Resumen Este trabajo intenta esbozar ciertas reflexiones en torno al papel de los afectos en la práctica de la autotraducción en la poesía mapuches. Vemos en el “giro afectivo” una posibilidad de comprender la producción literaria bilingüe de autores mapuches como un proyecto ético de reapropiación lingüística y de transgresión de límites culturales originado en afectos de “pulsión genealógica” que ponen en cuestión la autoridad de la lengua del colonizador, a la vez que resultan en la generación de los llamados (...) “afectos activos”, propios de un aumento del grado de potencia expresiva y de agenciamiento de los sujetos. Para ello trazaremos una cartografía de conceptos de distintos pensadores que han reflexionado acerca de los afectos y la lengua, desde Jacques Derrida a Gloria Anzaldúa, pasando por el ineludible Gilles Deleuze en su estudio de los afectos en la Ética de Baruch Spinoza. Asimismo, pondremos estos conceptos en diálogo con las propias reflexiones de varios de autores mapuches: Liliana Ancalao, Adriana Paredes Pinda, María Teresa Panchillo, Leonel Lienlaf y Elicura Chihuailaf.In this work we wish to analyze the role of affects in self-translation in Mapuche poetry. We see in the “affective turn” a possibility to understand the bilingual literary production of Mapuche authors as an ethical project of linguistic reappropriation and transgression of cultural limits originated in affects of “genealogical drive” that question the authority of the language of the colonizer, as well as resulting in the generation of “active affects”, inherent to the increase of the degree of expressive potency of the subjects. For this purpose, we set out to trace a cartography of concepts by different thinkers who have reflected upon the relationship between affects and language, from Jacques Derrida to Gloria Anzaldúa, as well as the inescapable contributions of Gilles Deleuze on the study of affects in Spinoza’s Ethics. Also, we will link such concepts with the reflections of five Mapuche poets, Liliana Ancalao, Adriana Paredes Pinda, María Teresa Panchillo, Leonel Lienlaf and Elicura Chihuailaf. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DHARMA AND DESTRUCTION: BUDDHIST INSTITUTIONS AND VIOLENCE Christopher Ives Stonehill College Photographs ofgentle monks in saffron, the cottageindustry ofbooks on mindfulness, and the Dalai Lama's response to the Chinese invasion of Tibet have all helped portray Buddhism as the "religion of nonviolence." This representation ofBuddhism finds support in Buddhist texts, doctrines, and ritual practices, which often advocate ahimsa, nonharming or non-violence. The historical record, however, belies the portrayal of (...) Buddhism as a "religion of nonviolence." By reinterpreting early doctrines of ahimsa, Buddhist thinkers have legitimated violence in particular situations, practitioners have committed acts of violence, and Buddhist institutions have lent support to other institutions—social, political, and governmental —engaged in violence. In this paper I will examine Buddhist perpetration andjustifications ofviolence,1 with particularfocus on Japan, arguing that, historically, Buddhists' desire for institutional security has taken precedence over total rejection of violence. 1 I have restricted my discussion to the killing of other human beings. I do not consider suicide andthe killing ofnon-human animals. For a discussion ofBuddhism, (self-)sacrifice, and suicide in relation to Girard's theory, see Charles D. Orzech, '"Provoked Suicide' and the Victim's Behavior." 152Christopher Ives Non-violence The doctrine of ahimsa figures prominently in early and Theravadan Buddhism. The first ofthe five moral precepts (panca silani) in Buddhism is ahimsa, and in the Dhammapada the historical Buddha purportedly states, All are afraid of the rod. Of death all are afraid. Having made oneself the example, One should neither slay nor cause to slay. (Ross 202) The Buddhaalso sketches the consequences ofhurting orharming (himsa): Who with a rod does hurt Beings who desire ease [of nibbana], While himself looking for ease— He, having departed, ease does not get. Theravadan monastic codes and practices, such as the uposatha biweekly confession of moral transgressions and recitation of the 227 rules in the Patimokkha (Skt. Pratimoksa), are closely tiedto ahimsa. One ofthe Patimokkha's four "offenses of defeat" (parajika dharmas), for which the punishment is immediate expulsion of the monk or nun from the order, is killing another human being (Prebish 11). Mahayana texts continue this exhortation against violence. For example, in the Dasabhimika-sutra we read that a Buddhist "must not hate any being and cannot kill a living creature even in thought."2 Early Buddhist texts include depictions ofthe ideal Buddhist king, the cakravartin-raja or "monarch who turns the wheel [of the Dharma],"3 as an exemplar of nonviolence. Contemporary Buddhist activist Sulak Sivaraksa expresses it, this king is a "an ideal ruler, a world-conquering monarch, who subdued the earth through righteousness rather than war" (Sulak 129), and whose ten main duties include striving for peace and ruling with nonviolent benevolence (129). For well over 2000 years 2 Cited in Har Dayal, The Bodhisattva Doctrine, p. 199; quoted by Kraft, 5. In much ofthe first section of this paper I am indebted to Ken Kraft's introduction to his volume. 3 The metaphor ofturning the wheel refers to the historical Buddha's teaching ofthe Dharma and the later propagation of it by others. Dharma and Deconstruction153 Buddhists have lifted up Indian king Ashoka (c. 272-236) as an instantiation of this ideal. The early Buddhist doctrine of ahimsa should not, however, be construed as compassionate altruism. Luis Gómez and other scholars have delineated how ahimsa at first did not express some sort of underlying altruistic concern for the well-being of others. Vegetarianism and other ways of avoiding himsa, harming or violence, derived from ancient Indian ritual taboos againstblood and otherbodily liquids (Gómez 36). Buddhists ethicized and psychologized earlier notions of physical pollution, and advocated abstention fromviolenceprimarily as ameans ofself-cultivation, as a way to keep the mind pure, like an unstained cloth (36). (Scholars have even argued that the positive expression oíahimsa, the practice ofdirecting metta (loving-kindness) to others, originally had as much or more to do with the spiritual benefits accrued by the person directing the metta as it did with the well-being of the person receiving it. Only later was ahimsa furtherreinterpreted as positive regard forothers, as seen in the bodhisattva ideal of Mahayana Buddhism. Violence in Buddhist History At numerous times over... (shrink)

In "Heidegger and Criticism: Retrieving the Cultural Politics of Destruction", William Spanos examines the controversy, both in Europe and the United States, surrounding Heidegger and recent disclosures about his Nazi past. Not intended as a defense or apology for Heidegger's thought, Spanos instead affirms the importance of Heidegger's "antihumanist" interrogation of the modern age, its globalization of technology, and its neo-imperialist politics. The attack on Heidegger's "antihumanistic" discourse (by "liberal humanists" who have imported the European debate into the United States) (...) aligns ideologically with the ongoing policing operations of William Bennett, Allan Bloom, E.D. Hirsch, Roger Kimball, Dinesh D'Souza, and others in the spheres of higher education and cultural production. Throughout his arguments, Spanos focuses not so much on Heidegger the historical subject, as on the transformative cultural and political discourses and practices, implicit in and enabled by Heidegger's interrogations of Being and Time, that have led to the contemporary emergence of the multiplicity of resistant "Others" colonized by hegemonic discursive formations. All the while he reminds us that Heidegger's philosophic interrogations eventually generate a diverse body of transgressive writing and an oppositional intellectual climate in the West. Spanos is author of "Repetitions: the Postmodern Occasion in Literature and Culture" (1987) and "The End of Education: Toward Posthumanism" (Minnesota, 1992), and the editor of "Martin Heidegger and the Question in Literature" (1980) and the co-editor of "The Question of Textuality: Strategies of Reading in Contemporary American Criticism" (1982). This book is intended for those in the fields of philosophy, literary theory, political theory. (shrink)

Philosophers have not resisted temptation to transgress against the logic of their own conceptual structures. Self-undermining position-taking is an occupational hazard. Philosophy stands in need of conceptual therapy. The author describes three conceptions of philosophy: the narcissistic, disputatious, and therapeutic. (i) Narcissistic philosophy is hermetic, believing itself to contain all evidence that can possibly be relevant to it. Philosophy undertaken in this spirit has led to defensive, monadically isolated positions. (ii) Disputatious philosophies are fundamentally question-begging, animated by assumptions that philosophical (...) adversaries reject. (iii) The intention of therapeutic philosophy is to study philosophical positions from the standpoint of their internal consistency, or lack of it. In particular, its interest is in positions that either compel assent, because they cannot be rejected without self-referential inconsistency, or self-destruct because self-referential inconsistency cannot be avoided. The article's focus is on the latter. Several examples of self-undermining positions are drawn from the history of philosophy, exemplifying two main varieties of self-referential inconsistency: pragmatical and projective. (shrink)

Bataille and Blanchot figure among the authors who influenced Foucault the most. In this article we show how close Foucault was to these authors and to what extent his proximity to them permitted him to deviate from the prevailing university culture, i.e from those great philosophical machines called Hegelianism and phenomenology. The questions we pose are the following: How important were these experiences for Foucault? How did he receive them? How did he transform their theoretical stakes? In the first part (...) of this article we argue that the encounter with Bataille’s work and Blanchot’s was for Foucault a kind of experience of the self. In Bataille and Blanchot, experience has the function of wrenching the subject from itself: it is a project of desubjectivation and of destruction of the notion of the foundational subject and system in philosophy. The second part focuses on the contemporary experience of the death of God. According to Foucault, such an experience discloses the limitless reign of the Limit. We show how the work of Bataille, his discovery of the categories of irreversible expenditure, death, sacrifice, excess, limit, negativity pushes the system beyond its limit. In the third part we take into account the literary experience of Blanchot. According to Foucault, Blanchot’s work focuses on the disappearance of the subject: the being of language emerges in the exclusion of the subject. How is it possible to have a language stripped of dialectics? (shrink)

