From the earliest human cultures, nonhuman animals have been central to the sexual imaginary of humans. This article traces the modern history of bestiality from the nineteenth century, culminating...

Aping apes: Edgar Allan Poe's "The murders in the Rue Morgue" and Richard Wright's Native son -- Slavery's bestiary: Joel Chandler Harris's Uncle Remus tales -- Autoimmunity and ante-racism: Philip Roth's The human stain -- Ashamed of shame: J.M. Coetzee's Disgrace.

In reaction to a particularly scathing review of his Practice in Christianity, Kierkegaard postulated what he called a ‘preacher-machine.’ As we will see, the preacher-machine is only one type of character-machine, for, in Practice in Christianity, there are five other such machines. Starting up these character-machines will allow for an analysis of the repulsion of the God-man, Christ himself. This repulsion is important because Kierkegaard claims that it is the condition for the emergence of faith. After discussing repulsion, Kierkegaard will (...) locate a singular mistake of Christendom, which will allow him to offer his remedy to this problem. In doing so, I will claim, Kierkegaard makes a particularly forceful claim about the true status of Christianity. We begin by attempting an articulation of a definition of monstrosity before setting the scene of these six machines. (shrink)

In 1993, my first full year as a master’s student studying rhetoric at the University of Tennessee, the venerable George Kennedy visited campus. He was part of a star-studded interdisciplinary symposium on rhetoric (Page duBois and Thomas Cole were the other two guests), and if memory serves, the large crowd awaiting Kennedy’s talk stirred with anticipation; this event was two years after the publication of a much-needed and now indispensible translation of Aristotle’s Rhetoric. After the talk, it stirred with something (...) more like befuddlement. Kennedy’s talk, “A Hoot in the Dark,” shared a title with an essay he had published in Philosophy and Rhetoric the year prior. The subject? Animal rhetoric. I .. (shrink)

Against a background of anxious evocation of Dionysiac rites, Euripides'Heraclesstages the extreme degradation of the tragic hero who, as a consequence of the hatred of a divinity, loses his heroic traits and above all his human ones in the exercise of brutal violence. By comparing Heracles in the grip of madness to a furious bull assailing its prey, the tragedian clearly shows the inexorability of the divine will and its arbitrariness, and emphasizes madness itself through images traditionally associated with the (...) bull. However, the reference to monstrosity and animals does not only involve Heracles, but also concerns the representation of Lyssa, the demon of madness sent by Hera to induce Heracles to slaughter his own family. This representation of Lyssa includes the monstrous and disturbing Gorgon and the dog, set alongside the metaphor of hunting, which in turn highlight the link between the demon and the Erinyes, those other bringers of madness. (shrink)

Desde la tradición humanista occidental se ha instituido una oposición radical entre el ser humano y el animal no-humano en tanto dos regímenes de existencia diferentes e irreconciliables; oposición que ha partido, esencialmente, de una construcción ficcional del hombre y de lo “propiamente humano” como especie superior y dominante respecto al resto de los vivientes. Dicho fenómeno, o fabulación, ha venido aparejado, además, de un proceso de no reconocimiento de la animalidad que habita en el hombre y de la urgencia (...) por suprimir tales rasgos como si se tratase de una dimensión inaceptable de la existencia humana. El artículo examina, entonces, algunos de aquellos rasgos del paradigma humanista occidental que han delineado relaciones binarias y especistas en el mundo contemporáneo y que han negado lo animal en la búsqueda de lo “propiamente humano”. El trabajo hace un breve recorrido por algunas de las hipótesis que han abordado, desde diversos posicionamientos, la problemática de los animales: Berger, Descartes, Sloterdijk, Agamben, Derrida y Bailly son algunos de los aludidos. En ese sentido, el ensayo explora determinados tópicos teóricos, entre los que se encuentran: el animal-máquina cartesiano, las civilizaciones como invernaderos antropogénicos, la máquina antropocéntrica y la riqueza de mundo de lo animal. (shrink)

This study compared the family characteristics, victimization histories, and number of perpetration offenses of juvenile offenders who admitted to having had sex with animals to juvenile offenders who did not. The study found that 96% of the juveniles who had engaged in sex with nonhuman animals also admitted to sex offenses against humans and reported more offenses against humans than other sex offenders their same age and race. Those juveniles who had engaged in sex with animals were similar to other (...) sex offenders in that they also came from families with less affirming and more incendiary communication, lower attachment, less adaptability, and less positive environments. Those juveniles who had engaged in sex with animals reported victimization histories with more emotional abuse and neglect and a higher number of victimization events than other offenders. This would seem to indicate that sex with animals may be an important indicator of potential or co-occurring sex offenses against humans and may be a sign of severe family dysfunction and abuse that should be addressed in the arenas of psychological intervention, juvenile justice programs, and public policy. (shrink)

Determinations of ability/disability are rooted in coloniality, specifically in categorizations of race, gender, and animality as they bear on social formations. I elucidate this rootedness by weaving the “coloniality of ability” into María Lugones’ accounts of the coloniality of gender and the colonial-modern system as founded on the “human-nonhuman” difference. This enables me to reveal an “ability system” based on the “ability-bestiality” difference and delineate with more specificity liminal sites of oppression and resistance across the heterogeneous socialities of coloniality-modernity. (...) From the perspective of the coloniality of ability that I develop, I focus on the liminality of the white woman Victorian invalid and that of the colonized “bestial” body in order to distinguish between two forms of colonial-modern liminality—“light” and “dark.” I also draw from this discussion two forms of colonial-modern oppression—“dehumanizing” and “bestializing”—and two related modalities of anticolonial resistance—“humanizing” and “decolonial.”. (shrink)

Platón señala en República ix que en todos los seres humanos hay un trasfondo de deseos bestiales que se manifiestan especialmente en los sueños y el sabio logra mantener alejados. El artículo trata de reconstruir la respuesta de Aristóteles a estas tesis a través del estudio de tres tópicos de su filosofía: el concepto de felicidad, la categoría de bestialidad y la etiología de los sueños desarrollada en los tratados sobre los sueños incluidos en Parva Naturalia. -/- Plato points out (...) in Republic IX that in all human beings there is a background of bestial desires that manifest especially in dreams and the wise man manages to keep away. The article tries to reconstruct Aristotle's response to these theses through the study of three topics of his philosophy: the concept of happiness, the category of bestiality and the etiology of dreams developed in the treatises on dreams included in Parva Naturalia. (shrink)

I give an argument for veganism by drawing parallels between a) bestiality and animal fighting, and b) animal product consumption. Attempts to draw principled distinctions between the practices fail. The wrong-making features of bestiality and animal fighting are also found in animal product consumption. These parallels give us new insight into why popular objections to veganism, such as the Inefficacy Argument, are inadequate. Because it is often difficult to enact significant life changes, I hope that seeing the parallels (...) between animal product consumption and acts we are already so strongly motivated to avoid can help us abstain from animal products. (shrink)

Bestial banter -- Homo risus : making light of animal language -- Warming savage hearts and heating eloquent tongues -- From savage orators to savage languages -- French levity -- English energy.

