In recent times it has seemed to many people as if the unifying impact of mass forms of popular culture has been overshadowed by the postmodernism of cultural pluralism, identity politics, niche marketing and lifestyle diversity. Using insights from psychoanalysis, this new book suggests that powerful forces may still be at work extending and deepening their hold on popular experience through the unifying forms of modern culture. The practices and aesthetic codes of popular culture provide ways of confronting and managing (...) the basic psychic tensions and anxieties of modern life, appealing globally across the deep divides of class, gender and ethnicity. In a series of extended illustrations, Barry Richards explores the emotional underpinnings of the rise of football as the 'people's game', the appeal of the motor car and other consumer goods, the strategies of advertising, the cultural predominance of pop music, and popular images of the countryside. While each phenomenon has a range of meanings of its own, the illustrations reveal the common positive side of these cultural forms, which serve as vehicles for psychological integration. At the core of this book is the idea that the pleasures of popular culture are at their strongest and best when they confirm our sense of belonging in the social order. Despite the constraint and disappointment inevitably involved in this, the reconciliation with authority which it brings is vital for the containment of the anxieties with which we all struggle. Disciplines of Delight reveals how psychoanalytic thinking can add to social understanding and is an original contribution to current debates on the nature of contemporary society. (shrink)

This article explores the poetics at work in Black American poet Ross Gay’s contemporary two-volume Book of Delights (2019 and 2023). I argue that his delights are phytopoetic, which describes moments when plants impact the human imagination and, by extension, shape human culture and aesthetic production, such as literary texts. Such phytopoetic processes are moments of co-creation, involving plants both as engaged in poietic making and in the shaping of the poetics of a given text. By examining patterns of form (...) in Gay’s prose and close reading some of his delights that center on plants, this article unfolds Gay’s specific phytopoetics and shows that the delights are a genre that operates on plant time: seasonal, cyclical, and rooted in growth. As such, the genre slows down the reader and draws attention to the delight found in small, everyday encounters with plants and the world around us, even in the midst of overwhelming crises. (shrink)

In every philosopher’s career, there comes a time to look back on accomplishments, assess achievements, evaluate one’s place in a canon that dates to an era when Ancient Greeks still roamed the Earth. Perhaps many of you have wondered when I’d finally get around to doing this. Sadly, this is not the night for that splendid occasion. Do not pretend to hide your disappointment. Also, do not hesitate to point fingers. Believe me when I tell you that I would take (...) great delight in reporting to you my accomplishments, achievements, and place in the canon. If you don’t believe me, ask anyone who knows me well, or, at any rate, has spent a few minutes in conversation with me, or, maybe, has simply observed me in conversation with someone else. They’ll tell you that I am uniquely suited to fete myself, and take obvious pleasure spreading the good word to others. Alas, I have been enlisted to concentrate my philosophical powers on a topic less interesting than myself. My focus? A woman named Ruth Millikan. For philosophers, mention of the Book of Ruth directs thoughts not to the Old Testament, but to LTOBC. This is a shame, because Ruth’s Old Testament book is quite short, as books go, and tells a heartwarming story of redemption and devotion – virtues that receive hardly any mention in LTOBC. Now that I think about it, Ruth’s later books and articles mark a significant departure from the plot line in that first Book of Ruth’s. Gone are references to Bethlehem and Moab, and in their place lurk hoverflies and push me pull yous, but more on these matters in a moment. I want first to turn my finely tuned and oft picked philosophical nose to LTOBC – unquestionably Professor Millikan’s magnum opus . Here’s a little known fact. Originally, LTOBC had a different title, requiring a different acronym. If she hadn’t taken her editor’s advice, we’d be speaking of BLTOBC, which stood for Bacon, Lettuce, and Tomato on Blueberry Cobbler. There’s something down home and grannyish about this title, and Ruth deserves credit for trying to entice readers with the promise of good old fashioned, feather plucked, farm food, but, as her editor was quick to note, bacon, lettuce, and tomato have no more place on blueberry cobbler than they do on cherry cobbler, and so BLTOBC might as well be BLTOCC, and with no reason to prefer one title to the other, best just to forget about the bacon.. (shrink)

This enterprising book, written in the spirit of William James, urges our appreciation of the intensely personal character of spiritual transcendence. Phil Oliver's work has important implications for specialists concerned with the Jamesian concept of "pure experience," and it illuminates significant interdisciplinary ties among philosophy, literature, and other intellectual domains.

Mark Clavier's On Consumer Culture, Identity, The Church and the Rhetorics of Delight draws on Augustine of Hippo to provide a theological explanation for the success of marketing and consumer culture. Augustine's thought, rooted in rhetorical theory, presents a brilliant understanding of the experiences of damnation and salvation that takes seriously the often hidden psychology of human motivation. Clavier examines how Augustine's keen insight into the power of delight over personal notions of freedom and self-identity can be used to shed (...) light on how the constant lure of promised happiness shapes our identities as consumers. From Augustine's perspective, it is only by addressing the sources of delight within consumerism and by rediscovering the wellsprings of God's delight that we can effectively challenge consumer culture. To an age awash with commercial rhetoric, the fifth-century Bishop of Hippo offers a theological rhetoric that is surprisingly contemporary and insightful."-- Back cover. (shrink)

What ought to be the aims of science? How can science best serve humanity? What would an ideal science be like, a science that is sensitively and humanely responsive to the needs, problems and aspirations of people? How ought the institutional enterprise of science to be related to the rest of society? What ought to be the relationship between science and art, thought and feeling, reason and desire, mind and heart? Should the social sciences model themselves on the natural sciences: (...) or ought they to take a different form if they are to serve the interests of humanity objectively, sensitively and rigorously? Might it be possible to get into human life, into art, education, politics, industry, international affairs, and other domains of human activity, the same kind of progressive success that is found so strikingly, on the intellectual level, within science? These are some of the questions tackled by What’s Wrong With Science? But the book is no abstruse treatise on the philosophy of science. Most of it takes the form of a passionate debate between a Scientist and a Philosopher, a debate that is by turns humorous, ironical, bitter, dramatically explosive. Even as the argument explores the relationship between thought and feeling, reason and desire, the two main protagonists find it necessary to examine their own feelings and motivations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IN THE REALM OF THE SENSES: SAINT THOMAS AQUINAS ON SENSORY LOVE, DESIRE, AND DELIGHT MARK P. DROST University of Rochester Rochester, New York Introduction SAINT THOMAS AQUINAS characterizes delight (delectatio ) as a state in which we are in " union with some good" (I-II, 35, 1).1 Further on he augments this description of delight : " we are not without the good we love, but are at (...) rest in its possession" (35, 6). Concerning love (amor) 2 Aquinas says, "love remains whether the object is present or absent " (28, 1). But Aquinas also says that when we love an obl Unless otherwise indicated all references (ordered by number of question and article) refer to the Blackfriars edition of Aquinas's Summa Theologiae (New York: McGraw-Hill Book Company) V. 19-21 (in the Prima Secundae Questions 22-48), trans. Eric D'Arcy (Questions 22-30, 1967; 31-39, 1975) and John Reid (Questions 40-48, 1965) and V. 11-12 (in the Prima Pars Questions 75-89), trans. Timothy Sutter (Questions 75-83, 1970) and Paul T. Durbin (Questions 84-89, 1968). 2 " There will be as many kinds of love as there are kinds of orexis and wanting" (26, 1). The notion of love (amor sensitivus) that is under scrutiny here is an event in the sensory orexis and occurs in the body-soul composite. It is not a case of intellectual or spiritual love (which is an act of the will and occurs in the soul alone). We are not dealing with the following notions of love: dilectio (which adds to love the property of election), caritas (charity, which is an act of will), or amicitia (friendship) which is more than love. (With respect to amicitia, unrequited friendship is not possible in principle, but unrequited love is factually real ; hence amicitia requires something more than love, viz. reciprocity.) Surely one is capable of experiencing more than one of these sentiments at a moment. One might be attracted on the basis of one's sensory orexis to someone and simultaneously love that person as a friend. Although these are not simultaneously incompatible affections, I will exclusively focus on the notion of amor sensitivus. 47 48 MARK P. DROST ject, " we are already in some kind of communion with it. Love therefore involves union" (25, 2). These statements are prima facie inconsistent unless Aquinas acknowledges that there are unions in which the object is not possessed. I contend that love is a case of being intentionally directed to a good, but it is not identical to the union which is a result of possessing a good. Although Aquinas describes love as a condition of union, love in fact is a condition of union which is ontologically prior to the union which is exhibited in delight. A consequence of Aquinas's thesis is the ontological possibility of loving something without taking delight in it or desiring it. We cannot, however, take delight in something or desire it unless we love it. I. MOVEMENT AND REST IN THE DESCRIPTION OF EMOTIONS The metaphors of motion, rest, approach, and retreat play a significant role in Aquinas's descriptions of the intentionality in various emotional states. As appetitive powers whose principle of operation is in the body-soul composite,8 Aquinas often describes the emotions through metaphors that suggest a similarity to the movement of physical objects (37, 2). The emotions are instances of orectic movement, and orectic movement is analogous to the movement of the inanimate orexis : Now orectic movement is, in the operations of the soul, what physical movement is in the physical world. Compare the physical movements of approach and withdrawal: approach is, of itself, directed towards something in harmony with nature; withdrawal is, of itself, directed towards something discordant with nature: thus a heavy body by its nature draws away from a higher place and towards a lower one (36, 2). The analogy between motion in the physical world and orectic movement of the soul is a teleological one: just as a light or heavy a Emotions, like perception (e.g. seeing, hearing), are powers whose principle of operation range in the body-soul composite. However, " some of the soul... (shrink)

