Vineyards, the sweetness and mellowness of the lady Vernaccia, the rustic touch of the Centola, while the lowly one from Rome dared not appear in the presence of such illustrious gentlemen.5Charmed by the gallantry of the Genoese, Rodaja leaves by land for Rome, "the queen of cities and mistress of the world." "Just as the size and ferocity of a lion can be gauged by its claws," Cervantes observed,so Rome's greatness became manifest by its broken marbles, its statues..., its fallen arches and ruined baths, its magnificent porticoes and large amphitheatres, its famous and sacred river whose waters... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Hermeneutical Turn in American Critical Theory, 1830–1860M. D. WalhoutLong considered an obscure province of biblical studies, hermeneutics is now familiar territory to American literary critics, along with phenomenology, structuralism, post-structuralism, and the other European theories that have redrawn the map of American criticism in the past twenty-five years. The gradual transformation of hermeneutics into a theory of criticism, and ultimately into a comprehensive theory of the human sciences, (...) was the work of a series of great German thinkers, including Schleiermacher, Dilthey, Heidegger, and Gadamer. These figures were introduced (or reintroduced) to American critics by E. D. Hirsch, whose Validity in Interpretation (1967) “shattered,” in the words of Richard E. Palmer, “the splendid isolation of American literary criticism from hermeneutics.” Hailing Schleiermacher and Dilthey as the forefathers of “objective interpretation,” Hirsch dismissed Heidegger and Gadamer as prophets of subjectivism. For his part, Palmer strove to vindicate Heidegger and Gadamer as the true heirs of the hermeneutical tradition. Noting the difference between Hirsch’s understanding of hermeneutics and theirs, Palmer concluded,So the hermeneutical debate goes on. On the one side are the defenders of objectivity and validation, who look to hermeneutics as the theoretical source for norms of validation; on the other side are the phenomenologists of the event of understanding, who stress the historical character of this “event,” and consequently the limitations of all claims to “objective knowledge” and “validity.” 1Twenty-five years later this hermeneutical debate is still going on. [End Page 683]What Hirsch and Palmer did not realize is that they were reviving a debate over the nature of interpretation that dated from the late nineteenth century, when American literary criticism was undergoing professionalization. 2 As early as 1885, in the programmatic introduction to his book on Shakespeare as a dramatic artist, Richard G. Moulton had declared, “In the treatment of literature the proposition which seems to stand most in need of assertion at the present moment is, that there is an inductive science of literary criticism.” Moulton proceeded to lay down “a foundation axiom of inductive literary criticism: Interpretation in literature is of the nature of a scientific hypothesis, the truth of which is tested by the degree of completeness with which it explains the details of the literary work as they actually stand.” 3 Thirty years later Moulton repeated this axiom, insisting that “such inductive treatment constitutes the very alphabet of science.” 4 But Moulton’s determination to apply the logic of the natural sciences to the interpretation of literature was not without its critics. In 1900 the German-born philologist Julius Goebel began a valiant, if futile, effort to introduce the hermeneutics of Schleiermacher and Dilthey to his American colleagues. 5 Years later, in an article published in The Journal of English and Germanic Philology, Goebel drew on Schleiermacher’s Hermeneutik und Kritik (1838) to show “the possibility of attaining exact knowledge in the mental sciences without the aid of the scientific or laboratory methods.” 6 Later still, in an article on Dilthey published in the same journal, Goebel recalled how he had argued in an address to the Modern Language Association that criticism “had lost touch with the contemporary movements emphasizing the independence and importance of the mental sciences. What seemed to me needed above all was a reform of the method of interpretation for which Dilthey had set the example both in principle and practice.” 7 It was not until the late 1960s that Goebel’s project was finally revived.While Goebel may have been the first American literary scholar to use the word “hermeneutics,” the concept of interpretation had long been a part of American critical theory. In fact, what might be called the “hermeneutical turn” in American critical theory occurred well before the era of professionalization. [End Page 684] In order to trace this turn, we must recover the work of the amateur critical theorists of the antebellum era, including such forgotten figures as George Allen and Edwin Percy Whipple. Disciples of the Schlegels and Coleridge, these amateur theorists established the basic premises of the hermeneutical turn: that criticism is a science; that the critic must “reproduce” the author’s creative process; that... (shrink)

In 1989, Helga Wanglie, 86 years old, broke her hip. This began a medical downhill course that a year later caused her health care providers to conclude that she would not benefit from continued medical treatment. It would be futile, and therefore, should not be provided. Her husband disagreed, and the conflict eventually led to a lawsuit. The Wanglie case touched off an extended debate in the medical and bioethical literature about medical futility: what it means and how useful the (...) concept is in making ethical decisions about starting or stopping treatment. (shrink)

This paper will, in its successive steps and movements, revolve around one single question, a question that might, at first sight, come across as somewhat irrelevant or even impertinent within the context of philosophical or academic discourse. How romantic is Jean-Luc Nancy? Or: is there a specifically Nancyan sense of romance? Notwithstanding these somewhat unscholarly formulations, I am increasingly convinced that the question of love, or indeed more specifically of romance, is the most intimate inspiration of Nancy’s work, the key (...) unlocking all other keys. The theme of love has always played an important role in his work, from the early essay “Shattered Love” (“L’amour en éclats,” 1986) to his later works on the body and pleasure. In this paper, I will touch upon a number of these texts, but I will more particularly refer to two of Nancy’s more recent works, the yet untranslated book Sexistence from 2017 and Expectation: Philosophy, Literature (2018, published in French in 2015 as Demande: Littérature et philosophie). The question of romance, that is, the question of passionate interaction, of intrigue, of writing, of dramatization. This quite heterogeneous web of associations already implies a number of age-old philosophical issues: the relation between love and thinking; the relation between love and literature; and, subsequently, between philosophy and literature; the issue of the relation itself. The knot uniting these issues under the single heading of “romance” has been most firmly tied about two centuries ago, in the late eighteenth-century movement of early German, i.e., Jena, Romanticism, that significant moment in intellectual history where the barriers between philosophy and literature were broken down and where, quite generally put, the sense of the world was conceived of as a matter of romanticization. Although Nancy himself would be reluctant to call himself a Romantic philosopher in this historical sense of the word, this is exactly what I want to argue here: I want to show that Nancy’s philosophy of love – and by extension his philosophical thinking tout court – should be placed in the tradition of German Romanticism, rather than in that of, for instance, phenomenology, ontology, or philosophy proper. This claim is massive in its depth and scope and can impossibly be explored here in an exhaustive way. Instead, I will flesh out this perspective by advancing four successive hypotheses that enable to mark the contours of what I call Nancy’s romanticism. With this exploration, I hope to do three things at once: firstly, to underscore what I take to be the core or pulse of Nancy’s thinking: the issue of romance; secondly, to investigate to what extent this romantic pulse might be traced back to the Romantic tradition; and, thirdly, to emphasize why Nancy’s romantic thinking is relevant for us today. (shrink)