"Genocide is a problem: not only the terrible fact of mass death, but also how the relatively new idea and law of genocide organises and distorts our thinking about civilian destruction. Taking the normative perspective of civilian immunity from military attack, this book argues that the implicit hierarchy of international law, atop which sits genocide as the "crime of crimes," blinds us to other types of humanly caused civilian death, like bombing cities, the "collateral damage" of missile and drone strikes, (...) blockades, and sanctions. In other words, talk of genocide functions ideologically to detract from systematic violence against civilians perpetrated by governments. The Problems of Genocide also contends that this violence is the consequence of "permanent security" imperatives: the striving of states, and armed groups seeking to found states, to make themselves invulnerable to threats. To solve the problems of genocide, this book proposes replacing it with permanent security, which should be criminalized"--. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editors' IntroductionAlan D. Schrift and Shannon SullivanThe articles in this special issue of the Journal of Speculative Philosophy were selected from revised versions of papers that were originally presented at the sixtieth annual meeting of the Society for Phenomenology and Existential Philosophy (SPEP) at Texas A&M University in College Station, Texas October 13–15, 2022.Michael Hardt of Duke University and Patricia Pisters of the University of Amsterdam gave the SPEP (...) 2022 Plenary Addresses, and we are grateful to be able to include their plenary papers in this special issue. Hardt's paper, "The Politics of Articulation and Strategic Multiplicities," treated SPEP members to an early peek at his newest book, The Subversive 70s (Oxford University Press, 2023). In this work, Hardt digs into the powerful resources for social movements that activists and theorists from the 1970s developed. As he argues, in many ways those activists and thinkers were ahead of their times—and also ahead of ours—in understanding how to analyze interwoven multiplicities of power and how to articulate and organize liberation struggles based on those multiplicities. Hardt brilliantly demonstrates how analyzing the progressive and revolutionary social [End Page 237] movements of the '70s can help us not only understand the roots of contemporary social and political struggles but also reclaim critical resources for those struggles.Patricia Pisters's paper, "Thinking with Fire: Elemental Philosophy and Media Technology," draws upon Gaston Bachelard's "fire complexes" to address a variety of pyrotechnical images appearing in contemporary cinema. Noting that elemental philosophy is on the rise in media studies and elsewhere, not least because of current environmental crises, fire is particularly engaging for its metaphorical, "matterphorical," and technological associations. While acknowledging fire as a material medium—cooking, heating, burning, etc.—Pisters's primary focus in her paper is on fire as an immaterial medium, and it is here that she turns to Bachelard's constellation of fire complexes—the Empedocles, Prometheus, and Novalis Complexes—to which she adds her own fourth complex, the Sita Complex. With these complexes, she provides readings of four cinematic productions that elucidate the annihilating, transgressive, sexual, and purifying qualities of fire, and she suggests that these entangled fire complexes present different kinds of combustive knowledge in which the element of fire manifests itself as material phenomenon of nature, the engine for modern life, and immaterial affective reverie of destruction, transgression, and sexuality.The other articles in this special issue have been organized according to five broad groupings. The first grouping, "On Latin American Philosophy," brings together three papers that engage Latin American philosophy, particularly as found in Mexican, Columbian, and Venezuelan history and political movements. In "Radicalizing Localization: Notes on Santiago Castro-Gómez's Genealogies of Coloniality," Julian Rios Acuña argues that Columbian philosopher Santiago Castro-Gómez develops a radical method of localization. This method allows Castro-Gómez to transform Foucauldian genealogy into genealogies of coloniality that grapple with the complexities of extreme violence produced by colonialism. In "Stefan Gandler's Renewal of Critical Theory from Latin America," Jake M. Bartholomew argues for a version of Critical Theory that is not bound by Europe but also remains true to its first-generation Marxist roots. Relocating to Mexico and advocating for Mexican philosophers, German-born philosopher Stefan Gandler shows how Latin American philosophy can enrich Critical Theory, providing more than can the second and third generations of Critical Theory because of its ability to analyze capitalism from outside the economic perspectives of the Global North. In "Two Versions of the Mestizo [End Page 238] Model: Toward a Theory of Anti-Blackness in Latin American Thought," Miguel Gualdron Ramirez criticizes the anti-Blackness that he sees at the heart of mestizo models of latinidad, or lo latinoamericano. Focusing on the concepts of liberation offered by Venezuelan theorist and politician Simón Bolívar and Mexican philosopher José de Vasconcelos, Ramirez reveals the exclusion and erasure of Black bodies, lives, and histories that ground their versions of Latinx identity and Latin American history. Together these three articles showcase how Latin American philosophy can enrich and expand the scope of Continental philosophy.The second grouping, "Liberatory Limits and Misalignments," features three articles... (shrink)

The author of the article aims to explore the functions and tasks of laughter in the context of modern life, as well as the difficulties that people face today, including stress and the search for identity. She proves this by refuting two common positions that exist in the academic space: 1) the understanding of laughter as a means of destroying hierarchy or as a transgressive force with the destructive potential to expose social ills; 2) the contagious nature of laughter. (...) In the author's opinion, these positions are not able to describe and explain the phenomena taking place in the modern world. Instead of interpreting laughter as a transgression of social roles, the author proposes to understand it as a means of demarcation, that is, as an act that affirms social roles rather than destroys them. According to the author, through the act of laughter, a person demonstrates not only an understanding of the essence of a joke, but also support for the values embedded in it. Using the Lacanian notion of paroisse and the analysis of designated places for laughter, the author argues that agreement with implicit values in a joke makes it possible to identify with a certain group of people, as common values are one of the factors that unite individuals. The joke and the reaction to it with laughter become a way of communication, where the subject identifies himself in the act of laughter. The author concludes that modern people assert their identity through laughter. Using the example of contemporary comedy genres, the author demonstrates the emergence of a new interpassive function of laughter, which is opposed to its contagiousness. The interpassive nature of laughter has emerged due to the need of a modern person to replace their emotions. It can be seen as a symptom of the modern state of the subject, who is under constant stress. Due to the overloaded life, modern subject is forced to push emotions to the background. The culture of consumption and pleasure has become so widespread and accessible that the individual does not refuse certain ways of enjoyment, but transfers this function to other objects. The modern subject no longer has to take on the exhausting role of a laughing person, and thanks to the interpersonal nature of laughter, laughs and enjoys through the Other. The author concludes that such a transfer allows the modern person to feel that the action of laughter has been performed. (shrink)

The value of tension is often underestimated. While it may be the case that tension causes destruction and harm, it is equally likely that it can open up new avenues for creation, adaption, and change. Tension can be used as a conceptual tool for thinking about the moments when bodies collide with time and space, and each makes its presence known. It is in tension that we see moments of opportunity arise. Body Tensions explores these moments through the use of (...) cross-chapter dialogue between inter-disciplinary and internationally located authors. Focusing on expressing and transgressing body tensions, the authors consider issues such as how humans embody time and space; where the limits of corporeality lie; and in what ways humans are able to re-imagine their bodies, environments, and cultures. (shrink)

Political Theory as a Vocation -- Transgression, Equality, and Voice -- Norm and Form : The Constitutionalizing of Democracy -- Fugitive Democracy -- Hobbes and the Epic Tradition of Political Theory -- Hobbes and the Culture of Despotism -- On Reading Marx Politically -- Max Weber : Legitimation, Method, and the Politics of Theory -- Reason in Exile : Critical Theory and Technological Society -- Hannah Arendt: Democracy and the Political -- Hannah Arendt and the Ordinance of Time -- (...) The Liberal/Democratic Divide : On Rawls's Political Liberalism -- On the Theory and Practice of Power -- Democracy in the Discourse of Postmodernism -- Postmodern Politics and the Absence of Myth -- The Destructive Sixties and Postmodern Conservatism -- From Progress to Modernization : The Conservative Turn -- Editorial -- What Revolutionary Action Means Today -- The People's Two Bodies -- The New Public Philosophy -- Democracy, Difference, and Re-Cognition -- Constitutional Order, Revolutionary Violence and Modern Power -- Agitated Times. (shrink)

To measure the life `as it is' by a life `as it might or should be' is a defining, constitutive feature of humanity. The urge to transcend is nearest to a universal, and arguably the least destructible, attribute of human existence. This cannot be said, however, of its articulations into `projects' - that is, of cohesive and comprehensive programmes of change and of visions of life that the change is hoped to bring about - visions that stand out of reality, (...) adumbrating a fully and truly different, alternative world. For the constantly present transgressive urge to be articulated into such projects, some less common conditions must arise. Utopia is one of the forms such uncommon articulations may take. This article explores the conditions that defined that form - those of modernity in its initial `solid' stage, a form that was marked and set apart from other articulations of the transgression urge by two remarkable attributes: territoriality and finality. It is concluded that in the transgressive imagination of `liquid modernity' the `place' (whether physical or social) has been replaced by the unending sequence of new beginnings, inconsequentiality of deeds has been substituted for fixity of order, and the desire for a different today has elbowed out concern with a better tomorrow. (shrink)

Writer, thinker, essayist, Georges Bataille (1897–1962) was not a “professional” philosopher. But he “always, above all else, turned towards philosophy,” as he himself stressed (Chapsal 1961, p. 34); and “philosophers” can hardly remain indifferent to the radical calling into question of their discipline that his heterological body of work occasions, in its devotion to the other and to the subversion of the Logos. It is no longer possible to trivialize, or even to reject Bataille's contribution, as Sartre once did under (...) the label of “new mysticism” (Sartre 1943). In 1970, while presenting the Oeuvres Complètes (Complete Works) [henceforth OC], Michel Foucault stated: “We owe to Bataille a large part of that which is our present moment; but without doubt we also owe to him that which remains to be done, to be thought and to be said, and this will be the case for a long time to come” (OC, vol. I, p. 5). If such a prophecy is by its nature difficult to verify, Bataille's contribution to philosophical “modernity” is nonetheless largely recognized, in as much as it deals with the destruction of the Hegelian “closure” of Discourse (Derrida 1967) and, more generally, with the emancipation of thought from the limits of Reason (Habermas 1984). (shrink)