Can you draw a clear line through American history from the Puritans to the "Nones" of today? On the surface, there is not much connective tissue between the former, who often serve as shorthand for a persistent religious fanaticism in the United States, and the almost one quarter of the population who now regularly check the "None" or "None of the above" box when responding to surveys of religious preference. But instead of seeing a disconnect between these two groups separated (...) by time, historian Catherine Albanese insists there is a deep connection that spans the centuries. With a targeted romp through American history from the seventeenth century to the present, Albanese ties together these seemingly disparate groups through a shared and distinctively American preoccupation with delight and desire. Albanese begins our journey with the role of delight and desire in the brand of Calvinism championed by renowned Puritan minister Cotton Mather and later Jonathan Edwards. She then traces the development of these themes up through the present, treating the reader to revelatory readings of Ralph Waldo Emerson, Horace Bushnell, Andrew Jackson Davis, William James, Emma Curtis Hopkins, Elizabeth Towne, and others, revealing the contours of an evolving theology of desire. The result is an original and entertaining take on an underexamined through line in American history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:René Girard LOVE DELIGHTS IN PRAISES: A READING OF THE TWO GENTLEMEN OF VERONA Valentine and Proteus have been friends since their earliest childhood in Verona, and their two fathers want to send them to Milan for their education. Because of his love for a girl named Julia, Proteus refuses to leave Verona; Valentine goes to Milan alone. In spite ofJulia, however, Proteus misses Valentine greatly and, after a (...) while, he, too, goes to Milan. The two friends are reunited in the ducal palace; the duke's daughter, Silvia, is present and Valentine briefly introduces Proteus. After she departs, Valentine announces that he loves her and his hyperbolical passion irritates Proteus. Once alone, however, Proteus has his own announcement to make: he no longer loves Julia; he, too, has fallen in love with Silvia: Even as one heat another heat expels, Or as one nail by strength drives out another, So the remembrance of my former love Is by a newer object quite forgotten.1 If there ever was a "love at first sight," this must be it, we think, but Proteus is not so sure: in three crucial lines, he suggests a different explanation: Is it mine eye, or Valentinus' praise, Her true perfection or my false transgression, That makes me reasonless, to reason thus? (Il.iv. 196-98) 231 232Philosophy and Literature The entire comedy massively confirms the crucial role of Valentine in the genesis of Proteus's sudden passion for Silvia. According to our romantic and individualistic ideology, a borrowed sentiment such as this one is not genuine enough to be really intense. This is not true in Shakespeare; Proteus's desire is so furious that he would actually rape Silvia if Valentine did not rescue her in extremis. When Shakespeare wrote his plays, the second-hand desire he portrays had no name, no official existence, but this is no longer true. We call it mimetic or mediated desire. Valentine is the model or mediator of this desire. Proteus is its mediated subject and Silvia is their common object. Mimetic desire can strike with the speed of lightning because it does not really depend upon the visual impact made by the object; it only seems to. Proteus desires Silvia not because their brief encounter made a decisive impression on him but because he is predisposed in favor of whatever Valentine desires. Mimetic desire is not some modern idea that I would force upon an unwilling writer; it is Shakespeare's own idea and we can see this again in Proteus's soliloquy, which keeps minimizing the role of perception in the genesis of his desire for Silvia: She is fair; and so is Julia that I love, That I did love,... (Il.iv. 199-200) IfSilvia is no more desirable objectively thanJulia, her only advantage is that Valentine already desires her. Shakespeare undermines the predominance of sight in the expression love at first sight. In A Midsummer Night's Dream as well, the two girls are said to be equally beautiful, also for the purpose of reinforcing the case for mimetic desire. II The dramatic context of this first mimetic desire, and of many others in Shakespeare, is the close and ancient friendship of the two protagonists. When Proteus is about to arrive in Milan, Valentine describes this friendship to Silvia and her father: I knew him as myself; for from our infancy We have convers'd and spent our hours together. (II.iv.62-63) René Girard233 When two young men grow up together, they learn the same lessons, they read the same books, they play the same games, and they agree on just about everything. They also tend to desire the same objects. This perpetual convergence is not incidental but essential to the friendship ; it occurs so regularly and inevitably that it seems preordained by some supernatural fate; it really depends on a mutual imitation so spontaneous and constant that it remains unconscious. When we think of imitation, we imagine two people copying each other's manners, habits, accents, and even their likes and dislikes in the still childish and innocent manner of two childish friends. We never think of what Proteus's desire for... (shrink)

Legacy of Truth is an introduction to parent-directed classical education. The next new thing in education, it is the latest rage at academic conferences, curriculum fairs, and professional conventions. In reality, though, it is anything but new. It is simply the age-old foundation upon which the Western academic tradition has been built, an approach that prepared students for a joyous lifetime journey of learning.Classical education is a conscious return to the academic disciplines and methodologies that emphasize the basic thinking and (...) character skills necessary to launch young men and women on a path of learning. While it requires hard work, it is not a system of education for intellectuals only. It is an approach that takes seriously the need of all -- men and women, boys and girls -- to be grounded in the good, the great, and the true.Similarly, mentoring is an integral aspect of Christendom's great legacy of truth. Recognizing that all true education is the undertaking of mental and spiritual discipleship in which one person invests in and mentors another, covenantal learning is centered in responsible tutorial and familial relationships. It reinforces the authority and the responsibility of parents to educate their children, and it focuses on the reality that education is not an outcome but the happy result of discipline, commitment, and rigorous workWith the failure of most modern approaches to education evident to all but the most hardened bureaucrat, the serious academic rigor, tutorial discipline, and family involvement of the past are once again in vogue in education. For many, the Christian vision of classical and covenantal education has been revived, and TheLegacy Truth is an introduction for parents and children on the joyous lifetime journey of learning. (shrink)