Filling a gap in knowledge in gender theory, genocidal, and Holocaust studies, this paper operationalizes the concept of phallicism as an analytic explanation of the simultaneous killing and sexual victimization of racialized men in western, capitalist, patriarchal societies. The theory of phallicism posits that racialization lays the basis for a sexualization process wherein racialized males are caricaturized as both salacious savages (who can be raped by the men or women of the dominant racial group) and bestial/wanton creatures deserving of immediate (...) death for the sake of liberal civility. Breaking with the dominant interpretive lenses in scholarly discourses around race and gender that understand racialized femininity as the basis of dehumanization, this paper will operationalize the notion of phallicism through historical and comparative analysis of the writings of political prisoner George Jackson and Primo Levi, a survivor of the Jewish Holocaust. With the theory of phallicism—the guiding theoretic of the paradigm of Black Male Studies—we can sharpen our conceptual acumen to account for the function of misandric patterns of intergroup violence and its role as the organizing principle of the negrophobia characteristic of Western, patriarchal, capitalist regimes. (shrink)

It is curious that the imperial Stoics, following a precedent of Diogenes the Cynic, employ so many wide-ranging examples of animal behavior. For example, what are we to make of the rigid dichotomy Seneca and Epictetus draw between rational and nonrational beings in relation to the diverse comparisons they make between human virtues and vices on the one hand and animal excellences and "bestial'behaviors on the other? Why are the most potent, diverse, and philosophically significant animal exempla found in Seneca (...) and Epictetus? I argue that it is because such exempla serve a variety of protreptic purposes. While appeals to the over-arching rationality of the cosmos may provide some theoretical understanding for the place of human beings in nature, from a pedagogical and rhetorical standpoint animal exempla provide particularly effective guidance for human conduct.Cleverly deployed animal exempla help cultivate aretaic affective dispositions. (shrink)

Settler colonialism is structured in part according to the principle of civilizational progress yet the roots of this doctrine are not well understood. Disparate ideas of progress and practices related to colonial dispossession and domination can be traced back to the Enlightenment, and as far back as ancient Greece, but there remain unexplored logics and continuities. I argue that civilizational progress and settler colonialism are structured according to the opposition between politics governed by reason or faith and the figure of (...) the child as sinful or bestial. Thus, it is not contingent, but rather necessary that justificatory frameworks of European empire and colonialism depict Indigenous peoples as children. To illustrate how the theoretical link between Indigenous peoples and children emerges not as a simple analogy, but rather, as the source of the premodern/modern and savage/civilized binaries, I trace the various historical iterations of the political/childhood opposition through the classical, medieval, enlightenment, and modern eras. I show how the model of civilizational progress from a premodern and savage state of childhood continues to serve as the model for settler colonial exclusion and domination of Indigenous peoples. (shrink)

"When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With The Beast and the Sovereign, Volume I, the University of Chicago Press launches an ambitious series of English translations of these important works based upon the meticulously established original French editions." "In this seminar from 2001 and 2002, Derrida explores the persistent association of bestiality or animality with sovereignty and continues his deconstruction of the (...) traditional determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law - the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine's fable "The Wolf and the Lamb," Hobbes's biblical sea monster in Leviathan, D. H. Lawrence's poem "Snake," Machiavelli's Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau's evocation of werewolves in The Social Contract." "Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal." --Book Jacket. (shrink)

When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With The Beast and the Sovereign, Volume 1, the University of Chicago Press inaugurates an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. The Beast and the Sovereign, Volume 1 launches the series with Derrida’s exploration of the persistent association of bestiality or animality with sovereignty. In this seminar (...) from 2001–2002, Derrida continues his deconstruction of the traditional determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law—the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine’s fable “The Wolf and the Lamb,” Hobbes’s biblical sea monster in Leviathan, D. H. Lawrence’s poem “Snake,” Machiavelli’s Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau’s evocation of werewolves in The Social Contract. Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal. (shrink)

The parable “Before the Law” is a pivotal text in the work of Franz Kafka. It tells of a man who looks for the law as the quintessence of his life. But his quest for meaning comes to a crisis because of a fundamental deception. Instead of interpreting the law as a personal mystery, he somehow objectifies it. His abstract view on life begets the obstacle-character that embodies all those who could bar him from finding the law. In this narrative, (...) the failure of finding the law results in a murder in which human life is reduced to bestial death. In this sense, Kafka’s narrative is a tale of anti-creation. In a close reading we analyze the text with attention for the ternary structure, i.e. the intertwined complex of the I-Thou relation and the I-It relation. The literary text is interpreted for its philosophical relevance. Franz Rosenzweig and Emmanuel Levinas but also Gilles Deleuze and Jacques Derrida have an important role in this way of reading. (shrink)

Exploring the relationship between conceptions of nature and (largely American) legal thought and practice, this study focuses on the politics and pragmatics of "nature talk"--as expressed in extra-legal disputes as well as different forms of legal discourse. Topics include the forces of nature, endangered species, animal experiments and bestiality. David Delaney demonstrates throughout that nearly any analysis of "nature" entails an interpretation of the essence of "humanity.".

En este ensayo el autor pone en directa relación la Digresión acerca del ingenio humano, las agudezas y ocurrencias y la risa que con tal motivo se origina, incluida en las Vici Vindiciae de Vico, con las tesis de la Ciencia nueva acerca de la facultad “verdadera” del ingenio y del carácter exclusivo humano de la risa. Con ello, la risa –junto al ingenio–se nos presenta como un elemento clave en la cadena de conquista de humanidad: el que representa el (...) paso del ‘hombre bestial’ al ‘hombre humano’ (“uomo ridente”). (shrink)

This essay analyzes a shift in racialized regimes of visual signification in French metropolitan culture during the long eighteenth century. The author explores two symbolically central figures—the dismembered black slave and the black rapist/lover who is “duly punished”—by undertaking an intertextual reading of two sets of illustrations of Voltaire's Candide (1759) designed by Moreau le Jeune. Separated by the French and Haitian Revolutions, Moreau's two sets of Candide illustrations (1787 and 1803) register an important shift in the French cultural imaginary. (...) The figure of the maimed black male slave was put directly in circulation in French visual culture during the eighteenth century. In contrast, interracial sexuality remained “unrepresentable” in French visual culture throughout the century. By the time Haiti declared its independence (1804), this taboo was contravened by Moreau's metaphorical substitution of the figure of the monkey in 1803 to picture the black male as a bestial rapist. (shrink)

The ‘dehuman’ and the inhuman are not, even partially, exterior to the human, as are the material and the living, the animal and the bestial; they represent rather the extremes, the very limits of the human. The inhuman forms the interior facet of the boundary which makes us human and concerns us as such. In that sense, it is never exterior to us.

