The principal objective of this study is to present and discuss the elements that emerge from Michel Foucault's archeological undertakings, which, in our view, configure the existence of a new rhetoric that deals with what the French philosopher called the rarefaction of the subject and rarefaction of discourse in his inaugural lecture at the Collège de France (Foucault, 1996). This new rhetoric would be in charge of reflecting and analyzing the phenomena that result from both the rarefaction of the subject (...) and the rarefaction of discourse, that is, such rhetoric invests in what is responsible for imposing on the speaking subject what to say and how to say it. Therefore, it turns to certain mechanisms of control of discourses that Foucault presented in The Discourse on Language, a work that completes five decades of its publication. This Foucauldian rhetoric also has as its main function to deal with the history of the present, that is, to reflect on what we do and think at this exact moment, which, in turn, would be in charge of contributing to the history of how we became subjects in a culture like ours, at this stage of high modernity and the Information Age. From this perspective, she would be interested in the processes of identification and subjectivation that result from the ways in which we become subjects. In short, it is a study that seeks to present elements that demonstrate the emergence of a new rhetoric that emerges from the work of Michel Foucault, who, according to Deleuze (1992), increasingly invested in a generalized pragmatics. (shrink)

The linguistic theory of the Kabbala, as it is explained in the writings of the Kabbalists of the 13th century—or at least basically implied in them—comes to rest upon a combination of the above-mentioned interpretations of the Book of Yetsira with the doctrine of the Name of God as a basis of that language. What is essentially new in this is the way in which the scope and range of a divine language—as understood by the Kabbalists—is brought into unique prominence (...) over and beyond the realm of created man. In the Book of Yetsira there could still be some doubt as to whether the ten Sefiroth and the 22 letters were themselves thought of as created; and as we have seen, there is even considerable evidence in favor of this conception. In the doctrines and teachings of the Kabbalists, however, this is no longer the case. The ten original numbers have become ten emanations of the divine fullness of being. Where these are concerned one can only now talk in terms of creation in a meta-phorical sense. In the Sefiroth of the Kabbalists, God manifests himself in ten spheres or aspects of his activity. The 22 letters are themselves part and parcel of this area; they are configurations of the divine energies, which are themselves grounded in the world of the Sefiroth, and whose appearance in the world either beyond, outside or beneath this realm of the divine emanations is simply a gradual process of de-refinement and an intensified crystallization of those innermost signs of all things, as they correspond to the progressively evolving and increasingly condensed media of the creation. All creation, from the world of the highest angel to the lower realms of physical nature, refers symbolically to the law which operates within it—the law which governs in the world of the Sefiroth. In everything something is reflected—one might just as well say—from the realms which lie in the center of it. Everything is transparent, and in this state of transparency everything takes on a symbolic character. This means that every thing, beyond its own meaning, has something more, something which is part of that which shines into it or, as if in some devious way, that which has left its mark behind in it, forever. The Book of Yetsira was still far removed from this type of interpretation. For the Kabbalists, however, the Sefiroth and the letters, in which the word of God is explained, or which constitute the word of God, were simply two different methods in which the same reality might be represented in a symbolic manner. In other words: whether the process of the manifestation of God, his stepping outside under the symbol of the light, and his diffusion of knowledge and reflection is what is represented, or whether it is to be understood to be the activeness of the divine language, of the self-differentiating word of the creation or even of the self-explanatory name of God. In the last analysis, this, for the Kabbalists, is no more than a question of the choice between symbolic structures which are in themselves equally arranged—the symbolism of light and the symbolism of language. (shrink)

We offer a new outlook on the vexed question of the reference of natural-kind terms. Since Kripke and Putnam, there is a widespread assumption that natural-kind terms function just like proper names: they designate their referents directly and they are rigid designators: their reference is unchanged even in worlds in which the referent lacks some or all the properties associated with it in the actual world, and which are useful to us in identifying that referent. There have, however, been heated (...) debates about what should be taken as a natural-kind term. Some challenge the very existence of a separate category of natural-kind terms ; some their being directly referential ; some raise the possibility that direct reference extends to terms beyond those usually assumed to fall under the category, e.g. to ‘polemical’ terms. When these debates turn on the question of what natural kinds are, they take on a strong epistemological or metaphysical dimension. We think the issues can be clarified within the limits of the philosophy of language: by looking into what ranges of general terms are perceived by speakers as rigid designators of natural kinds. The first step to take is to ground the various kinds of semantic externalism in distinct brands of semantic deference. This we define as speakers’ being disposed to use words in line with the norms of their linguistic community and as consenting to being corrected when it is manifest that their use and understanding of a word does not match common practice. When those dispositions are present, speakers defer semantically to something beyond themselves. Here, our focus is on spotting the words for which speakers would defer not to the current usage of the word in the linguistic community, nor to the current experts of the field to which the word pertains, but ultimately to the very nature of the referent of the term. When speakers’ deference conforms to that pattern, we argue, that is evidence that indexical externalism provides the right metasemantic account of how the meaning of the word is determined. In other words, one can say that the word is treated like a natural-kind term. But how can patterns of deference be measured? In an ongoing survey, participants are confronted with conditions that may prompt them to revise certain classificatory statements, e.g. An emu is a bird. Each condition makes salient one of the targets we have identified for deference: the community usage, the experts, the ‘world as it is’. In the condition that seeks to tap into the latter kind of deference, participants are presented with a scenario in which future scientific discoveries result in excluding from the extension of a term certain members currently thought to fall under that extension, e.g. discoveries that require excluding certain species now thought to be birds from the Aves class. The scenario is such that it is clear that the ‘discoveries’ bring us closer to the actual essence, if there is one, of birds. Our reasoning is that, if participants significantly modify their statements in the light of that scenario, they can be taken to ‘defer’ to the nature of the referent, thus vindicating indexical externalism. We test if words not normally assumed to be natural-kind terms – for instance summer, contract or rape – exhibit patterns of deference similar to those for bird. If so, then there’s a case for an extension of indexical externalism beyond the usual set of terms. What would be shown in this way is that speakers have something like realist intuitions with respect to words whose meaning is usually taken to be purely conventional or polemical. We are at the pre-test stage for the survey. We cannot yet report on our results. We should, however, have initial results by March, which, we believe, will enrich the observations made by previous empirical studies. References: Braisby, N., Franks, B. & Hampton, J. 1996. Essentialism, word use, and concepts. Cognition 59, 247-74./Genone, J. & Lombrozo, T. 2012. Concept possession, experimental semantics, and hybrid theories of reference. Philosophical Psychology 25, 717-742./Häggqvist, S. & Wikforss, Å. 2015. Experimental semantics: the case of natural kind terms, in J. Haukioja, Experimental Philosophy of Language, London, Bloomsbury./Jylkkä, J., Railo, H. & Haukioja, J. 2009. Psychological essentialism and semantic externalism: Evidence for externalism in lay speakers’ language use. Philosophical Psychology 22, 37-60./Mallon, R., Machery, E., Nichols, S. & Stich, S. 2009. Against arguments from reference, Philosophy and Phenomenological Research 79, 332-356./ Marconi, D. 1997. Language, Speech, and Communication. Lexical Competence. Cambridge : MIT Press./Moravcsik, J. 2016. Meaning, Creativity, and the Partial Inscrutability of the Human Mind, 2nd ed. Stanford: CSLI./Schroeter, L. & Schroeter, F. 2014. Normative concepts: a connectedness model, Philosophers’ Imprint 14, 1-26./ Wikforss, Å. 2010. Are natural kind terms special?, in H. Beebee and N. Sabbarton-Leary, The Semantics and Metaphysics of Natural Kinds, New York, Routledge, 64-83. (shrink)

Normal 0 21 false false false ES-CO X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} The analysis of Heidegger’s conception of language serves as a starting point and common thread to explain his aesthetics theory and the linkage and relationship between aesthetics and ontology, and between aesthetics and truth, understood as aletheia, (...) as an “out of oblivion”, as “un-concealment.” Second, we analyze the constitutive characteristics of Da-sein, as being-in-the-world, from the point of view of language. Third, considering the historical horizon as ontologically constitutive of Da-sein, we try to explain from real life what does this temporality mean and what does create mean, as well as why the creation of a work of art occupies an important place in relation to Heidegger’s proposal. We finally ask what is poetry to Heidegger and in what ways it is inseparable from the truth (aletheia). And we try to interpret the scope of Poetry (Dichtung) in relation to aesthetics and of language in relation to the truth. Lenguaje, olvido del ser, aletheia (verdad), desocultación, Dichtung (Poesía), poiesis, creación, estética, ontología fundamental, vida auténtica o autenticidad. (shrink)

Problem’s statement. This article is the result of a study of the historical context in which Isidore of Seville is inserted as an author, as the creator of a unique method, which became the result of his hard work. But in order to describe the method of Isidore of Seville, it is necessary to outline the range of problems that arise before us. Due to serious political and social upheavals in the Western Roman Empire, the preservation of education comes to (...) the fore. The need for “Christianization,” on the contrary, fades into the background. The authors of this period perceived the works of the church fathers and apologists as a legacy, as part of tradition. On the other hand, representatives of the intellectual culture of the era under consideration were part of the aristocracy of Roman (in the broad sense) origin and in this sense, like their predecessors, were bearers of ancient education and culture.The purpose of the study. Analyze the historical context in which the method of Isidore of Seville developed and to consider the influence of the method of Isidore of Seville on the development of knowledge and ideas in the dark ages.Methods. To achieve the goal of the study, a number of general and specific methods were used that contributed to the study of the creative heritage of Isidore of Seville: the etymological method used in the practice of Isidore for the classification and origin of sciences and arts; togoria method for understanding the symbolism of medieval language and judgments; historical-retrospective, contributing to the study of the contribution of Isidore of Seville to European education from the first monastic schools to the formation of universities; terminological selection – for the purpose of selecting, clarifying and modernizing the system of individual terms used in the educated circles of Visigothic Spain; reconstruction – to reproduce the events of the cultural and historical process on the Iberian Peninsula during the Visigothic Kingdom.Results. The reception of the ancient heritage in the works of the authors of this era – and these are primarily Boethius, Cassiodorus and Isidore of Seville – occurs in a different vein than that of the church fathers (Ambrose, Jerome and Augustine) and the German kings of the Carolingian revival. This question concerns a narrower issue that is discussed in the article, and it is connected with Isidore as the author. Isidore of Seville (560-636) is known primarily as an encyclopedist, indicating the wide coverage of topics in his works, on the other hand, in a certain way characterizes the level of these works.However, Isidore was not only and not so much an antiquarian – a collector of ancient knowledge. If we use the “intellectuals and power” scheme, then Isidore was, so to speak, an intellectual in power. He occupied the position of bishop of Seville (the episcopal rank was considered the best conclusion for the cursus honorum even in the 5th century, his authority significantly exceeded the authority of the constantly changing Visigothic kings of Spain. Isidore presided over the IV Council of Toledo (633), whose priests formulated an order with its significant the influence of the episcopate on public affairs.We can say that Isidore, through his works, in a certain sense constructed an ideology. (or what might be called ideology) and the educational program inextricably linked to it.Discussion. First, the era of the “Dark Ages” is a period of permanent military-political struggle between the local nobility and kings, the German kingdoms and Byzantium, which occurred as a result of the height of the Western Roman Empire. The second question is religion, since there were several religions in the territory of the Visigothic kingdom; Christianization of culture and education and, as a consequence, a contradiction with ancient philosophy. Hence the problem of preserving and transmitting knowledge. It was these reasons that complicated the creation of a high-quality educational system. Thirdly, Isidore was not a methodologist, but created a unique method, he was not a scientist, but wrote an encyclopedic work, was not a philosopher, but wrote about philosophy, distinguished it from dialectics, constructed a certain type of knowledge of the real world known to him, was not even a philologist, but he knew Visigothic, Latin, Greek, and Hebrew.How did Bishop Isidore create an effective method? Fourth, after the authors of the “Golden Age” of patristics in the 6th–7th centuries. A new generation is emerging, which is faced with slightly different tasks. How does Isidore “construct” knowledge and what impact has his work had on society? Another important problem is the question of the scale and nature of Isidore’s influence on the intellectual culture of the Middle Ages. At the same time, special attention was paid to “etymologies, or principles,” its distribution, influence on the presentation of the seven liberal arts, etc. On the significance of Isidore’s method for medieval education.Conclusions. The method of Isidore of Seville was an important contribution to the preservation and transmission of knowledge in the Middle Ages and influenced the further development of encyclopedic knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Xenophon of Ephesus: His Compositional Technique and the Birth of the NovelGareth SchmelingJ. N. O'Sullivan. Xenophon of Ephesus: His Compositional Technique and the Birth of the Novel.Berlin and New York: Walter de Gruyter, 1995. xii + 215 pp. Cloth, DM 140, SFr 135, ÖS 1092. (Untersuchungen zur antiken Literatur und Geschichte, 44)To those interested in the ancient novel the name of J. N. O'Sullivan is familiar from his (...) A Lexicon to Achilles Tatius (1980), published in the same series as the book under review. We have come to expect good things from O'Sullivan, and we are not disappointed in this new book. Whole books devoted to Xenophon of Ephesus (hereafter Xenophon) are infrequent: we have earlier ones from Schissel von Fleschenberg (1909) and Schmeling (1980). The reasons for this paucity can be put simply: scholars think that as a novel it is not very interesting or revealing (but, since there are only five Greek novels and Xenophon's is short, it is always included in studies) and that the Greek is inelegant, repetitious, stereotypical, wooden, more transparent than subtle, and paratactical wherever possible. Scholars with a love for texts like pathologists for dead bodies have dissected the corpus of Xenophon (likewise that of the Historia Apollonii Regis Tyri) and declared it officially an epitome. A few recalcitrants (Hägg, Schmeling), however, have filed a minority opinion that the text is basically intact. Under Merkelbach's scalpel (Roman und Mysterium [1962] 91–113) the [End Page 660] Ephesiaca was discovered to have been written originally as an Isis–Roman (a thinly veiled story of the Isiac mysteries), then clumsily reworked by a devotee of the Sun–god Helios, and finally epitomized by yet another clumsy person. Thus it is not surprising that monographs on this novel are exceedingly few. It seems now, however, that many scholars might have been mistaken about the Ephesiaca, that its language, while not inspired, is not to be judged strictly on literary standards but also on those used to assess oral literature. And further, that Xenophon (or someone else by that same name) wrote the first of the Greek novels, and that Chariton, stripped of his title as "father of the novel," borrowed much from Xenophon—though it is admitted that Chariton refined what he imitated. O'Sullivan's conclusions are startling, perhaps even benign heresy, though the ancient novel mafia is rarely regarded anyway as orthodox (see Bowie and Harrison, JRS 83 [1993] 159–78).Even at the risk of committing a serious biographical fallacy I feel compelled to point out three bits of information at the start: the first is obvious and reveals only that O'Sullivan has a long background of work in the novel; the next is that he is working on a Homeric dictionary and that his comparisons between the oral nature and the formulae of Homeric epics and the language of Xenophon, though at first blush unlikely, are well researched and argued (he will conclude later in the book that there are close connections between epic and the birth of the novel); and third that his Irish heritage has brought him into contact with O'Grady's Silva Gadelica, a collection of Irish tales in prose which derive from oral tradition. He thus mixes the unlikely concoction of one part Greek oral poetry of Homer with one part Greek of Xenophon by using the Irish tales as a kind of catalyst or as an anachronistic missing link, and concludes by comparing the oral nature of Homeric epic with that of Xenophon.In his opening chapter O'Sullivan marshals strong forces to counter the received opinion which dates Xenophon after Augustus (4.2.1, reference to ) and even into the second century because of his reference to the irenarch of Cilicia, an office supposedly established after 116–117 (2.13.3 ). O'Sullivan needs to date Xenophon as early as possible because later he will try to show that Xenophon is the earliest extant Greek novelist and that Chariton (ca. A.D. 50?) borrowed from him.O'Sullivan then moves on to Xenophon's critics, who usually have little good to say about... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Even now, now, very now"Mimesis's and Imitation's TemporalitiesJoão Cezar de Castro Rocha (bio)Had we but world enough and time.—Andrew Marvell, "To His Coy Mistress"THE EMPIRE OF NOWNESSIn the contemporary world our lives seem to become ever more Girardian, and to such an extent that even everyday language speaks of this circumstance. I think especially of a tool that is omnipresent in our societies: One just has to listen carefully (...) to the concepts employed daily by billions of users of the digital universal, and more particularly pay attention to the naturalization of an extremely aggressive behavior by the users of social networks.Is it not true that we all want our posts and tweets and photos to go viral? Haven't we all have lost some precious time looking at an infinity of memes scrolling down mechanically screen after screen? In political science, there is even a new approach, memetic, specialized in the study of the production [End Page 47] of memes and above all in understanding the overwhelming impact of their reception—notably in the political arena. Among so many possible examples, the Italian movement Cinque Stelle, the election of both Donald Trump in the United States (2016) and Jair Messias Bolsonaro in Brazil (2018), and the outcome of the Brexit plebiscite (2016) are events intrinsically (although not exclusively) related to a sort of mass production of memes and other gadgets typical of social networks.And that is not all: The word contagion is commonly employed by users in almost a technical Girardian sense. The paroxysm of a world for which social relations are dominated by aggravated internal mediation also deepens the mimetic drive underlying the digital universe. What is one to say of a new "profession" that is flourishing nowadays? I am referring to the digital influencer, whose only possible parallel is given by the uncontrollable multiplication of coaches for every single aspect of life. The reader of René Girard's fundamental work cannot but close her eyes and anticipate the next step. Digital influencers and coaches are only successful if they present themselves as an authentic skandalon to billions of users around the globe, for their lifestyle, although seemingly inaccessible or precisely because of it, becomes the explicit object of desire of their followers. Girardian concepts come naturally to mind: Metaphysical desire defines the profile of such followers—they want to be exactly like the coaches and influencers they admire. The double-bind nature of this predicament is a perfect recipe for the escalation of symbolic violence and abusive language that permeates the digital universe. Influencers and coaches are, so to speak, active nonreaders of Gregory Bateson's work, urging their followers to adopt them as undisputable models, but at the same time, because they are the coaches and the influencers, they are making it clear that the followers will not be able to achieve what nonetheless they are led to covet because of the same influencers and coaches. Otherwise, if every follower became a coach, the "profession" would at once reach its apogee and its destruction!(You understand that redundancy imposes itself here because it is a powerful mimetic machine.)In Bateson's words, the double bind is "a situation in which no matter what a person does, he 'can't win.' It is hypothesized that a person caught in the double bind may develop schizophrenic symptoms."1 This paradoxical structure evokes the classic situation of the fable, in which the character who desires everything [End Page 48] gains nothing; finding himself midway between two treasures, he is unable to settle on one for fear of losing the other. This is a conflictive situation provoked by the digital universe on a daily basis and on a planetary scale in an unprecedented manner.The "best" is yet to come: This troubling escalation of mimetic rivalry and therefore mimetic violence, although entangled in embarrassingly trite matters, has a shocking outcome: the obsessive repetition of the mimetic resolution offered by the so-called "virtual lynching," and the omnipresence of the "cancel or call-out culture," an obvious variation of the scapegoat mechanism, widely employed and rendered properly epidemic due to an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Professor’s DesireAnca Parvulescu (bio)Roland Barthes. THE NEUTRAL. Trans. Rosalind E. Krauss and Denis Hollier. New York: Columbia UP, 2005. Trans. of Le Neutre. Paris: Seuil, 2002.I add: a reflection on the Neutral, for me: a manner—a free manner—to be looking for my own style of being present to the struggles of my time.—Roland Barthes, The NeutralWhat I am looking for, during the preparation of this course, is an (...) introduction to living, a guide to life (ethical project): I want to live according to nuance.—Roland Barthes, The NeutralLe Neutre reaches us late. Like an echo, it needed time, and it took its time to come. The second of the three courses Roland Barthes gave at the Collège de France between 1977 and 1980, Le Neutre was published in 2002 by Éditions du Seuil, following the editorial work of Thomas Clerc, under the direction of Éric Marty.1 Rosalind E. Krauss and Denis Hollier’s translation as The Neutral brought it to life in English in 2005. After thirty years, Le Neutre comes indeed late, but perhaps its lateness, the time of the echo, is part of its very scene.Barthes did not conceive of Le Neutre as a book. It was a course, to happen as a onetime affair and then be put aside: “We’ll have to hold on to the unsustainable for thirteen weeks: after that, it will fade” [13]; “This course is made to die on the spot” [250]. As such, the course is not only an attempt to do justice to a “subject,” to which, Barthes insists, we should not hold on once the course is over, but also to meditate on the very situation of teaching.2 The course on the neutral offers the occasion to ask, What is it to teach? And teaching, we soon find out, is a matter of desire: the course should have been called The Desire for the Neutral. The teacher follows his desire and, in doing so—Barthes is reminded by a student—inflects and curbs the student’s desire. What is it, then, that one desires when one desires the neutral? The teacher is pressed to offer something by way of definition:I define the Neutral as that which outplays [déjoue] the paradigm, or rather I call Neutral everything that baffles the paradigm. For I am not trying to define a word; I am trying to name a thing: I gather under a name, which here is the Neutral.[6]The neutral is a “thing” (no qualifying adjective) that outplays, baffles, or dodges the “implacable binarism” of language as seen through Saussurian linguistics: in order to [End Page 32]produce meaning, one is in the same breath choosing A and refusing B. The search here is for a ”thing” that might suspend, thwart, or elude the paradigm, what Barthes calls its arrogance. Indeed, what would it mean to escape the necessity of choosing, say—this is Barthes’s first example—between je ris (I laugh) and je lis (I read)?A problem for the teaching theater unfolds: the moment one names the “thing,” one brings it into the paradigm, constructing an opposition between the neutral and arrogance. The scene of teaching performs an aporia: “Neutral = impossible; to speak it is to defeat it but not to speak it is to miss its ‘setting up’ [...] to speak this cacophony, I need a course” [29]. There is an obvious tension between teaching, its demands for clear and transparent meaning-making and inherent institutional arrogance, and the neutral. “Arrogance”: “the taking of too much upon oneself as one’s right; the assertion of unwarrantable claims in respect of one’s own importance; undue assumption of dignity, authority, or knowledge” [OED]. The teacher is inevitably occupying the place of arrogance. Indeed, foregrounding its righteousness and authority, arrogance is standing, a position Barthes associates with a certain kind of fascism. The neutral teacher struggles to dodge the arrogance inherent to the teaching scene. Sitting, he stammers, cacophonizes. One speaks, but one accompanies speaking with a continuous performance of an apology for speaking.3 The teacher does not offer an anchor in... (shrink)