"Wilderness" is a concept which has undergone a radical change in recent years. Owing to the scale of global destruction of the wilderness and its various ecosystems, the idea of wilderness has been transformed from its original negative sense as an Other into a matter of public concern. This as replaced the understanding of "wilderness " not only as a place but as a category closely linked with the development of buman culture. As the result of human practice and representation, (...) nature is thus also political Models and concepts of nature in the creative arts can be indicative of a certain culture's relationship with nature, as they communicate prevailing ideologies. This is particularly pertinent to concepts of nature in Canada where wilderness includes vast tracts of forests, lakes and an Arctic North, which has led to a distinctively Canadian relationship between Canadians and their natural environment. The change in the literary representations of interactions between humankind and environment in Canadian fiction - from the "double vision" resulting from the view of the wilderness both as a threatening Other and free space; to the view of threatened nature as a means of identification; and, finally, as a post-modem place of transgression and possibility - invites questions about both the semiotic threshold between nature and culture, and about the function of boundaries in the constitution of identity. (shrink)

This article seeks to consider the policing of anti-fracking protests at Barton Moss, Salford, from November 2013 to April 2014. We argue that women at Barton Moss were considered by the police to be transgressing the socio-geographical boundaries that establish the dominant cultural and social order, and were thus responded to as disruptive and disorderly subjects. The article draws upon recent work on pacification, which views police power as having both destructive and productive dimensions, to consider the impact of (...) police violence on women involved in protest. We seek to explore the ways in which this violence impacts not only on those involved in protest but also those on the peripheries. The article suggests that the threat and use of sexual violence by police towards women aims to enforce compliance within the protest movement and to send a message, specifically to those on the fringes of the movement, that protest is illegitimate and inherently dangerous. As such, sexual violence forms part of the social production and construction of gender and is instrumental in the making and remaking of subjectivities. The case study suggests that police brutality towards women at Barton Moss, therefore, operated as a disciplinary function to regulate acceptable forms of protest and acceptable forms of femininity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coward Conscience and Bad Conscience in Shakespeare and NietzscheSandra BonettoGeorge Bernard Shaw once observed that the whole of Nietzsche was expressed in three lines that Shakespeare puts into the mouth of one of his greatest villains, Richard III 1 : "Conscience is but a word that cowards use / Devised at first to keep the strong in awe / Our strong arms be our conscience; swords, our law" (5.6). (...) More specifically, perhaps, these lines invite a comparison between Shakespeare's repeated association of conscience with cowardice in Richard III, 2 and Nietzsche's negative evaluation of bad conscience, notably in On the Genealogy of Morals. 3 The aim of this article is to offer such a comparative analysis in order to demonstrate that Shakespeare's coward conscience anticipates Nietzsche's understanding of the bad conscience (das schlechte Gewissen) as "the consciousness of guilt" (GM, II, p. 67), including its involvement with the notions of debt, sin, punishment, and God.INietzsche devoted the Second Essay of his Genealogy to the discussion of bad conscience, its origins, and related matters, notably guilt (Schuld) and its relation to duty (Pflicht) and debt (Schuld). The German term Schuld denotes both guilt and debt, and both senses are inextricably linked in Nietzsche's analysis. The bad conscience as consciousness of guilt is also [End Page 512] the consciousness of a debt owed—to another individual, society, and above all to the Christian God. The debt owed to God is one that can never be repaid, so that Christian morality necessitates guilt as "eternal punishment" for man's original transgression (see GM, II, pp. 91–92). Thus, Nietzsche argues, the descriptive equivalent of bad conscience, in the language of Christianity, is sin—"this is the priestly name for the... bad conscience" (GM, III, p. 140). In other words, sin is essentially a debt contracted with God. This is evident, for instance, in the substitution of the word "sin" for "debt" (ophéilema) in the formula of the Our Father as found in St. Luke. Even in the more general description, e.g. in the passage of St. Matthew where Jesus is explaining the implications of the petition "Forgive us or debts as we forgive our debtors," where the expressions paràptoma (fault, error) and armatia (aberration, failing, defect in relation to a norm or whole) are the more common terms used to denote sin, the sense of debt is implicit—we only accept our failure in relation to the Christian norm or whole if we accept that we "owe it to God" to live up to that norm in the first place. Moreover, the notion of debt brings with it the debtor's fear of failing to repay the creditor, so that a fear of punishment results from the sense of not living up to the contractual relationship with God.According to Nietzsche, the basis for the bad conscience and guilt, which he further defines as "anger directed against the self" (GM, I, p. 45), is cruelty, a natural human disposition that is displayed unabashedly in punishment. Bad conscience, he argues, is cruelty turned inward and essentially amounts to self-punishment or "psychical cruelty"—a form of subliminal suffering we impose on ourselves. Speaking of the "psychology of conscience," Nietzsche emphasises therefore that conscience "is not 'the voice of God in man'—it is rather the instinct of cruelty that turns back after it can no longer discharge itself externally" (GM, "A Polemic," p. 312). Bad conscience, or sin, is cruelty directed backwards, at oneself. In short, Nietzsche holds that the bad conscience, experienced by us as the "bite" or "sting" of conscience (morsus conscientiae; Gewissensbiss), results from the internalisation of instincts, notably the instincts to cruelty. Rather than acting on natural impulses, man has come to stifle and repress them: "Hostility, cruelty, joy in persecuting, in attacking, in change, in destruction—all this turned against the possessors of such instincts: that is the origin of the "'bad conscience'" (GM, II, p.85).Anticipating Freud's theory of repression and pre-empting his psychological interpretation of conscience as superego (Über-Ich), Nietzsche argues, "all instincts that do not discharge themselves outwardly turn [End Page 513... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From the Sacrifice of the Letter to the Voice of TestimonyGiorgio Agamben’s Fulfillment of MetaphysicsJeffrey S. Librett (bio)By denying us the limit of the Limitless, the death of God leads to an experience in which nothing may again announce the exteriority of being, and consequently to an experience which is interior and sovereign. But such an experience, for which the death of God is an explosive reality, discloses as (...) its own secret and clarification, its intrinsic finitude, the limitless reign of the Limit, and the emptiness of those excesses in which it spends itself and where it is found wanting.—Michel Foucault, “Preface to Transgression”Can there be a discourse that, without being a metalanguage or sinking into the unsayable, says language itself and exposes its limits?—Giorgio Agamben, “The Idea of Language”I shall not rest until every German sees that it is a shameful thing to be a lawyer.—Adolf Hitler, speech before theReichstag, April 26, 1942From his early works on, Giorgio Agamben has opposed the thought of no contemporary philosopher more consistently and programmatically than that of Jacques Derrida, whose questioning of phonocentric metaphysics Agamben has tried to replace by a characterization of metaphysics as (what I am calling here) graphocentric. To go back behind the replacement of the voice by the letter is for Agamben to recover the event of language itself, the taking-place of language as Being.1 In his conceptualization of the project for such a recovery, as we shall see, Agamben’s commitment to Heidegger’s fundamental ontology is overdetermined by his investment in the Christian God as logos.This philosophical program in Agamben’s early essays guides his later work on the homo sacer-sovereign relation but also distorts and disturbs the later work in three principal ways. First, it prompts him to propose an exclusively juridicopolitical understanding of the sacredness of the homo sacer, effectively scapegoating the juridical sphere for a more broadly theopolitical problem, while placing the specifically Christian background [End Page 11] of his antinomianism in a misleadingly secular, rational, and universalist light. Symptomatically, in order to accomplish this juridicopolitical reduction Agamben must reject Bataille’s analysis of sacrifice—along with the entire modern anthropological reading of the sacred—out of hand. For this rejection protects his discourse against any sustained confrontation with the importance of the sacrificial dimension for both what he calls the homo sacer and his own approach to law in his theorization of the homo sacer..Second, Agamben’s philosophical program impoverishes the account he provides of the Nazi death camps as an extreme example of the sovereign-homo sacer relation by making it impossible for him to appreciate the importance of Christian antinomianism in the formation of National Socialist ideology. For Agamben’s philosophical orientation requires or presupposes that he ignore or underestimate, first of all, the sacrificially anti-Semitic dimension of Christian antinomianism—the tendency of such antinomianism to make Judaism responsible for the ontological desert into which representation exiles us all. Further, as a consequence of his continuing commitment to this tradition, Agamben cannot see how important the tradition remains, even if in a displaced form, for Nazi anti-Semitism. I argue that Agamben’s animus against the letter blinds him to the Christian and sacrificial dimensions of the Holocaust—he ignores the former and explicitly, emphatically denies the latter dimension—because this animus represents his own commitment to the Christian antinomianism that, in its racialized National Socialist form, attempts to rid itself of the letter by sacrificing not only Judaism but the (biologically, racially construed) Jews. Because his radically antinomian program would become unsettled by his recognition of its important overlap with the ideological bases of National Socialism, Agamben cannot ultimately acknowledge the Christian and sacrificial aspects of the Holocaust.Finally, in Remnants of Auschwitz—his main reading (outside of Homo Sacer) of the significance of the Nazi death camps—Agamben positions “testimony” as the exemplary instance of the speaking of speech, the taking-place of language. The result of the destruction of European Jewry becomes here the revelation of poetic speech as a manifestation of the absolute. Unwittingly, Agamben ends up participating in... (shrink)