Gianvincenzo Gravina (1664–1718) and Giambattista Vico (1668–1744) were two Neapolitan philosophers concerned with the way human society initially formed. They agreed that ancient myths were produced by a mentality that had a powerful ability for acute perception but could not reflect abstractly. They also agreed that wonder (la maraviglia) was an important force that enchanted the first peoples into founding society. They disagreed on how this happened. Gravina argued that early poets could see the truth and used persuasive poetry to (...) teach the people how to live. Vico argued that wonder impelled the first poets to create false divinities that frightened the first bestial people into founding civilization. While the two views differ, they show how Neapolitan Enlightenment thinkers developed radically different answers to questions that Northern Europeans were asking. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:CONRAD'S REPLY TO KIERKEGAARD by Jerry S. Clegg Varied answers to a fixed question have often guided interpretations of Conrad's novella, Heart ofDarkness. Who, that question has been, was Conrad's model for the enigmatic colonial official he calls Kurtz? Hannah Arendt has speculated that it was Carl Peters, an early explorer of east Africa.1 Norman Sherry has picked Arthur Hodister, a Belgian officer, as his candidate.2 Ian Watt has (...) likewise suggested historical figures: Henry M. Stanley and King Leopold of Belgium.3 Since all these men had a reputation for cruelty, those thinking that Conrad had them in mind when describing Kurtz have stressed the political message of his story; for them it is basically an indictment of colonialism. Stephen Reid has argued for a mythic model. Kurtz, he holds, was meant to be seen as one of the man-gods of Frazer's Golden Bough—a primitive king who is obliged to maintain his political position by engaging in certain bestial rites.4 Kenneth Bruffee has recendy cast Kurtz as Conrad's version of Byron's Childe Harold, arguing that the eventualjudgment on him by the character Marlow represents the effort of a squire-narrator to free himself from the pernicious influence of his knight-hero.5 For Bruffee Heart of Darkness is the prototype of a genre oftwentieth-century literature thatrejects the values ofaristocratic romance in favor of democratic norms. There may be truth in all these associations of Kurtz with known colonizers, mythical kings, and fictional knights, but they share a pair of deficiencies. They do not clarify the argument of Heart ofDarkness and so do not dojustice to its copious philosophical content. They also 280 Jerrys. Clegg281 fail to note those features ofKurtz that identify his model most precisely. The prototype of Conrad's famous character is biblical. He is a modern version of Abraham, and the work most intimately related to Heart of Darkness is Kierkegaard's panegyric on Abraham: Fear and Trembling. Conrad's story is, in fact, an addendum to Fear and Trembling written from the point of view of a poet-narrator—Marlow—who has accepted some, but not all, of the tenets of Kierkegaard's own poet-narrator, Johannes de Silentio. It is Marlow's quarrel with de Silentio that explains the structure of Heart ofDarkness, that constitutes its deepest message, and that tells the reader who the model for Kurtz was. An appreciation of that quarrel also helps clarify other matters. It makes plain, for example, the symbolism of light and dark that Conrad uses as an accompaniment to his argument.6 Heart of Darkness is, unarguably, a meditation on several subjects. It is about the Belgian Congo under the administration of King Leopold. It is also about European colonialism in general. It may be about other matters as well. Its primary subject, however, is the relationship of the religious to the ethical and the aesthetic. Since for Conrad the ethical and the aesthetic were allied, this subject may be best cast as the relationship ofreligion to art. It is introduced at the very start ofthe novella. Conrad's primary narrator there offers a theme for his seafaring friend, Marlow, to meditate on aloud: the great English knights-errant of the sea who, like "jewels flashing in the night of time," have born the torch of civilization into the mystery of an unknown earth.7 As this theme is announced, what was a mournful gloom that had hung over London becomes a lurid glare under the stars, and Marlow begins to talk of these, and still other, kinds of light and their relationship to the dark. The primary narrator has already identified what the dark stands for: time. Marlow does not challenge that equation. He only asks who, and with the aid of what kind of light, effectively combats "the night of time." During his meditation he considers four answers to his question, three of which are of primary importance. Certain "redeeming facts," illustrated by the restraint shown by hungry cannibals, quietly dazzle with reassurance, and so what mightbe called the person ofethical conduct— when stripped bare of pretense and the opaque "cloak of time... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LABYRINTHINE STRATEGIES OF SACRIFICE: THE CRETANS BY EURIPIDES Giuseppe Fornari The application of René Girard's mimetic hypothesis demands drastic re-interpretation of the history of our culture. The denunciation of sacrificial violence performed first by the Hebrew Bible and then by the Gospels figures as an objective watershed in the evaluation ofcivilizations and historical periods. This new methodological and theoretical situation brings Girard's ideas into conflict with current trends toward (...) relativism. The victim is the reality at the root ofhistory, an extra-historical element that disrupts the circle of interpretation and confronts us as an absolute value demanding our commitment one way or another. The epistemological problems thus become one and the same with a frankly religious need. In an elegant and paradoxical way Girard's thought gives new, vital emphasis to the Christocentric interpretation of human history typical of patristic and medieval thought. In this light, comparison ofour Christian Western civilization with its Classical predecessor becomes crucial. For the Middle Ages Antiquity was not separate from Christianity but itsfigura (préfiguration), in a positive or negative way. Modern culture, however, starting from humanism and the Renaissance, discovered the historical dimension of Classical civilization with ever-increasing admiration until, finally, Neoclassicism set it as the great alternative to modern civilization. This tendency became openly anti-Christian first with the French revolution and then with thinkers like Nietzsche and Heidegger. The very identity of Western culture is determined by its varying attitudes toward Classical Antiquity and Christianity, to such an extent that the different periods in history could be subdivided accordingly. The comparison is like asking ourselves 164Giuseppe Fornari what we would be without Christianity, or who we are and what Christianity is. The radical nature of these questions and the overall development of our culture therefore confirm Girard's radical, metahistorical model. Classical civilization is the inevitable touchstone for this trans-historical question of identity. The comparison is fascinating and complex, and it cannot be dismissed simply by juxtaposing victimary awareness and blindness. Girard himself in Violence and the Sacred notes the profound investigation of mimetic violence in Greek tragedy and pre-Socratic philosophy.1 Further research of my own into these aspects of Greek civilization confirms and widens the analysis, revealing a surprisingly varied and dramatic picture.2 The most interesting discovery may be that the Greeks had already faced this question of meta-historical identity in relation to the victim. I have chosen Euripides' lost tragedy,the Cretans, to illustrate this: its highly original subject within the corpus of Greek tragedy and its symbolic richness fully justify its choice. The few remaining fragments, which are almost entirely reproduced here, provide enough material for analyses that are necessarily more limited but more complete in themselves and thus more suitable for a single essay. Besides, they possess high literary quality and do not deserve to remain the sole preserve of specialists. The tragedy of the labyrinth Euripides probably wrote the Cretans before 430 B.C. The premisses of the plot are supplied by traditional mythical material. To demonstrate to his brothers that he has a divine right to the kingdom of Crete, Minos asks Poseidon to send a white bull from the sea for sacrifice. The god satisfies his request and Minos's power is confirmed, but he decided the bull is too beautiful to sacrifice. The wrath of the god is not slow to strike the king's family. Minos's wife, Pasiphae, falls in love with the bull and copulates with it. From this bestial union comes the Minotaur, the being, half-man half-bull, which is shut up in the labyrinth. Minos's nonperformance of the sacrifice therefore causes a grave crisis on the island, 1It could be said that the exciting comparison with Classical civilization is one of the inspiring forces of Violence and the Sacred. An analogous direction, as regards Virgil and sacrifice, is followed by Bandera in The Sacred Game (13IfI). See also note 1 1. 2G. Fornari, The Esoteric Knowledge of the Greeks: From Orphism to Tragedy, A SacrificialReading (forthcoming). Labyrinthine Strategies ofSacrifice165 jeopardizing the boundaries between man and animal. The monstrousness ofthe Minotaur represents the breaking-down ofthose differences that... (shrink)