This book is about the three kinds of plots that run the lives ofpatients--subservience, bureaucratic delay and overpowering. It isalso about the three kinds of psychotherapy that attempt to deal withthese plots: objective psychiatry, which deals with the outsidesurface; subjective psychiatry, which deals with the inside; andnarrative psychiatry, which attempts to deal with both.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bonaventure's Aesthetics: The Delight of the Soul in Its Ascent into God by Thomas J. McKennaDennis P. BrayThomas J. McKenna, Bonaventure's Aesthetics: The Delight of the Soul in Its Ascent into God. Lanham, Maryland: Lexington Books, 2020. 186 pp. $100. ISBN: 978-1-4985-9765-4.It has been just over three decades since the last book-length engagement with aesthetics in Bonaventure's work (S. McAdams, "The Aesthetics of Light: A Critical Examination of (...) Bonaventure's Doctrine of Light in View of His Aesthetics," [PhD diss., Pontifica Universitas Gregoriana, 1991]). Heartily welcome, then, is Thomas McKenna's Bonaventure's Aesthetics. The purpose of the book, in McKenna's words, is "to provide a comprehensive analysis of Bonaventure's aesthetics, that is, his philosophy, theology, and mystical theology" (2). In so doing, he intends also to argue for a resolution to a list of disputed questions raised by contemporary voices – most famously that of Balthasar – in the debate on Bonaventure's aesthetics. Put another way, McKenna's project has two aims: first, to understand Bonaventure's aesthetics on its own (historical, theological, philosophical) terms; second, to determine whether that aesthetic connects significantly to contemporary questions in the field of aesthetics. In this review I will detail and engage critically with some of the foundational methodological moves McKenna makes in the book's introduction. I will then summarize the big themes of the book's four chapters, and conclude with a few evaluative remarks.However extensive their merits, earlier studies on Bonaventure's aesthetics are not as thorough as McKenna's and, more problematically, are limited by their investment in predominantly Enlightenment-era concerns. What I mean is that thinkers such as Shaftesbury, Baumgarten, and Kant were absorbed with matters such as the immediacy of the aesthetic experience, disinterest, the role of the affect, freedom of the imagination, and the categorization of les beaux arts. It is this trajectory (call it "the standard paradigm," using McKenna's terminology) that the field of aesthetics, as we know it, has largely followed. Early historians of aesthetics viewed, and often evaluated, medievals through the standard paradigm. Even later, more revisionist historical work sought to understand medieval thought in distinction from the paradigm. In most instances, [End Page 243] though, it is the Enlightenment-era list of concerns that serves as the fulcrum on which historical work has tended to swing. Our understanding of Bonaventure, then, is limited to the extent that we take the standard paradigm as guide.Bonaventure's Aesthetics is so compelling, in part, because it does not begin with the standard paradigm, but rather a more historically sound (and frankly, more interesting) list of research questions. This is not to say that McKenna rejects the standard paradigm. It is simply too deeply embedded in how we conceive of such matters to naively ignore. Instead, McKenna works to situate these later concerns as secondary, or parallel, to Bonaventure's concerns and interests. McKenna realizes that he faces a difficulty at this juncture, one that must be addressed by anyone aiming for historical sensitivity regarding their object of study. The difficulty is what McKenna calls "the hermeneutical crisis," and he formulates the key issues by quoting Jean Grondin: "The basic doctrine…is that every particular phenomenon must be conceptualized within the context of its age" to avoid anachronism. But if so, this "raises a striking epistemological problem…Our view of earlier ages must itself be produced by reference to our present, and is thereby relativized." Thus Grondin asks, "how if at all, is it possible to escape from the hermeneutic circle of our historicity?" (9, quoting J. Grondin, Introduction to Philosophicaal Hermeneutics [New Haven: Yale University Press, 1997], 76).Restricted to Bonaventure studies, McKenna poses the worry this way: "is it possible to accurately recover the conceptualization of beauty and, perhaps, the arts of any age – ancient, medieval, or modern – with a reasonable degree of accuracy? If so, does it remain relevant to current aesthetic theory and practice?" (9).In sum, the apparent dilemma is between, on the one hand, "a historically accurate conceptualization of the aesthetic sympathies of the past," and on the other hand, "a... (shrink)

Bonaventure’s Aesthetics: The Delight of the Soul in Its Ascent into God provides an extensive analysis of Bonaventure’s concept of beauty, the first to appear since Balthasar’s Herrlichkeit, and the role it plays in the Itinerarium mentis in Deum.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Fine Delight that Fathers Thought: Rhetoric and Medievalism in Gerard Manley HopkinsRichard D. LordThe Fine Delight that Fathers Thought: Rhetoric and Medievalism in Gerard Manley Hopkins, by Franco Marucci; 261 pp. Washington, D.C.: Catholic University of America Press, 1994, $44.95.Paging one day through Hopkins’s notebooks in the library at Campion Hall, I was startled to find the draft of “Spelt From Sibyl’s Leaves” placed directly opposite the (...) tortuous grade computations for one of his classes. This book presents a similar contrast—insights into “The Wreck of the Deutschland” buried in the technical language of structuralism, semiotics, and rhetoric.In his preface, the author calls his book “a revised and updated translation of my I fogli della Sibilla. Retorica et medievalismo in Gerard Manley Hopkins” (p. ix). As the title indicates, it is divided into two parts, the former dealing with Hopkins’s poetic rhetoric viewed synchronically and the latter with his “textuality as a confluence of... cultural codes” (p. 89).In the chapter introducing part one, Marucci dismisses, with few exceptions, criticism from 1918 to the present as being of little use to one investigating “the function and functionality of Hopkins’s poetic rhetoric” (p. 3). The exemplifying portion of this chapter (“Amplification”) addresses “God’s Grandeur” and “The Wreck of the Deutschland” as judicial speech (persuasive), with the reader performing the judicial function. The analysis is useful in providing insights into the poet’s rhetorical planning as he guides the reader in this persuasive process.Moving from the “Deutschland” to the “terrible sonnets” as exemplifications of “autocommunication,” Marucci notes that here the interlocutor gradually disappears as the sender-receiver relationship fades. He believes that Hopkins became “no longer capable of finding in himself (or, more probably, of offering to a receiver who had proved cold and indifferent) the necessary stimuli” (p. 76) and names the editor of The Month, Bridges, and other correspondents as the probable receivers.In the second (and major) part of the book, the author sets out to examine the cultural codes influencing the poet’s textuality. The chapter introducing this section, “‘Integrated’ and ‘Apocalyptic’ Writers,” first looks at “the global syntagmatic model of the Victorian Age” (p. 98) and then divides its texts according to this model into three categories. The first two either reflect or modify the syntagmatic codes (“integrated” writers) while the third opposes these codes (“apocalyptic” writers). The author’s thesis is that Hopkins is not fully any one of these, but that his Victorianism is subsumed in various ways and ultimately subordinated to his medievalism. His position is that Victorian codes essentially ceased to affect the poet after his entrance into the Society of Jesus, when they were replaced by medieval codes. This is developed in some detail in the chapter entitled “Hopkins and Duns Scotus.”Although the book takes a narrow critical approach to Hopkins, it still might [End Page 149] well have been enriched by allowing for the ways in which the Ignatian method of meditation, with its emphasis on the “application of the senses,” so clearly drew Hopkins to find a kindred spirit in Scotus. This, together with the kind of seminary training in vogue in the Catholic Church until after Vatican II, certainly contributed to the medievalism that Marucci finds in the later Hopkins.This is a useful and provocative book for scholars, but many of the footnotes seem unnecessarily long and some chapters conclude too abruptly. The highly specialized language of structuralism and semiotics requires an expertise that probably eludes most undergraduate students.Richard D. LordWillamette UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

In this book John Martti Hill views focuses on what he believes is Chaucer's organizing purpose in his writings: the exploration of truth in human experience and fictions.

The Wisdom of the Tao is filled with 144 ancient stories that express profound truth by fusing delightful anecdotes with philosophy. Here are stories that lead people to do the following: flow with life, live from the heart, develop an openness to possibilities, live in balance, drop expectations, embrace acceptance...[Stories] help us make sense of who we are and how we got here. They keep us sane as we try to absorb our experiences, our aging, and our emotions. Stories help (...) us visualize the future by taking the messages of yesterday and helping us get tomorrow right."--Page 2 of cover. (shrink)

'" -Daniel Cottom, David A. Burr Chair of Letters, University of Oklahoma Cruel Delight: Enlightenment Culture and the Inhuman investigates the fascination with joyful malice in eighteenth-century Europe and how this obsession helped inform ...

Perceptions of Medieval Manuscripts takes as its starting point an understanding that a medieval book is a whole object at every point of its long history. As such, medieval books can be studied most profitably in a holistic manner as objects-in-the-world. This means readers might profitably account for all aspects of the manuscript in their observations, from the main texts that dominate the codex to the marginal notes, glosses, names, and interventions made through time. This holistic approach allows us to (...) tell the story of the book's life from the moment of its production to its use, collection, breaking-up, and digitization--all aspects of what can be termed 'dynamic architextuality'. The ten chapters include detailed readings of texts that explain the processes of manuscript manufacture and writing, taking in invisible components of the book that show the joy and delight clearly felt by producers and consumers. Chapters investigate the filling of manuscripts' blank spaces, presenting some texts never examined before, and assessing how books were conceived and understood to function. Manuscripts' heft and solidness can be seen, too, in the depictions of miniature books in medieval illustrations. Early manuscripts thus become archives and witnesses to individual and collective memories, best read as 'relics of existence', as Maurice Merleau-Ponty describes things. As such, it is urgent that practices fragmenting the manuscript through book-breaking or digital display are understood in the context of the book's wholeness. Readers of this study will find chapters on multiple aspects of medieval bookness in the distant past, the present, and in the assurance of the future continuity of this most fascinating of cultural artefacts. (shrink)

This book explores the conjuncture of human agency and divine volition in the biblical narrative - sometimes referred to as "double causality." A commonly held view has it that the biblical narrative shows human action to be determined by divine will. Yet, when reading the biblical narrative we are inclined to hold the actors accountable for their deeds. The book, then, challenges the common assumptions about the sweeping nature of divine causality in the biblical narrative and seeks to do justice (...) to the roles played by the human actors in the drama. God's causing a person to act in a particular way, as He does when He hardens Pharaoh's heart, is the exception rather than the rule. On the whole, the biblical heroes act on their own; their personal initiatives and strivings are what move the story forward. How does it happen, then, that events, remarkably, conspire to realize God's plan? The study enlists concepts and theories developed within the framework of contemporary analytic philosophy, featured against the background of classical and contemporary bible commentary. In addressing the biblical narrative through these perspectives, this book holds appeal for scholars of a variety of disciplines - bible studies, philosophy, religion and philosophical theology -- as well as for those who simply delight in reading the Bible. (shrink)