As boundaries between domesticity and the undomesticated increasingly blur for cohabitants of Vancouver Island, home to North America’s densest cougar population, predatorial problems become more and more pressing. Rosemary-Claire Collard responds on a pragmatic plane, arguing that the encounter between human and cougar is only ever destructive, that contact results in death and almost always for the cougar. Advocating for vigilance in policing boundaries separating cougar from civilization, therefore, she looks to Foucault’s analysis of modern biopower in the first (...) volume of his History of Sexuality for support in favor of a more contemporary notion of biosecurity. In response to Collard’s arguments, concerned with ethical conclusions drawn on the basis of her policy-based proposal, I challenge the prohibition she places on encounter. In the first section, “Becoming Killable,” I address her use of Donna Haraway’s phraseology, and in the second section, “Biological Dangers,” I scrutinize her reading of Foucault, arguing that the appeals she makes distort the mode of argumentation at work for each thinker. The final section, “Facing Cougar, Facing Death,” advocates further ethical possibilities generated on the basis of Foucault’s correlation between overcoming the fear of death and resisting abuses of power with respect to others. My contention is that our transgressing boundaries constructed to separate humanity from the inhumane curtails tendencies toward the marginalization and subjugation of those animal others whose very existence brings us face to face with the fact of our own mortality. (shrink)

Are freedom, rationality, and morality intrinsically connected? Or perhaps freedom's very nature is transgression, going beyond rationality and ethics? These questions are the center of my discussion of free will and arbitrariness in Kant's late writings. Kant's interlocutor here is Dostoevsky's underground man, a passionate proponent of the Russian _volia--("freedom," "unfettered, arbitrary will"). The underground man questions freedom's relationship to rationality and moral law and insists that free will, arbitrariness and even tyranny are inseparable. Finally, in its attack on (...) rational conceptions of freedom the _Notes offer a surprisingly consistent, that is, self-destructive, philosophical pursuit of arbitrariness. (shrink)

This Ph.D. thesis is, in large part, a deepening of my M. A. dissertation, entitled: "Différance Beyond Phenomenological Reduction (Epoché)?" - an edited version of which was published in The Warwick Journal of Philosophy, Vol. 2, Issue 2, 1989. The M. A. dissertation explores the development of the various phases of the movement of epoché in Edmund Husserl's phenomenology and its relevance for Jacques Derrida's project of deconstruction. The analyses not only attend to the need for an effective propaedeutic to (...) an understanding of phenomenology as method, they also serve to demystify the logics of Derridean non-teleological strategy by explaining the sense of such a manoeuvre - as a kind of maieutic response to the Husserlian project - which operates within the horizon of a radical epoché. According to this orientation, Derrida's deconstruction of phenomenology is permitted to open itself up to a phenomenology of deconstruction. This doctoral thesis develops these analyses and utilizes a form of critique that points the way to the possibility of a phenomenological-deconstruction of the limits of Derrida's project of deconstruction through the themes of epoché, play, dialogue, spacing, and temporalization. In order to trace the resources from which he draws throughout the early development of deconstruction, this study confines itself to a discussion on the texts published between 1962 and 1968. This subjection of deconstruction to a historical de-sedimentation of its motivational, methodological, theoretical, and strategic moments, involves a certain kind of transformational return to the spacing between phenomenology and deconstruction that urgently puts into question the alleged supercession of phenomenology by deconstruction. The expression of such a 'beyond' is already deeply sedimented in contemporary deconstructive writing to the point at which it is now rarely even noticed, let alone thematized and brought into question. This conviction (regarding the transgression of phenomenology by deconstruction) traces itself out in the form of an attitude to reading which is, in fact and in principle, counter to D6rrida's own call for care. The meaning and limits of the very terms, transgression, beyond, supercession, etc., must be continually subjected to deconstruction. The notions of play, dissemination and supplementarity - with the concomitant sense of transformational repetition that defines them - do not function as a mere excuse for lack of scholarly rigour. Deconstruction is a movement of critical return, which must insert itself (with a sense of irony) within the margins and intersections of that which gives itself up to this practice of textual unbuilding. The strategy of play encourages the structural matrix of that with which it is engaged to turn in upon itself, exposing its limits and fissures in a kind of textual analogue to a psychoanalysis. To be sure, this does involve a certain kind of violence -a violation of the ( system's' own sense of propriety (what is proper [propre] and closest to itself) -but in no sense is this an anarchical celebration of pure destruction. We speak rather of irony, parody, satire, metaphor, double-reading and other tactical devices, which permit a reorganization of the deconstructed's (textual analysand's) self-relation and the possibility of playful speculation. Such play demands care and vigilance in regard to the appropriation of the logics of the system with which it is in a relation of negotiation. In order to play well, one must learn the game-rules. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imitation, Violence, and ExchangeGirard and MaussPer Bjørnar Grande (bio)RECIPROCAL VIOLENCE AND THE DESIRE FOR WHAT THE OTHER DESIRESIn this article, I would like to draw attention to the potentially violent outcome of exchange interactions between individuals and groups. Both Girard and Mauss examine violence in a wider social and political process.1 According to Mauss, the smallest difference, such as a lack of reciprocity, may evoke a desire for retribution. (...) Understanding reactions when there is a lack of symmetry, real or illusory, can give us an important insight into the generative mechanisms behind violence. This is why traditional societies tried, often very successfully, to protect individuals through prohibitions and taboos. These prohibitions and taboos were directed against any kind of activity that could possibly result in violent rivalries among the population. The killing of adulterers, thieves, and foreigners can be seen as a way of ridding society of people perceived as having undesirable traits and ridding it of the potential imitation of their bad desires. In this way, a society's violence may function in a protective [End Page 221] and anti-mimetic way. The violence against transgressors is a kind of mimetic anti-mimesis, a way of telling people to follow the rules of society so that they will become mimetically immune to the forces that threaten society.Violent victimizing appears to fulfill a generative function by preventing transgressions, moral cleansing, and restoration of peace. At the same time, however, it bears (unconsciously for the participants) a similarity to what one wishes to expel, namely, the feared violence and negative influence of the person or persons who are victimized. Despite attempts to expel violent transgressions, the attempts themselves are quite similar to the violence they are trying to exorcise. Both Freud and Girard argue that those who conduct a rite of sacrifice are projecting onto the sacrificial victim qualities that reflect some of their own innermost concerns.2 Sacrificial violence, seen from a modern, nonsacrificial standpoint, is a kind of suicide. By killing the other, one also kills something in oneself.In demolishing the victim they are symbolically annihilating aspects of themselves. What is destroyed is destructiveness itself: the feelings of violence and hostility that lie behind attempts to carry out violent activities. Such feelings are antithetical to the ties of friendship that bond a community together, and feelings of violence towards one's peers and associates must be banished if a closely knit community—such as a tribal brotherhood, a spiritual fellowship, or a modern nation—is to survive.3Modern societies are full of these projections of one's own desires onto the other, which expose the modern variant of what is sacrifice, and which are often less physically but instead psychologically violent, yet still victimizing in their attitude of projecting. Terms such as "imitation," "identification," and "comparison" do not have to turn out to be violent—even when a great deal of competition is involved. In this respect, I disagree with some Girardians who claim that imitative desire must be violent and who look back to an insight going back to Heraclitus that violence is the source of all.4 The all-decisive factor is the gradual shift from competition to rivalry, from being allies to becoming enemies. The transition from being competitive friends to rivals comes as a result of imitation. Seen in this way, imitative desire is the generative force behind violence, the snake that turns friends and lovers into rivals.This Freudian act of projection resembles an act of doubling, an intense mimesis of the other that creates doubles. From a Girardian perspective, it is the clash of desire that leads to doubling, and later to violence.5 The imitation of each other's desires will sooner or later cause some kind of violence.6 This doubling does not only have to involve two people; it can be groups, even countries. [End Page 222] But the effect is always negative. Raymund Schwager explains it in the following terms:Whoever is desirous has to expect that the others will too. Whoever succumbs to rivalry arouses the same passion in others. Whoever resorts to violence is imitated in his or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“El secreto oficio de la abeja”A Sociopolitical Metaphor in the CelestinaCristina Guardiola (bio)Rojas returns again and again in La Celestina to the theme of the disruption of human relationships.—Stephen Gilman, The Spain of Fernando de RojasEnabled by the old bawd Celestina, the loco amor felt by the clandestine lovers Calisto and Melibea exposes a society living in disorder and conflict. Calisto and Melibea’s transgressive desire, and those who make (...) it possible, may be seen as directly contradicting moral and social laws upon which the tragicomedy claims to be predicated. Most of the characters in the work live their lives as transgression; their disorderly conduct leads inevitably to their death and destruction [Baranda 9]. The negative example offered by this work was, according to Maravall, what led early readers such as Quevedo to understand how the work: “debaxo del nombre de Comedia, enseña a vivir bien, moral y políticamente, acreditanto las virtudes y disfamando los vicios [under the title of Comedy, teaches one to live well, both moral and politically, accrediting virtues and discrediting vices]” [qtd. in Maravall 19].1 The Celestina lays bare its social and moralistic message by exposing the corruption of social and moral values prevalent in this late fifteenth-century work. Bringing together the aristocratic world of courtly love (already brought low through the Calisto’s crass treatment of waspish Melibea) and the bawdy world of the whorehouse, Rojas debases the people and passions therein. Connecting both worlds through her comings and goings is Celestina. Characterized as abeja, a political animal used in the Middle Ages and early modern period that informs the ideal structure of society, Celestina exposes a satire of society and its corruption of moral values.As the Síguese and prologue indicate, the tragicomedy was written with a dual and moral intent. The author wrote to disabuse the many “galanes y enamorados mancebos [handsome young men and enamored youth]” of his country from the cruel and evil fires of love, but also to expose “engaños de las alcahuetas y malos y lisonjeros siruientes [the deceptions of procuresses and evil sycophantic servants].” In the Celestina, the deceits of the bawd and servants Sempronio and (later) Pármeno complicate the narrative and move it to its tragic conclusion. As Celestina and Sempronio set out to profit by Calisto’s lovesickness, they are met with opposition from Pármeno. The initial resistance Pármeno puts up to defend himself and his master from the economic lust felt by Celestina and Sempronio serves to expose a conflict in social class. The heedless attainment of wealth demonstrated by the servants contradicts a more aristocratic principle that was perceived to guide economic thought in the Middle Ages [Maravall 60]. Celestina’s spoken adage, “[a] tuerto o a derecho, nuestra casa hasta el techo [by hook or by crook, our house [End Page 147] through the roof],” exposes her unmitigated greed and contrasts sharply with Calisto’s more courtly (if yet parodic) examples of largesse. The alcahueta’s greed is not merely opportunistic, it belies a certain Schadenfreude felt for Calisto’s woes. Like “cirurjanos [ante] los descalabrados [surgeons before patients with head trauma],” Celestina pursues Calisto in search of money, which at this particular moment in history was slipping through the hands of her real-life counterparts and into those of state-appointed brothel keepers. As Lacarra notes, the granting of royal mercedes for the incomes derived from prostitution to royal towns or notable persons became prevalent during the reign of Ferdinand and Isabel [40]. One must imagine women such as Celestina doubly feeling the pinch from this seemingly “catholic” imposition. Income from the alcahueta livelihood from all of Castile certainly must have been dwindling. At the same time, the alcahueta’s dishonest way of living was being usurped by speciously honorable citizens who no doubt maligned the prostitutes on whom their wealth was gained. Despite the growing danger of her increasingly clandestine profession, Celestina shows little shame or fear. Indeed, her sense of “honor” for the putería is so brightly and enthusiastically expressed in the work bearing her name that one wonders if it might not stem from... (shrink)