In this paper, I will argue that one’s participation in the experience of pregnancy is an essential part of the constitution of selves. Taking the radical notion of concrete essence as my point of departure in the first part of my paper, as well as the fundamental continuity between essences and facts proposed by Husserl, I will briefly map out my proposal within the contemporary feminist debate. In particular, I will argue for re-framing the role of pregnancy, rejecting the idea (...) of birth as an unattainable limit for human selfhood, and defending two complementary theses: the experience of pregnancy essentially shape the self/other distinction; the continuity between our “pre” and “post” natal lives is primarily expressed through the embodied nature of the self. The core of my argument is this: everyone has taken part in the experience of pregnancy and, in doing so, their self-constitution and development have been shaped during this deeply transformative process. The implication is that the self has an essentially embodied origin which is closely connected to another self ; relationality, intersubjectivity, and affectivity turn out to be the grounding features in defining the self. Even though arguments about embodied aspect of the self have been widely discussed from several philosophical perspectives, there is a significant lack of phenomenological attention in this regard for the issue of pregnancy as the constitutive experience for self’s constitution. Conversely, the literature focused on maternal-fetal encounters, and on the process of pregnancy, tends to address unilaterally the experience of the maternal subject, and then to neglect the proper view of the fetus as pre-infant. When attention has been paid to the fetal perspective, the issues tackled are mostly bioethical. In this context, I offer an account of the complexity and non-linearity of fetal-maternal bodily encounters on a phenomenological level, putting forward a third alternative. In particular, I aim to show the intertwining of fetal and maternal perspectives, and to analyse and articulate philosophically the empirical fact that everyone has been a pre-infant. In the second part of my paper, I will take into account some essential structures that shape and constitute the process of pregnancy, as well as the actors involved – that is to say, the maternal subject and the fetal self. All in all, I aim, as a theoretical outcome of the paper, to build a phenomenology of pregnancy that contributes towards a rethinking of embodied selfhood from their origin. In this context, I offer a proposal of accounting for the complexity and non-linearity of fetal-maternal bodily encounters on a phenomenological level: my aim is to show the intertwining between fetal and maternal perspectives, as well as to eviscerate and articulate philosophically the empirical fact that everyone has been a pre-infant. In doing so, the theoretical outcome is to build a phenomenology of pregnancy that may actively contribute to the general movement of rethinking the embodied aspect of the self.In the second part of my paper, I will take into account some essential structures that shape and inform the experience of pregnancy, and also the actors involved, that is to say the maternal subject and the fetal self. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memory:James Patrick McDanielGAHJames Patrick McDaniel, who served as Book Review Editor of Philosophy and Rhetoric, died November 10, 2004, at age 38. He was at the beginning of a career with exceptional promise and whose accomplishments had earned him the National Communication Association's Karl Wallace Award, given to support the research of a scholar within ten years of earning the doctorate. James was just beginning to place his (...) stamp on our book review section. His selection of books reflected his broad command of diverse literatures; his selection of reviewers showed a commitment to bringing fresh and welcome voices into our conversation. James touched the journal in other ways. His essay "Liberal Irony: A Program for Rhetoric" (35:4) was part of an important and ongoing intellectual exchange in P&R. I called on him frequently to review submissions, especially ones that needed a reader with an eye for making a manuscript better. His critiques were models of generosity, even when he disagreed with the author, and his comments, singularly insightful and intelligent, reflected judgment I came to trust. He was invaluable to me as journal editor and as a student of rhetoric.In addition to his work with the journal, I had come to know him as a valued colleague in Colorado's Communication department, a sublimely gifted teacher, an astute mentor of graduate students, a remarkable father, and a loyal and loving friend. In more ways than I dare mention, Jim made the journal better from his association with it and my life happy from the pleasure of his company. I shall miss him dearly.Copyright © 2005 The Pennsylvania State University... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aspiration to the Condition of TouchChristopher Perricone"The Dance," written by William Carlos Williams in 1944 is one of my favorite poems: I return to it regularly. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess (...) is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem isn't primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading and re-reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps, William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times. As always, it's best to let the poem speak for itself:In Breughel's great picture, The Kermess,the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick-sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the [End Page 229] Fair Grounds, swinging their butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.The visual, musical, and literary arts do much to educate our senses, especially our senses of sight and hearing. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the images we store away, the tunes we whistle. However, here, I want to draw attention to an overlooked, although not entirely disregarded, sense, i.e., touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, i.e., that touch keeps the work of art coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian renaissance. Berenson argued that great painting stimulates touch, which inspires, our "tactile imagination," which produces our "tactile values." Here lay, according to Berenson the genius of Giotto. Tactile imagination and values enchance the "material significance" of a work; they act as a "test of reality." Berenson was on to something not only about painting but about the arts in general. However, in the late nineteenth and early twentieth centuries he lacked the scientific evidence about touch and its role in human relationships to develop his idea of tactile values to any great extent.1Although Berenson had keen intuitions, he didn't know about the biological/psychological nuts and bolts of touch. Thus, he never knew about the detailed nature and extent of our physical contact with other physical things in the world. He didn't know about Merkel's discs, Ruffini and Pacinian corpuscles. He didn't know about hierarchical and parallel levels of brain processing. Berenson didn't know that more brain space in the somatosensory cortex is given to the hand than to any other part of the body, that your fingers especially have a high density of touch receptors compared to other body areas. Today, all this information is standard textbook fare.2 Many neuroscientific details need to be worked. However, a general picture based on hard evidence has begun to emerge.This information adds significant substance to Berenson's ideas. Berenson's "third dimension" is essentially a sense of temperature, pressure, vibration, and texture. And chances are the tactile imagination is inspired most by what is touched by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Death in the Greek World: From Homer to the Classical Age by Maria Serena MirtoJoseph W. DayMaria Serena Mirto. Death in the Greek World: From Homer to the Classical Age. Trans. by A. M. Osborne. Oklahoma Series in Classical Culture 44 Norman: University of Oklahoma Press, 2012. x + 197 pp. 10 black-and-white figs. Paper, $19.95.Mirto (with Osborne) has given us a readable book on a topic of (...) perennial interest, full of learning but unencumbered by the development of a comprehensive argument with full scholarly apparatus (there are no footnotes or endnotes). I devoured it on a couple of airplane rides, during which its intelligent presentation thoroughly distracted me from my physical discomfort. The book provided a clear and concise review of important topics which I have not studied intensely for years, and it initiated me into recent trends and made me thirsty to approach its suggestions for further reading—while avoiding the spring by the white cypress, of course.The volume is an expansion and updating, as well as a translation, of the Italian original, La morte nel mondo greco (Rome 2007). Much scholarship from 2007 and later is cited, especially in discussions of Dionysian and “Orphic” material (chap. 2). Important additions are a useful section on the confusing (to the uninitiated) topic of hero cults and “an appendix outlining fundamental developments in modern studies of death in the Greek world” (x). The latter traces an interesting journey through the history of mentalities from R. Hertz (Durkheim’s student), through E. de Martino and P. Ariès, on to C. Sourvinou-Inwood’s disagreement with I. Morris about change and stability in early Greek attitudes toward death.Mirto articulates her goal in the preface as “a general synthesis of people’s relationships with death in the Greek world... [a] survey of the ways in which archaic and classical Greek culture dealt with the trauma of death” (ix). One does not judge such a book on its original interpretations and scholarly arguments; other criteria apply. For example, how comprehensive (or representative) is the selection of topics, approaches, and examples? How useful (or user-friendly) is the selection, especially for the audience to which it is addressed?At the level of overall structure, Mirto scores high for comprehensiveness. Any treatment of Greek death must devote major attention to the three topics she announces : (1) “beliefs about the afterlife, on the boundary between literary imagination and religious faith”; (2) “funerary rituals and material evidence of the cult of the dead”; (3) “ideologies... that construct an ideal model of death, making it an acceptable, perhaps even desirable, event” (ix). Chapter 1 on traditional views, mostly derived from Homer (also treated in chap. 5.1), commences Mirto’s discussion of the first topic, which is continued in chapter 2 on more [End Page 337] optimistic eschatologies, especially those associated with Dionysus and Orpheus. The second topic is treated in chapters 3 (on death, mourning, and last rites) and 4 (on markers, epitaphs, and tomb and hero cult). Chapter 5 is devoted to the third topic, with particular attention to the development of the polis and Athens’ patrios nomos and funerary legislation. R. Garland’s widely used survey (The Greek Way of Death [Ithaca 1985], 2d ed. 2001) covers much the same ground, though that book’s feel is quite different. Garland provides a richness of source and scholarly citations that Mirto eschews; for example, Garland devotes twenty-three pages (chap. 7 and its dense endnotes) to visits to the grave, while Mirto barely touches on the matter.At the level of specifics, Mirto’s comprehensiveness is uneven. Reflecting her expertise in archaic and classical poetry, as well as her engagement with the history of mentalities, discussions of literature and some sub-literary textual material are excellent, while she is less full but still useful on iconography (especially that of white-ground lekythoi and sculpture) and polis regulations. Perceptions of comprehensiveness, of course, will vary among readers. Because of gaps in my knowledge, I learned most from Mirto’s presentation of Dionysian and “Orphic” material: the gold lamellae, the Olbia bones, the Derveni papyrus (chap. 2, with the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:284 HISTORY OF PHILOSOPHY Although this is not the first time that Gentile has been translated into French (a major work of his, L'esprit, acte pur, was published in Paris in 1925), the fact remains nevertheless that his neo-Hegelian system of philosophy fell on deaf ears originally in France, due to the predominance then of Bergsonism and positivi.sm in different areas of French thought. However, as Michele F. Sciacca (...) (another commentator on Gentile) notes in the Preface, the Gentilian system of "actual idealism" should get a better hearing in France from now on, because the widespread interest in Hegel there since 1925 has prepared the ground for its proper reception. The Bibliography, for which Sciacca himself is responsible, includes a section on Gentile's own writings "concerning the national and political formation of Italy" (p. 14); but, significantly enough, those dealing directly with Fascism are all omitted. This omission seems a deliberate attempt to separate Gentile the philosopher from Gentile the Fascist. No matter how understandable psychologically and politically may be the motive here--to have French readers forget that Gentile was the philosopher of Fascism--the attempt itself at bibliographical expurgation, ironically, runs completely counter to the very accent of the Gentilian theory of "pure act" on the unity of thought and action in human experience and history. Rightly or wrongly, Gentile (in sharp contrast to Croce) saw in Fascism the political expression of that unity. As to the secondary sources, the Bibliography again is unnecessarily incomplete, citing as it does only one work in English on Gentile. The anthology closes with a critical note on Gentile's transcendental conception of immortality by the translator (Joseph Moreau), who argues that the "actualistic" philosophy, despite its "religious tone," defeats itself by ending up with an "Epicurean attitude" (p. 324) toward death and the afterlife. PATRICK ROMANELL University o/ Oklahoma Die Tragik in der Existenz des modernen Menschen bei G. Sirnmel. By Isadora Bauer. (Berlin: Duncker und Humblot, 1962. Pp. 94. DM 12.60.) Miss Isadora Bauer's book lends a salutory touch to contemporary philosophical literature, so much of which is abstract and removed from experience. Her treatise, on the other hand, has for its subject matter the human condition, its finitude, and its inescapable tragedy. Georg Simmel, an early twentieth-century philosopher, is less known in this country than he deserves to be. His "Lebensphilosophie," as Miss Bauer points out, although it was influenced by Schopenhauer and Nietzsche, found an original expression through him and foreshadowed in many ways the work of Husserl and the contemporary existential thinkers. Miss Bauer's presentation of Simmel's concept of the tragic is lucid and thorough and manages in a wonderful way to let us see through this one aspect the broad outlines of Simmel 's philosophy as a whole. In Simmel's formulation, life itself, unfolding in tragic antinomy of flux and form, of becoming and being, is the ultimate ground of all tragic conflict. The dynamic life process brings forth all forms and also endangers and destroys them over and over again. The human being encounters these opposites in all aspects of his experience: his existence is tragic at its core. "Moira," the ancient goddess who confronted the Greek hero as an alien power, is in Simmel's modern view of tragedy within man himself. She is the opposition between continuity and discontinuity, the mere stream of events and their form or meaning broken in tragic conflict. At this point, Simmel's dialectics leads to a "third realm," a "more BOOK REVIEWS 285 than" which is both immanent and transcendent, a kind of "coincidentia oppositorum" beyond logic and definition. It is the realm of the "person" within which, although the tragic conflict is not resolved, there arises the free self from whose non-dual perspective the unity and eternity of life are seen. Within this realm the individual gains an illumination the result of which is "amor fad," his free decision to affirm his being. In this act of decision lies the "meaning" and "value" of life. The substance and point of Miss Bauer's book is to show the connection between the metaphysical ground of Simmel... (shrink)