The so-called War on Terror has given rise to a virulent discourse that demonizes all those who allegedly seek to do harm and kill Americans. A veritable bestiary of demonic and bestial creatures has been thus ensembled, constituting what one cannot but call an “imperial bestiary.” Here we do not so much consider the contents of this imperial bestiary, as much as seek to analyze its grammar, that is, the way it operates on certain moral assumptions that have very pernicious (...) moral consequences. Reconstructing the work of some recent critical philosophers, a possible way to dismantle all bestiaries, whether imperial or colonial, is elaborated. The work of Mary Midgley, Jacques Derrida and Donna Haraway are brought together to develop what has been here called a politics beyond monsters, beasts, roguish animals, and infesting vermin that must be at best domesticated, and at worst exterminated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.2 (2001) 179-200 [Access article in PDF] The Myth Of Numidian Origins In Sallust's African Excursus (Iugurtha 17.7-18.12) Robert Morstein-Marx The excursus on the ethnography and geography of North Africa in Sallust's Iugurtha (17-19) has lately attracted much attention. Until recently there seemed to be little to say but that it demarcated the structure of the narrative and relieved the reader with "Greek erudition and (...) fancies." 1 On one level, that is surely true enough, and consistent with the conventions of Roman historiography. 2 But a series of more probing studies of aspects of the digression by Carin Green, Renato Oniga, Thomas Scanlon, and Thomas Wiedemann has done much to lay bare the web of allusions and ethnographic typologies at work in the text and to demonstrate its thematic links with the larger narrative of the Iugurtha. 3 Yet while each of these studies has cast new light on the African excursus and demonstrated its considerable interest, no convincing reinterpretation of the digression's function in the monograph has emerged. 4 Another try, building on some of the best recent work, is warranted. I shall concentrate on the myth of Numidian origins that forms the core of the African excursus (Iug. 17.7-18.12). Its importance is clearly signaled by its central position in the digression; by the appearance of a "second introduction" of its own containing an eye-catching [End Page 179] claim to be contributing a heterodox, native account on the basis of original research (17.7); by its narrative form, through which it stands out from the surrounding descriptive material; and indeed by its length, far greater than the other parts of the excursus. I begin with a reexamination of the underlying structure of ideas that drives the narrative of 18.1-12 and characterizes the Numidian people against a complex background of ethnographic thought. Ultimately I wish to show that this deceptively rich narrative defines the Numidian people as an African counterpart to the Romans, yet also their polar opposite--a natural enemy with nomadic traditions and a heritage that makes them brothers to the Parthians, who at Sallust's time of writing were posing an extraordinary threat to Rome's eastern provinces and allies. The myth sets the Jugurthine conflict within a wider cultural context: this will be a war not merely between the Roman people and a particularly energetic and cunning African prince, but between Roman civilization and the mobile, treacherous, seminomadic "Other" whose dangerous intractability and capacity to erode the bases of civilized order were to be proven not for the last time in 112-105 B.C. 5The narrative begins with the aboriginal Libyes and Gaetuli, both tribes "savage and uncivilized, whose food was raw flesh and fodder on the ground, as for cattle. They were not controlled by customs, law, or anyone's power: scattered wanderers, they stayed wherever night forced them" (18.1-2). The traditional (and conventional) polarity between primitive savagery and civilization is thus implicitly invoked. 6 As far back as Odysseus' account of the Cyclopes (Od. 9.106-15), uncivilization was defined above all by the absence of agriculture and the constraint of law. 7 We may note, too, that native Africans are described by Sallust as eating like animals (uti pecoribus); they are thus explicitly living in a bestial condition. In our author's historiographical thought, certain other associations emerge from such a categorization. We may recall that in the [End Page 180] prologue of the Catilina we are told that the properly human state differs from the animal according to the degree to which men strive "not to pass their lives unnoticed, like cattle [veluti pecora] which nature has made to face the earth and obey their stomach" (Cat. 1.1). In Sallust's moral matrix, primitives such as the Gaetuli and Libyes are aligned on the side of corporis servitium rather than animi imperium, dependent on vires rather than ingenium; "warlike" they may be, but... (shrink)

Aristotle differentiates not just soul from body, but proximate from remote matter. Yet Aristotle can be easily misunderstood as holding that the body of the human being is essentially biological in nature, and that the human differs from the beast only in having an immaterial intellect. On the contrary, I show that for Aristotle even the form of embodiment in humans is different from the form of bestial embodiment, and that human embodiment cannot be adequately understood in the biological way (...) appropriate for understanding bestial bodies. Rather, the form of embodiment proper to humans is habit. (shrink)

