Several years ago, in a brilliant contribution to the Collection Archives Series, Michel de Certeau wove together a large number of seventeenth-century documents pertaining to the famous episode of demonic possession among the Ursuline nuns of Loudun.1 One of the principal ways in which de Certeau organized his disparate complex materials into a compelling narrative was by viewing the extraordinary events as a kind of theater. There are good grounds for doing so. After all, as clerical authorities came to acknowledge (...) the incidents of possession and treat them accordingly, they ceased to be isolated, private events occurring inside the convent walls and were transformed instead into public spectacles performed for a populace deeply divided between Catholics and Huguenots. Once or twice a day the nuns were taken from their needlework or tranquil meditations and led in small groups through the streets of the town to a church or chapel, where spectators had already gathered. At first these spectators were local townspeople, many of whom must have been acquainted with or even related to the nuns, but, as word of the possession spread, crowds of the curious arrived not only from the region but from all over France and from as far away as England and Scotland. The inns of the town were filled with these visitors who traveled to Loudun expecting to witness events there that were at once beyond nature and yet performed on schedule: repeatable, predictable, and—in their bizarre way—decorous.At the appointed times, beneath the expectant gaze of the crowd, the possessed women would ascend a scaffold, be loosely tied to low chairs, and begin to manifest their symptoms. From within each of the tormented bodies, a particular devil would arise and be constrained by the exorcist to identify himself. If a nun were possessed by more than one demon, the exorcist could dismiss one supernatural voice and demand that another come forth and occupy the tongue of the writhing woman. If the demon refused to cooperate in the interrogation, the presiding priest would solemnly remove the Holy Sacrament from the pyx and hold it up to the mouth of the possessed while the priests and spectators would assist by chanting the Salve Regina. This would provoke screams and violent contortions. Submitting to irresistible spiritual pressure, the devil would then be compelled to speak, confirming the Christian mysteries and the power of the Catholic church. “On stage,” writes de Certeau, “there are no longer human beings; in this sense, there is no longer anyone—only roles” . And these “roles” in turn are revealed to be the hidden truths that underlie the masks of ordinary life; more accurately, the ceremony has the power to convert ordinary life into mere masks, precisely so that these masks may be stripped away to reveal the inward drama of spiritual warfare. The demons appear at first to dominate that drama, forcing their wretched and unwilling hosts to manifest the power of darkness, but a spectacular ecclesiastical counterforce transforms the tragedy into a comedy in which the devil confesses that he has been vanquished by Jesus Christ. 1. See Michel de Certeau, La Possession de Loudun, Collection Archives Series, no. 37 ; all further references to this work, abbreviated PL, will be included in the text . On the relationship between exorcism and theater in this period, see also Henri Weber, “L’Exorcisme à la fin du seizième siècle, instrument de la Contre Réforme et spectacle baroque, » Nouvelle revue du seizième siècle 1 : 79-101. Stephen Greenblatt, the Class of 1932 Professor of English at the University of California, Berkeley, is a founder and editor of Representations. His most recent book, Renaissance Self-Fashioning: From More to Shakespeare, received the British Council Prize in the Humanities. He is presently completing a study of Shakespeare and the poetics of culture. “Marlow, Marx, and Anti-Semitism,” his previous contribution to Critical Inquiry, appeared in the Winter 1978 issue. (shrink)