This book shows, "Nothing is permanent in this World" consisting of true events in span of life when matches with Classical Literature of reality against illusions..

In lieu of an abstract, here is a brief excerpt of the content:A Response to David Carr, “The Significance of Music for the Promotion of Moral and Spiritual Value”Iris M. YobDavid Carr has addressed a question that has been lurking in philosophical literature for centuries and, I might add, in our collective intuition as well: Just what is the connection between music and the moral and spiritual life? And as we have come to expect from his work, he brings a (...) new perspective to this perennial question in his answer. First he traces a line of thinking since Plato about music and the ordering of the soul, he touches on the role of music and the other arts in exploring the complexities of the moral imperative as it is lived out in human lives, and returns at the end to give a new take on the old Platonic idea of ordering of the soul. Just maybe, he suggests, the detachment, however temporary, "from the trials and tribulations that beset us in the day to day rough and tumble of human practical affairs" "in the interests of some more balanced perspective" on spiritual and moral matters "might be easier to achieve in the contemplation and appreciation of great works of 'music alone.'"This conclusion does not lay claim to more than what is perfectly reasonable. Allowing oneself to be immersed in a great work of music or art or architecture or dance may very well provide that distance from every day life where one might [End Page 209] re-center and refocus, refresh and renew one's outlook on the world. Such an engagement with an artwork can interrupt the patterns of thinking and acting that might have become increasingly thoughtless and ego-centric. It can be a re-creation in the true sense of the word. Paul Tillich, one of the great twentieth century religious philosophers, tells of an experience he had during the First World War where he served as a chaplain in the German army. On a brief leave from the front he visited Kaiser Friedrich Museum in Berlin and stood entranced before Botticelli's "Madonna and Child with Singing Angels." The moment was spiritually transformative, he tells us, lifting his spirits beyond the mud and grime of the battlefield to contemplate life and meaning on a different plane altogether. The experience enabled him to return to duty with renewed inner strength and calm.1 I believe this is a rather powerful and compelling example of what Carr is talking about.In coming to his conclusion, Carr is relying on the particularly difficult case of "music alone," that is, music that does not have words, title, or any other kind of representative function. In other words his argument does not depend on any didactic nature or morally or spiritually directive intent of the music. Rather, it is centered on music that ostensibly is not about anything. This is musical sound composed and performed for the appreciation of what it is in itself. And yet, in providing distance from the every day world, according to Carr, it can give expression to "realms of spiritual experience that lie beyond the sensual and empirical." Here we enter the world of the metaphorical and symbolic, what Rudolf Otto would call the "irrational" or "superrational," or the realm of the Holy. While Carr does not state this explicitly I would go so far as to say that this realm of the wordless and sacred is where the spiritual and the moral are grounded and from where they draw their power.Against this background, I would like to ask how does "music alone," in the sense intended by Carr and Peter Kivy from whom he borrowed the term bring about this effect? We are unable now to ask Tillich what it was that gave the Botticelli its impact for him, but it is curious that what it did for him it most likely did not do for all the other soldiers from the front who happened upon it the way he did. Tillich would most likely explain its effect by resorting to his theory of symbols, because after all this painting does have a literal meaning that might very well have inspired him. But... (shrink)