Unlike science fiction, which assumes a baseline of ordinary experience and sense of the nature of reality that are marked white, Black speculative literature's baseline is a parallel tradition responding to Black origins in slavery, racism, and colonialism; it imagines a future that critiques and is not bound up with science fiction's white origins in the onset of modernity. Its cosmologies and anthropologies are completely different. The Dark Delight of Being Strange is a work of but not about Black speculative (...) fiction. It explores the inherent meaning of speculative production for thinking, writing, living, and enacting concepts of Black freedom and why it is so critical for understanding Black sociality and politics. It combines memoir, storytelling, and philosophical prose with the Black imaginary to capture the idea that Black life is surreal, extraordinary--but not (or not only) in the sense of speculative fiction. It leaves us squarely in our world and time to reveal these aspects within the mundane or everyday. James Haile challenges us to rethink contemporary and historical Black life and approaches to freedom outside of Euromodernity in order to demonstrate the avant-garde aesthetic expressions critical to Black political thinking. It offers a rereading of enslavement through an innovative account of Henry Box Brown's famed escape, posits a parallel Black lifeworld as the destination of H. G. Wells' Journey to the Center of the Earth, thematizes time in Henry Dumas as an embodied phenomenological reality, imagines the survival skills of the octopus as an emblem for how to negotiate Black existence, theorizes memory as subject to metaphysical and ontological lack as a result of social alienation, questions whether there can be an outside--a place where Black people can be free--given the condition of death we call democracy as related in James Baldwin's letter to his nephew, and concludes by depicting Frederick Douglass as exemplar of the aesthetic, political, and philosophical Blackness that can be free. Each narrative is accompanied by a critical introduction and endnotes that provide philosophical context; together they argue that Blackness is a fundamental entanglement and not a limit--of the human or of freedom--rather somewhere beyond. Dark Delight invites us to reimagine time, space, place, history, and memory and how to understand the past. (shrink)

A review-essay of P. Guyer's "A History of Modern Aesthetics" (CUP, 2014).

In lieu of an abstract, here is a brief excerpt of the content:“The Blessed in the Kingdom of Heaven Will See the Punishments of the Damned So That Their Bliss May Be More Delightful to Them”: Nietzsche and AquinasJames Lehrberger O.Cist.NO DECENT HUMAN BEING can read those words of St. Thomas Aquinas, which Frederick Nietzsche quotes in On the Genealogy of Morals1 (GM) without feeling horror, shock, and disgust: “‘The blessed in the kingdom of heaven,’ he [Aquinas] says meek as (...) a lamb, ‘will see the [End Page 425] punishments of the damned so that their bliss might be more pleasing to them.’” Nietzsche scholars regularly notice and comment on this passage from the Summa theologiae.2 The typical gloss takes it to show the spirit of hatred that lies at the heart of Aquinas’s Christianity. Thus Walter Kaufmann reads the quotation as showing how the Christian faith enables its adherents “to indulge their lust for revenge by hoping for the eternal torture and destruction of their persecutors.”3 Weaver Santinello echoes this sentiment when she claims that “‘the great teacher and saint [Aquinas]’ had a ‘bloodthirsty vision of Hell.’”4 Even so sensitive a Christian as Merold Westphal reads Nietzsche’s Aquinas in this way. “[I]t is hard to deny that the spirit of resentment and longing for vengeance burns hot in these passages... in them the final judgment makes the Final Solution seem almost moderate.”5 Similar comments and observations so abound in the scholarship that they form a virtual consensus on this Summa passage’s teaching.6This proliferation of such statements on Aquinas’s meaning, however, contrasts sharply with the absence of careful analyses [End Page 426] of the passage. I do not know, in fact, of a single article, book chapter, or study that takes Nietzsche’s quotation of Aquinas for its theme. More generally, despite the vast literature on Nietzsche and Christianity, comparative studies of Nietzsche and Aquinas are rare.7 The absence of substantive studies on the Genealogy’s use of the Aquinas quotation is doubly unfortunate. First, it silences or at least muffles the voice of Nietzsche. He cites Aquinas’s text in the specific context of Treatise I of the Genealogy. The quotation reveals the full meaning that Nietzsche intended it to convey only when it is read in that context. Second, it obscures and distorts the thought of Aquinas: the quotation must be read in its own context in the Summa theologiae to grasp the teaching that Aquinas intended his words to express.In light of Aquinas’s importance as a Christian theologian and the crucial role he plays in the Genealogy’s critique of moral values, I intend to examine Nietzsche’s presentation of this text. Careful study of this matter can shed light on a key question which has long been discussed and debated: Is Nietzsche’s account of Christianity as life-inimical rooted in an extraordinarily perceptive reading of the Christian psyche? Or is it based, rather, on a profound misunderstanding of that psyche? I will argue for two points: (1) that Nietzsche has utterly misconstrued Aquinas’s teaching; and (2) that Aquinas’s Christian morality, far from being life-inimical, is life-affirming. [End Page 427] More specifically, I will show not only that Aquinas is completely free from the hatred, envy, and vengefulness that Nietzsche attributes to him, but also that the virtues and beliefs he embraces, such as meekness, mercy, and divine justice, are strong and supportive of human flourishing.I will proceed in the following steps. First, I will investigate Nietzsche’s understanding of the Aquinas quotation in terms of the role it plays in the Genealogy’s First Treatise. As already noted, recognizing Nietzsche’s purpose in quoting Aquinas requires understanding the objections he develops to Christianity throughout that Treatise. Hence I will highlight the principal criticisms of Aquinas’s Christianity found there. Second, I will analyze the quotation from Aquinas in its own context in the Summa theologiae. Lastly, I will compare and contrast Nietzsche and Aquinas in terms of those issues which the quoted passage has brought to the fore. Nietzsche’s take on Aquinas, however, is the only question I will address. I do not... (shrink)

You don't truly know someone until you know what makes him happy. Our pleasure is the measure of our character. So it is with God. We can only know the greatness of his glory if we know whatmakes him glad. Therefore, we must understand the pleasures of God.

This sharply intelligent, consistently provocative book takes the reader on an astonishing, thought-provoking voyage into the realm of delightful uncertainty--a world of paradox in which logical argument leads to contradiction and common sense is seemingly rendered irrelevant.