This dissertation evaluates the efforts of modern philosophers of aesthetics and politics to distinguish judgment from both cognition and volition. To see the rule under which any given particular is to be subsumed as a law fabricated and imposed by either God or reason is to characterize free judgment in terms of sovereignty. This generates the skeptical dilemma of an infinite regress of the legitimacy of the rule's application that can only be avoided by seeing the act of judgment as (...) an act of will. Such a voluntarist account of politics and judgment must in the end deny plurality for identity, and efface the categorical Aristotelian distinction between the public and the private. The rejection of the teleology of publicity is thus tied to the collapse of phronesis back into a Platonic techne that strives to produce society and man in the image of the eidos. ;Three "solutions" to this aporia are considered. The first is Hannah Arendt's appropriation for politics of Kant's aesthetic judgment, which allows for categorical distinctions between the public and the private and between judgment and the observance of rules. This project fails on account of the extreme formalism of that aesthetics. The second reads the third Critique as an allegory of politics. This too fails, as Kant's aesthetic community relies upon the productive legislation of the genius, a figure whose lineage reaches back to the half divine, half bestial figure of Machiavelli's founding prince. The third is a direct return to Aristotle. While his ethical philosophy offers us our best account of phronesis and epieikeia, it does not sufficiently engage the motivations for its own rejection. Hobbes, Locke, and Kant were not so taken with the model of mechanistic science that they simply forgot that in their common lives they regularly made judgments without the implicit or explicit guidance of a rule. The modern is better seen as a Weltanschauung, less a description that might be right or wrong than a desire. The alternative to the aporia of judgment is not found in the aesthetic but in a Wittgensteinian form of philosophical therapy. (shrink)

Tolstoy's remarkably economical novella The Kreutzer Sonata manages to create one of the most intense, vivid, and thought-provoking portraits of jealousy in the canon, and is as disturbing to read today as it no doubt was in 1889. The rather unhinged protagonist, Pozdnyshev, explains to his traveling companion and narrator: “Of all the passions, it is sexual, carnal love that is the strongest, the most malignant and the most unyielding” (48). This article identifies not only the “bestial” element of human (...) sexuality in Tolstoy's story but also the array of animals which the author offers to ventriloquize a certain complex (and times confused) polemic about gender relations. In other words, this analysis offers an interpretation of The Kreutzer Sonata as bestiary; one which offers a moral taxonomy of creaturely life and creaturely love. From the green-eyed monster of jealousy itself, through the Venus fly-trap and porcine couple, right up to the wild murderous beast, Pozdnyshev's confession is read via this zoological trope in order to emphasize, and question, that mobile border which separates the human from the inhuman, the civilized from the uncivilized. And it does so in order to highlight the incoherencies of the anthropocentric discursive regulation of this very same borderline. Animality and animosity are thus presented as the twin avatars of Tolstoy's intense and challenging vision. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Keaton’s Yoke ALEX PRIOU Love, looking at me meltingly under dark-lidded eyes, by all manner of charms throws me into the limitless fishing-net of the Cupridian [Aphrodite]. And I tremble as he approaches, just as an aged, yoke-carrying horse that has carried off victory unwillingly walks into contest with swift chariots. (Ibycus, frag. 287)1 The resurgence of love in his old age prompts a fearful reflection in the aged (...) Ibycus. Love sets a trap he must escape, but cannot for all its infinitude, just as an athlete’s prior victories never sate his love of competition. Ibycus discovers the paradox of his situation, that the satisfaction sought is immeasurably greater than what a finite victory could ever provide. The competition of rival lovers for the beautiful beloved appears to Ibycus to be an immediate contrivance for an ineluctably distant object. Ibycus thus learns that love is human finitude’s attempt to answer the question that it itself raises. And yet, despite his fear, Ibycus’ reflection seems more comic than tragic, for his bestial image of love’s effects subverts all pretense to participation in the divinity of Aphrodite. The thought that the ultimate object of love’s longing is spurious may engender fear, but fear, in giving us an acute sense of our mortal limits, has the potential to take us outside ourselves and so prepare us for laughter. For reasons this tattered remnant of Ibycus’ poem doesn’t give us, the apparent tragedy of love—of the simultaneous necessity of pursuing the beloved and impossibility of complete satisfaction—appears resolved by our very awareness of it.2 Thankfully, Ibycus’ vision of love as both tragic and comic has a striking corollary in the films of Buster Keaton, who arion 26.3 winter 2019 mirrors the tension between yoked racehorse and reflective poet in the determined striving of his protagonists and the reflective depth of his directing. As both actor and director, Keaton is both striving body and disembodied thought, both trapped in finitude and reflecting thereupon. Ibycus and Keaton may bear love’s yoke, but they know the yoke’s on them. Keaton’s films thus promise some glimpse into the possibility of a comic redemption to the tragedy of lover and beloved, so much so that it seems one can connect these tatters of papyrus using celluloid film. Can the finite, particular beloved ever satisfy the lover, who strives to escape the limits of finitude? Or must we resign ourselves to our own transience? Keaton explores these questions by crafting comedies around characters who so strive. These characters—strikingly similar in their circumstances and ambitions, yet with slight but essential differences in disposition—offer Keaton a way to look for who bears easiest the weight of love’s yoke. I’ve chosen four films—Cops, College, The Playhouse, and The General—that, when ordered thus, bring us gradually from unavoidable tragedy to the unwitting self-redemption that comes when we laugh at ourselves. Discussing each in turn, I hope to offer some glimpse into what Ibycus may have had in mind when he playfully cast man’s most distinctive and serious striving as a yoked horse. CO P S (1922) the burden of love’s yoke is nowhere clearer in Keaton’s films than in Cops, as the film’s ominous epigraph warns: “Love laughs at locksmiths.” Keaton the director elegantly and humorously frames Keaton’s character as among love’s prisoners. The first shot features him behind bars, gripping them from within what appears to be a jail cell, as he and his love interest carry on a discussion with forlorn looks on their faces. Because the camera is on her side of the bars, we are invited to imagine ourselves free from Keaton’s predicament. She bids him farewell, and as she walks away Keaton the 116 keaton’s yoke director cuts to the other side of the bars and at a greater distance from the action. We discover that he isn’t in jail, but standing outside the gates to a great mansion. Keaton’s love interest turns around and speaks again, now stern rather than solemn. An intertitle finally... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Nietzschean Bestiary: Becoming Animal Beyond Docile and BrutalRobert N. MatuozziA Nietzschean Bestiary: Becoming Animal Beyond Docile and Brutal, edited by Christa Davis Acampora and Ralph R. Acampora ; xxxii & 371 pp. Lanham, MD: Rowman & Littlefield, 2004. $75.00 cloth, $29.95 paper.What if instead of re-reading Nietzsche's corpus, one imagines what it would be like to view his works on the "Nietzsche Network." Imagine a spectator situated (...) in the middle of a vast amphitheatre preparing to watch these simulacra. Gazing up and around a series of giant, flat-screen video monitors arrayed in layers around the interior wall of an amphitheatre, the spectator views and listens to Nietzsche's multi-media texts as, simultaneously, they seductively flash their provocative narratives in flickering streams of high-resolution sounds, words, and images.The Nietzsche Network is a roaring carnival. It consists of colorful, speculative historical dramatizations and equally enticing philosophical tableaux. Dark ambient musical motifs, laced with interludes of explosive, uncontrollable laughter, are a subliminal presence. Lurid detective stories and somber cultural narratives and slashing polemics implicate cultures and ideologies in festivals of cruelty and soul-murder. Poignant genealogical and aphoristic asides on joy [End Page 443] and work and suffering, weird psychological skits starring well-known ensemble casts are accompanied by hoarse oratory, soaring denunciations, and sober etymological digressions. Intermittently, the spectator is startled by abrupt, sometimes strident proclamations, like confessional bulletins shot from nowhere.Nietzsche's siren-like prose exhibits an extraordinary rhetorical range. This is particularly true of the polychromatic works originally published in the gloaming of his career in the period after 1886. Nietzsche's compelling, fluvial style is accounted for in this volume by the kinetic movements of lizards and the halcyon tones of birds, to his study of the ancient Greek and Roman classics (and to the lost musicality of Greek tragedy in particular), and to his emphatic embrace of a kind of plosive, Dionysian philosophical technics.The content of the Nietzsche Network spans thousands of years of human experience and thought. A prequel features a substantial bestiary of traditional animals and emergent biomorphic forms set in a variety of carefully animated zoological dioramas. Among the modernists, has there been another thinker as strangely original and subversive? Allowing for fundamental differences, only Valéry comes to mind. Like the silent, ruminating cow in his "untimely" essay on history, Nietzsche prevents the past from injecting noise into present and future philosophizing. He will be the exemplary philosopher of the other-than-human as he campaigns to re-inscribe human animality into the zoological text of nature. Through explicit pronouncements and in scattered philosophical sorties involving human animality and his (desperate) utopist vision of human perfectibility, Nietzsche attempted to attain—at least conceptually—what Richard Rorty aptly calls the "historical sublime, a future which has broken all relations with the past."This excellent collection of essays on Nietzsche's bestiary demonstrates the surprising persistence of the animal imaginary in his thought. The various pieces also illuminate the multiple thematic and linguistic transformations Nietzsche develops as he enlists animals in his feral, anti-essentialist dialectic on the obscure continuum between "humans," "animals," and "nature." It turns out that a degraded version of Nietzsche's strangest thought experiment on animalism, the übermensch, is perhaps only a few years away from being produced through emerging boutique bioengineering, a prospect that has some commentators on both the left and the right blinking with apprehension. These essays amply demonstrate that Nietzsche's bestial philosophy of human and animal alterity subverts, among other paradigms, the strange Cartesian notion that animals are mechanical automata while humans are transcendental rationalists. As one commentator in this book broadly puts it, Nietzsche shows that the various schemes concocted to put an illusory distance between humans and animals have ended up being an immensely corrupting "pretense" (p. 224).Precursor bestiaries are indicated in this volume, though the medieval tradition originating in the Physiologus is here mostly displaced by a different [End Page 444] menagerie of cultural affiliations. The fabulist Aesop is present, along with Aristotle and Montaigne, though La Fontaine is not, and Pico Mirandola's famous remarks in his Oration on... (shrink)