The existing EELS literature has usefully identified the scope of ethical issues posed by pharmacogenetic and pharmacogenomic research. The time has come for in-depth examination of particular ethical issues. The involvement of racial and ethnic communities in pharmacogenetic and pharmacogenomic research is contentious precisely because it touches upon the science and politics of studying racial and ethnic difference. To date, the ethics literature has not seriously taken account of the fact that such research impinges upon the interests of communities, and (...) that taking such interests seriously requires that we both protect and empower communities in research. We propose a framework that rests upon the recognition that communities are heterogeneous human associations and differing policies are appropriate for differing communities. Community consent and consultation and community consultation alone are neither appropriate nor required for all pharmacogenetic and pharmacogenomic research. Rather, application of these policy protections must take into account particulars of both planned research and the communities involved. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Negative Capability Reclaimed: Literature and Philosophy Contra PoliticsIhab HassanI began a few years ago to try to make space in my reckoning and imagining for the marvellous as well as the murderous.Seamus HeaneyTwo concerns cross in this essay: the first, explicit, regards the current condition of the academic humanities, their idioms and axioms, especially in America; the second, implicit, regards my own need to confront criticism, its abstractions that (...) now enable, now disable, the profession and even more the experience of literature. Such concerns must mix speculation and autobiography, mix the pride with the pathos of mind.But I should admit it from the start: my title cries paradox. Negative capability reclaimed? Can reclamation dwell in “uncertainties, mysteries, doubts, without any irritable reaching after fact and reason,” as Keats thought, and can a critic aspire to the condition of a poet, in whom the “sense of Beauty overcomes every other consideration, or rather obliterates consideration”? 1Mine, I repeat, is a hybrid critical discourse, touched by exasperation more than mystery. Yet negative capability can still serve us as emblem of certain qualities, attitudes, dispositions that we bring to literature, without turning that happy phrase into yet another slogan. Beyond the arrogance of transient ideologies, beyond the mawkishness of self-regard, negative capability may offer us a kind of patience, perhaps ascesis, the intellectual and, yes, spiritual equivalent of discipline in our moment. [End Page 305]IStated baldly, my proposition, which I will need continually to texture and qualify, is this: the prevalence of politics, the obsession with power, the unrelieved pressure of both in the university, skew our language, thought, values. Thus the ancient quarrel between poetry and philosophy, between Homer and Plato, now cedes the field to a nastier agon between both and politics as GRIM (my acronym for the Great Rumbling Ideological Machine) grinds on. These are no abstractions; the clamorous evidence is all about, indicative even in its triviality, banality.Take a book blurb. Kathy Acker endorses a new, and quite intelligent work, entitled Male Matters, thus: “Calvin Thomas is able to hint at a way out of the prisonhouse of straight male identity.” Granted, this is but an ad in a university press catalogue. But what does the language reveal about the assumptions of academic discourse? “Prisonhouse,” really, for all unfortunate, straight males? Is a generalization of this kind permissible when blander generalizations about other groups raise such a hue and cry? Will straight African-American or Native American males feel “offended” by the statement? Or is it all a matter of restitution, categorical loyalty, political commitment? And when will that supreme fiction, the white, straight, bourgeois, rational male “subject” cease to prop up every ideological complaint?Thought blends into hype; words writhe; stereotypes become as transparent as the stereotypes they once repugned. But let us consider an example worthier of criticism. In his Inaugural Lecture as Robert Wallace Professor at the University of Melbourne, entitled “The Departure of English?” (the question mark risks disingenuousness), Professor Simon During inelegantly states: “The academic appropriation of the avant-garde transfiguration of values is happening as what I am calling the departure of English—in the relative decline of literary studies and cultural studies’ emergence.” 2 Professor During thus assumes, on behalf of cultural studies, the mantles of Friedrich Nietzsche, Arthur Rimbaud, Alfred Jarry, Hugo Ball—where is Antonin Artaud?—and Walter Benjamin, though none really had a mantle to bequeath. For a moment, the mind reels: Nietzscheans and poètes maudits, Pataphysicians and Dadaists, as apostles of cultural studies, of political correctness, group think, and GRIM? Involuntarily, the lines of William Butler Yeats, in “The Scholars,” sing out: “Lord, what would they say / Did their Catullus walk that way?” [End Page 306]We are all free, of course, to reinvent our ancestors and to derive later authority from what an earlier generation derided—free, this side of ludicrousness. But Professor During’s argument, a sort of academic conceit, discourages mere ridicule; it has pedagogical consequences. Thus he continues: “I am certainly not claiming a causal relation between modernism circa 1900 and academic cultural studies today. Rather I want to argue that cultural studies... (shrink)

Digital Pills are an innovative drug-device technology that permits to combine traditional medications with a monitoring system that automatically records data about medication adherence as well as patients’ physiological data. Although DP are a promising innovation in the field of digital medicine, their use has also raised a number of ethical concerns. These ethical concerns, however, have been expressed principally from a theoretical perspective, whereas an ethical analysis with a more empirically oriented approach is lacking. There is also a lack (...) of clarity about the empirical evidence available concerning the application of this innovative digital medicine. To map the studies where DP have been tested on patients and discuss the ethically relevant issues evident therein, we performed a scoping review of the empirical literature concerning DP. Our search allowed us to identify 18 papers reporting on studies where DP were tested on patients. These included studies with different designs and involving patients with a variety of conditions. In the empirical literature, a number of issues with ethical relevance were evident. At the patient level, the ethical issues include users’ interaction with DP, personal sphere, health-related risks and patients’ benefits. At the provider level, ethically relevant issues touch upon the doctor-patient relationship and the question of data access. At the societal level, they concern the benefits to society, the quality of evidence and the dichotomy device-medicine. We conclude that evidence concerning DP is not robust and that more research should be performed and study results made available to evaluate this digital medicine. Moreover, our analysis of the ethically relevant aspects within empirical literature underscores that there are concrete and specific open questions that should be tackled in the ethical discussion about this new technological solution. (shrink)

In _The Moral of the Story,_ Peter and Renata Singer draw on some of the best works of fiction, playwriting, and poetry in order to shed light on the perennial questions of ethics. A vivid montage of literature that touches on a broad range of ethical subjects and themes Offers a unique contribution to the study of moral philosophy and literature Demonstrates how literary sources can add richness to discussions of real-life moral questions and dilemmas Brings together selections and excerpts (...) from the world’s most celebrated short stories, novels, plays, and poetry Features substantive section introductions by Peter and Renata Singer Peter Singer is a leading moral philosopher, widely credited with triggering the modern animal-rights movement. His collection of essays, _Unsanctifying Human Life,_ edited by Helga Kuhse, was published by Blackwell Publishing in 2001. (shrink)

This paper investigates what happens when we merge two different lines of theorizing about counterfactuals. One is the comparative closeness view, which was developed by Stalnaker and Lewis in the framework of possible worlds semantics. The second is the interventionist view, which is part of the causal models framework developed in statistics and computer science. Common lore and existing literature have it that the two views can be easily fit together, aside from a few details. I argue that, on the (...) contrary, transplanting causal-models-inspired ideas in a possible worlds framework yields a new semantics. The difference is grounded in different algorithms for handling inconsistent information, hence it touches on issues that are at the very heart of a semantics for contrary-to-fact conditionals. Roughly, Stalnaker/Lewis semantics requires us to evaluate the consequent of a counterfactual at all closest antecedent-verifying possibilities. Causal-models-based semantics also does this, but in addition uses the information contained in the antecedent, together with background causal information, to shift what worlds count as closest. This makes systematically different predictions and generates a new logic. The upshot is that we have a new semantics to study, and a substantial theoretical choice to make. (shrink)