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.4 (2002) 641-644 [Access article in PDF] Erich Segal. The Death of Comedy. Cambridge, Mass.: Harvard University Press, 2001. xiv + 589 pp. Cloth, $35. "In a grand tour of comic theater over the centuries," says the jacket blurb, "Erich Segal traces the evolution of the classical form from its beginnings... to Samuel Beckett. With fitting wit, profound erudition lightly worn, and instructive [End Page (...) 641] examples from the mildly amusing to the uproarious, his book fully illustrates comedy's glorious life cycle from its first breath to its death in the Theater of the Absurd." I agree, in part: It's a grand tour, after the fashion of Segal's Dionysian Ivy-League lectures, mixing pleasure with instruction and reminding the reader of comedy's changing devices, delights, and powers in the different periods and locales in which Segal has made himself comfortably at home. He doesn't, of course, "fully illustrate"—and I don't think he's gotten comedy's "life cycle" quite right, especially that titular death. Rival comedy tour guides like myself will question this or that judgment call, especially in their specialties (and still more when their own supremely valuable writings go unacknowledged). Yet there is much to praise in this highly readable, highly entertaining book, which I shall happily put on the reserve shelf next time I teach Honors 28 ("Comedy and Satire") to my laughter-loving sophomores and juniors at UNC.Segal's first 250 pages, more than half the book, take us from comedy's hypothetical beginnings in holiday fun and revelry to Terence's beleaguered Hecyra. To the usual etymologies of "revel-" and "country-song" (from komos and kome) he adds the less familiar "nightsong" (from koma, "sleep"), anticipating the prominent place of dreamlike disguises, confusions, and misadventures in comedy and in the human unconscious as explored by Freud. In subsequent chapters, Segal sketches the rise and fall of Old Comedy, which reaches new heights in the imaginatively playful erections of Aristophanes' Acharnians, Peace, and Birds, thenceforth declining towards Middle Comedy as sex gives way to money, Phales to Plutus. A chapter on Euripides' Ion entitled "The Comic Catastrophe" (why not "Eucatastrophe"?) provides a helpful bridge to the familial concerns and dramatic conventions of the New Comedy of Menander. From there, pivoting on Plautus and Terence, Segal follows "the evolution and transmutations of the classical literary form" (256), from Machiavelli and Marlowe, through Shakespeare, Molière, Jonson, Wycherley, and Beaumarchais, to what he regards as its foul and unnatural murder by the Surrealists and Absurdists of the last century—even as the beginning of Beckett's Waiting for Godot ironically completes a great circle by recalling the beginning of Aristophanes' Birds.Through all this, Segal keeps up a good, brisk pace. He chooses his plays well, discussing them with a skillful mix of plot summary, paraphrase, quotation (the good, clear translations are his own), and lively running commentary. As classicists, we readers of AJP will have our professional quibbles, our personal bones to pick (some of them juicy) about Aristophanes' Clouds (underrated by Segal), say, or Terence's borrowings from Plautus (which he plays down); but we are amateurs, too, more easily pleased when it comes to Shakespeare or Molière. Here, two of Segal's leitmotifs seem most effective and affecting: First, the dreamlike movement of events in Comedy of Errors (after Menaechmi, but we should add Amphitruo for the twice-doubling) and in Twelfth Night, drifting out of shipwreck, through confusion of identity approaching nightmare and madness, to the komos and gamos of festive comedy—or is it Freudian wish-fulfillment?; second, the sad clown or playwright, poor old cuckolded Molière, pushing to his life's very [End Page 642] end the comic enactments of cuckoldry, sickness, aging, and (near) death. Which reminds me, painfully, of what a difference it would make to our overly naive or sophisticated readings of Aristophanes or Terence if we knew more, even a little more, about their life and work than the usual, all too meager hearsay.Like his beloved Plautus, Segal... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Materialities of CommunicationEric DeanThe Materialities of Communication, edited by Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer; xvi & 447pp. Stanford: Stanford University Press, 1994, $52.50 cloth, $17.95 paper.In closing this collection, Hans Ulrich Gumbrecht outlines the common purpose which makes it more than a random assortment. There has been, as he characterizes it, a theoretical shift in the humanities “from interpretation as identification of given meaning-structures to (...) the reconstruction of those processes through which structures of articulated meaning can at all emerge” (p. 398). He motivates this shift by suggesting that theorists should no longer pursue final and therefore unchanging explanations, but rather should create provocations for changes in perspective. Focusing on the processes through which meaning can emerge—the materialities of communication rather than the insubstantialities of interpretation—stimulates the constant change, the perpetual “renegotiation of self-reference,” which Gumbrecht recommends as the rightful role of theory.The breadth of these ambitions is reflected in the scope of the collection. There are twenty-five essays from twenty-six writers, predominately German, including two from each editor—a context piece and a separate contribution. The range of subjects is enormous. There is one essay on ancient Egyptian signs and another on how the immune system creates the self it both recognizes and preserves. One touches on Nietzsche’s abortive attempt to save his eyesight by using an early version of the typewriter, another interprets the fall of the Roman Empire as the corruption of the postal system (Egyptian in origin) used to deliver the command, imperium, which constituted the Empire in the first place. The scholarly contexts range widely as well—from sociological communication theory to media history to biology to art criticism.There are some delightful curiosities the writers bring to light. For example, at one point in “The Early History of German Television,” the authors, M. Elsner, T. Muller, and P. Spangenberg are describing how fantasies about the new technology outran practicalities. They cite an illustration from a 1928 German magazine in which a man is shown lying in bed, “with a fragmented dashboard in front of him—he seems to steer some technical apparatus and, at the same time, to look at a mountain panorama, which is seen from a bird’s eye view on a kind of projection screen. The caption deciphers the illustration for us: ‘Marvels that we might still experience: viewing the world from bed through [End Page 395] television. The apparatus above the bed serves to operate, by remote control, an airplane that carries the filming apparatus...’” (p. 117).In other places too the writing evades the risk of self-absorption implicit, for all its purportedly exterior focus, in Gumbrecht’s theoretical project. Vivian Sobchack, for instance, closes an interesting meditation on film and electronic technologies this way: “Within the context of this material and technological crisis of the flesh, one can only hope that the hysteria and hyperbole surrounding it is strategic—and that through it the lived-body has, in fact, managed to reclaim its existence and against our attention, to forcefully argue for simulation. For there are other subjects of electronic culture out there who prefer the simulated body and a virtual world...” (pp. 105–6).By the end, though, I found myself wondering whether it was really possible to put this diversity together as a whole, whether the purportedly redeeming concreteness of a program focused on The Materialities of Communication wasn’t at odds with the idea that there is much in common among all these different materials. Coeditor K. Ludwig Pfeiffer, may have inadvertently provided the epigraph for the book. “Iago incites Othello to the greatest nonsense,” he writes, “because Othello no longer differentiates between manipulated sensual certainty and credibility” (p. 59). I wonder about a theoretical perspective that calls Othello’s torment his “nonsense,” and I wonder whether the advocates of such a perspective might not be manipulating sensual certainty to perhaps equally bleak, though in this case unintended, ends.Eric DeanChicago, IllinoisCopyright © 1995 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:AN EARLY ACCOUNT OF DAVID HUME In New Letters of David Hume, Professor Klibansky and Mossner lamented the "dearth of information on Hume's early development". Though some new facts and documents have emerged since 1954, the early period of Hume's life, to 1740, remains the most obscure. The account of Hume in 1740 presented below adds nothing to our knowledge of the evolution of Hume's philosophy, but it does (...) give us an interesting picture of the young philosopher in society, and it suggests that those traits of character which later earned him the title of "le bon David" were already in evidence. The sketch below stresses, as many of his friends and adversaries were later to do, the divergence between the detached scepticism of his writings and his amiable engagement in the social life of a company. And if we take seriously the report that Hume was left in charge of the domestic "oeconomy" in the family he was visiting at Richmond, we might see this as foreshadowing his solicitude over, and constant interest in, the management of his own household and financial affairs in later years. The account printed here is an extract from a letter by William Mure of Caldwell to his sister Agnes, 2 dated "Richmond June 5th 1740". Mure has long been recognized as one of Hume's most intimate friends: Hume himself summed up the relationship when he wrote, on Mure' s death in 1776, "The Baron was among the oldest and best Friends I had 3 in the World." The document published here constitutes the earliest concrete evidence of their friendship yet recovered, ante-dating Hume's first published letter to Mure by more than two years. It appears that the two men were spending the summer of 17 40 in or near London, and possibly both staying at the house of some mutual friend. Mure had at this time just finished his study of law at Edinburgh University, and would probably have been vacationing in 79 London eri route to Leyden, where he was to complete his legal training. Hume may have been in the capital preparing to see Book III of his A Treatise of Human Nature, "Of Morals", through the press: it was published in November 1740. This, and the first two books of the Treatise, which had been published in 1739, were presumably the writings which he discussed with the company at Richmond. We have been here now these ten days, and pass our time in a very agreeable way, we have our aountrey man Mr. Hume the author of the Metaphysical books 7 that you heard so much of last summer as a party in our retirement, he is a very sensible young fellow and extreamly curious in most parts of learning and how much soever he has shown himself a Sceptick upon subjects of speculation and enquiry, he is as far from it as any man with regard to the qualities of a well natured friendly disposition, and an honest heart which are no doubt of greater consequence to the intrinsick worth of a character than any abstract opinions whatever. As he is very communicative of all his knowledge we have a great deal from him in the way of dispute and argument, and not a little too in the way of plain information we reason upon every point with the greatest freedom, even his own books, (which we are working at at present) we canvass with ease, and attack him boldly whereever we can get the least hold of him, and question or contradict his most favourite notions; all this goes on with thè greatest good humour, and affords us entertainment both within doors, and in the feilds at our walks in this delightful country, which is the finest that one can possibly imagine, and has the preference by people that has travel'd throw most of Europe, to any they ever saw. We make use of our Philosopher too in another way less becoming the dignity of his Character, as- we 80 keep family within ourselves, he provides the necessaries of household (¡economy and manages all the affairs of house keeping. From these... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pleasure of the PlayDeborah KnightThe Pleasure of the Play, by Bert O. States; 226 pp. Ithaca: Cornell University Press, 1994, $34.50, cloth, $12.95, paper.I am an Aristotelian about narrative structure. This is not always a fashionable position, and in some company I know just what to expect: a pop deconstructivist dressing down by those who assume that I must have simply missed the point of poststructuralism and (...) postmodernism. Surely, the nay-sayers claim, no one believes in beginnings, middles, and ends anymore—certainly not since Godard taught us that we don’t need to put them in that order. Isn’t it just obvious (they continue) that we must reject the ideology of wholeness and unity, and opt instead for fragmentation, or self-reflexivity, or other violations of Aristotelian form? And there is no mistaking that, in some quarters, notions like mimesis and catharsis haven’t received much good press lately.But there are still kindred Aristotelians, and Bert O. States is one. His The Pleasure of the Play takes the Poetics as its pivotal text and sets in motion around it a lively discussion of plays from, yes, Oedipus Rex to The Real Inspector Hound, stopping along the way to consider Shakespeare, Chekhov, Brecht, Handke (among others), before concluding with an essay on Samuel Beckett’s Catastrophe, a play dedicated to Václav Havel. States adopts an open rather than a closed view of what the Poetics has to say about tragedy, expanding the discussion well beyond tragedy itself, out toward drama and, indeed, comedy. But he is clearly unwilling to go as far as another group of Aristotelians, notably Paul Ricoeur, Alasdair MacIntyre, and Jerome Bruner, who treat narrative as a mode of actual lived existence. States’s objective is to show the continued vitality of the Poetics, especially in terms of what it can tell us about drama in cultural contexts much removed from the one which offered Aristotle his range of primary textual material. [End Page 272]To be clear, then, States doesn’t claim to be doing either Poetics “scholarship” or exegesis. Indeed, this book is not what one might typically think of as a philosophical examination of the Poetics. Anyone looking for such a thing would do well to consult the excellent but unmistakably philosophical Essays on Aristotle’s Poetics, edited by Amélie Oksenberg Rorty. States is doing something else here. Like Aristotle, he is showing how dramatic structures work.The book is engaging. It features wonderfully turned phrases, examples that immediately illuminate a point, and nicely interwoven references to a range of theorists and philosophers who only rarely are found in each other’s company, for example: Richard Boyd, Martin Heidegger, Douglas Hofstadter, Wolfgang Iser, Maurice Merleau-Ponty, Francis Sparshott, Tzvetan Todorov. Some of States’s more delightful examples might offend Aristotle purists. Hard cheese to them. Consider how States uses Roland Barthes’s analysis of the newspaper feature story, or fait divers, to illuminate the structure of the great dramatic plots. In States’s examples—GENERAL SACRIFICES DAUGHTER IN WEDDING CEREMONY (Iphigenia at Aulis) or WIFE FORCED INTO ADULTERY BY HUSBAND, MOTHER, PRIEST (Mandragola) or, to use Aristotle’s own example, MAN’S STATUE AVENGES HIS MURDER (pp. 67-68)—what each mock headline captures is the peculiar, often ironic, internal logic of drama. For States, this peculiar logic is characterized by events which are simultaneously improbable, unthinkable, unanticipatable, yet—given the unfolding course of actions—uncannily probable after all.Central to understanding this internal logic is the Aristotelian notion of peripety, the critical “divulging event” (p. 49) which turns out to be just the reverse of what one intended (as for example Oedipus killing his father and marrying his mother). Where Aristotle seems to treat peripety as a mere plot device, States considers it “a principle of plot development.” Thus, the status of peripety as a crucial dramatic plot device is “really a symptom” of its more basic function (p. 86). Peripety as a principle of plot development helps to show why it makes little sense to claim that what narratives imitate is “reality”—peripety is just what “open life” lacks (p... (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. 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Can a bomb ever be "clean"? Are we relieved to be warned that there will be an " odor " when once we were told that something would "stink"? Or, to put it another way, when is a euphemism a mark of good taste and when is it a sign of verbal obfuscation? To answer such questions, D.J. Enright invited sixteen distinguished writers to ponder and explore the ubiquitous phenomenon of euphemism. The result is a delightful and provocative collection that (...) not only includes general reflections on euphemism and its history but also treats such specific categories as sex, death, and other natural functions; politics; the language of the great Christian texts; euphamisms spoken to and by children; the law; medicine; office life; and the jargon of official spokesmen, military communiques, and tyrants. Such writers as Diane Johnson, Robert Nisbet, John Gross, Robert Burchfield, and Joseph Epstein bring a variety of perspectives and sensibilities to bear on these topics. Because euphemisms are so intimate and integral to our thinking, any study of them is bound to throw light on the human condition, both past and present. In these essays, humor jostles horror and the homely alternates with the farfetched. Taken together they form an eloquent and often amusing testament to the richness of the subject. About the Author: D.J. Enright is a noted English poet and critic. He recently compiled and edited The Oxford Book of Death. (shrink)