In a famous article published in 1900, Cardinal Mercier drew up a philosophical balance sheet of the previous century. While still showing respect for modern developments, he severely criticized anything that strayed too far from the neo-Thomistic horizon. It is very characteristic that the first object of his criticism is De Bonald’s traditionalism. Mercier says that this type of philosophy is so greatly influenced by the impotence of reason that it hurls itself into the arms of faith. But, “an act (...) of faith cannot be the primordial act of human reason. An individual could not believe unless he first saw that it was reasonable to believe.”It is philosophy that must articulate this rationality. Philosophy must then be a real science; it must pursue rational insight into reality. Unfortunately, some do not believe that philosophy is a science. Instead, they think its task lies elsewhere; it must try to speak where science remains silent. In that case, it is no longer part of science, but belongs to the domain of imagination, faith or dreams. Mercier argues that whoever accepts this, supports Comte’s positivistic prejudice that only the observed positive fact can lie at the basis of a rational and scientific discussion.Mercier stands at the end of a century of unlimited optimism. From a military point of view, the century had been calm. The new sciences that had so intrigued Mercier were marking their first big successes. The century’s optimism is recognizable in the 1889 charter establishing the Thomistic Higher Institute of Philosophy, which Mercier served as president: “far from bringing dogmas in danger, scientific insights stimulate a wondrous growth in enlightened insight; for they both come from the same God, origin of both revelation and universe.” Mercier’s tonality lies not far distant from Renan’s L’avenir de la science, where he complains that there are people who choose bon ton, superstition and frivolity above meticulous research, but predicts that their success is ephemeral and that the time of rationality will dawn.The next century, however, took an unexpected turn. Who would have thought in 1900 that history, which had been set so firmly on the track of reason, would derail so terribly? No great philosopher predicted the coming catastrophes. The only warnings came from a few nineteenth-century traditionalist Cassandras who went to extremes in linking modernity and decay: Donoso Cortes, Joseph de Maistre and Louis De Bonald. Who predicted the arrival of enlightenment criticism in intellectual history? Who predicted that we would not see history becoming reasonable, but reason historical? Who could have predicted twentieth-century contextualism and its claim that reason is not the criterion of culture but only one element within culture indebted to an entire sociocultural context? All this can be found in De Bonald’s traditionalism that has proven paradoxically more up-to-date than the naïve trust in rationality found in Mercier and Renan.Yet, De Bonald did not intend to preach a form of irrationalism. His purpose was to accent reason’s dependence, and by extension, humankind’s intellectual solidarity: thought is impossible without language, language does not exist without a listener, there is no listener without education, there is no education without social life. Using this reasoning, De Bonald ultimately wants to prove that reason intrinsically refers to revelation, since in this chain, the first word cannot come from humankind.He supports this with an epistemological argument that contextualizes reason in a way that is almost contemporary: “A person has to think his word before saying it. Therefore, he cannot find without thinking, and cannot think without signs. He is compelled to have recourse to something other than the human.” Leuven’s variant of this traditionalism emphasizes that reason develops only in and through language, thus by being included in a community. By comparison, Mercier’s realistic concept of rationality sounds old-fashioned. It is traditionalism that best fits with the contemporary accent on reason’s historicity and culture-related status.The development of ethics also runs counter to Mercier’s expectations. There has been no growth in rationality but a growing insight into the historicity of reason. In the article already cited, Mercier criticizes Kant for not being sufficiently foundational, since he does not rely on a speculative-metaphysical foundation: “What kind of ethic is it that cannot be theoretically justified?” In our time, the roles are reversed. Many ethicists condemn Kant because he tries to find this foundation! How are we to understand this turn-about in ethics? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Did Hobbes Have a Semantic Theory of Truth? WILLEM R. DEJONG 1. INTRODUCTION THE qUESTIONRAISEDin the title of this article may strike the reader as a bit anachronistic. A phrase like 'semantic theory of truth' evokes associations with rather recent developments in logic, especially the work of Alfred Tarski. Nevertheless, it is generally agreed that Hobbes made important observations of a semantical nature. Moreover, in an interesting article still (...) frequently referred to, R. M. Martin has argued that Hobbes "has in mind a clear-cut semantical concept of truth."' Examining Hobbes's semantical ideas somewhat more closely than Martin did, T6rnebohm has given a more precise characterization of Hobbes's view on truth and falsity; he speaks of Hobbes's comprehension theory of truth. ~One of the main purposes of this article is to investigate whether such a theory is correctly attributed to Hobbes. For Tarski 'true' and 'false' are predicates of (declarative) sentences) But this is not enough to speak of a semantic theory of truth: The leading idea behind Tarski's fundamental work in the field of semantics is (a restricted version of) the principle of compositionality. This principle, also known as Frege's principle, says that the semantic value of a (complex) expression is a function of the semantic values of the syntactic (and categorematic) parts it is ' R. M. Martin, "On the Semantics of Hobbes," Philosophyand PhenomenologicalResearch 14 095314): 2o5-11, esp. ~o7, 211. Cf. I. C. Hungerland and G. R. Vick, "Hobbes's Theory of Language, Speech and Reasoning," in ThomasHobbes:Computatwsire Logica--Logic, translated and commentary by A. Martinich, ed. and introduced by I. C. Hungerland and G. R. Vick (New York: 1981), 15--167, esp. 17, 121-22. 9 H. T6rnebohm, "A Study in Hobbes' Theory of Denotation and Truth," Theor~a26 (196o): 53-7o; see p. 66. 3 A. Tarski, "The Semantic Conception of Truth and the Foundations of Semantics," Philosophy and PhenomenologicalResearch4 (1944): 341-375; see p. 342. [63] 64 JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY 199o composed of. Moreover, in the case of linguistic expressions which are (deciarative ) sentences this semantic value should be its truth-value. 4 As we shall see, Hobbes's theory of propositions is basically a theory of subject-predicate propositions. It is therefore reasonable to qualify his theory of truth as a semantic one only if it satisfies Frege's principle to a certain extent. Ideally, this means that the truth-value of subject-predicate propositions should be conceived as a function of the semantic interpretations of its subject and predicate. In the next three sections I will concentrate principally on the logicosyntactical aspects of language. I will then discuss successively the general structure of propositions, the various sorts of names, and the syntax of Hobbes's theory of propositions. Section 5 is devoted to Hobbes's theory of truth as interpreted by Martin and T0rnebohm. The outcome of this examination makes it necessary to break away from Martin's restricted conception of semantics. Martin, like Tarski, takes semantics as "semantics in the narrower sense," i.e., as the discipline Quine refers to as the theory of reference. 5 However, sometimes this term is used in a broader sense; the field of semantics is taken then to include the theory of meaning too. Although the wording differs frequently, the distinction between meaning and reference is almost a constant in the history of thinking about language. On the side of meaning one finds terms like connotation, intension, conception, signification and analyticity, while terms like naming, denoting, extension (and sometimes again signification) are ]inked to the notion of reference. In the Computatio sive Logica, the first part of De Corpore, containing Hobbes's most mature work on the philosophy of language, this opposition is displayed by way of a distinction between, on the one side, nominare, denotare and appellare and, on the other side, significare. Hobbes's view of the significative, as opposed to the denotative, role of linguistic expressions is treated in sections 6, 7, and 8. There it will be shown that Hobbes's radical nominalism is decisive for his doctrine of signification; moreover, this nominalism raises serious problems for the relation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Virgil, Eclogues, Georgics, Aeneid 1-6W. W. De GrummondH. Rushton Fairclough, ed. and trans. Virgil, Eclogues, Georgics, Aeneid 1-6, rev. G. P. Goold. Loeb Classical Library 63. Cambridge, Mass.: Harvard University Press, 1999. x + 598 pp.Volume 1 of the Fairclough translation of Virgil, containing the Eclogues, the Georgics, and books 1 through 6 of the Aeneid, first appeared in the Loeb Classical Library in 1916. This version has (...) done admirable service in the English-speaking world ever since, though it was revised by Fairclough in 1932. The 1999 edition, revised by Goold, retains a familiar look, not only in its red cover and its traditional format--the Latin text on the left-hand page and the English translation facing it--but also in much of the specific language of the rendering. Fairclough rightly retains pride of place on the title page: as in earlier editions, we are given Virgil "with an English translation by H. Rushton Fairclough"; "revised by G. P. Goold" is now added. In short, this is still to be considered Fairclough's Virgil.The revised version of 1932, Fairclough said, "seems now called for owing to the large amount of scholarly literature bearing upon our author which has appeared in the last fifteen years." In his preface to that first revision of the volume, the translator warned his readers that "as little change as possible has been made in the printed page, and therefore most of the additional matter now appears in the Appendix." The present edition removes the appendix, offers a new preface and a new introduction, and of course brings the whole up to date. Needless to say, a much larger body of scholarly discussion pertaining to Virgil has accrued in the sixty-odd years since 1932 than in the fifteen years before that date. Goold, who is the former editor of the Loeb Classical Library as well as the editor of this volume within it, has given as a part of his introduction an eight-page bibliography, which is intended to lead the reader to the essential editions, reference works, commentaries, studies, and criticism.It has not been an aim of this series in the past to display a full apparatus criticus (which, according to Goold, "would prove a hindrance rather than a help to the Loeb reader"); even so, its brevity in the new edition is startling. The apparatus of Eclogue 6,for example, comprises six items in this edition, as opposed to thirteen in the previous one; for the last one hundred lines of Georgics, book 2, there are now ten entries instead of fifteen; for the first one hundred lines [End Page 287] of Aeneid, book 6, five as against twelve. The individual citations of variant readings, too, tend to be shorter, because, as Goold tells us, he has "limited [himself] to recording the readings of the primary capital manuscripts" (vii-viii). This does, of course, give a cleaner-looking page, but since the editor does not seem to have a very high expectation of "the Loeb reader," he might have feared that the intermingling of variant Latin readings with explanatory notes in English, both now sometimes on the left-hand page and sometimes on the right (in Eclogue 6, for instance), would "prove a hindrance" as well. In any event, he has "eliminated more than a thousand critical notes" (viii). This assuredly makes for a more streamlined presentation for the modern user; whether it will turn out to be more enlightening, or more "user friendly" in the larger perspective, seems doubtful. On the other hand, the current edition undeniably sports a new, handsome look, and although there is more text per page, the type is easier to read. The placing of line numbers at the left of the text rather than the right has made it possible to avoid almost all of the run-on lines of Latin which are found in the older edition.Fairclough had allotted three pages to the life of Virgil and two pages to the manuscripts of the poems, but no literary introductions, even of the briefest kind, to the works themselves, either en bloc or separately. It appears... (shrink)