Nevertheless, Marx's essay ["On the Jewish Question"] has a profound bearing upon The Jew of Malta; their conjunction enriches our understanding of the authors; relation to ideology and, more generally, raises fruitful questions about a Marxist reading of literature. The fact that both works use the figure of the perfidious Jew provides a powerful link between Renaissance and modern thought, for despite the great differences to which I have just pointed, this shared reference is not an accident or a mirage. (...) "On the Jewish Question" represents the nineteenth-century development of a late sixteenth-century idea or, more accurately, a late sixteenth-century trope. Marlowe and Marx seize upon the Jew as a kind of powerful rhetorical device, a way of marshalling deep popular hatred and clarifying its object. The Jew is charged not with racial deviance or religious impiety but with economic and social crime, crime that is committed not only against the dominant Christian society but, in less "pure" form, by that society. Both writers hope to focus attention upon activity that is seen as at once alien and yet central to the life of the community and to direct against that activity the anti-Semitic feeling of the audience. The Jews themselves in their real historical situation are finally incidental in these works, Marx's as well as Marlowe's, except insofar as they excite the fear and loathing of the great mass of Christians. It is this privileged access to mass psychology by means of a semimythical figure linked in the popular imagination with usury, sharp dealing, and ruthless cunning that attracts both the sixteenth-century playwright and the nineteenth-century polemicist.1 · 1. Anti-Semitism, it should be emphasized, is never merely a trope to be adopted or discarded by an author as he might choose to employ zeugma or eschew personification. It is charged from the start with irrationality and bad faith and only partly rationalized as a rhetorical strategy. Marlowe depicts his Jew with the compulsive cruelty that characterizes virtually all his work, while Marx's essay obviously has elements of a sharp, even hysterical, denial of his religious background. It is particularly tempting to reduce the latter work to a dark chapter in its author's personal history. The links I am attempting to establish with Marlowe or the more direct link with Feuerbach, however, locate the essay in a far wider context. Still, the extreme violence of the latter half of Marx's work and his utter separation of himself from the people he excoriates undoubtedly owe much to his personal situation. It is interesting that the tone of the attack on the Jews rises to an almost ecstatic disgust at the moment when Marx seems to be locating the Jews most clearly as a product of bourgeois culture; it is as if Marx were eager to prove that he is in no way excusing or forgiving the Jews. Stephen J. Greenblatt is the Class of 1932 Professor of English Literature at the University of California at Berkeley. He is the author of Sir Walter Raleigh: The Renaissance Man and His Roles, Renaissance Self-Fashioning: From More to Shakespeare, Marvelous Possessions: The Wonder of the New World, and the editor of a collection of essays, New World Encounters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dr. Jacques L. and Martin Hide-a-Guerre: The Subject of New HistoricismStephen Bretzius (bio)Joel Fineman. The Subjectivity Effect in Western Literary Tradition: Essays Toward the Release of Shakespeare’s Will. Cambridge: MIT P, 1991. [SW]Stephen Greenblatt. Learning to Curse: Essays in Early Modern Culture. New York: Routledge, 1990.Stephen Greenblatt. Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley: U of California P, 1988.The word ‘theory’ (...) stems from the Greek verb theorein. The noun belonging to it is theoria. Peculiar to these words is a lofty and mysterious meaning. The verb theorein grew out of the coalescing of two root words, thea and horao. Thea (cf. theater) is the outward look, the aspect, in which something shows itself.... The second root word in theorein, horao, means: to look at something attentively, to look it over, to view it closely. Thus it follows that theorein is thean horan, to look attentively on the outward appearance wherein what presences becomes visible and, through such sight—seeing—to linger with it.—Martin Heidegger, “Science and Reflection”Hamlet: ‘Sblood, there is something in this more than natural, if philosophy could find it out. A flourish.Guildenstern: There are the players.—Hamlet 2.2.366–681In setting forth Shakespeare’s unique role within an important institutional appropriation of the early modern theater by the postmodern university, together with a corresponding postmodern theory already shaping the early modern theater, a highly stylized early play like Romeo and Juliet is a good place to begin. For here, and from the beginning, the play unfolds outside (and therefore inside) the “deconstructed” binarisms characteristic of a certain poststructural literary theory generally—womb-tomb, light-dark, female-male, Capulet-Montague, waking-sleeping, all-nothing, lark-nightingale, love-hate, late-early, vice-virtue, poison-remedy, mercy-murder, wedding-funeral, dove-raven, fiend-angel, wolf-lamb, miss-mend, stand-stir, haste-destiny, and so on. 1 Here the nonbinary language [End Page 73] of the theater anticipates the “unlimited semiosis” of postmodern literary and cultural theory precisely by extending that nonbinary language to the opposition theater-theory, which the play also undermines. To cite only one particularly central example, literary criticism’s ongoing concerns with the cultural and ritualistic origins of tragedy are not just explored but explained—theorized—by the play’s self-conscious identification of Juliet as both “dove” (“So shows a snowy dove trooping with crows” [1.5.48]) and “lamb” (“Juliet! Fast, I warrant her, she. / Why, lamb! Why, lady!” [4.5.1–2]). The theatrical experience of the play’s “poor sacrifices” [5.3.318] is further related to the Catholic mass, out of which Shakespeare’s own tragic theater significantly evolves, by “Come Lammas Eve at night shall she be fourteen” [1.3.17] (Lammas [hlammas] hlaf ‘loaf, bread,’ maesse ‘mass’) and “God’s bread, it makes me mad!” [3.5.176]. 2 Redoubling this Christian context for sacrifice, a seasonal parallel in the myth of Persephone stolen away by Pluto shows through “Death lies on her like an untimely frost / Upon the sweetest flower of all the field” [4.5.28–29] and “O son, the night before thy wedding-day / Hath Death lain with thy wife” [35–36]. Within the same ongoing theorization of the play’s own theater, the “pomegranate tree” in Juliet’s “It was the nightingale, and not the lark... / Nightly she sings on yon pomegranate tree” [3.5.2–4] further joins Juliet to Persephone, Lady Capulet to Ceres, and “love-devouring death” [2.6.7] to Hades.From the play to the theory, then, influential critiques of performative discourse and its ritualistic origins in postsubjective (post-Lacanian) sacrifice are generated not only by the postmodern university, but also, in Romeo and Juliet, by the early modern theater. For the play, and not simply the theory, is already about the play—and autobiographical, from Montague’s “Away from light steals home my heavy son, / And private in his chamber pens himself” [1.1.137–38] through Juliet’s “Was ever book containing such vile matter / So fairly bound” [3.2.83–84] to Romeo’s frantic “get me ink and paper... (shrink)