"The book closes with Pieper's thoughts on the permanent philosophical and theological significance of scholasticism and the Middle Ages. Once again, wearing his learning lightly, writing with a clarity that delights, Josef Pieper has taken the field from stuffier and more extended accounts."--BOOK JACKET.

Trieste Publishing has a massive catalogue of classic book titles. Our aim is to provide readers with the highest quality reproductions of fiction and non-fiction literature that has stood the test of time. The many thousands of books in our collection have been sourced from libraries and private collections around the world.The titles that Trieste Publishing has chosen to be part of the collection have been scanned to simulate the original. Our readers see the books the same way that their (...) first readers did decades or a hundred or more years ago. Books from that period are often spoiled by imperfections that did not exist in the original. Imperfections could be in the form of blurred text, photographs, or missing pages. It is highly unlikely that this would occur with one of our books. Our extensive quality control ensures that the readers of Trieste Publishing's books will be delighted with their purchase. Our staff has thoroughly reviewed every page of all the books in the collection, repairing, or if necessary, rejecting titles that are not of the highest quality. This process ensures that the reader of one of Trieste Publishing's titles receives a volume that faithfully reproduces the original, and to the maximum degree possible, gives them the experience of owning the original work.We pride ourselves on not only creating a pathway to an extensive reservoir of books of the finest quality, but also providing value to every one of our readers. Generally, Trieste books are purchased singly - on demand, however they may also be purchased in bulk. Readers interested in bulk purchases are invited to contact us directly to enquire about our tailored bulk rates. (shrink)

This book is a collection and reworking of research done by Pascal Salin since around 1990. Salin is an economist in the tradition of the Austrian school of economics. He emphasizes the centrality of individual choice in an uncertain world in which individual actions interact to produce spontaneous orders. But he is no mere conduit of established ideas. He also offers his own highly original insights honed after a lifetime as an economist, one who has earned the respect in which (...) he is now held by his peers worldwide. The book makes delightful reading. Salin covers a lot of ground in this book, mostly within the topics indicated by the title, though in the final two chapters he goes beyond these and into the foundations of economic science. The book is divided into five parts: (1) firms, markets and competition, (2) globalization and international economic problems, (3) monetary integration, (4) money, finance and economic policies, and (5) foundations of economic theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:I. The Concept of Beatific EnjoymentThe locus classicus for the medieval scholastic discussion of beatific enjoyment is the first distinction of Book I of Peter Lombard's Sentences. Lombard extracts three distinct formulations of the term "enjoyment" from Augustine's writings. The first formulation is borrowed from the first book of Augustine's treatise On Christian Learning . The formulation states that "to enjoy is to inhere with love in something for (...) its own sake." The other two formulations are taken from Book X of Augustine's work On the Trinity . The first reads as follows: "we enjoy the things that we know, when the will rests, by delighting in them for their own sake." The second says that "to enjoy is to use with gladness , not merely through hope, but already in reality." These truncated statements served as technical definitions of the concept of enjoyment in scholastic Sentences commentaries. It was thought that the definitions call attention to the various psychological factors required for enjoyment to occur. For instance, the theologian Alexander of Hales explains that the definitions reveal distinct aspects of enjoyment with respect to the subject experiencing it and with respect to the object motivating the enjoyment. The expression "to inhere with love" refers to the soul on the part of the subject and to God on the part of the object. The saying "to use with gladness" relates to the power of the soul on the side of the subject and to created beatitude on the side of the object. Finally, the phrase "we enjoy the things that we know" corresponds to the faculty of the will as well as to the uncreated divine persons. Alexander would thus say that an adequate treatment of Augustine's concept of enjoyment must take into account the subject involved in the activity of enjoyment – e.g., the human soul, the faculty of the will, the faculty of cognition, etc. – and the object or objects of an act of enjoyment – created beatitude, the persons of the Trinity, or simply God.A slightly different reading of Augustine's definitions of enjoyment is found in Thomas Aquinas's Sentences commentary. In his literal exposition of the first distinction of Lombard's Sentences, Thomas notes that a perfect definition of a thing must disclose all of its proper causes. He then offers an explanation of the way in which Augustine's three definitions aim to clarify the concept of enjoyment. According to Thomas, the statement "to inhere in something with love for its own sake" portrays the act of enjoyment in relation to the object as a thing worthy for its own sake and the habit of love causing the enjoyment. The second formulation – "we enjoy the things that we know, etc." – links the act of enjoyment with the faculty of cognition required for the activation of the will. The third formulation – "to enjoy is to use with gladness" – refers primarily to the property of delight , which accompanies the obtainment of the desired object and perfects the act of enjoyment. Thomas, thus, identifies three factors contributing to the occurrence of an act of enjoyment – habit, cognition, and delight . In the first article of the first question of his commentary on Book I of the Sentences, Thomas states that enjoyment is the ultimate happiness of a human being. Enjoyment requires the clear intellectual vision of God, it involves an union as well as a sort of a mutual penetration through love between the one who sees and the thing that is seen, and it culminates in supreme delight . Thomas also says that enjoyment is an act of the will manifesting the habit of charity. In his Summa theologiae Ia IIae, Thomas defines enjoyment as an act of the appetitive faculty , and.. (shrink)