Cette étude se propose d’éclairer le sens des formules concernant les états extrêmes que comporte la théorie aristotélicienne de la vertu morale exposée au deuxième livre de chaque Éthique ; les états moraux particuliers associés au courage servent à illustrer la structure générale de la notion d’extrême. L’examen porte d’abord sur les vices de lâcheté et de témérité, pour ensuite se tourner vers les états limites (l’absence de crainte, la crainte maladive ou bestiale, l’héroïsme) et enfin vers les états mixtes (...) de mollesse et de fermeté. La taxonomie ainsi précisée est conceptualisée par un schéma traduisant les rapports entre les différents états. (shrink)

The paper analyzes a rare Attic red-figure chous of the fifth century BC, which depicts Pan and a young woman holding a hydria in a wild natural environment. The bestial god appears, emerging from his cave, while the maiden strides towards a rocky spring surprised at the encounter. The natural landscape of the scene is remarkable, as the hydriaphoros is not framed by architectural elements denoting urban culture, such as a fountain-house, but by various types of rocky formations, one of (...) which is sacralized by the rural deity inhabiting it. Pan’s rocky abode instead of a man-made cult-place and the spring instead of a fountain-house imply that the maiden is away from the civilized space of her polis and oikos and in the potentially frightful realm controlled by wild divinities, one of whom is famous for the fear created by his shriek. The discussion focuses on the meaning of hydriaphorai at the fountain or the spring, an iconographical and cultural topos referring metaphorically to maidenhood; and on Pan as a deity of mixed nature (human and bestial) who is an appropriate companion of nubile girls at the brink to maturation. Pan’s cave-abode and the rocky spring construct a conceptual space of eschatiai which visualizes the liminality of the maiden’s condition from maidenhood to becoming a numphè, i.e. at the threshold of marriage. The image activates elements drawn from three semantic realms, namely maidenhood, interstitial divinities and the Anthesteria. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Talking Greeks: Speech, Animals, and the Other in Homer, Aeschylus, and PlatoJo-Ann SheltonJohn Heath. The Talking Greeks: Speech, Animals, and the Other in Homer, Aeschylus, and Plato. Cambridge: Cambridge University Press, 2005. viii + 392 pp. Cloth, $90.In The Talking Greeks, John Heath has produced a provocative exploration of the significance of language capacity in ancient Greek society. In his Introduction, he investigates how the Greeks came (...) to associate speech—the word he uses to denote language capacity—with rationality and how, correspondingly, logos came to mean not simply the articulation of a thought, but the thought itself. Heath presents three major theses about the Greeks and speech. First, the Greeks believed that the most important difference between themselves and other animals was that humans were capable of speech and animals were not. They thus considered speech to be a defining characteristic of humanity. The dichotomy of the talking man and the speechless animal was established early on and persisted in Greek thought of all periods. Heath contends that the speechless animal Other also became the primary metaphor for Other humans—women, slaves, and non-Greeks, for example—who, though capable of speaking, were considered to be incapable of the effective use of speech. In turn, the seeming inability of these Others to be "fully human" (a phrase that Heath uses frequently) provided Greek men with the justification to relegate them to subordinate positions and, in effect, to silence them. Heath maintains that language capacity was central to all judgments about status, and that the Greeks granted authority to their leaders on the basis of mastery of speech.Second, the Greeks believed that speech enabled humans to create culture and thus evolve away from the bestial. Speech was fundamental to the development of systems of justice and morality and therefore to the rise of the polis.Third, because men in Greece, and in Athens in particular, attached such great value to the mastery of speech, they were keen to engage in debates. Heath asserts that one of the most important legacies of the ancient Greek world is its emphasis on open inquiry about political, social, and cultural traditions. He chides scholars who focus negatively on the Greek construction of dichotomies and hierarchies and therefore fail to acknowledge that the Greeks continually challenged these very constructions. Heath insists that we have inherited from them a pattern of public self-criticism, and that this pattern has brought about progress in the modern western world in improving the status of the "muted" members of the community.These three propositions underlie Heath's discussions throughout the book as he examines the ways in which Homer, Aeschylus, and Plato used the [End Page 603] metaphorical framework of the talking human and the speechless animal to explore the definition of humanity. Heath recognizes that the terms "mastery of speech" and "fully human" resist easy definition, and he devotes the book to illustrating how the Greeks variously employed these terms. Throughout, as Heath develops his own arguments, he draws on and provides extensive discussions of the work of many other scholars in a wide range of disciplines. His arguments are also reinforced by his close philological analyses of the Greek texts.In chapter 1, Heath begins his investigations of speech and human status in Homer. He notes that, in the many animal similes in the Iliad and the Odyssey, Homer attributes to the animals the same motivations for actions as the humans with whom they are being compared. The animals, however, are not capable of communicating their thoughts through speech. Within the human community, it is control over speech that characterizes humans with authority and distinguishes them from men of lower status and from non-Greeks, women, and slaves. The Trojans, when engaged in attack, for example, are depicted as bleating like sheep. And, according to Heath, Helen is portrayed as speaking impetuously and inappropriately. The voices of even royal Greek women carry no authority in public matters. In Homer, a hero is a person who is accomplished both at speaking words and at doing deeds, and only a man has the potential to combine these skills.Heath maintains in chapter... (shrink)