In his recently published seminar Life Death (1975–76), Derrida engages in a close reading of Heidegger's refutation of the biologistic interpretation of Nietzsche. Derrida explains that, building on his interpretation of Nietzsche as the peak of metaphysics, Heidegger wishes to rescue the latter's metaphysical discourse from its biologizing character. In this article, I argue that Derrida's reading centres on the ontological regionalism undergirding Heidegger's refutation. To develop this argument, I test the following three hypotheses. First, I show that the later (...) exploration offered in Life Death draws on the schematic reading of Heidegger's question of being provided in Of Grammatology (1967). Second, I explain that, for Derrida, through his refutation of Nietzsche's supposed biologism, Heidegger reaffirms ontological regionalism in order to secure the whole interpretative system that interweaves together his reading of Nietzsche and Western metaphysics and his thinking of being. Finally, I highlight Derrida's emphasis on the relentlessness of Heidegger's denunciation of biologism. I demonstrate that, for Derrida, this can be explained as biology, which is a discourse on life and nature that since its beginnings touches on the blind point of regionalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Jan Van Bragt (1928–2007)James W. HeisigEarly on the morning of Easter Thursday, April 12, 2007, Jan Van Bragt passed away quietly at the age of seventy-eight.1 During the previous year his health had begun to deteriorate, until in the final days of 2006 he was obliged to leave Kyoto and take up residence with his religious congregation in Himeji. On February 21, he was hospitalized with lung (...) cancer and was operated on some weeks later. After a brief period in a semi-comatose state, he regained consciousness but was never to speak again.Jan was born in Flemish Belgium and entered the Congregation of the Immaculate Heart of Mary at age eighteen. Six years later, he was ordained a priest. After receiving his master’s degree in philosophy, he entered the doctoral program and at the same time lectured at the congregation’s seminary. Five years later he received his doctoral degree in philosophy from the University of Leuven with a thesis on Hegel and immediately set sail for Japan, landing in December 1961.Jan undertook eighteen months of training in the language and then spent another eighteen months working as an assistant pastor at the Sakai Catholic Church near Osaka. In 1965, he was accepted as a research student at Kyoto University, where he spent the next six years studying with Takeuchi Yoshinori and Nishitani Keiji. In 1971, he was named provincial superior of the congregation in Japan, a post he held for five years until he was unexpectedly requested to serve as the first acting director of the newly established Nanzan Institute for Religion and Culture.For the next fifteen years Jan brought the fledgling institute to maturity, galvanizing the young and inexperienced staff into a community of scholars devoted to exploring the largely unknown and uncharted waters of interreligious dialogue in Japan. Among his first projects was the intermonastic exchange that brought leading Buddhist monks and nuns from Japan to European monasteries and vice versa. At a concluding symposium in Japan he served as chair, juggling Japanese, Flemish, German, French, and English with the skill and poise for which we all remember him. After a flurry of publications on the project, he left the project to others to carry on—as it has to this day, having reached a second generation, most of whom no longer know the inaugural role that he played.Jan was also a key figure in the Japan Society for Buddhist-Christian Studies, founded in 1982. In addition to bringing the central office of the society to the [End Page 141] Nanzan Institute, he served as president from 1989 to 1997. During his years at the Nanzan Institute, he was in demand around Japan as a lecturer or partner in dialogue. For many years he traveled around the world in the same capacity and was invited to teach in Canada, Belgium, the United States, and the Philippines. From 1985 to 1990, he served as a member of the Pontifical Council for Interreligious Dialogue. In his thinking and writing, his study and reading, as well as in his moral concerns, Jan straddled any number of civilizations, histories, literatures, and cultures. In the end, however, it was in Japan that he felt most at home, where he found a loom on which to weave the things of life into a single view of the world.At his funeral, Jan Swyngedouw, a fellow Flemish missionary and longtime colleague at the Nanzan Institute, delivered a thoughtful and touching tribute to a man who had always shied away from honors and recognition, preferring to let others stand on his shoulders and even accept the credit that was rightly his. Swyngedouw told of going through Jan’s library (the philosophical portion of which he graciously donated to the Centro Studi Asiatico in Osaka) and being struck by the number of volumes on mysticism. Like all of us, he knew of Jan’s academic interest in the Christian mystics as a bridge between religions, but as he read through comments in the margins he came to realize what most of us had never noticed: how deeply Jan’s own spirituality was rooted in... (shrink)