Table of contentsI1 Proceedings of the 4th World Conference on Research IntegrityConcurrent Sessions:1. Countries' systems and policies to foster research integrityCS01.1 Second time around: Implementing and embedding a review of responsible conduct of research policy and practice in an Australian research-intensive universitySusan Patricia O'BrienCS01.2 Measures to promote research integrity in a university: the case of an Asian universityDanny Chan, Frederick Leung2. Examples of research integrity education programmes in different countriesCS02.1 Development of a state-run “cyber education program of research ethics” in (...) KoreaEun Jung Ko, Jin Sun Kwak, TaeHwan Gwon, Ji Min Lee, Min-Ho LeeCS02.3 Responsible conduct of research teachers’ training courses in Germany: keeping on drilling through hard boards for more RCR teachersHelga Nolte, Michael Gommel, Gerlinde Sponholz3. The research environment and policies to encourage research integrityCS03.1 Challenges and best practices in research integrity: bridging the gap between policy and practiceYordanka Krastev, Yamini Sandiran, Julia Connell, Nicky SolomonCS03.2 The Slovenian initiative for better research: from national activities to global reflectionsUrsa Opara Krasovec, Renata SribarCS03.3 Organizational climate assessments to support research integrity: background of the Survey of Organizational Research Climate and the experience with its use at Michigan State UniversityBrian C. Martinson, Carol R. Thrush, C.K. Gunsalus4. Expressions of concern and retractionsCS04.1 Proposed guidelines for retraction notices and their disseminationIvan Oransky, Adam MarcusCS04.2 Watching retractions: analysis of process and practice, with data from the Wiley retraction archivesChris Graf, Verity Warne, Edward Wates, Sue JoshuaCS04.3 An exploratory content analysis of Expressions of ConcernMiguel RoigCS04.4 An ethics researcher in the retraction processMichael Mumford5. Funders' role in fostering research integrityCS05.1 The Fonds de Recherche du Québec’s institutional rules on the responsible conduct of research: introspection in the funding agency activitiesMylène Deschênes, Catherine Olivier, Raphaëlle Dupras-LeducCS05.2 U.S. Public Health Service funds in an international setting: research integrity and complianceZoë Hammatt, Raju Tamot, Robin Parker, Cynthia Ricard, Loc Nguyen-Khoa, Sandra TitusCS05.3 Analyzing decision making of funders of public research as a case of information asymmetryKarsten Klint JensenCS05.4 Research integrity management: Empirical investigation of academia versus industrySimon Godecharle, Ben Nemery, Kris Dierickx5A: Education: For whom, how, and what?CS05A.1 Research integrity or responsible conduct of research? What do we aim for?Mickey Gjerris, Maud Marion Laird Eriksen, Jeppe Berggren HoejCS05A.2 Teaching and learning about RCR at the same time: a report on Epigeum’s RCR poll questions and other assessment activitiesNicholas H. SteneckCS05A.4 Minding the gap in research ethics education: strategies to assess and improve research competencies in community health workers/promoteresCamille Nebeker, Michael Kalichman, Elizabeth Mejia Booen, Blanca Azucena Pacheco, Rebeca Espinosa Giacinto, Sheila Castaneda6. Country examples of research reward systems and integrityCS06.1 Improving systems to promote responsible research in the Chinese Academy of SciencesDing Li, Qiong Chen, Guoli Zhu, Zhonghe SunCS06.4 Exploring the perception of research integrity amongst public health researchers in IndiaParthasarathi Ganguly, Barna Ganguly7. Education and guidance on research integrity: country differencesCS07.1 From integrity to unity: how research integrity guidance differs across universities in Europe.Noémie Aubert Bonn, Kris Dierickx, Simon GodecharleCS07.2 Can education and training develop research integrity? The spirit of the UNESCO 1974 recommendation and its updatingDaniele Bourcier, Jacques Bordé, Michèle LeducCS07.3 The education and implementation mechanisms of research ethics in Taiwan's higher education: an experience in Chinese web-based curriculum development for responsible conduct of researchChien Chou, Sophia Jui-An PanCS07.4 Educating principal investigators in Swiss research institutions: present and future perspectivesLouis Xaver Tiefenauer8. Measuring and rewarding research productivityCS08.1 Altimpact: how research integrity underpins research impactDaniel Barr, Paul TaylorCS08.2 Publication incentives: just reward or misdirection of funds?Lyn Margaret HornCS08.3 Why Socrates never charged a fee: factors contributing to challenges for research integrity and publication ethicsDeborah Poff9. Plagiarism and falsification: Behaviour and detectionCS09.1 Personality traits predict attitude towards plagiarism of self and others in biomedicine: plagiarism, yes we can?Martina Mavrinac, Gordana Brumini, Mladen PetrovečkiCS09.2 Investigating the concept of and attitudes toward plagiarism for science teachers in Brazil: any challenges for research integrity and policy?Christiane Coelho Santos, Sonia VasconcelosCS09.3 What have we learnt?: The CrossCheck Service from CrossRefRachael LammeyCS09.4 High p-values as a sign of data fabrication/falsificationChris Hartgerink, Marcel van Assen, Jelte Wicherts10. Codes for research integrity and collaborationsCS10.1 Research integrity in cross-border cooperation: a Nordic exampleHanne Silje HaugeCS10.3 Research integrity, research misconduct, and the National Science Foundation's requirement for the responsible conduct of researchAaron MankaCS10.4 A code of conduct for international scientific cooperation: human rights and research integrity in scientific collaborations with international academic and industry partnersRaffael Iturrizaga11. Countries' efforts to establish mentoring and networksCS11.1 ENRIO : a network facilitating common approaches on research integrity in EuropeNicole FoegerCS11.2 Helping junior investigators develop in a resource-limited country: a mentoring program in PeruA. Roxana Lescano, Claudio Lanata, Gissella Vasquez, Leguia Mariana, Marita Silva, Mathew Kasper, Claudia Montero, Daniel Bausch, Andres G LescanoCS11.3 Netherlands Research Integrity Network: the first six monthsFenneke Blom, Lex BouterCS11.4 A South African framework for research ethics and integrity for researchers, postgraduate students, research managers and administratorsLaetus OK Lategan12. Training and education in research integrity at an early career stageCS12.1 Research integrity in curricula for medical studentsGustavo Fitas ManaiaCS12.2 Team-based learning for training in the responsible conduct of research supports ethical decision-makingWayne T. McCormack, William L. Allen, Shane Connelly, Joshua Crites, Jeffrey Engler, Victoria Freedman, Cynthia W. Garvan, Paul Haidet, Joel Hockensmith, William McElroy, Erik Sander, Rebecca Volpe, Michael F. VerderameCS12.4 Research integrity and career prospects of junior researchersSnezana Krstic13. Systems and research environments in institutionsCS13.1 Implementing systems in research institutions to improve quality and reduce riskLouise HandyCS13.2 Creating an institutional environment that supports research integrityDebra Schaller-DemersCS13.3 Ethics and Integrity Development Grants: a mechanism to foster cultures of ethics and integrityPaul Taylor, Daniel BarrCS13.4 A culture of integrity at KU LeuvenInge Lerouge, Gerard Cielen, Liliane Schoofs14. Peer review and its role in research integrityCS14.1 Peer review research across disciplines: transdomain action in the European Cooperation in Science and Technology “New Frontiers of Peer Review ”Ana Marusic, Flaminio SquazzoniCS14.2 Using blinding to reduce bias in peer reviewDavid VauxCS14.3 How to intensify the role of reviewers to promote research integrityKhalid Al-Wazzan, Ibrahim AlorainyCS14.4 Credit where credit’s due: professionalizing and rewarding the role of peer reviewerChris Graf, Verity Warne15. Research ethics and oversight for research integrity: Does it work?CS15.1 The psychology of decision-making in research ethics governance structures: a theory of bounded rationalityNolan O'Brien, Suzanne Guerin, Philip DoddCS15.2 Investigator irregularities: iniquity, ignorance or incompetence?Frank Wells, Catherine BlewettCS15.3 Academic plagiarismFredric M. Litto16. Research integrity in EuropeCS16.1 Whose responsibility is it anyway?: A comparative analysis of core concepts and practice at European research-intensive universities to identify and develop good practices in research integrityItziar De Lecuona, Erika Löfstrom, Katrien MaesCS16.2 Research integrity guidance in European research universitiesKris Dierickx, Noémie Bonn, Simon GodecharleCS16.3 Research Integrity: processes and initiatives in Science Europe member organisationsTony Peatfield, Olivier Boehme, Science Europe Working Group on Research IntegrityCS16.4 Promoting research integrity in Italy: the experience of the Research Ethics and Bioethics Advisory Committee of the Consiglio Nazionale delle Ricerche Cinzia Caporale, Daniele Fanelli17. Training programs for research integrity at different levels of experience and seniorityCS17.1 Meaningful ways to incorporate research integrity and the responsible conduct of research into undergraduate, graduate, postdoctoral and faculty training programsJohn Carfora, Eric Strauss, William LynnCS17.2 "Recognize, respond, champion": Developing a one-day interactive workshop to increase confidence in research integrity issuesDieter De Bruyn, Bracke Nele, Katrien De Gelder, Stefanie Van der BurghtCS17.4 “Train the trainer” on cultural challenges imposed by international research integrity conversations: lessons from a projectJosé Roberto Lapa e Silva, Sonia M. R. Vasconcelos18. Research and societal responsibilityCS18.1 Promoting the societal responsibility of research as an integral part of research integrityHelene IngierdCS18.2 Social responsibility as an ethical imperative for scientists: research, education and service to societyMark FrankelCS18.3 The intertwined nature of social responsibility and hope in scienceDaniel Vasgird, Stephanie BirdCS18.4 Common barriers that impede our ability to create a culture of trustworthiness in the research communityMark Yarborough19. Publication ethicsCS19.1 The authors' forum: A proposed tool to improve practices of journal editors and promote a responsible research environmentIbrahim Alorainy, Khalid Al-WazzanCS19.2 Quantifying research integrity and its impact with text analyticsHarold GarnerCS19.3 A closer look at authorship and publication ethics of multi- and interdisciplinary teamsLisa Campo-Engelstein, Zubin Master, Elise Smith, David Resnik, Bryn Williams-JonesCS19.4 Invisibility of duplicate publications in biomedicineMario Malicki, Ana Utrobicic, Ana Marusic20. The causes of bad and wasteful research: What can we do?CS20.1 From countries to individuals: unravelling the causes of bias and misconduct with multilevel meta-meta-analysisDaniele Fanelli, John PA IoannidisCS20.2 Reducing research waste by integrating systems of oversight and regulationGerben ter Riet, Tom Walley, Lex Marius BouterCS20.3 What are the determinants of selective reporting?: The example of palliative care for non-cancer conditionsJenny van der Steen, Lex BouterCS20.4 Perceptions of plagiarism, self-plagiarism and redundancy in research: preliminary results from a national survey of Brazilian PhDsSonia Vasconcelos, Martha Sorenson, Francisco Prosdocimi, Hatisaburo Masuda, Edson Watanabe, José Carlos Pinto, Marisa Palácios, José Lapa e Silva, Jacqueline Leta, Adalberto Vieyra, André Pinto, Mauricio Sant’Ana, Rosemary Shinkai21. Are there country-specific elements of misconduct?CS21.1 The battle with plagiarism in Russian science: latest developmentsBoris YudinCS21.2 Researchers between ethics and misconduct: A French survey on social representations of misconduct and ethical standards within the scientific communityEtienne Vergès, Anne-Sophie Brun-Wauthier, Géraldine VialCS21.3 Experience from different ways of dealing with research misconduct and promoting research integrity in some Nordic countriesTorkild VintherCS21.4 Are there specifics in German research misconduct and the ways to cope with it?Volker Bähr, Charité22. Research integrity teaching programmes and their challengesCS22.1 Faculty mentors and research integrityMichael Kalichman, Dena PlemmonsCS22.2 Training the next generation of scientists to use principles of research quality assurance to improve data integrity and reliabilityRebecca Lynn Davies, Katrina LaubeCS22.3 Fostering research integrity in a culturally-diverse environmentCynthia Scheopner, John GallandCS22.4 Towards a standard retraction formHervé Maisonneuve, Evelyne Decullier23. Commercial research and integrityCS23.1 The will to commercialize: matters of concern in the cultural economy of return-on-investment researchBrian NobleCS23.2 Quality in drug discovery data reporting: a mission impossible?Anja Gilis, David J. Gallacher, Tom Lavrijssen, Malwitz David, Malini Dasgupta, Hans MolsCS23.3 Instituting a research integrity policy in the context of semi-private-sector funding: an example in the field of occupational health and safetyPaul-Emile Boileau24. The interface of publication ethics and institutional policiesCS24.1 The open access ethical paradox in an open government effortTony SavardCS24.2 How journals and institutions can work together to promote responsible conductEric MahCS24.3 Improving cooperation between journals and research institutions in research integrity casesElizabeth Wager, Sabine Kleinert25. Reproducibility of research and retractionsCS25.1 Promoting transparency in publications to reduce irreproducibilityVeronique Kiermer, Andrew Hufton, Melanie ClyneCS25.2 Retraction notices issued for publications by Latin American authors: what lessons can we learn?Sonia Vasconcelos, Renan Moritz Almeida, Aldo Fontes-Pereira, Fernanda Catelani, Karina RochaCS25.3 A preliminary report of the findings from the Reproducibility Project: Cancer biologyElizabeth Iorns, William Gunn26. Research integrity and specific country initiativesCS26.1 Promoting research integrity at CNRS, FranceMichèle Leduc, Lucienne LetellierCS26.2 In pursuit of compliance: is the tail wagging the dog?Cornelia MalherbeCS26.3 Newly established research integrity policies and practices: oversight systems of Japanese research universitiesTakehito Kamata27. Responsible conduct of research and country guidelinesCS27.1 Incentives or guidelines? Promoting responsible research communication through economic incentives or ethical guidelines?Vidar EnebakkCS27.3 Responsible conduct of research: a view from CanadaLynn PenrodCS27.4 The Danish Code of Conduct for Research Integrity: a national initiative to promote research integrity in DenmarkThomas Nørgaard, Charlotte Elverdam28. Behaviour, trust and honestyCS28.1 The reasons behind non-ethical behaviour in academiaYves FassinCS28.2 The psychological profile of the dishonest scholarCynthia FekkenCS28.3 Considering the implications of Dan Ariely’s keynote speech at the 3rd World Conference on Research Integrity in MontréalJamal Adam, Melissa S. AndersonCS28.4 Two large surveys on psychologists’ views on peer review and replicationJelte WichertsBrett Buttliere29. Reporting and publication bias and how to overcome itCS29.1 Data sharing: Experience at two open-access general medical journalsTrish GrovesCS29.2 Overcoming publication bias and selective reporting: completing the published recordDaniel ShanahanCS29.3 The EQUATOR Network: promoting responsible reporting of health research studiesIveta Simera, Shona Kirtley, Eleana Villanueva, Caroline Struthers, Angela MacCarthy, Douglas Altman30. The research environment and its implications for integrityCS30.1 Ranking of scientists: the Russian experienceElena GrebenshchikovaCS30.4 From cradle to grave: research integrity, research misconduct and cultural shiftsBronwyn Greene, Ted RohrPARTNER SYMPOSIAPartner Symposium AOrganized by EQUATOR Network, Enhancing the Quality and Transparency of Health ResearchP1 Can we trust the medical research literature?: Poor reporting and its consequencesIveta SimeraP2 What can BioMed Central do to improve published research?Daniel Shanahan, Stephanie HarrimanP3 What can a "traditional" journal do to improve published research?Trish GrovesP4 Promoting good reporting practice for reliable and usable research papers: EQUATOR Network, reporting guidelines and other initiativesCaroline StruthersPartner Symposium COrganized by ENRIO, the European Network of Research Integrity OfficersP5 Transparency and independence in research integrity investigations in EuropeKrista Varantola, Helga Nolte, Ursa Opara, Torkild Vinther, Elizabeth Wager, Thomas NørgaardPartner Symposium DOrganized by IEEE, the Institute of Electrical and Electronics EngineersRe-educating our author community: IEEE's approach to bibliometric manipulation, plagiarism, and other inappropriate practicesP6 Dealing with plagiarism in the connected world: An Institute of Electrical and Electronics Engineers perspectiveJon RokneP7 Should evaluation of raises, promotion, and research proposals be tied to bibliometric indictors? What the Institute of Electrical and Electronics Engineers is doing to answer this questionGianluca SettiP8 Recommended practices to ensure conference content qualityGordon MacPhersonPartner Symposium EOrganized by the Committee on Freedom and Responsibility in the Conduct of Science of ICSU, the International Council for ScienceResearch assessment and quality in science: perspectives from international science and policy organisationsP9 Challenges for science and the problems of assessing researchEllen HazelkornP10 Research assessment and science policy developmentCarthage SmithP11 Research integrity in South Africa: the value of procedures and processes to global positioningRobert H. McLaughlinP12 Rewards, careers and integrity: perspectives of young scientists from around the worldTatiana Duque MartinsPartner Symposium FOrganized by the Online Resource Center for Ethics Education in Engineering and Science / Center for Engineering, Ethics, and Society of the National Academy of EngineeringP13 Research misconduct: conceptions and policy solutionsTetsuya Tanimoto, Nicholas Steneck, Daniele Fanelli, Ragnvald Kalleberg, Tajammul HusseinPartner Symposium HOrganized by ORI, the Office of Research Integrity; Universitas 21; and the Asia Pacific Research Integrity NetworkP14 International integrity networks: working together to ensure research integrityPing Sun, Ovid Tzeng, Krista Varantola, Susan ZimmermanPartner Symposium IOrganized by COPE, the Committee on Publication EthicsPublication without borders: Ethical challenges in a globalized worldP15 Authorship: credit and responsibility, including issues in large and interdisciplinary studiesRosemary ShinkaiPartner Symposium JOrganized by CITI, the Cooperative Institutional Training InitiativeExperiences on research integrity educational programs in Colombia, Costa Rica and PeruP16 Experiences in PeruRoxana LescanoP17 Experiences in Costa RicaElizabeth HeitmanP18 Experiences in ColumbiaMaria Andrea Rocio del Pilar Contreras NietoPoster Session B: Education, training, promotion and policyPT.01 The missing role of journal editors in promoting responsible researchIbrahim Alorainy, Khalid Al-WazzanPT.02 Honorary authorship in Taiwan: why and who should be in charge?Chien Chou, Sophia Jui-An PanPT.03 Authorship and citation manipulation in academic researchEric Fong, Al WilhitePT.04 Open peer review of research submission at medical journals: experience at BMJ Open and The BMJTrish GrovesPT.05 Exercising authorship: claiming rewards, practicing integrityDésirée Motta-RothPT.07 Medical scientists' views on publication culture: a focus group studyJoeri Tijdink, Yvo SmuldersPoster Session B: Education, training, promotion and policyPT.09 Ethical challenges in post-graduate supervisionLaetus OK LateganPT.10 The effects of viable ethics instruction on international studentsMichael Mumford, Logan Steele, Logan Watts, James Johnson, Shane Connelly, Lee WilliamsPT.11 Does language reflect the quality of research?Gerben ter Riet, Sufia Amini, Lotty Hooft, Halil KilicogluPT.12 Integrity complaints as a strategic tool in policy decision conflictsJanneke van Seters, Herman Eijsackers, Fons Voragen, Akke van der Zijpp and Frans BromPoster Session C: Ethics and integrity intersectionsPT.14 Regulations of informed consent: university-supported research processes and pitfalls in implementationBadaruddin Abbasi, Naif Nasser AlmasoudPT.15 A review of equipoise as a requirement in clinical trialsAdri LabuschagnePT.16 The Research Ethics Library: online resource for research ethics educationJohanne Severinsen, Espen EnghPT.17 Research integrity: the view from King Abdulaziz City for Science and TechnologyDaham Ismail AlaniPT. 18 Meeting global challenges in high-impact publications and research integrity: the case of the Malaysian Palm Oil BoardHJ. Kamaruzaman JusoffPT.19 University faculty perceptions of research practices and misconductAnita Gordon, Helen C. HartonPoster Session D: International perspectivesPT.21 The Commission for Scientific Integrity as a response to research fraudDieter De Bruyn, Stefanie Van der BurghtPT. 22 Are notions of the responsible conduct of research associated with compliance with requirements for research on humans in different disciplinary traditions in Brazil?Karina de Albuquerque Rocha, Sonia Maria Ramos de VasconcelosPT.23 Creating an environment that promotes research integrity: an institutional model of Malawi Liverpool Welcome TrustLimbanazo MatandikaPT.24 How do science policies in Brazil influence user-engaged ecological research?Aline Carolina de Oliveira Machado Prata, Mark William NeffPoster Session E: Perspectives on misconductPT.26 What “causes” scientific misconduct?: Testing major hypotheses by comparing corrected and retracted papersDaniele Fanelli, Rodrigo Costas, Vincent LarivièrePT.27 Perception of academic plagiarism among dentistry studentsDouglas Leonardo Gomes Filho, Diego Oliveira GuedesPT. 28 a few bad apples?: Prevalence, patterns and attitudes towards scientific misconduct among doctoral students at a German university hospitalVolker Bähr, Niklas Keller, Markus Feufel, Nikolas OffenhauserPT. 29 Analysis of retraction notices published by BioMed CentralMaria K. Kowalczuk, Elizabeth C. MoylanPT.31 "He did it" doesn't work: data security, incidents and partnersKatie SpeanburgPoster Session F: Views from the disciplinesPT.32 Robust procedures: a key to generating quality results in drug discoveryMalini Dasgupta, Mariusz Lubomirski, Tom Lavrijssen, David Malwitz, David Gallacher, Anja GillisPT.33 Health promotion: criteria for the design and the integrity of a research projectMaria Betânia de Freitas Marques, Laressa Lima Amâncio, Raphaela Dias Fernandes, Oliveira Patrocínio, and Cláudia Maria Correia Borges RechPT.34 Integrity of academic work from the perspective of students graduating in pharmacy: a brief research studyMaria Betânia de Freitas Marques, Cláudia Maria Correia Borges Rech, Adriana Nascimento SousaPT.35 Research integrity promotion in the Epidemiology and Health Services, the journal of the Brazilian Unified Health SystemLeila Posenato GarciaPT.36 When are clinical trials registered? An analysis of prospective versus retrospective registration of clinical trials published in the BioMed Central series, UKStephanie Harriman, Jigisha PatelPT.37 Maximizing welfare while promoting innovation in drug developmentFarida LadaOther posters that will be displayed but not presented orally:PT.38 Geoethics and the debate on research integrity in geosciencesGiuseppe Di Capua, Silvia PeppoloniPT.39 Introducing the Professionalism and Integrity in Research Program James M. DuBois, John Chibnall, Jillon Van der WallPT.40 Validation of the professional decision-making in research measureJames M. DuBois, John Chibnall, Jillon Van der Wall, Raymond TaitPT.41 General guidelines for research ethicsJacob HolenPT. 42 A national forum for research ethicsAdele Flakke Johannessen, Torunn EllefsenPT.43 Evaluation of integrity in coursework: an approach from the perspective of the higher education professorClaudia Rech, Adriana Sousa, Maria Betânia de Freitas MarquesPT.44 Principles of geoethics and research integrity applied to the European Multidisciplinary Seafloor and Water Column Observatory, a large-scale European environmental research infrastructureSilvia Peppoloni, Giuseppe Di Capua, Laura BeranzoliF1 Focus track on improving research systems: the role of fundersPaulo S.L. Beirão, Susan ZimmermanF2 Focus track on improving research systems: the role of countriesSabine Kleinert, Ana MarusicF3 Focus track on improving research systems: the role of institutionsMelissa S. Anderson, Lex Bouter. (shrink)