`Anyone who wants to gain a quick idea of how before me everything was topsy-turvy should make a start with this work. That which is called idol on the title-page is quite simply that which was called truth hitherto. Twilight of the Idols - in plain words: the old truth is coming to an end...' Nietzsche intended Twilight of the Idols to serve as a short introduction to his philosophy, and as a result it is the most synoptic of all (...) his books. Continuing in the spirit of its immediate predecessors On The Genealogy of Morals and The Wagner Case, it is a masterpiece of polemic, targeting not only `eternal idols' like Socratic rationality and Christian morality but also their contemporary counterparts, as Nietzsche the `untimely man' goes roaming in the gloaming of nineteenth-century European culture. He allies philosophy with psychology and physiology, relentlessly diagnozing the symptoms of decadence, and his stylistic virtuosity is such that the sheer delight he takes in his 'demonic' mischief-making communicates itself on every page. A brilliant new translation, this edition provides detailed commentary on a highly condensed and allusive work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Fredrik Svenaeus' book is a delight to read. Not only does he exhibit keen understanding of a wide range of topics and figures in both medicine and philosophy, but he manages to bring them together in an innovative manner that convincingly demonstrates how deeply these two significant fields can be and, in the end, must be mutually enlightening. Medicine, Svenaeus suggests, reveals deep but rarely explicit themes whose proper comprehension invites a careful phenomenological and hermeneutical explication. Certain philosophical approaches, on (...) the other hand - specifically, Heidegger's phenomenology and Gadamer's hermeneutics - are shown to have a hitherto unrealized potential for making sense of those themes long buried within Western medicine. Richard M. Zaner, Ann Geddes Stahlman Professor of Medical Ethics, Vanderbilt University. (shrink)

Trieste Publishing has a massive catalogue of classic book titles. Our aim is to provide readers with the highest quality reproductions of fiction and non-fiction literature that has stood the test of time. The many thousands of books in our collection have been sourced from libraries and private collections around the world.The titles that Trieste Publishing has chosen to be part of the collection have been scanned to simulate the original. Our readers see the books the same way that their (...) first readers did decades or a hundred or more years ago. Books from that period are often spoiled by imperfections that did not exist in the original. Imperfections could be in the form of blurred text, photographs, or missing pages. It is highly unlikely that this would occur with one of our books. Our extensive quality control ensures that the readers of Trieste Publishing's books will be delighted with their purchase. Our staff has thoroughly reviewed every page of all the books in the collection, repairing, or if necessary, rejecting titles that are not of the highest quality. This process ensures that the reader of one of Trieste Publishing's titles receives a volume that faithfully reproduces the original, and to the maximum degree possible, gives them the experience of owning the original work.We pride ourselves on not only creating a pathway to an extensive reservoir of books of the finest quality, but also providing value to every one of our readers. Generally, Trieste books are purchased singly - on demand, however they may also be purchased in bulk. Readers interested in bulk purchases are invited to contact us directly to enquire about our tailored bulk rates. (shrink)

Since the publication of a lecture called ‘Where Was Vergil's Farm?’ in the John Rylands' Library Bulletin in 1923, and its appearance in a fuller form as Ch. II. of my Harvard Lectures on the Vergilian Age, no hostile criticism has appeared except from writers in Mantua itself , until the book of my friend Prof. E. K. Rand, In Quest of Vergil's Birthplace. This describes in a delightful way his travels in the region of Mantua and Carpenedolo, in the (...) summer of 1929, and re-examines the question in the light of his experience. It also includes several valuable photographs and a map of the Provincia di Mantova, from all of which I have been glad to learn much. The reproductions of pages from the three manuscripts and two editions of the Life by Probus are particularly welcome. (shrink)

"This book is addressed to the one who lives in a passionate quest for deepened awareness, who hungers to touch and taste human existence more intimately, who delights in the celebration of now." "In the era of the multiversity with its fragments of introverted expertise, it does sound absurdly ambitious to make an integrative attempt at synoptic reflection, seeking to conjoin disparate insights from developmental psychology, psychotherapy, ontology, epistemology, ethics, phenomenology, the fine arts, jurisprudence, linguistics, theology, hermeneutics, liturgics, history, and (...) the philosophy of history...Admittedly it is not because I am an expert in any or all of these fields, but instead a human being--a single, experiencing, time-bound, warm-bodied human being--that emboldens me to speak with any assurance about the human situation. More than most other academic bailiwicks, my own academic discipline (theological ethics) invites and demands such integrative reflection on man, culture, time, being and value, dysfunctional and constructive human behavior." "Our thesis: The structure of human awareness emerges directly out of man's temporal situation and his relation to being." (excerpts from the Introduction, by Thomas C. Oden). (shrink)

The poetic joy voiced in this book's title reflects the hope in God of a poet who sacrificed his art not long after his conversion, but then received back the use of his native talents with even deeper inspiration. As a young Jesuit, Gerard Manley Hopkins offered up the use of his creative abilities in frustrating silence as part of his quest to make a complete donation of himself to God. Only years later did a well-attuned alertness to the stirrings (...) of divine grace propel him to poetry once more, but now a poetry chastened of his early infatuation with Victorian sensibilities and enlivened by a consciously Medieval approach to reading the signs of God's presence everywhere. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy and the Interpretation of Pop CultureStefán SnaevarrPhilosophy and the Interpretation of Pop Culture, edited by William Irwin and Jorge J. E. Gracia. Lanham, MD: Rowman and Littlefield, 2007, 297 pp., $29.85 paper.There has been quite a boom lately in the market for philosophical books on popular culture. The young American philosopher William Irwin has led the way by starting the fad of "... and philosophy" books; the (...) first one that Irwin edited was Seinfeld and Philosophy. So it is only fitting that he is one of the editors of this volume on philosophical interpretation of popular culture. In contrast to most of the earlier books of this kind, a sizable number of the contributors to this volume belong to the top brass of America's aestheticians: Noël Carrol, Ted Cohen, Carolyn Korsmeyer, and Richard Shusterman, to name but a few. The book is divided into two parts, "Philosophy and Popular Culture" and "Interpretation and Popular Art Forms." These titles are self-explanatory; it might be added that the aforementioned top brass dominates the first part.Irwin provides the book with a witty and well-written introduction, but he operates with a very wide definition of popular culture, classifying movies as such as items of pop culture. However, the medium surely is not the message. The fact that novels can be part of popular culture does not make Joyce's Ulysses a pop cultural object. Irwin's chapter, "Philosophy as/and/of popular culture," is rather two papers in one. One half addresses the concept of popular culture, containing an insightful critical evaluation of, among others, Noël Carroll's concept of mass art. The other half proposes that we can use popular culture to disseminate philosophical ideas to the general public. More so than in the introduction, Irwin is actually rather critical of popular culture in this chapter. He worries about its negative effect on culture in general—no cult of pop culture here. In addition, he rejects the notion of popular culture having the potential of becoming philosophy or its surrogate. He reminds us that Socrates used examples from everyday life and the popular culture of his day to make his philosophical points. In a similar fashion, the popular culture of today can be a stepping stone for philosophers to reach wider audiences. If you cannot beat them, join them! Popular culture could, for instance, be used to warn the public against its own evil aspects. This is an excellent idea, and I could not agree more; I myself often use examples from popular culture in my own lectures with good results. Irwin should expand on this idea and present it in a separate article.Richard Shusterman's chapter does not add much to his earlier writings. It is also somewhat like two articles in one; the first is a criticism of the denigration of pleasure and entertainment as aesthetic values, and the second half is an attempt to bridge the divide between intrinsic value and instrumental value. Both halves [End Page 111] contain some excellent arguments, but popular culture tends to be on the fringe in Shusterman's argument. The focus is on other more traditional, philosophical issues. Perhaps another venue would have been more suitable for this article.In contrast to Shusterman, Caroline Korsmeyer addresses the issues of popular culture in a fairly straightforward manner. Popular culture can be educational, even philosophically so. This claim does not mean that works of popular culture are works of philosophy in the ordinary sense of the word. However, we can "treat philosophy as a success term to refer to works demanding imaginative engagement that results in the recognition... of a philosophical position, such that what is done in philosophy proper that induces a possible conclusion is done in another genre by means appropriate to its appreciation" (31). Given this understanding of philosophy, we can understand works of popular culture as vehicles of philosophy. Korsmeyer maintains that the TV series Angel conveys some of Simone de Beauvoir's ideas from one of her books. Korsmeyer's chapter also contains a delightful discussion of "the probable impossible" and "the possible improbable" in fiction. But... (shrink)