In this book I show that science suffers from a damaging but rarely noticed methodological disease, which I call rationalistic neurosis. It is not just the natural sciences which suffer from this condition. The contagion has spread to the social sciences, to philosophy, to the humanities more generally, and to education. The whole academic enterprise, indeed, suffers from versions of the disease. It has extraordinarily damaging long-term consequences. For it has the effect of preventing us from developing traditions and institutions (...) of learning rationally devoted to helping us learn how to make progress towards a wiser, more civilized world. On our fragile earth, overcrowded, fraught with injustice, inequality and conflict, menaced by unprecedented and terrifying technological and industrial means for change and destruction, we urgently need to acquire a little more wisdom and civilization if we are to avoid repeating horrors of the kind suffered by so many during the 20th century (and already suffered by many in the first few years of the 21st century). We can ill afford to have in our hands instruments of learning botched and bungled from the standpoint of helping us learn how to live more wisely. It may seem scarcely credible that something as important as our institutions of learning can suffer from wholesale, structural defects. Why has this not been noticed before? Why have not armies of scientists and scholars appreciated the point and, long ago, put the matter right? The answer will emerge as my argument unfolds. I will show that one of the most damaging features of rationalistic neurosis is that it has built-in methodological and institutional mechanisms which effectively conceal that anything is wrong. But there is also an immediately obvious reason: specialization, and the resulting fragmentation of academia, has resulted in a situation in which hardly anyone takes responsibility for the overall ideals, the overall aims and methods, of academic inquiry. Academics, these days, are specialists, furiously trying to keep abreast of developments in their own specialist fields. They have no time, and no inducement, to lift their eyes from their particular disciplines, and look at the whole endeavour. Science has long been under attack, at least since the Romantic movement. Blake objected to “Single vision & Newton’s sleep” and declared that “Art is the Tree of Life... Science is the Tree of Death”. Keats lamented that science will “clip an Angel’s wings” and “unweave a rainbow”. Whereas the Enlightenment had valued science and reason as tools for the liberation of humanity, Romanticism found science and reason oppressive and destructive, and instead valued art, imagination, inspiration, individual genius, emotional and motivational honesty rather than careful attention to objective fact. Much subsequent opposition to science stems from, or echoes, the Romantic opposition of Blake, Wordsworth, Keats and many others. There is the movement Isaiah Berlin has described as the “Counter-Enlightenment” (Berlin, 1979, ch. 1). There is existentialism, with its denunciation of the tyranny of reason, its passionate affirmation of the value and centrality of irrationality in human life, from Dostoevsky, Kierkegaard and Nietzsche to Heidegger and Sartre (see, for example, Barrett, 1962). There is the attack on Enlightenment ideals concerning science and reason undertaken by the Frankfurt school, by postmodernists and others, from Horkheimer and Adorno to Lyotard, Foucault, Habermas, Derrida, MacIntyre and Rorty (see Gascardi, 1999). The soul-destroying consequences of valuing science and reason too highly is a persistent theme in literature: it is to be found in the works of writers such as D.H. Lawrence, Doris Lessing, Max Frisch, Y. Zamyatin. There is persistent opposition to modern science and technology, and to scientific rationality, often associated with the Romantic wing of the green movement, and given expression in such popular books as Marcuse’s One Dimensional Man, Roszak’s Where the Wasteland Ends, Berman’s The Reenchantment of the World and Appleyard’s Understanding the Present. There is the feminist critique of science and conceptions of science: see, for example, Fox Keller (1984) and Harding (1986). And there are the corrosive implications of the so-called “strong programme” in the sociology of knowledge, and of the work of social constructivist historians of science, which depict scientific knowledge as a belief system alongside many other such conflicting systems, having no more right to claim to constitute knowledge of the truth than these rivals, the scientific view of the world being no more than an elaborate myth, a social construct (see Barnes and Bloor, 1981; Bloor, 1991; Barnes, Bloor and Henry, 1996; Shapin and Schaffer, 1985; Shapin, 1994; Pickering, 1984; Latour, 1987). This latter literature has provoked a counter-attack by scientists, historians and philosophers of science seeking to defend science and traditional conceptions of scientific rationality: see Gross and Levitt (1994), Gross, Levitt and Lewis (1996), and Koertge (1998). This debate between critics and defenders of science came abruptly to public attention with the publication of Alan Sokal’s brilliant hoax article ‘Transgressing the boundaries’ in a special issue of the cultural studies journal Social Text in 1996 entitled Science Wars: see Sokal and Bricmont (1998). What does this book have to contribute, given the above avalanche of criticism of science? The criticisms of science developed in this book are diametrically opposed to the above, in so far as the above criticisms oppose scientific rationality, seek to diminish or restrict its influence, or hold that it is unattainable. My central point is that we suffer, not from too much scientific rationality, but from not enough. What is generally taken to constitute scientific rationality is actually nothing of the kind. It is rationalistic neurosis, a characteristic, influential and damaging kind of irrationality masquerading as rationality. Science is damaged by being trapped within a widely upheld but severely defective philosophy of science; free science from this defective philosophy, provide it with a more intellectually rigorous philosophy, and it will flourish in both intellectual and humanitarian terms. And more generally, as we shall see, academic inquiry as a whole is damaged by being trapped within an intellectually defective philosophy of inquiry; free it from this defective philosophy, from its rationalistic neurosis, and it will flourish in intellectual and human terms. It is not reason that is damaging, but defective pretensions to reason — rationalistic neurosis —masquerading as reason. Thus what I seek to do here is the exact opposite of what all those who oppose science and scientific rationality do. I shall argue that Reason, the authentic article, arrived at by generalizing the progress-achieving methods of science, can have profoundly liberating and enriching consequences for all worthwhile, problematic aspects of life, and thus deserves to enter into every aspect of life. The bare bones of the argument of this book can be stated quite simply like this. Science cannot proceed without making the substantial metaphysical assumption that the universe is physically comprehensible (to some extent at least). But this conflicts with the orthodox view that in science everything is assessed impartially with respect to evidence, nothing being permanently assumed independently of evidence. So the metaphysical assumption of comprehensibility is repressed. Science pretends that no such assumption is made. But this damages science. For the assumption is substantial, influential and highly problematic. It needs to be made explicit within science so that it can be critically scrutinized, so that alternatives can be developed and considered. Pretending the assumption is not being made undermines the intellectual rigour of science, its intellectual value and success. And it does not stop there. For science also makes value assumptions. Quite properly, science is concerned to discover that which is of value. New factual knowledge devoid of all value (whether intellectual or practical) does not contribute to science. But the orthodox view of science holds that values have no place within science. As in the case of metaphysics, here too, science pretends that values have no role to play within the intellectual domain of science. And this damages science. For values are, if anything, even more influential and problematic than metaphysics (in influencing the direction of research). Here too, values need to be made explicit within science so that they can be scrutinized, so that alternatives can be developed and assessed. Pretending that values play no role within the intellectual domain damages science; both the intellectual and the practical aspects of science are adversely affected. Science fails to pursue those avenues of research that lie in the best interests of humanity. And it goes further. Science is pursued in a social, cultural, economic and political context. It is a part of various social, economic and political projects which seek to achieve diverse human objectives. But the idea that science is an integral part of humanitarian or political enterprises with political ends clashes, once again, with the official view of science that the aim of science is to improve factual knowledge. The political objectives of science are repressed. And, once again, this damages science. For, of course, the political objectives of science, like all our political objectives, are profoundly problematic. These need to be made explicit so that they can be scrutinized, so that alternatives can be developed and considered. The pretence that science does not have this political dimension once again undermines the intellectual rigour of science, and its human value. It lays science open to becoming a part of economic, corporate and political enterprises that are not in the best interests of humanity. The upshot of the line of argument just indicated is that we need to bring about a revolution in the aims and methods of science, and of academic inquiry more generally. Natural science needs to change; its relationship with the rest of academic inquiry, with social inquiry and the humanities, needs to change; and most importantly and dramatically, academic inquiry as a whole needs to change. The basic task of the academic enterprise needs to become to help humanity learn how to tackle its problems of living in more cooperatively rational ways than at present. We need to put the intellectual tasks of articulating our problems of living, and proposing and critically assessing possible solutions, possible and actual actions, at the heart of academic inquiry. The basic task needs to be to help humanity learn a bit more wisdom – wisdom being the capacity to realize what is of value in life, for oneself and others, wisdom including knowledge and technological know-how, but much else besides. Natural science, despite its flaws, has massively increased our knowledge and technological know-how. This in turn has led to a massive and sometimes terrifying increase in our power to act. Often this unprecedented power to act is used for human good, as in medicine or agriculture. But it is also used to cause harm, whether unintentionally (initially at least) as when industrialization and modern agriculture lead to global warming, destruction of natural habitats and rapid extinction of species, or intentionally, as when the technology of war is used by governments and terrorists to maim and kill. Before the advent of modern science, when we lacked the means to do too much damage to ourselves and the planet, lack of wisdom did not matter too much. Now, with our unprecedented powers to act, bequeathed to us by science, lack of wisdom has become a menace. This is the crisis behind all the other current global crises: science without wisdom. In these circumstances, to continue to pursue knowledge and technological know-how dissociated from a more fundamental quest for wisdom can only deepen the crisis. As a matter of urgency, we need to free science and academia of their neuroses; we need to bring about a revolution in the academic enterprise so that the basic aim becomes to promote wisdom by intellectual and educational means. At present science and the humanities betray both reason and humanity. The argument of this book, which I have just summarized, begins with a discussion of the philosophical and methodological problems that beset theoretical physics. At once, many of those who are concerned about moral, political and environmental issues that plague our world today, will feel impatient. What have the methodological problems of theoretical physics to do with third world poverty, war and the threat of war, pollution, extinction of species, the menace of conventional, chemical, biological and nuclear armaments? I can only plead with such a reader: patience. The root cause of the sickness of our times does indeed lie, I claim, with a methodological sickness of natural science or, even more specifically, of physical science. What makes the modern world so utterly different from all previous ages is our possession of modern science and technology. This is the instrument that has changed the conditions of human life almost beyond all recognition, and put unprecedented, and sometimes terrifying, powers into our hands. One should not dismiss out of hand the suggestion that a part of our problem may lie with this instrument, this engine, of rapid change. We see, here, too, the way in which intellectual specialization, referred to above, has effectively concealed from view the nature and extent of the problem that confronts us. The argument that I shall develop in what follows begins with physics, with problems concerning the aims and methods of physics. But it then leaps to social science, to philosophy, to the humanities, to education, to psychotherapy, and to politics: in the end there is scarcely an aspect of modern life that is not touched and, potentially, affected by the argument. How many academic experts are prepared to follow, to take seriously, an argument that ranges so recklessly across such a wide range of academic disciplines? How many non-academic non-experts? But just this is what the argument and message of this book requires. I hope that the reader will endure with patience the somewhat esoteric discussion concerning the aims and methods of physics pursued in chapter one. This may not seem to have anything much to do with the urgent problems of our times, but it does. This is in part how the intellectual disaster I seek to expose in this book conceals itself from view: it buries itself in the obscure, recondite field of the philosophy of physics. Those who devote their lives to the philosophy of physics are, by and large, too myopic to see how their specialized field of study has anything to do with the great and dreadful humanitarian problems and disasters of our age; and those who are above all concerned with these humanitarian disasters have no time at all for abstruse issues concerning the aims and methods of physics. And so the connection is never made. As it happens, the methodological neurosis of physics, with which we begin in chapter one, is actually a quite simple matter to grasp. It does not require any real knowledge of physics to understand. Indeed, physicists and philosophers of physics are much more likely to find the argument difficult to follow than are non-experts. We non-scientists can stand back and see the whole wood; scientists, trained to think in terms of the current orthodox conception of science, trapped in the thickets of research, will find this much harder to do. In an attempt to take this peculiar circumstance into account, I have arranged the exposition as follows. In chapter one I give a simple exposition of the case for declaring natural science to suffer from what I call "rationalistic neurosis"; this avoids all technicalities, and goes straight to the heart of the matter. In the appendix I tackle a host of more technical objections that may be made to the elementary argument of chapter one. So, those experts in the fields of the philosophy of physics and philosophy of science who find the argument of chapter one naïve and unconvincing, should consult the appendix before tossing the book away in disgust. I write in the hope that there will be a few who will not dismiss out of hand the suggestion that the question of how we are to go about learning how to live in wiser and more civilized ways might have something to learn from scientific learning, and will take the trouble to pursue the line of argument traced out in this book. I write in the hope that these few will grasp just how desperate our situation is, how urgent the need to change the status quo, and will do everything in their power to alert others to the need to heal the methodological sickness from which our institutions and traditions of learning at present suffer. To begin with, we need a campaigning organization, modelled perhaps on "Friends of the Earth", which might be called something like "Friends of Wisdom". (shrink)