In this article, I attempt to analyze some of the contexts of the language of being after Heidegger’s “turn” (Kehre), a clearly discernible change in his philosophy in the second half of the 1930s. Heidegger proposed a new concept to revealing being itself, namely its “event‑enowning” (Ereignis). The key to this understanding of being is that now language becomes “the house” of being. Heidegger combined this with the “joint” (fugue) function. Language as a fugue joins with being itself, and therefore (...) constantly follows and touches upon the boundary of silence. Silence is the ultimate complement of language and constantly limits it, because what is said only reveals a part of being, while the rest remains hidden and “expresses” silence, as it is in the case of a fugue, where the main motif of the theme “escapes” into silence. In the text, I first consider the fugue of being, then the language of being as its expression, in order to consider the problem of saying further, and finally analyze the limit of language, i.e. the way to silence. (shrink)

In Victor Hugo’s novel, Notre-Dame de Paris, 1482, the priest says that, alas, ‘this will destroy that’, meaning that the book upon which his hand was placed would destroy the building opposite. He is looking out of a window at the immense Cathedral of Notre-Dame (Hugo, 1967, p. 197). If the cathedral is a library to be read by the religious, and if the church is the symbol of authority and the repository of medieval knowledge, then the priest means not (...) only that the book, printing and new literacy would undermine the church’s authority, but that human thought will undermine the church’s expression of its authority (Bolter, 1991). The priest continues: the principal idea of each generation would no longer write itself with the same material and in the same way, that the book of stone, so solid and durable, would give place to the book made of paper, yet made more solid and durable. (Hugo, 1967, p. 199; Bolter’s 1991 translation). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 467-489 [Access article in PDF] "By the Things Themselves":Eudaimonism, Direct Acquaintance, and Illumination in Augustine's De Magistro 1 Michael Mendelson 1. The Eudaimonistic Interlude It comes as a surprise. Two-thirds of the way through De Magistro, amid a torturous and at times obscure discussion of the nature of language, Augustine pauses to provide Adeodatus, his son and interlocutor, with what seems (...) a rather odd digression:...with so many detours, it's difficult to say at this point where you and I are trying to get to! Maybe you think we're playing around and diverting the mind from serious matters by some little puzzles that seem childish, or that we're pursuing some result that is only small or modest....Though we do perhaps play around, this should itself not be regarded as childish. Nor are we thinking about small and modest goods. Yet if I were to say that there is a happy and everlasting life, and I want us to be led there under the guidance of God (namely by Truth Himself) by stages that are suitable to our weak steps, I'm afraid I might seem laughable for having set out on such a long journey by considering signs rather than the things themselves that are signified. So then, you'll pardon me if I play around with you at first—not for the sake of playing around, but to exercise the mind's strength and sharpness, with which we're [End Page 467] able not only to withstand but also to love the heat and light of that region where the happy life is. 2One is left wondering—if one pauses long enough to wonder at all—what exactly the preceding tightly woven and technical discussion of signification has to do with the "heat" (calor) and the "light" (lux) of the "region" (regio) where the "happy life" (beata vita) is to be found. Indeed, even the passage itself acknowledges the ostensible obliqueness of the connection without doing very much to highlight its nature.It is not surprising that readers of De Magistro often overlook this eudaimonistic interlude in favor of the more prominent and arresting difficulties with which the text confronts us. There is, after all, the somewhat awkward view of language which underlies the entire discussion, and there is also what seems to be the abrupt and jarring reversal of positions that occurs near the very end of the text. Perhaps most notorious of all, there is the famous theory of "divine illumination" with which the dialogue concludes. It is worth noting, however, that as odd and as digressive as this eudaimonistic interlude may strike the present-day reader, it does not seem to strike Adeodatus as at all odd, nor does it seem out of keeping with the eudaimonistic emphasis that is such a prominent feature of Augustine's other works from roughly the same period. 3 Indeed, our passage, although easily swept aside and passed over, can do much to provide a unifying strand which ties our difficulties together; it is, indeed, a helpful prism through which we can view those difficulties in a new light. [End Page 468] 2. Some Initial Darkness And the difficulties are indeed quite real. To begin with, there is the awkward view of language that underlies the entire discussion. "Words" (verba) are "signs" (signa) (DM 2.3), and there is a fundamental distinction between a "sign" and "signifiables" (significabilia) which are signified by signs (DM 4.8). Language, on this account, is fundamentally instrumental (see, e.g., DM 9.25), for each word is a means by which one attempts to draw attention to that which the word, qua sign, somehow signifies. As Wittgenstein says in his famous gloss on Confessions I.8, In this picture of language we find the roots of the following idea, E.g. Every word has a meaning. The meaning is correlated with the word. It is the object for which the word stands... (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 his New Essays on Human Understanding, Leibniz presents an extended critical commentary on Locke’s Essay Concerning Human Understanding. Leibniz read some of Locke’s work in English and then, a few years later, the whole of it in French, a language in which he was more comfortable. Over a period of about two further years, on and off, he wrote his New Essays, which he finished at about the time Locke died and which was not published until about half a (...) century after Leibniz’s death. (He left them unpublished partly because they had been motivated by a hope of getting Locke to reply, and Locke’s death put an end to that; though his character made it a forlorn hope in any case.) The New Essays has been an important work: for one thing, Kant read it on its first appearance, and scholars say that this was a decisive event in his philosophical development. Anyway, given that this is one of Leibniz’s only two philosophical works of substantial book length, in all the torrent that poured from his pen, and given also that it is focused - critically but with respect and careful attentiveness - on the greatest classic of English philosophy, it is surprising that the New Essays had to wait until 1981 for a usable English translation.1 In 1896 there was published a sort of translation by A. G. Langley;2 but it is inaccurate far beyond the bounds of normal incompetence, as well as being grimly unreadable for stylistic reasons. As Chesterton once said about The Origin of Species, it is surprising how many people think they have read it, but I'll bet that nobody alive has slogged through the Langley version from cover to cover. It is a pity that the work was not decently available in English for nearly three centuries, because even for those who can read the French of, say, Descartes, Leibniz’s French is difficult. He reserved his native German for writings on history and politics, using French and Latin for philosophy and mathematics; presumably French was chosen for the New Essays because Leibniz wanted to respond to a popular work by a popular work.. (shrink)

Using the later Levinas as a point of departure, this article tries to provide an account of the ethics of Wittgenstein's Tractatus . Although there has not been written much on this topic, there seems to be an increasing awareness among philosophers that there are interesting points of convergence between Levinas and the early Wittgenstein. In contrast to most (if not all) other accounts of the relation, however, this article argues that the truly significant convergence emerges only when one abandons (...) the received interpretation of the early Wittgenstein, and instead opts for something more akin to the ‘new Wittgenstein’ interpretation introduced by Cora Diamond and James Conant, among others. On the received interpretation, Wittgenstein places ethics in a realm of ineffable being and truth, and thus remains within what Levinas calls ontology. But on Conant's and Diamond's reading of Wittgenstein, there really are no profound ethical truths that we cannot state, but only ‘show’; all the sentences of the Tractatus that appear to claim otherwise are ultimately completely nonsensical. This article argues that the Tractatus has an ‘ethical point’ in a quite Levinasian sense, precisely because of the way it unveils its sentences as utterly nonsensical; for this can be seen as a Wittgensteinian attempt to ‘unsay’ the ‘said’, in order to let the ‘saying’ itself be heard. Key Words: ethics • Emmanuel Levinas • nonsense • the Other • said • saying • Ludwig Wittgenstein. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A New Direction for Comparative Studies of Buddhists and Christians:Evidence from Nāgārjuna and John of the CrossAbraham Vélez de CeaIs Nāgārjuna's emptiness a means to point out the inadequacy of logic and concepts to express the nature of the Ultimate Reality? Similarly, are John of the Cross's concepts of nothingness and emptiness examples of the apophatic path to God? In sum, is emptiness in Nāgārjuna and John of the (...) Cross comparable to the Christian via negativa and the apophatic path to God?If you answered yes to any of these questions, I believe you might be interested in reading this article carefully. You are not alone; in fact most if not all previous discussions of Nāgārjuna and John of the Cross in the field of Buddhist-Christian studies have assumed an affirmative answer to the former questions. The comparisons of D.T. Suzuki, Thomas Merton, and the Kyoto school between the Christian God and Buddhist emptiness, as well as the comparisons of members of the Masao Abe–John Cobb group, have greatly contributed to this apophatic interpretation of emptiness. The enormous contributions of D. T. Suzuki, Thomas Merton, the Kyoto school, and the Abe-Cobb group to the field of Buddhist-Christian studies cannot be sufficiently praised and appreciated. However, the future of Buddhist-Christian studies and Buddhist-Christian dialogue requires a new comparative direction, a shift from comparative theory to comparative praxis, from doctrinal comparisons to more ethical and spiritually relevant comparisons.This new direction provides Buddhist-Christian studies with a more practical orientation necessary for the urgent needs of our planet as well as for the needs of a growing number of members of different religions with pluralist attitudes. By pluralist attitudes, I do not mean a relativistic standpoint, but rather an attitude of intellectual humbleness and dialogical openness toward other religions. That humble and dialogical openness seeks neither to proselytize nor to create a new religion. Rather, the objective is to build bridges of understanding and solidarity among religious communities and to be personally enriched by the contributions of all religions.In order to justify the need for this new and more practically oriented comparative [End Page 139] direction, it is imperative to review previous scholarship in the field of Buddhist-Christian studies. A comprehensive analysis of all past scholarship would be too ambitious a goal for the purpose of this article. Thus, in the first part of this article I limit myself to reviewing those questionable hermeneutical tendencies that I have identified in former Buddhist-Christian discussions of John of the Cross and Nāgārjuna. In the second part, I continue the justification of this new direction for Buddhist-Christian studies by providing a specific example, namely, a comparison of the instrumental ethical function of emptiness in Nāgārjuna and John of the Cross.Hermeneutical Tendencies in Previous Buddhist-Christian Studies of John of the Cross and NāgārjunaHermeneutical Tendencies in Comparisons of John of the Cross and BuddhismIn the case of John of the Cross, I have identified three questionable hermeneutical tendencies. The first one is to exaggerate the similarity between John of the Cross and Buddhism. Take, for example, what Thomas Merton—whose pioneering work on Buddhist-Christian dialogue deserves careful study—said in 1968: "Frankly, I would say that Zen is nothing but John of the Cross without the Christian vocabulary" (quoted in Nugent 1996: 53). This comparison suggests that the teachings of Zen and John of the Cross are virtually identical, neglecting important differences between them.Similarly, Christopher Nugent compares John's experience of one's own true self to the experience of Buddha-nature, and describes satori as a fusion of all and nothing, and the coincidence of opposites. For Nugent, John of the Cross is not only a Zen master, but also "more Taoist than dualist" (1996: 62–64). These comparisons of John of the Cross to Zen and Taoism concepts fail to bring justice to his ideas. John of the Cross cannot be categorized a nondualist because he maintains a clear distinction between God and creatures. Similarly, from an ethical... (shrink)

Of all the memorable, and influential, passages of the Phänomenologie des Geistes none are more famous or enjoyed greater attention than those sections devoted to the master-slave dialectic. It would seem almost inconceivable then that anything would be left to say concerning Hegel's martial struggle, the sheer number of illustrious scholars who have commented on this text bearing ample testimony to the probable redundancy of further comment. However, in actual fact, this is not the case. Indeed, it is probable that (...) Hegel is addressing and utilising not a theory of recognition but rather two quite distinct concepts of recognition. The appropriate passages are of course the master-slave section itself and the rather oblique references to the »confession« of one consciousness to another at the end of chapter six. Commentators have generally been in agreement that the master-slave section marks the beginning of Hegel's theory of recognition; that is, that the continuation of the treatment of recognition in chapter six marks a further development of the concept formulated in chapter four - a further development seemingly promised by Hegel himself - »With this, we already have before us the notion of spirit. What still lies ahead for consciousness is the experience of what spirit is«. However the preceding is interpreted, the reader is surely right to recognize that something has been »won«, the triumphalist language being repeated in the following »[it is] in the Notion of Spirit, that consciousness first finds its turning-point, where it leaves behind the colourful show of the sensuous here-and-now and the nightlike void of the supersensible beyond, and steps out into the spiritual daylight of the present«. However, this triumph may have been misunderstood. The theory of recognition referred to in the master-slave dialectic may have been a »turning-point«, a new beginning, but it was a new beginning that was soon realised to be a dead-end. The following will attempt to demonstrate that there is a quite radical discontinuity at the heart of the concept of recognition itself, a discontinuity that can be traced to its origins in the Fichtean system itself. For the master-slave dialectic is »Fichte's wake« - it is at once a celebration and a mourning for the first concept of recognition, the unworkability of which heralded a truly new beginning. That is, the concept of recognition outlined in the Einige Vorlesungen uber die Bestimmung des Gelehrten. The second concept of recognition, that of the Grundlage des Naturrechts cannot be reckoned a further development or emendation of the first concept, its quite peculiar status, and philosophical importance as a »spiritual concept«, precluding any such treatment. The latter concept may mark the birth of Hegelian or speculative idealism itself. It is the contention of the following that understanding this quite radical discontinuity will fashion a better understanding of the connection between transcendental and speculative philosophy, the point of transition or sublation. (shrink)

The agenda informing this compact book has the transparency of crystal. Against the widely repeated claim that the so‐called Information Age began with the invention of the transistor in 1947, a claim trumpeted both by the knowledgeable and the ignorant , Daniel Headrick seeks a more distant source for the information‐saturated environment in which we now live. He sensibly points out that human demand for information is as old as humanity itself, and consequently we should not look to name any (...) single moment as the “dawn” of the Information Age. Instead we should be attentive to historical periods during which the availability of information accelerates sharply. Often such moments are associated with particular technical innovations, such as the appearance of double‐entry bookkeeping, printing, the telegraph, and, yes, the computer. But Headrick wants to direct attention away from particular machines and technologies as accelerators of information and toward the eighteenth and early nineteenth centuries as a period during which a host of novel information systems were introduced.On this basis the book discusses a series of developments in information systems under five headings. The first, “Organizing Information,” describes how Linnaeus and Lavoisier and Guyton de Morveau created new languages to process and communicate scientific information. The creation of the metric system finds a niche in this chapter as well. Headrick's second heading, “Transforming Information,” discusses the attempt by governments to collect statistics about populations, culminating in the specification of a decennial census in the American Constitution and the repeated attempts by French revolutionary regimes to conduct a census during the 1790s. The third heading, “Displaying Information,” turns to innovations in mapmaking during the eighteenth century and the invention of graphical representation. Under the fourth heading, “Storing Information,” Headrick describes eighteenth‐century encyclopedias and dictionaries, an overview that thankfully ranges considerably more widely than Diderot's Encyclopédie. Finally, the heading “Communicating Information” discusses the development of postal systems in various European countries and North America, as well as the invention of telegraphy. Of particular interest here is the extensive network of visual telegraphs established in France during the 1790s and then elsewhere in Europe.This breadth of coverage is impressive and suggests the comprehensiveness and significance of Headrick's story, but it also betrays certain weaknesses. First, the treatment of topics is highly uneven. The discussion of encyclopedias and dictionaries, for example, is deep and well informed by the primary sources. The treatment of Linnaeus's taxonomy, Lavoisier's chemical nomenclature, and the metric system is far more superficial, as is the analysis of postal systems. Second, this same breadth causes one to wonder just what the phenomenon is that Headrick means to describe. Such concerns are certainly not diminished by the wholly unsatisfactory definition provided for the book's central concept, information. As the book defines it, information is “the patterns of energy and matter that humans understand” . That somewhat underdetermines the object, I should say.Disappointing too was the book's failure to engage very deeply with an explanation of why these changes occurred. Leaving aside the question of whether all of the changes described really constitute changes in information systems , and also the question of whether all of these eighteenth‐century novelties could not be traced farther back in time, as several surely could, we can still ask what brought such developments together. A book of such synthetic reach ought to be ideal for such ruminations. As one might expect, Headrick does attribute the rising demand for information to the attempt by enlightened absolutist governments and later revolutionary regimes to develop policies to stimulate economic growth, along with the needs of actors in an increasingly complex and robust economic system. But all too often the book simply asserts that because this was the Age of Reason, the innovations occurred because they were inherently more rational. Linnaeus's nomenclature appealed to the “orderly minds of mid‐eighteenth‐century rationalists” , while the physician William Farr's statistical compilation of disease data for the English General Register Office gave “a more scientific basis to the classification of diseases” , and so on. (shrink)

This article begins by clarifying the notion of what Stanley Cavell has called ‘Emersonian moral perfectionism.’ It goes on to explore this through close analysis of aspects of Emerson’s essay ‘Experience,’ in which ideas of trying or attempting or experimenting bring out the intimate relation between perfectionism and styles of writing. ‘Where do we find ourselves?’ Emerson asks, and the answer is to be found in part in what we write and what we say, injecting a new sense of possibility (...) and responsibility into our relation to our words. But the language we speak and the lives that go with it are at the same time burdened with a past, and in the case of English, and in the American context especially, it is marked with a kind of repression relating to questions of slavery and race. These matters are implicated in questions of constitution, in both general and specifically political senses. Hence, inheritance and appropriation become causes of critical sensitivity, as do the forms of praise and acknowledgment that should meet them. The article explores ways of thinking through Emerson’s relation to these aspects of experience and seeks to find responses pertinent to today. (shrink)

This article reflects on the received view of the rupture which constitutes the beginning of a critical, ethical, political and legal opening, the understanding of which inhabits the cry of, and response to, injustice. It takes the very critique that feeds into, and is distorted by, practical reasoning, as its point of departure. Grasping this rupture as the complementary relation between deconstruction and radical alterity, would entail unreflectively accepting a certain kind of truthfulness—truthfulness as [in]correctness, manifesting in a relationship that (...) involves rootless and controlling movement of making and unmaking of world. In closely reading Wittgenstein and Heidegger on the level of seeing, showing and saying, truthfulness is shown to contain an essential tension between, on the one hand, the Socratic, metaphysically-bound notion of beingness, correctness and meaning-steering and, on the other hand, the pre-Socratic notion of unconcealment (a-lethia), which, pointing even earlier than pre-Socratics into aboriginality, involves attentive letting of gliding in the inexpressible saying of language. While steering is about generating new possibilities of expressibility, gliding is about poetic dwelling, or enduring inexpressibility as a constitutive part of saying. Although aletheia is taken to be the key influence on rootless post-foundational thinking, it is argued that unconcealment involves letting and enduring the presencing inexpressibility of place and home-coming, that is, worlding-rootedness; thus showing Heidegger’s originary politics as the district of the uncanny to be about worlding that attentively lets the presencing inexpressibility of earth be as place. In reading Heidegger’s views on humanism, beginning and language, the argument links inexpressibility—essentially and historically—to the grasping of the belongingness together of world, earth and place, viewing this belongingness as key to both the saying of art and of mortals dwelling together temporally, spatially, materially in a manner always strange to, and nearer than, the steering/controlling of beingness, time, space and place that the very gesture and emergence of critique is captive of and is not capable of attuning to and capturing. Art always estranges the metaphysical cycle of correctness which preserves pain and suffering—a cycle that inhabits a double bind of responding to violence and injustice generated by the violence of metaphysics with metaphysical violence and justice. In showing essential strife within truthfulness itself, Heidegger points to even greater and earlier problematic than the pre-Socratics—to the painful core of inexpressibility between the ontology of steering time, spaces and material—steering places—and the gliding temporality, spatiality and materiality of ontology of place. (shrink)