Where might one start? Of “education,” the Latinate etymology is evocative: to draw out, draw away from, draw forth. The echoes are linear. Ex tenebras lux, from the shadows of ignorance to the luminosity of knowing, a path towards experience out of innocence. That path has its symbolic origin in the library of third and second century B.C. Alexandria, where Aristophanes of Byzantium and Aristarchus of Samothrace first coined the word canon, as the mark of a standard of excellence. In (...) that library we would have found the Aristotelian texts summoning the human race to immortality, through an education that alone can lead us from the conditions of bestiality to those of divinity. Political order rests on an education in harmony with the constitutional structure of the city state; ultimately however eudaimonia, the highest joy known to man, lies in the educated exercise of the soul’s faculties in conformity with the most perfect virtue through philosophical contemplation. Here is the telos of the pedagogic journey. (shrink)

I consider Kant’s use of claims about “nature’s ends” in his arguments to establish maxims of homosexual sex, masturbation, and bestiality as constituting “unnatural” sexual vices, which are contrary to one’s duties to oneself as an animal and moral being. I argue, first, that the formula of humanity is the principle best suited for understanding duties to oneself as an animal and moral being; and second, that although natural teleology is relevant to some degree in specifying these duties, it (...) cannot play a sufficiently robust role to establish Kant’s conclusion. I also discuss what the formula of humanity (along with warranted attention to natural teleology) suggests about the morality of homosexual sex, masturbation, and bestiality. (shrink)

in this article, we experience the exercise of a screen ethnocartography in agency with the film Beasts of the southern wild by the director Benh Zeitlin. We tested a film experimentation that led to a renewed writing ways of life. We bet on cinema and childhood as possibilities for creating cracks and a stutter of language for the creation of new worlds and ways of living. In cinema images less as a representation, and more as art that proposes incompleteness, fissure, (...) a hole in appearances. In childhood as an exercise of differentiation and resistance to dominant narratives in a given context. In childhood as a limiting experience of/in language, tirelessly exposing the human condition in front of the world. Thus, accompanying the main character of the plot, little Hushpuppy — a six-year-old resident of the “Charles Doucet Island”, experienced as “the Bathtub” —, we are shaken by the forms of life there, considered bestial and not recognized by city humans. Hushpuppy, his father and friends resist attempts to destroy their existence by the forms of the state that try to domesticate them, imbued with the logic that primitives must come to civilization, just as children must become adults. (shrink)

In this article, I discuss Frantz Fanon’s position regarding Hegelian dialectics. Dialektik von Herr und Knecht is one of the most important analytical keys of Phänomenologie des Geistes, published by G.W.F. Hegel in Jena in 1807. However, in his Peau Noire, Masque Blancs, written when he was 25 years old and published in 1952, Fanon argues that under the colonial yoke, reciprocity, a fundamental characteristic of dialectics, is not effective. The question I seek to answer in this study is: does (...) the argument presented by the author represent a rupture, reaffirmation or transfiguration of the Hegelian dialectic? Faced with this challenge, I place some excerpts from Phenomenology, and from Black Skins, White Masks, as well as other later writings by Fanon, in dialogue, to then problematize the closeness, tensions and ruptures between both. The argument I present here will revolve around Fanon’s defense of the existence of a transfigured appropriation of the dialectic, based on three interdependent elements: 1. Fanon shares the Hegelian assumption that identity is produced in the reciprocal relationship with its otherness. 2. Colonial estrangement interdicts this reciprocity by promoting a decay of political domination to the level of objectifying and bestialized denial; 3. Colonial negation is not ontological, but historical and, therefore, can be overcome by a practical-sensitive negation, carried out by the colonized themselves. Throughout this paper, I discuss some implications of the argument defended here in the context of the specialized literature on the thinking of both authors. (shrink)

I examine the kind of alliances and ironic crossing of borders that constitute an ecofeminist subjectivity by appeal to a postcolonial literary imagination and ahistorical philosophical argumentation. I link the theoretical insights of a modern short story “Bestiality” with a concept of “congenital debt” found in the ancient Vedic corpus to suggest a notion of ecological selfhood that transforms into the idea of a “gift community” to encompass nonhumans as well as people on the fringes of society, but without (...) the usual problems associated with such a two-pronged extensionism. (shrink)