In the era Islam emerged, Arabs were calling Jews and Christians as Ahl al-Kitāb, respecting them and affected by them in many ways. When they failed in their debates against the Prophet, they were referring to the scholars of Ahl al-Kitāb and relying on the information they got from them, they were trying to force and beat the Prophet intellectually by their questions. In the Meccan period, no clashes had happened between the Muslims and Ahl al-Kitāb. Jewish scholars had been (...) admitting that they knew the similarity in the topics of Qurʾān and Tawrāt, the Qurʾān were telling the truth and the Prophet was conveying the message of the truth. In some of the verses, these right attitudes of the scholars of Ahl al-Kitāb are used as a reference against Mus̲h̲riks. In the verses said, those scholars are praised and indicated as a source of information for the Prophet as well. The verses related with the topic were understood in parallel with the context and direct meaning of the Nass by some scholars, yet, they were explained not taking the Nuzul environment and process into consideration by some other scholars. It is mentioned that ʿAbdallāh b. Salām and his friends who became Muslims in Medina period have been told in these verses. In this study, level of validity for these interpretations will be evaluated based on Qurʾān –relationship and the fact that some of the asbab al-nuzul (circumstances of revelation) are known to be jurisprudential; and it will be argued that the true meaning of the naṣṣ is overshadowed.Summary: Tafsir is an effort to understand the divine address, and also to understand the relationship between Muslim, polytheist, and People of the Book (Ahl al-kitāb) in the revelation and experience in this context. Since these issues are not explained in a wide and clear manner in the Qur’ān, the hadīths, prophetic biography, narratives of asbâb al-nuzul and the opinions of the companions and the views of the Companions and Tābi‘īn gain importance in understanding the verses. As the narrations of asbâb al-nuzul contain some problems, it is proposed to evaluate this information based on sigas and hadīth method in classical Qur'ānic sciences studies. Although this approach is effective in solving many problems, it does not solve all problems.The question of whether the narrators of asbâb al-nuzul is the real reason for the verse has been discussed from the very beginning. According to Ibn Taymiyya (d. 728/1328) al-Zarkashī (d. 794/1392) and al-Dihlawī (d. 1176/1762), the expression that “This verse has been revealed on this particular event” does not mean that the verse is revealed particularly and only for this event but rather that it is revealed for an event which is similar to that event, and that, subject verse also covers this provision. A. Nedim Serinsu and A. Rıza Gül also drew attention to this fact and the narratives were divided into two as the real cause of nuzul and virtual cause of nuzul. When this issue is not known, it may become inexorable to analyze and make observations, and there may be problems regarding the interlocutors, date of births, being Meccan or Medinan.Those who want to learn the first-hand meaning of the verses, their interlocutors and the environment of nuzul are facing difficulties to choose between the contradictory narrations especially in narrative-weighted commentaries. It is necessary to pay attention to some points to evaluate the narrations correctly and make the right choice. These points are prophetic biography, the stages of nuzul, information about being Meccan or Medinan, the stages of development of relations between polytheists and Muslims, and tafsīr explanations about nuzul. One of the issues with contradictory narratives and interpretations is ʿAbdallāh b. Salām. As one of the notables of the Medina Jews, he came to him when the Prophet arrived in Kuba, he asked some questions, and when he got the right answers, he became a Muslim saying that they could only be known by a prophet. It is claimed that he believed in the period of Mecca and the eighth year of the Hijr, but this information was not well accepted.Although it was not very intense in Mecca, there were certain relations between Jews and Christians and Muslims. Since there was no conflict between Muslims and the People of the Book, these verses are often praised by their scholars, and they were also cited as a reference for the Prophet and idolaters Some Meccan verses mention the following: Jews who are righteous; the fulfilment of the requirements of the book, and the prayers of the Muslims that will not be wasted; the fact that the scholars of the Israelites know the truths in the Qur'an should be a proof for the idolaters; The Ahl al-kitāb know that the Qur'ān is a divine book; if he has doubts about the verses revealed to the Prophet, he should ask the Jewish scholars; Jews witnessed and believed the truth of the prophethood of the Prophet; the fact that Ahl al-kitāb were delighted with the Qur'ān. In the exegesis of these verses, it has been commented that the interlocutors are ʿAbdallāh b. Salām and his friends, Prophet Muhammad's companions, Selman al-Fârisî, Ali and the kitāb who believed in the Prophet.Since the commentators did not consider the process experienced with the Ahl al-kitāb sufficiently, the verses that were written before becoming Muslim were associated with ʿAbdallāh b. Salām. However, Masrūk (d. 63/683), Sha'bî (d. 104/722) and Said b. Jubayr (d. 94/713 [?]) refused to relate the Meccan verses to ʿAbdallāh b. Salām because they had considered the process of nuzul. When the revelations are evaluated on the basis of the Qur'ān and prophetic biography relationship and the process of nuzul, it is understood that the interlocutors are the scholars of Ahl al-kitāb who know and acknowledge that the Qur'ān and the prophethood are right, as some commentators have indicated. In this case, it is understood that the commentators make comments that are not appropriate to the context, wording and nuzul process of the verses based on the narratives that are not true and that they use the name of ʿAbdallāh b. Salām as a kind of filling material since the information about the interlocutors is limited. It is not acceptable to praise one of them in the revelations when we evaluate the Ahl al-kitāb by generalizing the truth, their hostility towards Islam and the wars. However, there were no clashes with Jews and Christians in Mecca and there were scholars who expressed the truth. They were praised when necessary, and also cited as a reference source for the Prophet and idolaters. In addition, in the verses that criticize the Ahl al-kitāb in the verses Medinan, those who make the mistakes in question are not criticized as a whole. As in these examples, we need to evaluate the verses in the context of the individual process, not with the influence of our established perceptions and with a wholesale mind. Otherwise, unintentional results can be reached. It can be claimed that the Predecessors fell to an anachronism in their explanations about ʿAbdallāh b. Salām which did not conform to the date and time. However, when we consider the views of Ibn Taymiyya, al-Zarkashī and al-Dihlawī, it is understood that the Predecessors expressed views in terms of exegesis, opinion-based sampling rather than an anachronism. These interpretations of the Predecessors also depict that the information available to the interlocutors of the verses is insufficient. The fact that the historical information errors in Predecessors’ illustrations and explanations show that the information transferred from them should be examined carefully and that one must not surrender him/her without investigation. It is a clear fact that those who accept interpretations based on ijtihâd as an actual asbâb al-nuzul fall into anachronism. In this respect, it is understood that asbâb al-nuzul narrations should be evaluated in accordance with the principles mentioned and it is necessary to distinguish between those who tell the real reason and those who do not and make a preference among them. (shrink)

We need urgently to bring about a revolution in universities around the world, wherever possible, so that they take their fundamental task to be, not to acquire and apply knowledge, but rather to help humanity learn how to resolve conflicts and problems of living in increasingly cooperatively rational ways, so that we may make progress towards a good, genuinely civilized, wise world. The pursuit of knowledge would be a vital but subsidiary task. I have argued for the urgent need for (...) such an academic revolution for nearly 50 years, ever since the publication of two books: What’s Wrong With Science? Towards a People’s Rational Science of Delight and Compassion, 1976, and From Knowledge to Wisdom: A Revolution for Science and the Humanities, 1984, both available free online. This article, written in preparation for a talk given to Pittsburgh University on the 15th September 2023, gives an outline of my baffled struggles with problems of philosophy, science, literature and life that led up to the discovery of the urgent need for an intellectual and institutional revolution in universities around the world, needed in order to galvanize the social revolution required to enable us to make progress to a world in which peace, justice, democracy, individual freedom, sustainable prosperity, the possibility of a good life, are available to all, insofar as that is attainable. (shrink)