In this study, Muarrij al-Sadusi (d. 204/820 or later) and his Kitāb al-amthāl which he wrote in the field of proverbs, are focused on. In this context, first of all, Muarrij’s life, scientific and literary personality are mentioned, his teachers and students are pointed out, and information about his works is given. Then, Kitāb al-amthāl was discussed; It was examined in terms of its content, classification and commentary method, and its contribution to the proverb literature. After spending part of his (...) life in the desert and learning Arabic from Bedouin Arabs, Muarrij came to Basra and educated himself by taking lessons from various teachers in fields such as hadith, lineage and history, especially linguistics. Also, in addition to Kitāb al-amthāl, he wrote works such as Kitābu Hazf min nesebi Quraysh, Kitāb al’-Anvâ’, Ansâbu Şaybân, Cemâhîru'l-kabâ'il, Garîbü'l-Qur'ân, Kitābu al-Maʿânî and Maʿânî al-Qurʾân also sheds light on his competence in many fields. Although Muarrij is a scholar who has written works in various fields, he has come to the fore mostly in linguistic sciences. In this context, qualities such as being the greatest of linguists, a scholar in Arabic, and the leader of grammarians have been attributed to him. It was also said that he was a star among Halil ibn Ahmed’s students who knew vocabulary and poetry well. Unfortunately, only two couplets of Muarrij, who is said to have been a poet and the author of many poems in addition to his knowledge of poetry, have survived to the present day. It has been stated that these two couplets are the best poems ever written on the subject on which they were written. Muarrij’s Kitāb al-amthāl is the second book written in the field of proverbs that has survived to the present day. In addition to proverbs, this book contains Arabic words, unfamiliar words, itbaʿ type words, poems, hadiths and a verse from the Quran. Although the author usually explained the unfamiliar words, he included in his work by bringing witnesses from the poem, he rarely mentioned the parable in which it was included. While it is seen that he used the hadiths and itbaʿs in his book as proverbs, he brought the verse of the Quran as a witness to the meaning of a word. The author mentioned many poems in his work, used poems as a source of istishhad for the explanation of unfamiliar words while explaining proverbs or to show that the proverbs he mentioned in his work were mentioned in poems. Apart from these, it is also seen that he included poems without any purpose and did not provide an explanation for them. For a long time, in the writing of proverbs books, the historical method, which corresponds to including events and stories related to the proverbs, or the lexical method, which envisages commenting on the strange words in the text, touching on the nuances between word groups, including grammatical analysis and making istishhad for them, have been followed. Kitāb al-amthāl, which was written by using the lexical method of these two methods, is accepted as the first work that has survived to the present day written with the lexical method in proverb literature. It can be said that Muarrij’s identity as a grammarian and lexicographer was effective in writing the work with this method. Due to these features, Kitāb al-amthāl is a book that has played a pioneering role in the formation of some understandings and traditions in proverb literature. As a matter of fact, it is the first book of proverbs in which a proverb was classified according to the time and geography in which it appeared, the hadiths that became proverbs were included for the first time, the tradition of accepting itbâʿs as proverbs was started. Kitāb al-amthāl is a work that is accepted in the proverb literature and continues the understandings it puts forward. This is demonstrated by the fact that scholars such as Abu Ubayd al-Qasım, Al-Mufaddal ibn Salama, Abu Bakr ibn Anbari, Abu Hilal al-Askari and Maidani, who wrote books on the subject, quoted and benefited from this book in their works. In addition, when the quotations and transfers made by the mentioned scholars from Kitāb al-amthāl are compared with the current version of the work, it is concluded that some of the transfers are not present in the work we have or are incomplete. This situation reveals that Kitāb al-amthāl was more voluminous and comprehensive and has not survived to the present day in its original form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:James S. Mullican DETERMINISM, FATALISM, AND FREE WILL IN HAWTHORNE A recurrent theme in Nathaniel Hawthorne's writing is the relationship between fatalism and free will. His tales, romances, and notebooks contain explicit and implied references to man's freedom of choice and his consequent responsibility for his acts, as well as to "fatalities" that impel men to various courses of action. Much of the ambiguity in Hawthorne's fiction rests on (...) this conflict between the notions of human freedom and responsibility on one hand and fatalism on the other. Although there is no question that this theme was important for Hawthorne, there is much disagreement concerning what Hawthorne himself believed. Critics have taken virtually every position on the spectrum between the poles of complete freedom and complete fatalism. That this disagreement exists should not be surprising. Hawthorne was an artist, not a philosopher or theologian; an important element of his technique, perhaps essential to his vision of life, was his ambiguity. His dual vision of the world, of matter and spirit, of evil and good, and his emphasis now of one, now of the other, engender disagreement concerning his view of life. His alternate fascination with and apparent rejection of Puritanism have led some to believe he was a predestinarían, others to hold that he was a "libertarian," and at least one critic to write that Hawthorne believed in a "modified predestination." Turner argued that Hawthorne's attitude toward reform led him to fatalistic thinking. Since reform movements touched only the surface manifestations of vice, such movements were useless, in Hawthorne's view. The logical conclusion of such a position, reasoned Turner, was fatalism. "Hence reform which would stir only the superficial outcroppings and would leave untouched the real causes underneath would be futile at best. And since the true sources of evil, so Hawthorne thought, lie largely beyond the reach of human efforts, fatalism was the certain end of his thinking." Turner saw evidence for fatalism 91 92Philosophy and Literature in Hawthorne's fiction also: "... there is a clear suggestion that the decisions [by Hester, Dimmesdale, Rappaccini, Ethan Brand, and Hollingsworth] have been inevitable, that the agent responsible is fate rather than Hawthorne's character." This critic concluded that Hawthorne was convinced that "the universe, including man and man's soul, is governed by inexorable law." Some critics have linked Hawthorne's beliefs regarding free will and fatalism to his attitude toward Calvinism. Schneider wrote, "... Hawthorne translated into empirical truths the essential doctrines of Calvinism.... From the popular doctrine of reform, he returned to the Puritan doctrine of divine sovereignty." Schneider suggested that Hawthorne purified the doctrines of the Puritans and returned them to their original purpose, salvation of the soul. "He recovered what Puritans professed but seldom practiced—the spirit of piety, humility, and tragedy in the face of the inscrutable ways of God." Cowley wrote that Hawthorne "believed in predestination, as the Calvinists did." Mills was of the opinion that Hawthorne was the most sympathetic to the Puritans of the writers of his day, but that Calvinist dogma was moderated and softened in Hawthorne: "He did not accept completely the Calvinist doctrine of predestination, nor did he emphasize the supreme sovereignty of God which was the driving force of Calvinism." Other critics have granted some measure of freedom to Hawthorne's characters. Arvin wrote, "... freedom of choice exists, but on so narrow a basis that, once exercised in the wrong direction, it is forever resigned." Fairbanks held that Hawthorne reserved to man the initial moral choice which set up the chain of necessity, and from that notion Fairbanks drew the conclusion that, "Though often called a fatalist, Hawthorne believed in free will." Schwartz, in an unpublished doctoral dissertation, argued from Hawthorne's life and from his writings that he rejected fatalism in favor of free will. Wagenknecht noted that Hawthorne refused "to accept foreordination and total depravity." Still other critics have emphasized a paradoxical element in Hawthorne 's writing, his acceptance of both horns of the dilemma. Waggoner wrote: "He saw man as immersed in a mystery in which responsibility is at odds with fate. His own natural tendency was to emphasize causation at the... (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. (shrink)