With the discovery of the possibility of neurobiologically and genetically interpreting the actions of a moral agent, the issue of the status of morality returned to applied ethics with renewed vigor. The biotechnological understanding of society as a whole has been a long-running trend in technoscience and can be considered as a transgression of (bio-) technologies into the sphere of ethics. The essence of the conflict between bio-conservative ethics and techno-oriented utilitarians lies in the plane of violation of the (...) fundamental value of autonomy (J. Harris) and the destruction of the principle of solidarity and equality (A. Buchanan). Supporters of techno-determined moral action as conditions for the expansion of technology into the field of morality put forward the predictability of consequences as a condition for the legitimation of technology (N. Agar), the need to prevent maximum harm (J. Savulescu, I. Persson) and the right to an autonomous choice of a biotechnological regulation of morality (V. Rakic). At the center of the discussion is the problem of the good, for the practical solution of which moral outsourcing mechanisms have already been envisaged (e.g. the service of triage officers in disaster medicine, extended informed consent for biobanks). The article compares moral action as a choice, moral action as a coercion and moral action as outsourcing, and determines the place of the neurobiological interpretation of good and moral action within the theoretical understanding of a moral act in applied ethics. In particular, the role of a cognitive act in the context of a moral act is examined, the problem of deferred risks and their regulation when making a moral decision is analyzed. It is concluded that one of the manifestations of the impact of (bio) technology on a person is the complicacy and transformation of moral decision-making models, in connection with which the universal methods that formulate a moral action (moral act as a choice) can be supplemented by new models that constitute good and moral action. (shrink)

Despite decades of emancipatory mobilization, there is no realistic prospect for any profound socio-ecological transformation of contemporary consumer societies. Instead, social inequality and ecological destruction are on the rise and an autocratic-authoritarian turn is reshaping even the most established liberal democracies. In explaining these phenomena, the struggle for autonomy and emancipation is an important parameter that has not received sufficient attention so far. This article investigates these phenomena through the lens of the dialectic of emancipation – a concept that I (...) have suggested elsewhere and that I here further elaborate, placing particular emphasis on the relationship between the rule-transgressing and the rule-setting capacities of the emancipatory project. The article specifies constitutive dimensions of the emancipatory project, explores their ongoing reinterpretation and reconfiguration and thus explains how the emancipatory logic itself has come to obstruct the socio-ecological transformation and to nurture new forms of authoritarian governance. (shrink)

Olga Tokarczuk’s masterpiece Flights highlights one of the most profound metaphysical, moral and religious conundrums – a tension, but also an intimate bond, between stability and structuredness, on the one hand, and the power of change, movement and transgression on the other. The paper is devoted to unveiling what I dub the paradox of embodied agency. In simple terms, structuredness makes the known world organized and predictable; yet, at the same time, these very structures are vehicles of change, movement, (...) sometimes even destruction. I make the case that this profound aspect of Flights deserves more recognition. (shrink)

Thomas Mann’s famous novella “Death in Venice” is more than social critics or metaphor of artistic search for means. Its ambiguous poetry of forbidden longing offers a game we play ever since, a drama of strange, dreamlike romance unfolding itself in a highly troublesome atmosphere of ordinary life succumbing to the oncoming devastation and catastrophe of the outer world that inexplicably links with the wishes of a soul. This plot became a focus of ideas, a web of meanings covering more (...) and more areas of mentality and imagination while living on. One of the latter writers rarely compared to Mann, a popular American author Stephen King, master of macabre fantasy, suddenly shows some extraordinary level of coincidence of his works’ throughout motives/invariants with those of the European classic. The answers both of them are chasing after lie in the mysterious character of the Whole of the world denying any isolate and solid sense, medium lands of affection and connection, Gordian knots of disastrous dialectics interweaving will and passivity, creation and destruction. Why dark fantasy (that King embodies) constantly insists on destroying, erasing the entire world for the sake of some bittersweet heroic pathos upon its ruin, as before Mann unleashes the epidemics to his story’s bourgeois backgrounds to celebrate the phantom love of his characters? Why does Beauty transgress the borders of subjectivity very much like Death does the borders of physicality, and they both lead us to the same revelation of some great apophatic quasi-Platonian chora at the core of our being where everything is born and we are all one? (shrink)

ABSTRACT Because he claims that intuition can give us insight into “life” apart from space, if not time, Bergson seems to transgress Kant's limits on possible knowledge. This article argues, however, that there is a “critical” way to read Bergson that allows him to evade accusations of epistemologically and politically problematic vitalism. When compared with the archaeological and genealogical treatment of “life” found in Michel Foucault's work, Bergson's effort to save humans from the destructive effects of intellect converges in (...) interesting ways with Foucault's displacement of life as a foundational philosophical or scientific term. (shrink)