The advent of the post-Stalin "thaw," particularly the period after 1956, was marked by a spectacular expansion in the publishing of translated Western writing and also, on occasion, of editions in the original languages: the virtual ban on import of Western books was, as of 1975, never relaxed. The more permissive political atmosphere favored the publication of a vastly larger variety of Western authors and titles and provision for the Soviet public of much larger quantities of such books in the (...) country's bookstores and libraries. While the improvement was very impressive in itself, abundant data attest that it was far from adequate to satisfy reader demand.1 Among the beneficiaries, books by American authors stood out the more prominently since it was these that were most discriminated against during the years immediately preceding.2 Decades of neglect, to say nothing of politically inspired selectivity, resulted in such incongruities as the first Russian translation of Melville's Moby Dick in 1961—more than a century after the novel's appearance—and the first Soviet publication of any work by Henry James in 1973. It was not until the 1960's that Russians had an opportunity to read Faulkner—but then, the same was true of Kafka. However unevenly, the range of American literature, both old and new, now made available to Soviet readers is gradually expanding. · 1. The overall problem is discussed in detail in this writer's forthcoming book, A Decade of Euphoria: Western Literature in Post-Stalin Russia, 1954-64 . · 2. For a thorough and illuminating discussion of the fate of American literature in the U.S.S.R. from the Revolution until the early post-Stalin years, see Deming Brown, Soviet Attitudes toward American Writing . Interesting statistical data on the first post-Stalin years may also be found in Melville J. Ruggles, "American Books in Soviet Publishing," Slavic Review 20, n.3 : 419-35. A useful, very brief list of selected works of American writing published by 1968, though not entirely as complete as it purports to be, may be found in M.O. Mendel'son, A.N. Nikolyukin, R.M. Samarin, eds., Problemy literature S. Sh. A. XX. veka , pp. 391-517. Unfortunately, the Soviet bibliography contains no information on press runs of the books listed. Maurice Friedberg, head of the Department of Slavic Languages and Literatures at the University of Illinois, is the author of numerous essays and articles on Soviet literature. Professor Friedberg's most recent book, A Decade of Euphoria: Western Literature in Post-Stalin Russia, 1954-1964, will be published this year. (shrink)

The link between language and thought formed a major new exploration of twentieth-century philosophy. Languages nuance our ideas and perceptions. Though from various angles, Heidegger, Derrida, Wittgenstein forged new ways of understanding the relationship between our views of the external world and our culturally and linguistically pre-determined modes of expression. Another giant in this field of exploration is the Romanian philosopher Constantin Noica (1909-1987), who has so far remained generally unknown to the Western World because of the Iron Curtain. The (...) Romanian Sentiment of Being (Sentimentul românesc al ființei), first published in Romanian in 1978, is a philosophical work at the intersection of metaphysics and philosophy of language. The title of this book may be deceptive. "Romanian" does not mean ethnically circumscribed; it does not limit ontology to nationality but rather reflects on how language can carry ontological thought. The Romanian Sentiment of Being invites the readers to meditate on the fundamental theme of being and how it is expressed in a culture in time. This being in time marks the tension between moment and eternity, captured in the fairytale "Ageless Youth and Deathless Life" ("Tinerețe fără batrânețe și viață fără de moarte"), which Noica interprets in detail. The translation of the story will be found in the appendix. Noica also analyzes one of the most famous poems in Romanian, Mihai Eminescu's "The Evening Star" ("Luceafărul"), and readers will find its translation in the appendix. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.1 (2003) 39-47 [Access article in PDF] Restraint and Emotion in Cicero's De Oratore Per Fjelstad In De Oratore Cicero has the revered orator Crassus ask, "Who then is the man who gives people a thrill? whom do they stare at in amazement when he speaks? who is interrupted by applause? who is thought to be so to say a god among men?" (1942a, III.53). Crassus, (...) who is asking his companions to think about emotional energy in speech, goes on, "It is those whose speeches are clear, explicit, and full, perspicuous in matter and language, and who in actual delivery achieve a sort of rhythm and cadence—that is, whose style I call 'ornate'."Several things are striking about the passage. First, it resolves its inquiry by invoking the concept of ornatus, a word widely used to translate the Greek idea of kosmos (DiLorenzo 1978). Cicero thus refers to a quality that joins the ideas of cosmic order, physical beauty, and earthly power. Second, the passage is delivered in the midst of Crassus's discussion of the fourth rhetorical canon, that referring to the elaboration of ideas in language, of selecting levels of style and modes of verbal embellishment. Third, the passage ranges across the entire field of rhetorical art, at least as indexed by the scope of the canons. The performative quality directly under discussion, that which gives people a thrill—initially associated with the Theophrastian virtues of style that Crassus has been enumerating, that is, clarity and explicitness—quickly is expanded to include copiousness of invention, perspicuity of language, and energetic beauty in delivery. Cicero's Crassus thus discusses a performative dynamic that appears to govern rhetoric as a whole.As the other characters in the dialogue discuss this quality of speech, which engages listeners emotionally and transforms their experience of the present, they bound beyond the preliminary categories of their analysis and describe a power of speech that is aesthetic and philosophical. As the [End Page 39] narrator of this dialogue, Cicero eventually associates the possibility of emotional transformation with a quality of performance we might identify as graceful or urbane. Cicero suggests that performative style can rise above particular details, conventions, and rules of standard rhetorical instruction. Ornate speech is, in sum, emotionally transformative. In detail, however, how does Cicero theorize this grand ability? What goals, resources, or models does he invoke?This essay argues that Cicero's theory of ornatus insists an orator display emotions relevant to the performance while responding to the need of listeners to hear emotional expression against a backdrop of relative calm. In developing this analysis, I claim that the dialogic format of De Oratore allows insight to emerge from juxtaposed perspectives, that Cicero's ideal of ornatus contains a limiting threshold for performative exuberance, and that his examples of emotional engagement illustrate the importance of context and aesthetic restraint. Theoretical tensions as sources for synthetic insight Theoretical tensions in Cicero's De Oratore are instructive. While Cicero's effort to reconcile Isocratean practice with Aristotelian teleology ultimately makes for a rough fit, the juxtaposition of those understandings within the dialogue also generates new insight, even about limits for rhetorical theory itself. Referring to this mode of theorizing as "ironic eloquence," Michael Leff holds that "through this merger of theory and practice, the rival conceptions of oratory as systematic art and oratory as synthetic practice coalesce within the text, the two perspectives interacting to produce a development that incorporates both" (1986, 323).A similar theoretical tension can be observed in De Oratore regarding the prospects and significance of emotional engagement in oratorical performance. In discussing the practices of emotional oratory Cicero draws on three distinct intellectual sources: a quasi-enthymematic model of emotional engagement, in which an orator need not share or display the sought-after emotional response; a mimetic theory of theatrical performance (that is, a typology of tonal and gestural "moods"); and a latent theory of "authenticity," according to which that which is being theatrically displayed is not "fakely" fictional, but somehow genuine.The conflicting theories suggest... (shrink)

Modern knowledge of the grammarian Consentius’ De barbarismis et metaplasmis, a work valuable for the study of the Latin language, dates back to a relatively recent past: it was only in 1817 that its editio princeps was published by Ph.C. Buttmann, just a few years after the legal scholar A.W. Cramer came across a mention of the then unknown treatise in a ninth-century MS in the Bayerische Staatsbibliothek of Munich, numbered Clm 14666. Based on this solitary manuscript, H. Keil published (...) the short treatise in the fifth volume of his Grammatici Latini. With no little enthusiasm did W.M. Lindsay announce his unearthing of what, in his own words, had ‘long been a “desideratum”, a second authority’ for this text, in the MS F 15 III d at the Universitätsbibliothek Basel; this was followed by E.O. Winstedt's complete collation and M. Niedermann's critical edition. After about a century now there comes to light a third authority, surprisingly enough in a codex which has enjoyed such fame in the past decades that one might wonder how Consentius could have gone unnoticed in it for so long: this is the eleventh-century MS of Venice, Biblioteca Nazionale Marciana Lat. Z. 497, in which the De barbarismis et metaplasmis is contained on fols. 84vb 39 - 90va 39; moreover, a so-far-unnoticed quotation from it, together with one from Consentius’ De nomine et uerbo, is found on fol. 41vb 16–21 of the same manuscript in a famous grammatical florilegium. The codex, written in Romanesque minuscule and probably originating in Rome, is regarded as a handbook of liberal arts designed by Lawrence Archbishop of Amalfi, formerly a monk at Montecassino, thereafter a teacher in Florence and Rome, where he died in about 1049. Based on palaeographical evidence, F.L. Newton rightfully assumed as an exemplar for this codex a MS in Beneventan script, as some features can be detected that betray the scribal imitation of that typical South Italian script, namely the use of the distinctive abbreviation for eius as ‘ei in ligature with stroke through the descender of the i’, the Beneventan ti ligature for the assibilated sound, and the 2-shaped Beneventan interrogation sign, to which I would add the typical abbreviation for in as a long i cut by a horizontal stroke and the confusion of a and t. Interestingly enough, none of these features is found on fols. 66–95, those containing the new Consentius: from a codicological point of view, this is an autonomous section, written by a different scribe from the rest of the MS and preserving some grammatical texts generally attributed to insular authors, such as Smaragdus’ Liber in partibus Donati and part of the compilation entitled Pauca de barbarismo, which precedes the De barbarismis et metaplasmis; not surprisingly, the new text of Consentius displays numerous features of the Insular script, such as the symbols for enim, autem, eius, est, nihil and et. On this basis it is most likely that this whole section was never included in the Beneventan exemplar, but was added at the time and place of copying of our MS in order to enrich the grammatical content. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Force and Translation; Or, The Polymorphous Body of LanguageElissa MarderOr un corps verbal ne se laisse pas traduire ou transporter dans une autre langue. Il est cela même que la traduction laisse tomber. Laisser tomber le corps, telle est même l’énergie essentielle de la traduction. Quand elle réinstitue un corps, elle est poésie.—Jacques Derrida, “Freud et la scène de l’écriture”The materiality of a word cannot be translated or carried (...) over into another language. Materiality is precisely that which translation relinquishes. To relinquish materiality: such is the driving force of translation. And when that materiality is reinstated, translation becomes poetry.—Jacques Derrida, “Freud and the Scene of Writing”Babel Revisited (The Mother Tongue and The Translation Machine)On January 20, 2012, Lawrence Summers, former president of Harvard and former Secretary of the U.S. Treasury, boldly announced a six-point vision for reforming the U.S. education system in a New York Times Education supplement editorial modestly entitled, “What you (Really) Need to Know.” For the [End Page 1] purposes of this discussion, I will limit myself here to a brief examination of what he says about the study of foreign languages and the merits of machine translation in the item listed as “number 5”:5. The world is much more open, and events abroad affect the lives of Americans more than ever before. This makes it essential that the educational experience breed cosmopolitanism—that students have international experiences, and classes in the social sciences draw on examples from around the world. It seems logical, too, that more in the way of language study be expected of students. I am not so sure.English’s emergence as the global language, along with the rapid progress in machine translation and the fragmentation of languages spoken around the world, make it less clear that the substantial investment necessary to speak a foreign tongue is universally worthwhile. While there is no gainsaying the insights that come from mastering a language, it will over time become less essential in doing business in Asia, treating patients in Africa or helping resolve conflicts in the Middle East.For those of us who still earn our living by teaching literary texts written in foreign languages in foreign language departments in the university, Summers’s breezy assessment that the university of the future need not (indeed ought not) include extensive foreign language study is, sadly, not exactly news. On the contrary, there is nothing particularly innovative or original about the position he advocates here: his vision of a future “global” American university—in which virtually all speculative activities are conducted solely in English—has already begun to be implemented in various colleges and universities around the world. If his remarks are nonetheless noteworthy, it is because of his apparent willingness—even eagerness—to defend a policy that university officials often officially still pretend to abhor. Indeed, Summers’s position goes far beyond the more familiar pragmatic voices that have concluded that the reduction of foreign language instruction is a necessary and unavoidable consequence of the unfortunate economic reality that the American university as we once knew it has become financially untenable and hence unable to accommodate areas of study that can be construed as nonessential. Instead, Summers goes a step farther: he actively advocates against investing precious university resources in foreign language study on ideological, political, quasi-philosophical, or dare I say it, perhaps even theological, grounds. By appealing to the value of what he calls here “cosmopolitanism,” he clearly implies that English’s status as “global language” discharges English speakers in the U.S. university system from any potential obligation to any other language on the globe. [End Page 2]According to Summers, English is optimally positioned to be a vehicle for genuine “cosmopolitanism” because, as a so-called “global language,” it constitutes a receptive, inclusive, and welcoming “common ground” for multicultural exchange that would be otherwise impossible given the sheer volume and overwhelming diversity of all the other languages in the world. In other words, in his opinion, recourse to English actually facilitates and enhances—rather than inhibits—genuine multicultural encounters as it offsets the potentially... (shrink)

The main focus of this article is to clarify the complex phenomenon of allegorical interpretation of the Bible in the Middle Ages. It is not just some medieval peculiarity, but a very refined methodology, which enabled scientists to explore and define their reality. Their view of reality is basically different from our point of view. The medieval student did not understand reality per se, but was interested in reality as far as it could help to grasp the meaning of the (...) supernatural world. All earthly things were seen as codes of the spiritual realm of God, which mankind could decode by means of this very system of allegoresis. The starting point, therefor, is to be taken in biblical hermeneutics. Here, allegoresis was developed into an overall method of interpretation, not only of the words of the Bible, but also into a refined tool of exegesis of nature and Creation, extending so far as to the allegorical explanation of liturgy. Based on a interpretation of II Corinthians 3:6, Bible hermeneutics were developed in Christian tradition which saw the Old Testament as the letter, the New Testament as the Spirit. Dependent upon this, there was a development towards the division of, on the one hand, the words which described the historical events, and on the other hand its full meaning and signification on a higher, that is, spiritual or allegorical level. This higher level of interpretation can be subdivided in three aspects of meaning: a) an allegorical or dogmatical aspect; b) a tropological or ethical aspect, and c) an anagogical or eschatological aspect. These aspects cover all the important issues of Christian faith and life, very similar to the way people read the Bible nowadays. Apart from the words of the Bible, also the things, which are described in it, can be signs of a higher reality. One could say: just like there is a language of words which are signs, there is a language of things meaning other things. It is, in fact, a second language . Having briefly surveyed the history of allegory, the writer continues with a status questionis of modern research. The discussion on the difference between allegory and typology between De Lubac and Daniélou is revivified, but because of the inherent theological axiomata it has to be set aside. Renewal of the discussion can be found in Augustine’s division into allegoria verbi and allegoria facti, which are to be connected with typology. This discussion ends into an overall view of the areas to which allegory can be applied: Gods language of signs, based on words , historical facts and things can be found in the Bible, in Creation and in Liturgy. Typology is not one of the two layers of the bible, nor is it to be attached to one of the four aspects of meaning; it is a point of view on the relationship between the Old and the New Testament. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviews 91 THE ROOTS OF MODERN LOGIC ALASDAIR URQUHART Philosophy/ U. ofToronto Toronro, ON, Canada M5S IAI [email protected] I. Grattan-Guinness. The Searchfor Mathematical Roots,r870--r940: logics, Set Theoriesand the Foundations of Mathematicsfrom Cantor through Russellto Godel Princeron: Princeton U. P.,2000. Pp. xiv,690. us$45.oo. Grattan-Guinness's new hisrory of logic is a welcome addition to the literature. The title does not quite do justice ro the book, since it begins with the (...) prehistory of English work in algebraic logic, including the work of the French analycicalschool, and extends to just after Godel's great incompleteness paper of 1931.The core of the book, though, is the philosophical and mathematical developmems leading up to and immediately following from chework ofWhicehead and Russell.Russell is ac chehearcof che book, and as a whole che hisrory forms an imporranr conrribucion ro Russell scudies. Commemarors on Russell have often confined themselves to a rather narrow hisrorical perspeccivein which Russell is seen as the (problemacic) heir of Gottlob Frege, and few ocher hisrorical figures (ocher than Peano) emer imo che picture. Graccan-Guinness corrects chis hisrorica.limbalance by placing Russell in che mucl1 wider context of the development of machemacics on che continent, and in parricu.laremphasizing strongly che key influence of Camor on 92 Reviews Russell's work. Cantor has usually received short shrift from philosophers, as unlike Frege,he appears rarher naive from rhe philosophical point of view. The story proper begins in Chaprer 2 wirh L-igrange'sversion of analysis in which rhe basic concepts were to be defined in rerms of algebraic manipularion of power series. This lead to rhe founding of rhe Analyrical Socierywhere Babbage, Herschel and Peacock were active. It is in chis English tradicion of algebraic analysis char rhe pioneering work of De Morgan and Boole found irs roors. Grarran-Guinness givesa derailed account of the work of both logicians, although his discussion of Boole's merhods does not seem entirely adequate. The question is:what are we to make of Boole'spuzzling insistence chat expressions like x + y are "uninterpretable", while he nevertheless manipulated them freely in his mathematical derivations? It is not correct to say that the addition sign can only link disjoint class symbols, since ir is belied by Boole's formal pracrice. A possible solution has been suggested by Hailperin, in his book on Boole's logic, in which he proposes interpreting the "uninterpretable" expressions as denoting signed mulrisets. Oddly, Grattan-Guinness refers to Hailperin 's work,' bur elsewhere (p. 42) adopts rhe view that Boole's addition sign could only link disjoint classes.The chapter concludes with brief accounts of the work of Cauchy, Weierstrass and Bolz.'lno. The next chapter is a detailed account of rhe work of Cantor and his creation of Mengenlehre. The origins of set theory in the theory of trigonometrical series, and rhe ensuing discoveryof rransfinire ordinal and cardinal numbers, are described clearly and succinctly. In addition, the chapter contains an account of Dedekind's philosophy of arithmetic and Cantor's philosophy of mathematics. Cantor's philosophy is an uneasy blend of formalism, platonism and idealism, and has tmderstandably aroused little enthusiasm among philosophers of matl1ematics, alrhough Michael Hallerr has recently smdied it in detail. GrammGuinness emphasizes, rhough, Cantor's magnificent marhematica.l achievements, in defining and clarifying basic conceprs such as measure, dimension and cardinality of sets. Chaprer 4 is a rather miscellaneous chapter, in which six partly independent, partly interrwined stories are told. It begins with developments in sectheory in Germany and France up to the turn of rhe century, goes on to discuss American logic in rhe work of C. S. Peirce and his students, and continues the rheme of algebraic logic with Schroder and his logic of relatives. The remainder of the chapter is given over to Frege, Husserl and Hilbert. The section on Frege is one of rhe more idiosyncratic parts of the book. Grattan-Guinness distinguishes berween Frege, "a mathematician who wrore in ' T Hailperin, Book's logic and Probability, 2nd ed. (Amsterdam: North-Holland, 1986). Reviews 93 German, in a markedly Platonic spirit", and Frege, "a philosopher of language and founder of... (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Suggestions about the Moral Philosophy of George Berkeley* PAUL J. OLSCAMP WHILE TRAVELLINGIN ITALYin 1716, Berkeley lost the second part of his Principles of Human Knowledge. Much later he wrote to Dr. Johnson in America, saying that he did not have the energy to do something so disagreeable as writing the same thing twice? This manuscript contained Berkeley's ethics and metaphysics, but in spite of its loss, (...) there is much to be learned about Berkeley's moral philosophy from his extant writings. Surprisingly, very little has been written about Berkeley's ethics, and what has been written usually concentrates on Passive Obedience and virtually ignores the rest of his worksY Most of the terminology now used to classify and criticize ethical theories was, of course, unknown to Berkeley. In spite of this, much of what he says may be fruitfully compared with some of the claims of modern ethicists. I shall try to show that many of his claims might have been strikingly modern, a In this paper however, I can only deal with what would now be called the normative part of Berkeley's theory, so, perhaps, it would be of some use to give a general *All references to Berkeley's writings are to the Jessop and Luee edition, The Works o] George Berkeley, Bishop o] Cloyne (9 vols.; London: Nelson and Sons Ltd., 1948). I shall abbreviate the titles of the works in this collection as follows: A/c. for A/~phron, or the Minute Ptdlosopher; DraJt for The First Dra]~ o] the Introduction to the Priuciple8 o] Human Knowledge; Principles for The Principles o] Human Knowledge; P.O. for Passive Obedience; Disc. for A Discourse to the Macistrates; T.V. for An Essay Towards a New Theory o] Vision; T.V~E. for The Theory o] Vision Vindicated and Explained; P.C. for philosophical Commentaries; Corr ]or Philosophical Correspondence; DHP for Three Dialooucs Between Hylas and Philonous. I am deeply indebted to Professor Richard T. Garner for his help in the preparation of thispaper. 1Corr., II, 282. 'The other references are: C. D. Broad, "Berkeley's Theory of Morals," Revue Internationale de Philosophie (1953); Graham P. Conroy, "Berkeley on Moral Demonstration, Journal o] the HisLory o] Ideas, XXII (1961), and Conroy's doctoral dissertation, Language and Morals in Berkeley's Philosophy (Berkeley, 1957); H. D. Aiken, "The Fate of Philosophy in the Twentieth Century," The Kenyon Review (Spring, 1962); kvrum Stroll, The Emotive Theory o] Ethics (Berkeley and Los Angeles: University of California Press, 1954); Ernest Albee, A History o] English Utilitarianism (London: Alien & Unwin, 1901), chap. xv; I. A. Richards and C. K. Ogden, The Meaning o] Meaning (New York: Harcourt Brace and Co., 1923), p. 42; P. J. Olscamp, A Berlceleyan Analysis o] the Uses o] Language in Ethics, (doctoral dissertation, University of Rochester, 1962); W. V. Denard, "Berkeley's Theological Utilitarianism," Acres de XI" eongr~s internationale de philosophic, XIII (1953), 87-93; G. A. Johnston, "The Development of Berkeley's Ethical Theory," Philosophical Review, XXIV, 419-430; H. W. Orange, "Berkeley as a Moral Philosopher," Mind, XV (old series), 514-523. =The definitions of any technical terms I may use will be found in William K. Frankena, Ethies, (Englewood Cliffs, New Jersey: Prentice-Hall Foundations of Philosophy Series, 1963). [147] 148 HISTORY OF PHILOSOPHY outline of the main features of what I think his entire system would have been, before examining part of it in more detail. Berkeley was first and last a Christian clergyman, and he therefore believed in the existence of a personal, wise, and benevolent God whose being was relevant to our daily lives. He was convinced that the natural world provides evidence for this belief, evidence as sound as that which we have for the existence of other minds. Given that the esse of objects consists in their being perceived, that only minds are active, and that no human perceiver perceives all things at all times, it follows that a cosmic mind maintains the universe it created. Moreover, the system of nature is not random, but regular; it is, in fact, a divine language in which God makes his intentions known to us, and demonstrates his wisdom... (shrink)