The rediscovery in the fifteenth century of Lucretius's De rerum natura was a challenge to received ideas. The poem offered a vision of the creation of the universe, the origins and goals of human life, and the formation of the state, all without reference to divine intervention. It has been hailed in Stephen Greenblatt's best-selling book, The Swerve, as the poem that invented modernity. But how modern did early modern readers want to become? From Lucretius' contemporary audience to (...) the European Enlightenment, this collection of essays offers a series of case studies which demonstrates the sophisticated ways in which some readers might relate the poem to received ideas, assimilating Lucretius to theories of natural law and even natural theology, while others were at once attracted to Lucretius's subversiveness and driven to dissociate themselves from him. (shrink)

Michael Warner, a literary critic with a keen sense of history, wrote in 1987 that “New Historicism is a label that historians don't like very much because they understand something different by historicism. But nobody's asking historians….” This essay is an answer to questions nobody asked me, questions about interdisciplinarity and the differences between literary critical and historical practices. A return to historically informed literary criticism, which many critics still consider a dominant trend in the profession, emerged in the early (...) 1980s following the publication of Stephen Greenblatt's acclaimed Renaissance Self-Fashioning . Reacting as it did against the decontextualized abstractions of New Criticism and Deconstruction, the movement soon labeled New Historicism sought to breathe new life into canonical texts by relating them to non-literary texts and social practices of their day. This historicist inclination should have formed the basis for a coming together of the movement's practitioners with historians interested in literary representations. But no such merger has occurred: New Historicists evince little interest in the systematic, archivally based study of history, and historians have at best shown indifference to the work of Greenblatt and his followers. (shrink)

This essay on the much acclaimed critic Stephen Greenblatt deals extensively with the New Historicism he developed and for which he coined the name "Poetics of Culture." Contrary to many older interpretive methods and schools that tend to see historical and literary texts as autonomous entities, Poetics of Culture seeks to reveal the relationship between texts and their sociohistorical contexts. Cultural Poetics assumes that texts not only document the social forces that inform and constitute history and society but (...) also feature prominently in the social processes themselves that fashion both individual identity and the sociohistorical situation. By means of an economic metaphor, Greenblatt explains how texts and other symbolic goods, by circulating in a society via channels of negotiation and exchange, contribute to the distribution of social energy, by which he means the intensities of experience that give value and meaning to life and that are also indispensable to the construction of self-awareness and identity. The beating heart, as it were, of this whole process of circulation is identified as a dialectics of totalization and differentiation, as a powerful social force that oscillates between the extremes of sameness and otherness. In several books Greenblatt has elaborated the various aspects of this Poetics of Culture, such as the circulation of social energy, the dialectics of totalization and differentiation, and the process of self-fashioning. This essay discusses some problems of this interpretive method and argues, in comparing it to a more traditional hermeneutics, that social energy, self-fashioning, and the earlier mentioned dialectic are only phenomena in Greenblatt's interpretation of texts and are not actual parts of sociohistorical contexts. Poetics of Culture, in spite of its radical claims, is a genuine hermeneutics operating in a more or less traditional vein. (shrink)