Nietzsche has discovered the origins of Christian metaphysics and identified the dangers caused by its expansion. People have lost the ability to communicate with exterior reality that threatens their culture of well-being, built on metaphysical ideas (the Good, the Beauty, the Truth). In order to avoid nihilism after God's death, humans must regain the ability to communicate with dyonisian reality of sacrum (that is, according to Christian morality, the evil), sacrificed in order to gain Paradise. This is the great task (...) of the "philosophy of the future". The "philosopher of the future" seems to be an overman. Nietzsche and Bataille don't intend to replace the culture of rational entities with the culture of overman. They attempt to repair defects of the human world and restore its lost completion. The main question is: how to recognize the destructive absolute and preserve human identity at the same time? Human as a rational entity perishes while obtaining full knowledge (Nietzsche). The choice is both simple and tragic – to live inside the world of artificial ideas, or to die outside the metaphysical fortress, in the wasteland of full knowledge (sacrum, evil), where there is no God. According to Bataille, inner experience enables temporary reconcilation between the culture of rational entities and the chaos of sacrum. It enables human beings to obtain the full knowledge and survive, for its main "purpose" is to bring into the culture as much sacrum as possible. From this point of view, it appears as a part of the "philosophy of the future" and – in a way – as an appendix to Nietzsche’s lesson of overmanship, for transgressive entity apparently turns out to be a overman. (shrink)

Jean-Jacques Rousseau is a special personage in the history of Enlightenment philosophy and European thought in general. This is so, because, on the one hand, he propounded ideas that were typical for the Enlightenment and greatly influenced his contemporaries—after all, it was he who inspired Kant with the idea of the autonomy of the will as a source of moral and juridical law, a conception which became the foundation of Kantian practical philosophy—but on the other criticised many popular ideas of (...) his day, which from our contemporary perspective appear to have been the superstitions of the Enlightenment period. Rousseau rejected the uncritical apology of (universalistically understood) reason together with the “ethical universalism” professed by rationalists since Socrates. In his claim that human history ran in a circle (from nature in its primeval purity to nature as the expression of civilisational decay), he contested the Enlightenment’s widespread belief that it was a linear, continuous, cumulative and by nature unchangeably progressive process. Because of his transgression of the Enlightenment paradigm, Rousseau is sometimes considered to have been the first modern philosopher. And, in my opinion, rightly so, because his thought stood ahead of its time, and in many ways anticipated contemporary philosophy. I believe that especially the Frankfurt School owes a lot to his achievements. Rousseau’s thought already carried the main seeds of critical theory: the intertwinement of progress and regression over human history, emphasis on the mastering of nature and the destruction of the human element in the course of civilisational evolution, a social-historical (and not purely theoretical, as in Kant’s case) critique of reason for the sake of reason and not from the position of irrationality. Long before Max Horkheimer and his associates at the Institute of Social Research, and even ahead of Sigmund Freud, he saw reasons to ambivalently evaluate the results of human self-creation and to highlight the regressive tendencies present in human history. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 226-227 [Access article in PDF] Will Dudley. Hegel, Nietzsche and Philosophy: Thinking Freedom. New York: Cambridge University Press, 2002. Pp. xvii + 326. Cloth, $60.00. Clear and concise statements are among the virtues of Hegel, Nietzsche and Philosophy: Thinking Freedom, beginning with its title. The book develops an account of human freedom through close attention to Hegel's and Nietzsche's thinking. That (...) account affirms philosophy as a liberating activity that makes freedom ever more "comprehensive" by overcoming external constraints, both actual and theoretical. Hegel takes the project of realizing freedom over from Kant, who had himself advanced it beyond the legacy of "liberalism," and Nietzsche is read here as advancing beyond Hegel's perspective. A very considerable clarification of the structure and content of Hegel's thought about freedom is offered in the first four chapters, and many plausible imputations are made in the second four that illuminate important dimensions of Nietzsche's work. Finally, the role of philosophy as liberating activity is revealed in both "systems," albeit in very different conceptions of what that philosophical activity is like.The greatest strength of the book lies in its erudite and lucid unpacking of Hegel's adamantine thought. Abstract expositions of arguments are often accompanied by helpful examples taken from simple, familiar contexts. Unfortunately, the scope of this review is entirely inadequate to even a summary account of the many dialectics which Dudley reveals [End Page 226] in structural transparency, from the freedom of willing in the Philosophy of Right to freedom beyond willing in absolute Spirit. The body of this book contributes an excellent new commentary on Hegel's conception of freedom, while in his footnotes Dudley offers a rich counterpoint to his own themes in frequently lengthy excurses on much of the relevant literature.However, although Dudley notes at the outset (10-11) that Hegel's and Nietzsche's styles are so different as to require a different style of interpretive treatment, he seems to have forgotten this promise by the time he reaches his discussion of Nietzsche. Instead, Dudley breaks arguments down into their various elements, revealing symmetries to obtain between and among these, in the service of a quasi-dialectical method that sees Nietzsche's thought advance by overcoming its own internal inadequacies. Such a method of analysis seems well suited to Hegel, but it is less persuasive in treating Nietzsche's much more amorphous work, especially as any chronological approach to Nietzsche, which might ground such a developmental claim, is explicitly eschewed. Frequent extended quotation of Nietzsche throughout makes that incongruity of styles particularly strident.Dudley's admittedly Hegelian reading (176) of Nietzsche describes an arc of development in strategies for obtaining freedom: from the enslavement to simple material needs in "disgregation" (a coinage of Werner Hamacher's, apparently, who is cited, but not as the source of this term), through the partial freedom of the moral will, to the self-determined noble will, which itself is aufgehoben by the tragic will. The dynamics of this process are complicated, and laying them out constitutes the lion's share of the analysis. One must forge one's own will, we read, by "giving birth to oneself as a living whole," something accomplished by "integrating the chaos that results from the destruction of the moral will." This feat of "integration" is itself first accomplished by giving oneself "customs" which, however, soon become a new form of unfreedom; what ultimately is needed is "a complementary combination of nobility and modernity, of setting oneself apart from and holding oneself open to the chaotic stimuli beyond one's measure" (177). These are just the barest bones on which Dudley hangs a lot of flesh—not all of which appears natural there. Dudley articulates Nietzsche's ideas in sentences like these: "Recall that the sovereign, noble will is the offspring of the genius of giving birth applied by the individual to herself. Now the transformative destruction of this will results from such a reflexive application of the genius of impregnation; the individual transgresses... (shrink)

Bataille's version of transgression and prohibition is based on two presuppositions: the first one is coupling of death and ecstasy on the level of energetic principle, which makes the combination of personally grounded experience of transcendence with the dispositions of the subject possible. The second one concerns making use of two existential forces: the will to survival and the will to transcendence. The counterbalance of life and its negation is the basis for understanding and identification of the social function (...) of prohibitions and of individual desire to break them. Bataille is thus consequent in applying the idea of original energetic balance of acceptance and dismissal, which makes all further differences, especially those of transgression and prohibition, possible. (shrink)

One important issue in moral psychology concerns the proper characterisation of the folk understanding of the relationship between harmful transgressions and moral transgressions. Psychologist Elliot Turiel and associates have claimed with a broad range of supporting evidence that harmful transgressions are understood as transgressions that are authority independent and general in scope which, according to them, characterises these transgressions as moral transgressions. Recently many researchers questioned the position advocated by the Turiel tradition with some new evidence. We entered this debate (...) proposing an original, deflationary view in which perceptions of basic-rights violation and injustice are fundamental for the folk understanding of harmful transgressions as moral transgressions in Turiel's sense. In this article we elaborate and refine our deflationary view, while reviewing the debate, addressing various criticisms raised against our perspective, showing how our perspective explains the existent evidence, and suggesting new lines of inquiry. (shrink)

This book critically examines the philosophy of the term 'transgression' and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes an (...) 'utopian urban vision' approach to social, political and cultural relations, trends and tensions both locally and globally, and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective -- its philosophical background, its social construction, its experimental research process and its design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration, gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression. (shrink)

Corporate transgression is a well-known phenomenon in today's business world. Some corporations are involved in violations of law and moral rules that produce organizational practices and products that take a toll on the public. Social cognitive theory of moral agency provides a conceptual framework for analyzing how otherwise pro-social managers adopt socially injurious corporate practices. This is achieved through selective disengagement of moral self-sanctions from transgressive conduct. This article documents moral disengagement practices in four famous cases of corporate transgressions (...) and discusses some implications for business ethics on how to counteract organizational use of moral disengagement strategies. (shrink)

ABSTRACT Public discourse under authoritarian rule is not monolithic. Yet how popular rhetoric engages with the hegemonic rhetoric in the same discursive space remains understudied. This article examines the rhetoric of a standup comedy show in China, streamed online and widely popular among Chinese millennials, to understand how alternative views on social issues can coexist with the hegemonic rhetoric. Using critical discourse analysis, it argues that some standup comedy performances transgress the hegemonic rhetoric of 'positive energy' without outright subversion. Comedians (...) use subversive affirmation, self-deprecation, ambiguity, absurd fantasy, and irony to present alternative viewpoints on social issues of broad interest, such as the neoliberal work culture and gender norms. The subtle yet powerful transgressions introduce previously marginal views into the public discourse, diminishing the aura of wide acceptance and authority assumed by the hegemonic rhetoric. The standup comedy performances thus open up new discursive pathways towards non-state-sanctioned views on important social issues. (shrink)

Le mot anagogia, « anagogie » serait une mauvaise traduction latine du grec a. L'équivalent latin serait, selon les philologues, sursumductio. D'abord conçue comme un voyage, l'anagogie prendra le sens d'ascension, de montée. Le mot anagogie est plus fréquemment employé pour désigner le quatrième sens de l'Écriture, le terme s'inscrit dans l'histoire de l'exégèse sacrée et plus généralement de l'herméneutique.Les études qui composent cet ouvrage (sur l'obscénité, Alfred Jarry, Georges Bataille, René Daumal, Pierre Klossowski, Maurice Blanchot, Pierre Guyotat, Jean-Noël Vuarnet (...) ou Platon) traitent, de près ou de loin, de cette ascension, souvent entendue ici comme transgression : l'esprit sursoit aux limites de la matière, dont il ne s'émancipe jamais totalement, dans un mouvement vers le sommet (mort, rire divin, « communication », révélation, soleil). (shrink)

This book brings key authors in anthropology together to debate and transgress anthropological expectations.