It has been described as a "tame longing without any particular object" by Schopenhauer, "a bestial and indefinable affliction" by Dostoevsky, and "time's invasion of your world system" by Joseph Brodsky, but still very few of us today can explain precisely what boredom is. _A Philosophy of Boredom_ investigates one of the central preoccupations of our age as it probes the nature of boredom, how it originated, how and why it afflicts us, and why we cannot seem to overcome it (...) by any act of will. Lars Svendsen brings together observations from philosophy, literature, psychology, theology, and popular culture, examining boredom's pre-Romantic manifestations in medieval torpor, philosophical musings on boredom from Pascal to Nietzsche, and modern explorations into alienation and transgression by twentieth-century artists from Beckett to Warhol. A witty and entertaining account of our dullest moments and most maddening days, _A Philosophy of Boredom_ will appeal to anyone curious to know what lies beneath the overwhelming inertia of inactivity. (shrink)

Contemporary Americans often view politics as a necessary evil. This cogent and original work uses the ancient philosophical/political tradition of the West to rehabilitate the high vocation of the politician and the citizen in the modern world. Kane seeks to locate human beings and such philosophical notions as the public good, public virtue, public speech, and public action in the complicated middle between the bestial and the divine. To live as best we can on that middle path is, he believes, (...) our vocation as citizens. The classical tradition comes alive in fresh ways as Kane applies it to key contemporary events and figures, from Elizabeth Bouvia (who wanted medical practitioners to help her die) to Rosa Parks (who wanted equal treatment on a city bus). By paying close attention to our public transactions, Kane shows how the reality of the common good operates in our lives. Kane contends that we are more likely to rediscover our political selves not in broad national or international forums but in our local communities where character can be displayed and authentic speech and action become possible. Aimed at a broad interdisciplinary and inter-professional audience, Kane's book is accessible to the interested citizen. Weaving through the tangled web of contemporary politics, including issues of character and virtue, Kane sails against the prevailing currents of strident individualism and political cynicism. (shrink)

En la filosofía política aristotélica, la definición biológica del hombre como “animal político” funciona como justificación para la creación de la polis. Aristóteles clasifica al hombre como un animal caracterizado por su habilidad racional y comunicativa, capacidades que lo determinan a formar comunidades con miras a la “vida buena”. Esta definición de la naturaleza humana supone la creación de la polis; el único espacio donde el hombre puede desarrollar sus virtudes y vivir una vida plena y feliz. Dentro de esta (...) polis, Aristóteles le otorga participación política solo a los individuos que cum-plen con esta descripción. A partir de esto surge la pregunta: ¿Quiénes quedan al margen de la polis? Fuera de este espacio político quedan todos los que hacen posible la vida en la polis: las mujeres, los trabajadores y los esclavos. Más allá de estas redes económicas y sociales queda el propósito de este artículo, la “bestia”: los seres humanos caracterizados por su carencia de disposición política tanto en instancias desarrolladas como la polis y las más primitivas como la aldea o el hogar. De esta manera, los hombres bestiales son inútiles para la vida en comunidad ya que no cumplen con su función como animales políticos y sus acciones no están guiadas por un bien común. Se argumentará que a partir de esto que la bestia padece una triple exclusión: la política, al negársele la posibilidad de ciudadanía; la social, al prohibirle la partici-pación en la comunidad que sustenta económicamente a la polis y, por último, la biológica al ser excluido del conjunto conceptual de los hombres. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Open Letter to the Enemy:Jean Genet's Holy WarSteven Miller (bio)J.G. seeks, or is searching for, or would like to discover, never to uncover him, the delicious enemy, quite disarmed, whose equilibrium is unstable, profile uncertain, face inadmissible, the enemy broken by a breath of air, the already humiliated slave, ready to throw himself out the window at the least sign, the defeated enemy: blind, deaf, mute. With no arms, (...) no legs, no stomach, no heart, no sex, no head, all told a complete enemy, already bearing all the marks of my bestiality that now need never be used (too lazy anyway). I want the total enemy, with immeasurable and spontaneous hatred for me, but also the subjugated enemy, defeated by me before he even knows me. Not to be reconciled with me, in any case. No friends. Above all, no friends: a declared enemy, but not a tortured one. Clean, faultless. What are his colors? From a green as tender as a cherry to an effervescent violet. His size? Between the two of us, he presents himself to me man to man. No friends. I seek an inadequate enemy, one who comes to capitulate. I will come at him with all that I can muster: whacks, slaps, kicks, I will feed him to starving foxes, make him eat English food, attend the House of Lords, be received at Buckingham Palace, fuck Prince Phillip, and be fucked by him, live for a month in London, dress like me, sleep in place of me, live in place of me: I seek the declared enemy.This brief text was not published until 1991. It was almost published in 1975 in a book of homages to William Burroughs and Brion Gysin, and was to have been preceded with the following explanation of its origins, written by Gysin:In Tangiers in 1970, Jean Genet asked me what ever happened to the English underground newspaper The International Times. When I responded that the editors were having trouble with the law in England because of the newspaper's ads for "special friendships" [amitiés particulières], he exclaimed: "Why friends? Personally, I am looking for a suitable enemy [un ennemi à ma taille]." He then wrote the following text...[qtd. in Genet, ED 9]Hence the anecdotal reason for the form of the personal advertisement. In 1991 the text was published—according to Genet's wishes—as the first page of the posthumous collection of his political writings and interviews, L'ennemi déclaré.1 Such a placement demands more than an anecdotal explanation. What is a personal ad doing as the preface to a collection of political writings? Albert Dichy, the editor of the collection, notes that this text has the status of an exception: "the text that opens the collection does not belong to the group of writings that make up the book as a whole" [ED 331]. Each of the other texts emerges from Genet's involvement in specific political events (the [End Page 85] 1968 Chicago Democratic National Convention, the Chatila massacre) or with named political figures and groups (the Palestinians, the Black Panthers, the Baader-Meinhof group, George Jackson, Angela Davis), whereas the form of the ad that he wrote for Gysin seems to number it among his literary works. Nonetheless, this eccentric text remains the first in the collection—"en tête de l'ouvrage," is Dichy's phrase—and gives the book its title. Rather than serving as an introduction to the other texts, this text, by virtue of its exceptional form, is a challenge addressed directly to the public. Dichy himself is the first to accept this challenge. His editorial notice passes quickly from anecdote to interpretation:The fact that Genet wished to see the publication of his political articles preceded by this precise text has an unavoidable impact, not only on the identity of the author, now partially assimilable to a fictional character ("J.G. cherche, ou recherche..."), but also on the way in which we read the different texts in the collection, now that we have been given the general tone and the note of secrecy.[ED 331]These suggestions are apt enough... (shrink)