Books reviewed:James D. G. Dunn and John W. Rogerson, Eerdmans Commentary on the BibleYairah Amit, Reading Biblical Narratives. Literary Criticism and the Hebrew BibleThomas L. Leclerc, Yahweh is Exalted in Justice: Solidarity and Conflict in IsaiahNuria Calduch‐Benages, Joan Ferrer, and Jan Liesen, La sabiduría del Escriba/Wisdom of the Scribe: Diplomatic Edition of the Syriac Version of the Book of Ben Sira according to Codex Ambrosianus, with Translations in Spanish and EnglishSidnie White Crawford and Leonard J. Greenspoon, The Book of Esther (...) in Modern ResearchPaolo Sacchi, The History of the Second Temple PeriodMary E. Mills, Biblical Morality. Moral Perspectives in Old Testament NarrativesRichard Swinburne, The Resurrection of God IncarnateH. Benedict Green, Matthew, Poet of the BeatitudesC. K. Barrett, On Paul. Essays on His Life, Work and Influence in the Early ChurchMichael D. Goulder, Paul and the Competing Mission in CorinthByron R. McCane, Roll Back the Stone: Death and Burial in the World of JesusMagnus Zetterholm, The Formation of Christianity in Antioch: A Social‐Scientific Approach to the Separation between Judaism and ChristianityDale V. Irvin and Scott W. Sunquist, History of the World Christian Movement, Volume I: Earliest Christianity to 1453Francis Clark, The ‘Gregorian’ Dialogues and the Origins of Benedictine MonasticismMichael Frassetto, The Year 1000: Religious and Social Response to the Turning of the First MillenniumPatrick Nold, Pope John XXII and his Franciscan Cardinal: Bertrand de la Tour and the Apostolic Poverty ControversyTeresa P. Reed, Shadows of Mary: Reading the Virgin Mary in Medieval TextsMichael D. Bailey, Battling Demons: Witchcraft, Heresy, and Reforma in the Late Middle AgesColm Lennon, An Irish Prisoner of Conscience of the Tudor Era: Archbishop Richard Creagh of Armagh, 1523–86Judith S. Graham, Puritan Family Life: The Diary of Samuel SewallCrawford Gribben, The Puritan Millennium. Literature and Theology, 1550‐1682M. Feingold, Jesuit Science And The Republic of LettersRobert Bireley, The Jesuits And The Thirty Years War: Kings, Courts, and ConfessorsTorkel Brekke, Makers of Modern Indian Religion in the Late Nineteenth CenturyP. Koslowski, The Concept of God, the Origin of the World, and the Image of the Human in the World ReligionsPeter Koslowski, The Origin and the Overcoming of Evil and Suffering in the World ReligionsJ. H. Laenen, Jewish Mysticism: An IntroductionBarbara Bowe, Biblical Foundations of Spirituality: Touching a Finger to the FlameThomas G. Weinandy and Daniel A. Keating, The Theology of St Cyril of Alexandria. A Critical AppreciationJames D. G. Dunn, Jesus Remembered: Christianity in the Making, Volume 1Daniel W. Hardy, Finding the Church: The Dynamic Truth of AnglicanismS. Mark Heim, The Depth of the Riches: A Trinitarian Theology of Religious EndsJohn Webster, Word and Church. Essays in Christian DogmaticsAlister E. McGrath, A Scientific Theology. Volume 1: NatureJames Alison, On Being LikedMichael J. Langford, A Liberal Theology for the Twenty‐First Century: A Passion for ReasonGuy Mansini and James G. Hart, Ethics and Theological Disclosures:The Thought of Robert SokolowskiMark A. Wrathall, Religion After MetaphysicsGerd Van Riel, Pleasure and the Good Life: Plato, Aristotle, and the NeoplatonistsNomy Arpaly, Unprincipled Virtue: An Inquiry into Moral AgencyGernot Böhme, Ethics in Context: The Art of Dealing with Serious QuestionsErica Appelros, God in the Act of Reference: Debating Religious Realism and Non‐RealismMark C. Murphy, Natural Law and Practical RationalityRichard Brian Davis, The Metaphysics of Theism and ModalityJ. Brower and K. Guilfoy, The Cambridge Companion to AbelardBrian Davies, Thomas Aquinas: Contemporary Philosophical PerspectivesStephen J. Pope, The Ethics of AquinasKevin White and Romanus Cessario, On The Virtues John CapreolusSteven Shakespeare, Kierkegaard, Language and the Reality of GodSusan M. Felch and Paul J. Contino, Bakhtin and Religion: A Feeling for FaithRuth Coates, Christianity in Bakhtin: God and the Exiled AuthorDavid Michael Levin, The Philosopher's Gaze: Modernity in the Shadows of EnlightenmentCharles Guignon and David R. Hiley, Richard RortyCelia E. Deane‐Drummond, Biology and Theology TodayOswaldo de Rivero, The Myth of Development: The Non‐Viable Economies of the 21st Century. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.1 (2004) 107-108 [Access article in PDF] H. H. M. van Lieshout. The Making of Pierre Bayle's Dictionaire Historique et Critique: With a CD-ROM containing the Dictionaire's library and references between articles. Translated by Lynne Richards. Amsterdam and Utrecht: APA-Holland University Press, 2001. Pp. xxiv + 339. Cloth, + 58,00. Bayle's Dictionaire Historique et Critique was published in 1697 in Rotterdam with a (...) second edition appearing in 1702. In this journal there should be no need to point out that Bayle (1647-1706) was by vocation a professor of philosophy. His courses were divided into logic, ethics, physics, and metaphysics and their emphasis was upon science and the methods appropriate to its pursuit. That is to say that Bayle's students received a grounding in the post-Cartesian philosophy syllabus that had spread throughout continental Europe in the second half of the seventeenth century. Indeed, that Bayle was no dilettante was evidenced by the fact that before embarking on the Dictionaire in 1692, he had published various monographs on natural philosophy and works of public criticism in the skeptical/rationalist tradition. The French thinker, furthermore, despite his success as an encyclopaedist, returned increasingly in the years from 1697-1706 to his first calling as a critical philosopher. [End Page 107]Nevertheless from his student days Bayle loved books for their own sake, a passion which in due course came to support his first literary enterprise, the journal of books Nouvelles de la République des Lettres (1684). As author of the Dictionaire, he attracted attention from scholars in many disciplines. This study addresses therefore the general scholar rather than the historian of philosophy, for the Dictionaire did indeed become an indispensable work of reference for lexicographers, as well as for the encyclopaedists, the philosophes, the historians, the economists, the physiocrats, the satirists, the poets, and the reformers throughout the eighteenth century and on both sides of the Atlantic. Bound within four in-folio volumes, its second edition consisted of some seventeen hundred bio-bibliographical articles rigorously annotated and devoted to the ideas of authors in print, profane and sacred.Yet how could one author, it has often been asked, have produced in a mere five years so monumental a work? The Dutch scholar Leny Van Lieshout, already author of works of distinction about Bayle, has sought to answer this question and has done so with a rigor that equals that of Bayle himself. To assist her analysis she has compiled a bibliography of all the sources cited in the text of the Dictionaire itself. She has then matched this source, which she describes as a "library for learned Europe" (177), with Bayle's prodigious and lifelong correspondence about books with an ever-expanding network of friends and associates.With such tools at her elbow, Dr. Van Lieshout has been able to throw new light on many questions about the making of the Dictionaire. For example, how far did Bayle consider his method to be a model for the sort of reference book appropriate to a post-theological culture which today we call a plural age? His medium was indeed part of the message insofar as he sought to separate fact from comment, to cite relevant evidence, and to invoke many classical and heterodox sources whether or not they might offend an apologist for Christian doctrine. And how far did Bayle's own life really lie "only in his writings" (150) as Voltaire suggested, implying that Bayle could not have achieved so much had he not been a dry Huguenot recluse who knew little or nothing of the real world? The two questions are shown to be connected. In respect of the first, Dr. Van Lieshout observes that through the very structure of the Dictionaire Bayle seeks to assert that the political authority of the Church, following the breakdown of former Catholic Christendom, had ceased to be appropriate to the pursuit of scientific... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:To Paul Lachance, ioculator Domini1. IntroductionWith the expression “inner experience” we refer to a complex linguistic and philosophical problem which is present even in the most recent theology. If, in general, this concept expresses the experience of something which is perceived by an individual in the absence of external stimulus or observable sensations, in Christian and mystical tradition it indicates more precisely the action and the transformation which God (...) arouses in the inner conscience. I propose investigating the specific way the Provençal Franciscan Pierre de Jean Olieu used this concept and presented it, both philosophically and theologically, in a small collection of writings which critical tradition has defined in various ways, but which I continue defining, with a term which maintains a Franciscan suggestion, as opuscula.1 These short devotional texts were written by Olieu and his followers in both Provençal and in Latin, and explicitly addressed the Beguins of the so-called “poverty houses,” as well as the laity which congregated around the Franciscan Order.2 Unlike the prayers and treatises concerning prayer by Olieu, these texts are not completely set but are conceived and written as models of continuous meditation on the part of the reader.3 In view of the critique I am editing, I here furnish a list of these texts, with the aim of updating the incomplete lists complied by Efrem Bettoni4 and Antonio Ciceri:5Cavalier armat Exercens se sacris orationibus et meditationibus Informatio Petri Ioannis De 14 gradibus amoris gratiosi 12De [12/10] gradibus humilitatis 13Grases de vera penitentia 14Modus quomodo quilibet potest referre gratias Deo de Beneficiis ab eo receptis Brevis monitio ad amorem Dei obtinendum 17Remedia contra temptationes spirituales De 7 sentimentis Christi Jhesu 20 Tractatus de 7 tentationibus 21Tractatulus de fugiendis, desiderandis, meditandis 22This approach is particularly interesting, because it is my conviction that, in these texts the author focuses on the paths and transformations of conscience, on the inter-communication of them and on the potential of repeating and recreating, autonomously, an uninterrupted process of spiritual transformation and strengthening. In this sense, as we will see, the concept of “inner experience” is central to the opuscula and, anticipating the results of my analysis, I can say that being in a significant position of the spiritual and meditative path delineated by the text, it constitutes its structural core. Such a placement finds meaning and justification within the philosophical, theological and apocalyptical reflections of the author.23 For Olieu, inwardness and outer activity, although remaining distinct, are balanceable and organizable in a reassemblage founded on devotio. We can say that the devotion of the reader, confirmed and strengthened by the inner experience of his personal reflection on mercy, is the element which allows this reassembling. We will see in what sense we can speak about an element of fracture and an entirely new forma mentis, which opens the way to modern secular spirituality.2. Inner Experience and the Structure of the opusculaI begin with the text entitled Informatio ad virtutum opera. This could be considered the manifesto text of the opuscula, because in this work Pierre de Jean Olieu clarifies the principle subject of the meditations offered to the reader, and proposes a stylistic, structural model which is respected, more or less precisely, in all the other texts of the corpus. This structure is very simple: the author lists twenty-eight subjects which the reader is invited to reflect upon during his personal endeavor towards virtuous perfection. The text is divided in two parts: the first presents fourteen orderly reflections centered on pedagogical-moral subjects like the meditation on God and the Passion of Christ, on the example of the Saints, the awareness of one’s sins, and on the coming of the Day of Judgement; in the second, the author.. (shrink)