The rapid expansion of Big Tech companies into various societal domains (e.g., health, education, and agriculture) over the past decade has led to increasing concerns among governments, regulators, scholars, and civil society. While existing theoretical frameworks—often revolving around privacy and data protection, or market and platform power—have shed light on important aspects of Big Tech expansionism, there are other risks that these frameworks cannot fully capture. In response, this editorial proposes an alternative theoretical framework based on the notion of sphere (...) transgressions, which draws on political philosopher Michael Walzer's theory of justice. The editorial not only introduces the sphere transgressions framework, but it also highlights its potential to generate novel research questions. Furthermore, this editorial introduces eight articles and one commentary from a group of interdisciplinary scholars that critically examine Big Tech expansionism by reflecting on this expansionism from the perspective of different societal spheres or by engaging with the sphere transgressions framework itself. (shrink)

Transgression in Games and Play is a collection of original research that explores what transgression means in the context of videogames and play, how boundaries are being crossed by game content as well as by player actions, and how players respond to different kinds of infringements. It explores questions such as: How are controversial game content experienced during the course of gameplay? Why would players intentionally put themselves or others under distress when playing games, and how does such (...) content affect the playful attitude? Are there any ethical or aesthetical limits for what type of contents that can be presented in games? If so, are these limits different from other media? What are the means and motivation for designers to create transgressive game content. (shrink)

L’inceste, comme transgression en acte, et l’incestuel, comme séduction narcissique et aliénante, constituent des figures d’une causalité que Spinoza et Freud, dans des perspectives différentes, ont explorée. Appuyée sur les grands principes qui fondent leurs démarches respectives, la confrontation de leurs analyses du procès d’individuation, de la filiation et de la transgression conduit à un éclairage réciproque des deux doctrines : apparaissent alors nettement certains de leurs points de convergence théorique comme leurs dissemblances. Elle permet aussi la reconstitution (...) théorique de la genèse et de la nature de l’inceste dans ses trois principales formes, en tant qu’objet d’interdit social, inceste psychique et inceste en acte. Loin d’être l’effet de désirs sexuels conduisant à la transgression de la loi, l’inceste résulte de son absence, et de la persistance de liens fusionnels qui manifestent à la fois les difficultés et l’immaturité des individus qu’ils unissent. (shrink)

Since the turn of the millennium South Korea has continued to grapplewith transgressions that shook the nation to its core. Following the serial killings of Korea's raincoat killer, the events that led to the dissolution of the United Progressive Party, the criminal negligence of the owner and also the crew members of the sunken Sewol Ferry, as well as the political scandals of 2016, there has been much public debate about morality, transparency, and the law in South Korea. Yet, despite (...) its prevalence in public discourse, transgression in Korea has not received proper scholarly attention. Transgression in Korea challenges the popular conceptions of transgression as resistance to authority, the collapse of morality, and an attempt at self- empowerment. Examples of transgression from premodern, modern, and contemporary Korea are examined side by side to underscore the possibility of reading transgression in more ways than one. These examples are taken from a devotional screen from medieval Korea, trickster tales from the late Choson period, reports about flesheating humans, newspaper articles about same- sex relationships from colonial Korea, and films about extramarital affairs, wayward youths, and a vengeful vigilante. Bringing together specialists from various disciplines such as history, art history, anthropology, premodern literature, religion, and film studies, the context- sensitive readings of transgression provided in this book suggest that transgression and authority can be seen as forming something other than an antagonistic relationship. (shrink)

In this paper, we bring together Foucault's biography and oeuvre to explore key concepts that support the analysis of nurses' acts of resistance. Foucault reflected on the power relations taking place in health services, making his contribution especially useful for the analysis of resistance in this context. Over three decades, he proposed a nonnormative philosophy while concomitantly engaging in transgressive practices guided by values such as human rights and social justice. Hence, Foucault's philosophy and public activism are an apparent contradiction, (...) but we argue that when analysed together they allow for a different understanding of his work. We describe the evolution of the concept of resistance in Foucault's work, supported by the approaches of Brent Picket (1996) and Miguel Morey (2013). Foucault started his work considering the idea of transgressiveness as it connects to being at the margins of society. He then spent considerable time elaborating the concept of power and identifying resistance strategies as forms of power exercise. In doing so, he considered that people engage with social change from multiple positions, including limited desire for change, fomenting reforms, or engaging in everyday revolutionary acts. As he further elaborated on power relations and defined resistance, Foucault asserted that resistance involves both repressive and productive dimensions of power, governance of biological life, state governance, and deliberate practices of illegalisms. Finally, Foucault shifted his attention to the freedom of ethical subjects, proposing the use of counter‐conduct and counter‐discourses to speak truth against oppression. Such framework offers a comprehensive lens for analysing nurses' acts of resistance within the complexities of the healthcare system and in society. In summary, Foucault's conceptual framework on resistance expands the role of nurses, to understand them not only as caregivers, but also as political agents capable of confronting and transforming oppressive institutional practices. (shrink)

Purpose ‐ The purpose of this paper is to explore the "resource curse" problem as a counter-example of creative performance and innovation by examining reliance on capital and physical resources, showing the gap between expectations and ex-post actual performance that became clearer under conditions of economic turmoil. Design/methodology/approach ‐ The analysis uses logistic regressions with dichotomous response and predictor variables on structured tables of count data, representing firm performance as an outcome of capital resources, physical resources and innovation where appropriate. (...) Findings ‐ Key findings relevant to economic and business practice follow. First, a typical characteristic of successful Vietnamese firms in the transition period is their reliance on either capital resources or physical asset endowments. Second, poor performers exhibit evidence of over-reliance on both capital and physical assets. Third, firms that relied on both types of resources tended to downplay creative performance. Some evidence suggests that firms face more acute problem caused by the law of diminishing returns in troubled times. Fourth, the "innovation factor" has not been tapped as a source of economic growth. Research limitations/implications ‐ This study has some limitations. The size of the survey sample is approximately 150 firms, while the potential sample of > 300 should be possible in the future. When the size increases, the research could be expanded to include further variables that will help investigate more deeply into the related issues and business implications. With regard to the implications of the study, the absence of innovations has made the notion of "resource curse" identical to "destructive creation" implemented by ex-ante resource-rich firms, and worsened the problem of resource misallocation in transition turmoil. The Vietnamese corporate sector's addiction to resources may contribute to economic deterioration, through a downward spiral of lower efficiency leading to consumption of more resources. Practical implications ‐ Insights obtained from this study could save transition economies' resources which have almost always been considered sine qua non before any critical major policymaking, while this is not necessarily true, and in many cases, even counterproductive. Originality/value ‐ Original data set on Vietnam stock market are collected, processed, prepared and used by the authors. Original design by the authors for regression equations with dichotomous predictor variables: dependence on endowed physical assets, reliance on capital resources and significant signs of creative performance/innovations. Original idea of viewing "resource curse" as absence of innovation and due to uncreative "destructive creation" of poor-performing commercial operations by resource-rich firms is used in the paper. We have searched the literature in business research and found that the empirical results have not been previously reported. (shrink)

Werner Herzog’s films often have characters that are on spiritual journeys that take transgressive turns. These quests are also existential in nature, for what the characters often seek is transcendence. Because transgression is a sociological, philosophical, and theological entity, Herzog’s films are demanding because his outsider characters are often not easy to admire. Still, because they take on very personal self-examinations in their search for transcendence, we can respect their tragic, horrific, or painful excursions. Herzog’s protagonists are almost always (...) outsiders in some form. Whether “being on the outside” quite literally or figuratively, protagonists like Nosferatu, Kasper Hauser, or Aguirre somehow eschew societal norms and become figures of empathy, fear, or disgust. Even the characters of his documentary work, like Timothy Treadwell in Grizzly Man , are people who somehow do not fit in with society, and so seek escape through crossing boundaries or intense trials of will and perseverance. As outsiders, they are shunned, but the way they handle this is sometimes different: through madness (Aguirre), spirituality (Kasper Hauser), or rebellion (the cast of Even Dwarves Started Small ). These characters are in constant conflict with others, society, and themselves. I want to argue that one of the main reasons Herzog makes both artful, meditative films and ones that challenge spectators’ expectations, is due to the recurrence of the theme of spiritual transformation—or transcendence—that often is transgressive. Such Herzog heroes as Aguirre, Stroszek, Fitzcarraldo, or even the entire cast of Heart of Glass push beyond the limits of sanity, freedom, and societal restrictions in order to transgress or “pass” into a different mental state. Furthermore, such moves are spiritual in nature, since the characters become individual disciples of their own imaginings, their own beliefs, and their own codes of behavior. Both physically and psychically, these characters undertake journeys that allow us to see how difficult, yet ultimately manageable, these passages to transcendence are. I will discuss several Herzog films and characters that exemplify this tendency, including, Even Dwarfs Started Small , Aguirre, the Wrath of God , and Grizzly Man .  . (shrink)