Drawing on 38 in-depth, qualitative interviews, this article explores how people working in the equality sector in England and Wales view and use the current law around sex and gender, and how they imagine law’s future, particularly potential decertification, where the state would withdraw from certifying and regulating a person’s sex/gender. Whilst situated in the bureaucratic strand of the literature, the paper also contributes to wider legal consciousness studies. This literature has generally focused on people’s relationships to law in terms (...) of domination, alienation and game-playing. Drawing on idioms and the language of touch, the paper unpacks the way in which equality actors talked about law not as remote or alienating, but as close and familiar; not as oppressive, but as “precious” and hard-won. Some also regarded law as a place of safety in unsafe times. These proposed ‘attached to law’ and ‘protective of law’ strands of consciousness enrich and extend Ewick and Silbey’s classic ‘before the law’ narrative. The findings are also useful for critical legal and feminist scholarship. Combined with the equality sector’s pragmatic and tactical use of law to problem-solve, this close and protective orientation towards law reproduces its hegemony. The paper concludes by exploring a recurrent refrain that, in relation to decertification, “we’re not there yet” and that gender equality would need to be achieved before decertification would “fly”. (shrink)

Modernist literature of the early to mid-twentieth century on both sides of the Atlantic is replete with examples of a particular kind of relationship with objects, namely, the touching, collecting, and grasping of small, often highly personal, and ostensibly quotidian objects. From John’s glass collection in Woolf’s “Solid Objects,” Peter Walsh’s stroking of his pocket-knife in Mrs. Dalloway, Miriam’s frenzied absorption with flowers in Lawrence’s Sons and Lovers, to Laura’s fiddling of her glass menagerie in Tennessee Williams’s eponymous play, fidgeting (...) in modernist literature and drama reveals a particular tendency of not just characters’ possession of things but also their possession by things. This phenomenon, I argue, allows characters to practice care as they withdraw from oppressive narratives of normalcy and (economic and biological) productivity, challenging their exclusionary and othering configurations. My paper looks at fidgeting in The Glass Menagerie as a part of this larger ideological and haptic orientation in modernist literature. The care invested by Laura in her intimate relationship with these “playthings” allows her to intercept not only male narrativizing forces and articulation of herself but also the rhetoric of productivity that circulates both within the play and in the larger economic backdrop of post-depression America. My paper attempts to foreground these objects of care in our readings of the play and modernist texts in general and, in so doing, highlight their importance as lenses of analysis that render visible alternate forms of agency and resistance. Lastly, it attempts to reframe fidgeting as an act of embodied refusal, evoking the radical potential of refusal within feminist and disability studies. (shrink)

‘We are before Dante’: In this interview, held via email in March 2020 amid the massive outbreak of the COVID-19 pandemic, Jean-Luc Nancy leads us on a brief but far-reaching foray through his thought. He succeeds in providing an overview of the subjects that he has raised since the beginning of his career as a philosopher, while maintaining a focus on their pertinence for what we are currently facing in the world today. He supplements his insight that ‘we are before (...) Dante’ with the equally remarkable conclusion: ‘Desire is what is born par excellence’. In between these two propositions, and in between the lines and words documented here – touching upon topics as diverse as the moai statues of Easter Island, the music of Schumann, Wagner, and techno, as well as the writing of Artaud, Proust, and Verlaine – we find an exciting, up-to-date treatment of the question of how to ‘deal with the world intellectually’ (Musil) without, in doing so, participating in the modern claim to ‘master’ it. Instead, Nancy suggests, we ought to be attentive to what escapes us by its very principle, with philosophy, literature, and art serving as witnesses of what has always been absent from our mind, that is, the sensibility of meaning, in order to become aware that, since we are always already before and after birth, ‘we come from nowhere and everywhere’. This realization enables us to understand the political consequences that it has for our understanding of a world in metamorphosis, including for highly controversial issues such as colonialism, anti-Semitism, the far right, neo-liberalism, and other totalitarian forms that supposedly manifest a return of the myth, as well as its consequences for the insurmountability of Marx(ism). (shrink)

For Beauvoir, literature provides unique access into the concrete life out of which philosophical reflection is born. Nowhere are the complications of ambiguous ethical choice more sensitively portrayed in her writings than in her fictional characters – particularly her women – as they navigate their way through webs of deceit, patriarchal control, manipulation, authenticity, desire, and passion in an attempt to ground their identities in a kind of absolute meaning. This chapter explores the theme of failed feminine identity‐formation in three (...) characters from Beauvoir's literary corpus: Françoise from She Came to Stay, Régine from All Men Are Mortal, and Monique from the short story, “The Woman Destroyed.” All three characters touch on themes surrounding the desire for and ultimate failure to obtain fixed meaning and an absolute identity. (shrink)

Use of the imagination is a key aspect of successful psychotherapeutic treatments. Psychotherapy helps clients get in touch with, awaken, and learn to trust their creative inner life, while therapists use their imaginations to mentalise the suffering other and to trace the unconscious stirrings evoked by the intimacy of the consulting room. Working from this premise, in _The Therapeutic Imagination_ _Jeremy Holmes_ argues unashamedly that literate therapists make better therapists. Drawing on psychoanalytic and literary traditions both classical and contemporary, (...) Part I shows how poetry and novels help foster therapists’ understanding of their own imagination-in-action, anatomised into five phases: attachment, reverie, logos, action and reflection. Part II uses the contrast between secure and insecure narrative styles in attachment theory and relates these to literary storytelling and the transformational aspects of therapy. Part III uses literary accounts to illuminate the psychiatric conditions of narcissism, anxiety, splitting and bereavement. Based on Forster’s motto, ‘Only Connect’, Part IV argues, with the help of poetic examples, that a psychiatry shorn of psychodynamic creativity is impoverished and fails to serve its patients. Clearly and elegantly written, and drawing on the author’s deep knowledge of psychoanalysis and attachment theory and a lifetime of clinical experience, _Holmes _convincingly links the literary and psychoanalytic canon. _The Therapeutic Imagination _is a compelling and insightful work that will strike chords for therapists, counsellors, psychoanalysts, psychiatrists and psychologists. (shrink)