Ex interiore ipso exeas. Preface. This book reconstructs the history of a still open dialectics between several ethoi, that is, shared codes of unwritten rules, moral traditions, or self-aware attempts at reforming such codes, and ethical theories discussing the nature and justification of such codes and doctrines. Its main claim is that this history neither amounts to a triumphal march of reason dispelling the mist of myth and bigotry nor to some other one-way process heading to some pre-established goal, but (...) instead to a chain of controversies where the partners’ will to win unintentionally yields a wealth of insights on human existence that has still something to teach us. -/- 1. The Hellenic moral tradition. -/- Two different traditions of morality in vi-v century Greece are described. The birth of philosophical questioning of traditional morality and temporal and spatial variation of custom is described within the context of the v century crisis, the demise of traditional aristocratic and tyrannical rule and the birth of democracy. Two conflicting answers to the challenge are reconstructed, namely conventionalist or immoralist theories formulated by the Sophists and the eudemonist and intellectualist Socratic theory. -/- 2. Plato and the Good. -/- Plato’s own reformulation of Socrates rejoinder to the Sophists is reconstructed. His psychological views, his classification of the four cardinal virtues and his political theory are described as parts of a unitary system, culminating in an extremely realist moral ontology identifying the idea of the good with the essence of the (moral and extra-moral) world itself. -/- 3. Aristotle and practical philosophy. -/- Aristotle’s invention of practical philosophy as a field separated from first philosophy is shown to be an implication of his break with Plato moral ultra-realism. Aristotle’s agenda in his moral works is arguably dependent on a polemical intention, namely dismantling Socratic intellectualism. The semi-inductive or virtuously circular method of practical philosophy is illustrated, starting with the received opinions of the better and wiser individuals and trying dialectically to sift what is left of mistake and inconsistency in such opinions, finally trying to correct mistakes and make the overall practical science more consistent. The relationship of individual ethics, or ‘monastics’, with the art and the science of the pater families, or ‘economics’, and the science of the ruler and citizen, or politics, is illustrated. The nature of virtues, or better, excellences of character, is discussed, highlighting the basic role of hexes, or ‘dispositions’. Prudence, or better, practical wisdom, is the focus of the chapter. Its relationship with boùleusis or deliberation is discussed, and its autonomous status vis-à-vis theoretical knowledge is stressed. -/- 4. Cynics and Stoics: ethics as therapy. -/- The chapter provides an overview of Hellenistic ethics, which almost amounts to Hellenistic schools of philosophy, in so far as ‘philosophy’ became in these centuries primarily the name for a way of life. The typical character of the Cynical movement is highlighted, that of a school of life, not a school aimed at providing any kind of intellectual training was to be provided. The various phases of Stoicism are described, and the shifting place that was given to ethics in the Stoic system of idea, culminating in the paradoxical view of ethics, its impossibility in principle notwithstanding, as the only truly significant and necessary part of philosophy. The peculiar character of the Epicurean school is described, a combination of the science of well-being aiming, more than pleasure understood as in the popular view, the reduction of useless suffering, of unnecessary needs, and at a balanced selection of pleasures of the best and most durable kind. -/- 5. Roman and Imperial Moralists. -/- The chapter is dedicated to the reconstruction of a particular kind of literature, whose specific features have long been under-stressed, namely the Roman and Imperial moral literature. Cicero is treated at some length, showing how his own synthesis of various Hellenistic trends is as a truly philosophical enterprise, deserving serious consideration after one or two centuries when he was confined to the role of literate. Epictetus is given pride of place, stressing the novelty of his approach to ethics as cognitive therapy, in this case just following an already existing new wave of interest after nineteenth-century oblivion justified by alleged lack of authentic ‘philosophical’ character. -/- 6. The Hebrew moral tradition. -/- A reconstruction of basic ideas from a few books of the Hebrew Bible is provided, starting with the Prophetic tradition and the focus on God’s mercy as the source of motivation and standard for human behaviour. Then a comparative analysis is undertaken of a parallel tradition, namely the three codifications of the Torah (Law or, better, Instruction), highlighting how a core of moral ideas may be recognized as a basis and preamble of codification of civil law, cultural practice, and regulation of ritual purity. The importance of Levitic is stressed as the turning point when the stress on mercy, typical of the Prophetic tradition, starts being combined with legal tradition yielding the change in the sensibility of the Second Temple time. -/- 7. Second Temple Judaism. -/- This chapter describes the Long March leading from the post-exile Zadokite restoration to the first-century aevi vulgaris. The first topic reconstructed is the Zadokite theology of the double retribution. The second is the alternative Enochic tradition consistently rejecting the central role of the Temple, the Priesthood and worship as atonement for sins and offering as an alternative God’s unlimited mercy and preaching mercy, not sacrifice as the way of behaving requested by God. Wisdom literature, the third subject discusses, is a kind of third way, on the one hand increasingly critical towards the double retribution and ruling theology’s optimism facing the world as it is and on the other mocking at the Enochic current as a band of dreamers and visionaries. The third way consists in disenchantment facing the word as it is combined with a refusal of vain and childish hope of prizes for the righteous, suggesting instead the leading idea of right deeds for righteousness’s sake. Rabbi Hillel, Rabbi Yeshua and Philo of Alexandria are described as the three leading figures at the culminating point of such process of emergence of a new sensibility, gradually including mercy as an essential part of justice and establishing the starting point of both the Rabbinic and the Christian tradition. This starting point consists precisely in the precept of one’s neighbour’s love or of the golden rule, whose meaning is, arguably, more consistent than a long-lasting Christian tradition deriving from John and Augustine made us believe. And Christian morality, vis-à-vis allegedly legalist ‘Ancient Testament’ teachings, is less of a novelty than most early Christian writers announced. -/- 8. Talmudic moral doctrines and proto-Christian paraenesis. -/- The first three sections examine the moral doctrines of so-called 'ethical Treaties' from the Talmud, a group of treaties, among which the best known is Pirke Avot, that were left out of the six "orders" of the canon as they did not fit in any of the six groups of issues ritual or legal on which the division was based. According to Maimonides, their peculiar theme is provided by the Deot, 'opinions', i.e., mental dispositions, that is, the translation of the Greek term hexes and Arab akhlak (in turn providing in this language the name for ethics as such). The three topics I reconstruct are: i) the notion of Torah: The Torah is understood as the world order itself, or as the ‘Wisdom’ that existed even before creation and was "the tool by which the world was built"; however, the Torah is an earthly and human entity, as it was "received" by humans, and from that very moment belongs to them; ii) the relationship between love of God and love of neighbour; the treaties require us to study and practice the Torah ‘for its own sake’, that is, require us to act out of love, not out of fear or hope of reward; iii) the idea of sanctification of daily life: having disappeared with the destruction of the Temple the possibility of any conflict between liturgical service and everyday life, the latter is assumed to be in itself divine service: to give food to the poor has the same value as sacrifices in the Temple, and as an implication, the insistence become recurrent on the goodness of created things in themselves along with a polemic against ascetic currents. The conclusions drawn are: i) the moral teachings of the Talmud and those of Yeshua are, rather than similar, virtually identical; one may safely say that the precept of love and the golden rule are central ones for all Talmudic rabbis, that mercy plays an indispensable role alongside with justice, and the latter is not a different thing from one’s neighbour’s love; ii) a peculiarity of Talmud rabbis facing Yeshua is the idea of study as worship, and knowledge as a source of justice; but this is an idea of Judaism after the Temple's destruction that cannot be attributed to the Pharisees of Yeshua’s time; iii) the relation of study and practice in the Talmud parallels that between faith and deeds in Paul's epistles, that is, respectively faith or learning are a necessary and sufficient condition to be recognized as righteous, but deeds are the inevitable effect of either faith or learning. The last two sections examine first the various Christian currents and then Gnostic para-Christian or non-Christian currents as well as Manicheism. The sayings ascribed to Yeshua are examined first, yielding the conclusion that a close equivalent may be found for every saying in Talmudic literature and yet the whole is ascribed to one rabbi, with rather consistent stress on God’s mercy and unconditional forgiving as the mark of true imitation of God. Thus, Yeshua’s teaching is pure, purest Judaism. The last section describes briefly the galaxy of Gnostic currents and Manicheism, trying to sketch the profile of moral teachings resulting from an encounter of Asian spiritual traditions, Hellenistic lore and sparks of teachings from apocalyptic Jewish currents. -/- 9. Christianity as “philosophy”. -/- The chapter reconstructs the stormy story of several encounters between Christian currents and Hellenistic philosophical schools. The first one was with late Cynicism. Recent, rather controversial, literature discovered the jargon and several rhetorical topics from the Stoic and Cynical popular philosophy in a few books from the New Testament itself. This, far from proving that Rabbi Yeshua himself had been influenced by cynical preachers, is a proof of the necessity to translate the original Christian message in a Greek lexicon deeply impregnated with cynic terminology. The second was with Platonism, yielding the mild and temperate moral teaching of Clemens of Alexandria, teaching the sanctity of nature and the human body, the joy of moderate fruition of ‘natural’ kinds of pleasures, and the beauty of the marital life – in short, the opposite of the standard picture of Medieval Christianity. Ambrose of Milan brings about a different kind of synthesis, namely with Middle Platonism, where Stoic themes prevail. The most shocking case is Augustine, where early Manichean education is overcome in a former phase by a synthesis of Plotinian Neo-Platonism and Christian preaching, yielding a sustained polemic with the Manicheans and rather optimistic views on life and Creation, the body and sexuality, and Hebrew-Judaic tradition not far from Clemens of Alexandria. In a later phase, occasioned by controversy on the opposite front, with such Christian currents as the Pelagians and Donatists, Augustine comes back to heavily anti-Judaic and world-denying ascetic attitudes where is earlier Manichean upbringing seems to emerge again. The tragedy of medieval Christianity will be the later Augustine’s overwhelming influence. A final section is dedicated to the monastic tradition where a curious mixture of world-denying asceticism with an astonishingly penetrating ‘science’ of introspection emerges. -/- 10. Ethics in the Arabic-Islamic Philosophy. -/- The Qurān and the qadit, that is, collections of sayings ascribed to the prophet Muhammad contain a wealth of precepts and catalogues of virtues mirroring moral contents from the Jewish and the Christian traditions, among them the basic notion of imitation of the Deity, where mercy is assumed to be its basic trait. An important tradition within Islam, namely Sufism, stressed to the utmost degree the role of mercy, turning Islam into a mystic doctrine centred on the retreat from the world, abandonment to God’s will, and a peaceful and fraternal attitude to our fellow-beings. A secular literary tradition originating in the Sassanid Empire, the literature of advice to the Prince, had for a time a widespread influence in the newly constituted Arabic-Islamic commonwealth. In a later phase, the legacy of Hellenic philosophy made its way into the intellectual elite of the Islamic world. The first important legacy was Platonic, and the Republic became the main text for Islamic Platonism. In a second phase also Aristotelian and Stoic influence were assimilated. Miskawayh’s treatise was the masterwork at the time Arabic philosophy reached its Zenith. It is a treatment of the soul’s diseases and their remedies, combining the Aristotelian doctrine of the golden mean with the Stoic doctrine of the passions and elements of Galenic medicine. Towards the eleventh-twelve centuries, a war raged among theologians and philosophers, finally won by the former with the disappearance of philosophy as such. The newly established mainstream, yet, was no kind of intolerant fanaticism. It drew from the work of mystic theologian Al-Ghazālī, the best heir of Sufism, teaching a tolerant and peaceful attitude to our fellow-beings and a passive attitude to destiny as an expression of the Divine will. -/- 11. Ethics in the Jewish philosophy. -/- The encounter between the Talmudic tradition and Hellenic philosophy had taken place for the first time in Alexandria at the time of Philo but the two traditions had parted way again. In fact, the kind of Platonic Judaism founded by Philo survived only within Christianity, in the fourth Gospel and then in writings by Clemens of Alexandria. The Talmudic literature had absorbed too a few traits from the Hellenic Philosophy, namely an idea of ethics as care of the self and a role for the education of character as propaedeutic to theoretical knowledge. In the Arabic-Islamic world, a second round started when Jewish authors writing in Arabic undertook the task to prove the full compatibility of the tradition deriving from Tora and Platonic philosophy. The culmination of this attempt is provided by Moshe ben Maimon who tried to use Aristotelian ethics as a language into which the teaching from the Pirke Avot could be translated. -/- 12. The practical philosophy revival in Latin Europe. -/- A reconstruction is carried out of a fresh start of philosophical ethics in Latin Europe at the turn of the Millennium rescuing a Platonic and Augustinian legacy, with Anselm and Peter Abelard. In this phase remarkable innovations are introduced, including Abelard’s claim of the obliging character of erring consciousness. In a second phase, the rediscovery of Nicomachean Ethics thanks to Latin translation of Arabic versions, gives birth to a new wave of ethical studies, recovering the very idea of Aristotelian practical philosophy, with the potential implication of a full legitimization of natural morality, i.e. ethics without Revelation. -/- 13. Scholastic practical philosophy: Thomas Aquinas. -/- Aquinas’s ethics is theological ethics out of which it would be vain to try to extract self-contained philosophical ethics. His treatment of topics in philosophical ethics, yet, does not boil down to the repetition of Aristotelian arguments but is rather a creative reshaping of such arguments. For example, he introduces also in the practical philosophy a first principle parallel to the principle of non-contradiction; and he also carries out a synthesis of Aristotelianism, Stoicism, neo-Platonism. Even though it is essentially moral theology, Aquinas’s doctrine - unlike Augustine – grants full citizenship to "natural" morality, firstly by rejecting the claim that the corruption of human nature due to the original sin is so radical as to leave pure nature incapable of moral goodness. The doctrine is presented in a more sophisticated formulation in a few of the Quaestiones such as De Malo and De Veritate, in the Summa contra Gentes and in the commentaries to Aristotle than in the famous Summa Theologica, but the latter work includes the only or the largest exposition of some decisive part of the theory. Thus, the Summa Theologica should be read for what it is more than criticized for not being what it was not meant to be. It was not meant to be the brilliant synthesis of all that Reason he had been able to produce with what Revelation had added about which the Neo-Thomists used to dream, but rather a manual for the training of preachers and confessors, where theoretical claims are not too ambitious, and a few serious tensions are left. Besides a jump between the Prima Secundae and the Secunda Secundae, being the former an essay in virtue theory and the latter a handbook for confessors, the most serious tension is perhaps the one between the ethics of right reason presented in most of Prima Secundae and the eudemonistic ethics developed in quaestiones 1-5 of the same part; the alternative ethical theory which also may be found in Augustine, the Stoic view of a cosmic reason eventually coincident with the moral law, was believed by Anselm (followed by John Duns Scotus and William of Ockham) to be incompatible with eudemonism. It is questionable whether Thomas was able to solve the tension proving that it is just an apparent tension, in so far as the right reason and bliss derived from the knowledge of God tend to coincide, but this is just a conjecture. Thomas’s ethics is a virtue ethics, not a law-based one, and moral judgment focuses on the virtues, particularly charity, not on the commandments and even less on absolute prohibitions; Thomas, however, would not have considered a drastic alternative between law and the virtues such as the one which has been advanced in late twentieth-century philosophy to be justified. Nonetheless, when it discusses ‘special’ virtues, it ceases to be an ethics of virtue and becomes a disappointing and often contradictory discussion of legal and illegal acts. Such a discussion takes most of the time ‘reasonable’ middle positions on controversial issues but not the alternative approach that Aristotelianism would have made possible; even when some occasional Aristotelian claim shows up, such as money’s barrenness as a reason against usury, this seems to be made by an author who apparently ignores the Aristotelian Thomas of the Prima Secundae. It is an ethic of human autonomy which recognizes the binding character of the individual conscience and, potentially, even a duty to disobey unjust laws. It is true that what Thomas writes in his discussion of the death penalty and persecution of heretics is simply disgusting, and yet we should blame Thomas the man, not the Thomist ethical theory. Finally, Thomas’s ethics is no way an ethical ‘absolutism’, as both the traditionalist Catholic theologians and secularists tend to believe, but rather an ethic of prudential judgment on the individual case. Exceptions to this approach – or better the result of logical fallacies – are provided by the thesis of the absolute character of negative precepts and of the existence of so-called intrinsically evil acts, a thesis that would simply cease to make sense in the light of Thomas’s own distinction between human act and natural act, carrying consequences that Thomas did not live long enough to draw. -/- 14. Scholastic practical philosophy: John Duns Scotus and William of Ockham. A reconstruction is carried out of the ethical doctrines by both most authoritative Franciscan doctors. Their continuity with Aquinas is vindicated against prejudice carried by centuries of polemics within the Catholic Church and tendentious disparaging of both as forerunners of execrable Reformation. Besides aspects of continuity, also the important novelties are illustrated, first John’s abandonment of Aquinas’s and Augustine’s eudemonism, asserting righteousness for righteousness’s sake, and then William’s explicit defence of the philosopher’s virtues, that is, natural morality, and his solution to the dilemma of God’s omnipotence and the universal validity of natural law extending to God himself. -/- 15. Aristotelianism interpreted by the Magistri Artium. -/- A reconstruction of the until recently forgotten ethical doctrines by the Parisian Magistri Artium, falsely depicted as ‘Averroists’ and either deprecated as heretics or mistaken for predecessors of modern secularism. In fact, they illustrate a view of ‘natural’ virtue as may be understood by human reason without the assistance by Revelation. -/- Etiamsi daremus Deum non esse. Intermediate considerations. Three considerations may be suggested by the story told in the book. The first one is that intellectual histories have been mounted in the past with the same state of mind as one may mount a war chariot. Such constructions are not very helpful as tools for understanding the past. Wars waged in the past have left the field obstructed by ruins not easy to remove even by those historians who have animated by an impartial academic motivation. They have been influenced too by consequences of past emphasis on some authors and damnatio capitis suffered by others, by stratifications left on sources by secondary literature and translations, by allotment of originally close sources to different literary genres, by the monopolization of religious texts by churches with full cooperation by secular scholars who still fear contamination. The second one is that aware or unaware ethnocentrism has carried various calamities to our comprehension of the past. Their last vestiges have surfaced again in the semi-scholarly discussion on the idea of Europe occasioned by the debate on a project of a European Constitution. Mention of Europe’s Christian roots has been the clumsiest move. Proclamations of such roots were so obvious in what they affirmed as they were totally off-path concerning what they omitted, namely that he modern European moral tradition included legacies from Middle-Eastern wisdom, Hellenic philosophy, Roman Imperial legal literature, and, besides, a Jewish legacy in turn incorporating other more ancient Middle-Eastern legacies and which has been partly conveyed by Christianity. And the Islamic-Arabic philosophy too, in so far it made the Nicomachean Ethics available to Latin Christian scholars, is one more of Europe’s roots. The third is that religious traditionalists and secularist fundamentalists have gone hand in hand for a couple of centuries in either extolling or deprecating the allegedly Modern idea of Ethics without God, first formulated by Hugo Grotius with the claim that natural law would still be valid ‘etiamsi daremus – quod sine summo scelere dari potest – Deum non esse’. The facts are, firstly, that this is not an irreligious claim and Grotius was just a pious and meek Christian and, secondly, that it is not a ‘modern’ claim but rather one more formulation of the claim that there is a natural morality, independent of divine revelation, a claim shared by Moshe ben Maimon, Aquinas and William of Ockham. -/- . (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution of (...) the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

Philosophers of science don't very often discuss the place of mathematics between other sciences or the meaning of mathematics for other sciences. They consider mathematics as a formal language with mainly analytical statements about the use of symbols (Carnap, Russell, Ayer ). Originally Wittgenstein defended this formalistic interpretation of mathematics in his TLP. Gradually, however, he develops himself towards an intuitionistic and ontological position, in which mathematics is conceived as the central and therefore normative part of our thought (of course (...) : on what there is and how it is). Mathematical science plays the role of logic in relation to other sciences. Its universal applicability and efficiency are consequences of its creating beings on a necessary level, in virtue of the number of its relations (always still by substitution). This highly important philosophy of mathematics (misinterpreted by Crispin Wright) starts with his lectures in Cambridge (in the thirties ) and reaches its culmination in the Remarks on the Foundations of Mathematics and in On Certainty. In a second part this philosophical determination of mathematical reasoning is traced backwards through history. David Hume's contribution is reinterpreted from a new point of view. Inside the total field of our beliefs he distinguishes between different sciences with the critérium of the intricacy of relations between items of our knowledge field. The more and stronger these relations, the more forceful and necessary their influence on the remaining parts of the system of our belief. So mathematics is in the centre, the loose reveries of our fancy on the periphery. Quine's representation of ‘the tribunal of sense experience’, by which the total field should be judged and corrected, must be disqualified. Hume's dictum ‘Whatever we conceive, we conceive it to be existent’ reveals sharply that this evaluative and corrective role is performed by the necessary thoughts (or, if one likes it so, ‘realities’) of mathematical science. That reason and especially mathematical reason is the highest judge on the population and structure of our world and a very precious heritage of Pythagorism and Platonism. From the sources of Sextus Empiricus and Aristotle the author tries to reconstruct exactly the original assertion of Pythagoristic mathematical philosophy, which has nothing to do with a naive hypostazation of numbers or a kabbalistic number mysticism. Philolaos' saying, that some propositions are stronger than we, is demonstrated to refer to mathematical laws. The pythagorical position is fully integrated in Plato's dialectical philosophy. Mathematics is the great mediator towards the intuition of true being, the ‘metaxu’ between sensible phenomena and ideas. This tradition of philosophical taxation of mathematics as the ‘logic of science’ is broken by Aristotle, who didn't use mathematics in his qualitative natural science and considered mathematics as an abstract science (about the quantitative aspect of being). Moreover, he disowned its logical role and created a special science for this task. Human reason is mathematical in so far it is sure of its language and thought, which is excellently expressed by the Greek μαθηματιxα (= what can be understood, learned and taught) and by the Dutch word ‘wiskunde’ (= science of what is certain). The remarks and reflections of Wittgenstein have produced a new perspective on the placevalue (‘Stellenwert’) of mathematics among all possible sciences and beliefs and have proven that its onto-logical purport is an unavoidable implication. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:554 BOOK REVIEWS though he had carried out a radical interpretation of Thomas Aquinas's esse in his transcendental turn. Thus, Sheehan has brilliantly shown both Rahner's indebtedness to Heidegger (especially his notion of the human person as a bivalent and kinetic being; note the parallels between Rahner's cogitative sense and Heidegger's Temporalitiit, between Rahner's agent intellect and Heidegger's Existentialitiit, between Rahner 's possible intellect and Heidegger's Faktizitiit) and Rahner's (...) profound differences from Heidegger, especially in his understanding of being (see pp. 110-116; 280-291). Finally, Sheehan has provided the clearest exposition to date on Rahner's theory of " inner-worldly efficient causality " (pp. 244-255). The book would have been much more helpful if an index of topics and a bibliography had been provided. There are two omissions. On p. 135, the last line should read: " Chapter VIII concludes the study by laying out the critical difference between Rahner's effort to re-establish the science of metaphysics on a transcendental base and Heidegger's attempt to overcome metaphysics." On p. 186, line 19: "In whatever way we read the content of predicate (Aquinas: quiddities)." There are also a number of minor misprints. Strange that this book was published only in 1987, even though the research was apparently completed before 1982 (see p. 171, note 62). But its many assets will make Sheehan's work a permanent feature among the best Rahnerian studies. The Catholic University of America Washington, D.C. PETER c. PHAN The World and Language in Wittgenstein's Philosophy. By GORDON HUNNINGS. Albany, N.Y.: State University of New York Press, 1989. Pp. xiv +266. $34.50. This book will not find a place among the distinguished commentaries on Wittgenstein's work. Aiming to cover the full sweep of that work, Hunnings devotes three of his eight chapters to the Tractatus, one to the" Notes on Logical Form" (1929) and Philosophical Grammar, one to the transitional material of The Blue and Brown Books, one to writings and lectures on the philosophy of mathematics, and just two to the central themes of the later philosophy. Indeed, of the book's 256 pages of text, 193 are spent before the reader finds himself dealing with Philosophical Investigations. So there is a problem of balance. For a book of this size and scope striving to cover the whole of Wittgenstein's BOOK REVIEWS 555 thought on representation and grammar, there is too much exposition of transitional detail and too little attention to the difficult but fertile work at the heart of the mature later Wittgenstein. There are now many fine expository studies of Wittgenstein's work. This is not to say that all important matters of interpretation are settled. Indeed, there are significant areas of rival interpretation and there are varying assessments of the adequacy of Wittgenstein's views. There is contention over the degree to which his work is assimilable to the philosophical tradition. These facts suggest, not that there is no profit in further investigation of his work, but that new studies-particularly ones attempting a comprehensive survey of Wittgenstein's work from the Notebooks to On Certainty-should situate themselves in a well cultivated terrain of commentary and interpretation. But Hunning's work does little to inform prospective readers of the extent to which scholarly study of Wittgenstein's work has advanced. Eschewing a bibliography, Hunnings makes it somewhat difficult for the reader to discern his command of the scholarship. In construing the Tractatus he relies on Anscombe, Stenius, Griffin, and Black-all standard sources. But in dealing with the later philosophy and the much-debated transitional period between Wittgenstein's resumption of philosophical work in the late 1920's and the period of the Investigations, Hunnings simply does not scratch the surface of the huge body of secondary writing available to serious students of Wittgenstein's work. It would be pointless to list the important commentators whose works are ignored; suffice to say that Hunnings's book is apparently unassisted by a full scholarly command of the available literature. In this regard it suffers by comparison with A. C. Grayling's Wittgenstein in the Oxford University Press... (shrink)

A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the clash of body and (...) language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences. As a young musician, Hodgkinson realized that music was, in some mysterious way, “of itself”—not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative “other” to engage with. But this is not our reproduction of the composer's own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker. To examine this in practice, Hodgkinson looks at the work of three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann. (shrink)

THE PURPOSE OF THE PRESENT EXPOSITION is to put forward an interpretation of Locke's and Hooker's conception of the finding of the law. The topics which will be examined are the knowledge and content of the different types of law and, above all, the standard of the good law. That Locke and Hooker used the same language, to a large extent, in treating the concept of law can be seen immediately in a comparison of Locke's Essays on the Law of (...) Nature, Two Treatises on Government, and Essay on Human Understanding with the first book of Hooker's Laws of Ecclesiastical Polity. This similarity facilitated Locke's recourse to Hooker's texts when he wanted to strengthen some of the arguments of the Second Treatise. But is the use of similar language not deceptive in the present case? Do terms used in 1690 intend the same meaning as they did when used in 1660? After nearly four decades of conflicting interpretations of Locke's political and philosophical texts, one can hardly expect to offer a new answer. This analysis will explore the similarity within the framework of a traditional, natural law interpretation of Locke. We shall find that, in Hooker's Laws and Locke's Two Treatises, we are faced with the same pattern of exposition concerning natural law and its source. Following this path of inquiry represents a decision to put aside, for the time being, the influential but highly problematic suggestion that Locke wished to deceive his readers in the exposition of some of the most central parts of his political theory. (shrink)

The search for knowledge has continued to expand to new domains since its start in the seventeenth century. Some of them have proved unusually resistant. Methods have had to proliferate to deal with the obstacles, for example in the social domain. There also have been ideological reactions. Surprisingly frequently, methods and activities that appear to be effective in dealing with such domains are classified as "preliminary" or are distinguished by a "point of view" that has yet to be transcended to (...) achieve "true" knowledge. One such activity is the acquisition of high quality experience. It is argued in the paper that it does not deserve being treated as a poor relative. It has a history of its own and can point to many successes, for example in the development of new values and emotions. Its only drawback seems to be that the search for high quality experiences has tended to be heuristic, or if one wishes, artistic. This situation is changing, however. In the paper the differences between the acquisition of knowledge and that of high quality experience are delineated. It is argued that facilitation of the latter's searches requires the development of interactions between entities that generate and structure experiences--i.e., of human collectives that stabilise sufficiently to execute a collective action in their environment. They are characterised by the use of coordinating languages. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:152 BOOK REVIEWS with Weinrih's theory of formalism which Joseph Raz points out in his essay. One of the most serious of these deficiencies in my opinion is the role that is accorded to the judiciary. Weinrih's theory, as Raz shows, requires that when positive law is in conflict with the " form of law," positive law should he disregarded by the courts, and the courts in these cases (...) not only have the legal right to disregard the statutes of law hut even the moral duty to do so. To give such total discretionary power to the courts is certainly to offer an invitation impossible to re· sist, as the recent judicial history of the United States Supreme Court clearly shows, to autocratic and politically motivated judicial activism. The above remarks, inadequate as they are because of the constraints of space, may offer some indication of the rich diversity of natural law theories currently offering themselves for our consideration. Those interested in natural law theory either within the framework of moral theory, or legal theory, or both, will surely find that a careful reading of this volume will amply reward their efforts. St. John's University Jamaica, New York THOMAS A. FAY Metaphysics: An Outline of the History of Being. By MIECZYSLAW ALBERT KRAPIEC, O.P., translated by Theresa Sandok. New York: Peter Lang, 1991. Pp. 539. $69.95 (cloth). This volume is the second in Lang's Catholic Thought from Lublin series edited by Andrew Woznicki. Krapiec's work is a tour de force of Gilsonian Thomism as it founds metaphyscis upon a judgmental grasp of the act of existence in sensible things. The hook is unrelentingly Krapiec. Though there are abundant historical descriptions, there is a minimum of textual citation. Also, the reader can plainly see that Krapiec is intent upon presenting his understanding of metaphysics ad mentem Thomae. Three main parts comprise the hook. Part One is on the object of metaphysics-being as being (as existing). Part One contains the most crucial pages of the hook, viz., pp. 86-100. There Krapiec explains the attainment of this object. This portion is obviously the heart of the hook, and I will treat it in detail later. Part One also includes a lengthy exposition of the transcendentals. Part Two focuses on the structure of being and elaborates the following : act and potency, substance and accidents, matter and form, essence and existence, and the causes of being. There are two noteworthy points here. First, Krapiec's lengthy inclusion (pp. 313-374) of BOOK REVIEWS 153 matter and form within his metaphysics seems to have metaphysics swallowing up natural philosophy. One's misgivings are not assuaged by Krapiec's presentation of the division of the speculative sciences hack in his General Introduction. There the first degree of abstraction is no longer the home of natural philosophy hut the home of the modern humanistic and natural sciences (p. 28). The second degree harbors mathematics, while the third degree is home not only to metaphysics hut "philosophy" (pp. 28-9). The reader is left wondering what has happened to natural philosophy. I see no exigency' for Krapiec's metaphysics to eclipse natural philosophy. Moreover, for some Thomists, the move will create an unfortunate distraction from the good points of Krapiec's metaphysics. Second, by this reader's count, Krapiec presents no less than nine arguments for the real distinction between essence and existence. These arguments include the following: Aquinas's De Ente et Essentia argument that one can know what a phoenix is without knowing that one exists; the necessary character of existence as an essence vs. contingent realities; the monism of existence as an essence vs. the plurality of beings ; the infinity of existence as an essence vs. finite realities; and the reality of the potency/act distinction applied to essence-as·potency and existence-as-act. I cannot engage this involved topic in the short space of a review. I will say, however, that with Joseph Owens, I fail to see why a conceptual distinction between essence and existence is insufficient to deal with the above facts and problems. Underwriting my skepticism is the understanding that meanings can remain... (shrink)

… Pound’s Imagist economy often mixes metaphors of capitalization with metaphors of expenditure. Words, he writes in an early essay, are like cones filled with energy, laden with the accumulated “power of tradition.” When correctly juxtaposed, these words “radiate” or “discharge” or spend this energy , just as the Image releases “an intellectual and emotional complex in an instant of time” . The precise relation of accumulation to expenditure in Pound’s Imagism is never really elaborated. For clarification one would probably (...) have to look toward his theories of sexuality, which hint at a proportion between spermatic retention and intensity of ejaculation. “The liquid solution [of sperm and/or thought],” he writes in his 1921 “Postscript” to Gourmont’s Natural Philosophy of Love, “must be kept at right consistency; one would say the due proportion of liquid to viscous particles, a good circulation; the actual quality of the sieve or separator, counting perhaps most of all; the balance of ejector and retentive media” .13 Similar physiological metaphors will shape Pound’s later economic writings of the thirties and forties. Money will function as a kind of “sieve” or “separator” , and usury will be described as malevolent form of retention, an “obstruction” to the proper circulation of money and goods. Economic justice will therefore involve the institution of a correct “balance” or “measure” between accumulation and expenditure, between “ejector” and “retentive media.” From Pound’s later Confucian perspective, excess in either direction—whether it take the form of “smeary hoarding” or extravagant squandering—always leads to evil and disorder.14Excess is of course what Pound’s Imagist economy most militantly seeks to eliminate from contemporary poetry. Pound writes in 1912, “As to Twentieth-century poetry … it will be harder and saner … ‘nearer the bone.’ It will be as much like granite as it can be … It will not try to seem forcible by rhetorical din, and luxurious riot. We will have fewer painted adjectives impeding the shock and stroke of it…. I want it austere, direct, free from emotional slither” . The vocabulary of this passage combines a discernibly American, puritanical suspicion of ornament with a functionalist asceticism that we have come to recognize as a characteristic feature of the international style of high modernism.15 From a postmodernist vantage point, however, we might well question just why the category of excess or surplus represented by “rhetorical din,” “luxurious riot,” or “emotional slither” should be so inevitably construed as negative or uneconomic. Georges Bataille, for one, provides a provocative refutation of this ideology in La Part maudite. The economics he there seeks to define would instead be based on the valorization of excess, or of what he terms “la dépense improductive,” nonproductive expenditure. Bataille’s “economy of excess” turns on “la perte du proper,” that is, the loss of the literal to the figurative, the loss of purity to scatological defilement, and the loss of personal identity to a sacred expropriation by the Other. 13. See also Kevin Oderman’s comments on the importance of delay and deferral to Pound’s troubadour “eroticism of dalliance” in “ ‘Cavalcanti’: That the Body Is Not Evil,” Paideuma 11 : 257-79. If, according to Pound, the “classic aesthetic” involves “plastic to coitus, plastic plus immediate satisfaction,” Cavalcanti’s cult of Amor instead privileges mental reterntion, “the fine thing held in the mind,” that is, erotic or mnemonic capitalization. See LE, pp. 150-53.14. Rabaté, Language, Sexuality, and Ideology, pp. 217-23, similarly links Pound’s “Postscript” to Gourmont to his later economics.15. Herbert Schneidau, Ezra Pound: The Image and the Real , pp. 177-78. Richard Sieburth is associate professor of French at New York University. He is the author of Instigations: Ezra Pound and Remy de Gourmont and translator of Friedrich Hölderlin’s Hymns and Fragments . He is currently preparing an edition of Pound’s writings on France. (shrink)

The historian of ancient medicine has in recent years enjoyed one advantage over his more literary colleagues, the regular accession of substantial new texts by major authors. These have included not only fragments preserved on papyri and the membra disiecta gathered from later encyclopaedias and medical writings, but also complete treatises, some consisting of several books. There is, however, one drawback. Very few of these new texts are preserved in their original language, or even in a mediaeval Latin translation; most (...) are to be found in versions done into Syriac, Arabic, or Hebrew, and hence they remain inaccessible to the average classicist without the intermediary of a further translation into a Western language. Besides, when such modern translations exist, they are not always easy to locate, even in the best-regulated libraries, and the supposed aridity of their contents acts as a further barrier to the dissemination of their information to students of ancient history and ancient philosophy. This paper is intended to bring to wider notice the most recent of such arrivals, and, by concentrating on what it has to say about Antonine society, to draw the attention of ancient historians to material that they might well overlook. (shrink)

Wittgenstein's Folly: Philosophy, Psychoanalysis and Language Games presents a dialogue between the philosopher Ludwig Wittgenstein, the author Françoise Davoine, and Davoine's patients with extreme lived experience. The book begins with Davoine's seminar at the École des Hautes Études en Sciences Sociales in Paris, which is attended by Wittgenstein. He then accompanies Davoine on visits to colleagues at the Austen Riggs Center in Massachusetts, in California, on a Sioux reservation in South Dakota, and at Freud's house in Vienna. The dialogic form (...) of the book allows a performance centered on the psychotherapy of madness and trauma, in which Wittgenstein takes the floor. Davoine introduces us to a contemporary Feast of Fools and creates new language games with madness, enlarging the scope of psychoanalytic approaches to authors like Wittgenstein. The chapters of this book closely resemble short plays in which a conversation with living human beings or with characters from philosophy, literature, science, and the arts encounter one another and begin to open new ways of speaking that can render the "mad" more familiar and more manageable. Wittgenstein's Folly: Philosophy, Psychoanalysis and Language Games will be of great interest to psychoanalysts and to academics and students engaged in psychoanalytic studies, philosophy and trauma-related studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Actors in the Audience: Theatricality and Doublespeak from Nero to HadrianJohn T. KirbyShadi Bartsch. Actors in the Audience: Theatricality and Doublespeak from Nero to Hadrian. Cambridge, Mass., and London: Harvard University Press, 1994. x + 310 pp. Cloth, $37.50. (Revealing Antiquity 6)The unsuspecting reader, if such exists in the 1990s, will probably not know what to make of the title of this book. Even deeply suspicious ones will (...) not be able to predict its contents. Nor does the subtitle produce full disclosure. The reason, I think, is that classical philologists will, by virtue of their training, expect something rather different from a book so titled: they might suppose it to be a work on technical aspects of Roman theater, or perhaps an assessment of oratory in the imperial Senate. The author is deliberately coy in the preface:I have not written an introduction to this book, preferring to let the reader travel through its twists and turns unequipped with the lamp of foreknowledge. All I will say at the outset is that it is a book about representation, not reality, although much of its content serves to undermine that distinction (a trait in which I follow the tendency of my ancient sources); a book about the ways in which antithetical categories such as spectator and spectacle, intention and interpretation, and praise and blame were variously conflated and exploited by writers and historians of the first century a.d. as a reaction to the transformation of Rome from republic to empire; a book about what happens to language’s ability to mean when all communication is distorted by the pull of a centralized and autocratic authority.(vi)But these compressed remarks in fact offer a serviceable précis of what is to come. Put another way, this is a book about rhetoric, about Rezeptionsästhetik, about the reciprocal reflexes of language and power.What are the effects of political power upon the free and fearless use of language? The question is not new. Hesiod and Demosthenes both posed it, answering in quite different ways. Tacitus revisited the issue explicitly in his Dialogus de oratoribus, and more subtly in the historical writings. Indeed the problem continues to be a pressing one today, as the whole scholarly project of Michel Foucault demonstrates. This is a main theme of Actors in the Audience.A contrapuntal issue is that of how texts of all kinds problematize the distinction between reality and illusion (“fiction”?). Here again we may reach back as far as Hesiod and—though he might balk at a subpoena to such testimony—Plato. This latter theme is at least as persistently (post-)modern as the first; one thinks of Pirandello’s Sei personaggi in cerca d’autore and Woody Allen’s The Purple Rose of Cairo.Bartsch’s project begins to come into focus by page 2. After a brief meditation on the savagery of Caligula, she moves to a vivid evocation of Nero as scaenicus and of his scrutiny of the audiences at his thespian and musical performances, “as if the spectators were the performers here” (5); for Tacitus, Dio, and Suetonius, “Nero’s rule is the occasion for a transformation of the theater into the site of a reversal of actor-audience relations, and as an emperor onstage, [End Page 155] Nero literally constrained his audience to be actors” (10). Moreover, according to Bartsch, Tacitus sees this phenomenon extending beyond the theater itself to encompass the Neronian political scene in general.The first three of the book’s five chapters—“The Emperor’s Audience: Nero and the Theatrical Paradigm,” “The Invasion of the Stage: Nero Tragoedus,” and “Oppositional Innuendo: Performance, Allusion, and the Audience”—all have to do with Nero in some respect. Chapter 2 turns to the issue of reality versus illusion. Bartsch demonstrates that, in the realm of politics, this is already of explicit interest to Philostratus. She then goes on to consider its implications for the reign of Nero. We read of popular graffiti, sparked by Nero’s murder of his mother Agrippina, that classed him with the legendary matricides Orestes and Alcmeon. These, plus the numerous theatrical roles (such as Oedipus and... (shrink)

The Liar paradox raises foundational questions about logic, language, and truth. A simple Liar sentence like 'This sentence is false' appears to be both true and false if it is either true or false. For if the sentence is true, then what it says is the case; but what it says is that it is false, hence it must be false. On the other hand, if the statement is false, then it is true, since it says that it is false.How, (...) then, should we classify Liar sentences? Are they true or false? A natural suggestion would be that Liars are neither true nor false; that is, they fall into a category beyond truth and falsity. This solution might resolve the initial problem, but it beckons the Liar's revenge. A sentence that says of itself only that it is false or beyond truth and falsity will, in effect, bring back the initial problem. The Liar's revenge is a witness to the hydra-like nature of Liars: in dealing with one Liar you often bring about another.JC Beall presents fourteen new essays and an extensive introduction, which examine the nature of the Liar paradox and its resistance to any attempt to solve it. Written by some of the world's leading experts in the field, the papers in this volume will be an important resource for those working in truth studies, philosophical logic, and philosophy of language, as well as those with an interest in formal semantics and metaphysics. (shrink)