Michael Murrin’s work on allegory provides an instructive contrast to Stephen Greenblatt’s Aristotelian conception of art as representation. This essay argues that Christian Platonism created the allegorical mode in which Spenser wrote, allowing a different perspective of the self than the one Greenblatt describes in Renaissance Self-Fashioning. The essay then suggests that those Christian thinkers (cited by Greenblatt in The Swerve) who rejected Lucretius and Epicureanism did so for philosophical reasons deeply grounded in Plato’s thought–reasons that (...) in the twentieth century found a home in the work of C. S. Lewis. (shrink)

[Stephen Yablo] The usual charge against Carnap's internal/external distinction is one of 'guilt by association with analytic/synthetic'. But it can be freed of this association, to become the distinction between statements made within make-believe games and those made outside them-or, rather, a special case of it with some claim to be called the metaphorical/literal distinction. Not even Quine considers figurative speech committal, so this turns the tables somewhat. To determine our ontological commitments, we have to ferret out all traces (...) of nonliterality in our assertions; if there is no sensible project of doing that, there is no sensible project of Quinean ontology. /// [Andre Gallois] I discuss Steve Yablo's defence of Carnap's distinction between internal and external questions. In the first section I set out what I take that distinction, as Carnap draws it, to be, and spell out a central motivation Carnap has for invoking it. In the second section I endorse, and augment, Yablo's response to Quine's arguments against Carnap. In the third section I say why Carnap's application of the distinction between internal and external questions runs into trouble. In the fourth section I spell out what I take to be Yablo's version of Carnap. In the last I say why that version is especially vulnerable to the objection raised in the second. (shrink)

Postmodernism has evoked great controversy and it continues to do so today, as it disseminates into general discourse. Some see its principles, such as its fundamental resistance to metanarratives, as frighteningly disruptive, while a growing number are reaping the benefits of its innovative perspective. In Political Theory and Postmodernism, Stephen K. White outlines a path through the postmodern problematic by distinguishing two distinct ways of thinking about the meaning of responsibility, one prevalent in modern and the other in postmodern (...) perspectives. Using this as a guide, White explores the work of Heidegger, Foucault, Derrida, Lyotard, and Habermas, as well as 'difference' feminists, with the goal of showing how postmodernism can inform contemporary ethical-political reflection. In his concluding chapter, White examines how this revisioned postmodern perspective might bear on our thinking about justice. (shrink)

This chapter defends the property dualism argument. The term “semantic premise” mentioned is used to refers to an assumption identified by Brian Loar that antiphysicalist arguments, such as the property dualism argument, tacitly assume that a statement of property identity that links conceptually independent concepts is true only if at least one concept picks out the property it refers to by connoting a contingent property of that property. It is argued that, the property that does the work in explaining the (...) possibility of a posteriori identities need not be a first-order property of the referent in question. On his view, the property dualism argument requires only a weaker semantic premise, which allows that the property in question be a higher order property. A refined version of the property dualism argument is formulated, which uses the weaker premise, and defends the argument against various objections. (shrink)

Historical introduction -- Human being -- Identity and human incompletion in Sartre -- Identity and human incompletion in Aquinas -- Human understanding -- The subjective nature of objective understanding in Sartre -- The subjective nature of objective understanding in Aquinas -- Human freedom -- Freedom, choice, and the indetermination of reason in Sartre -- Freedom, choice, and the indetermination of reason in Aquinas -- Human fulfillment -- The possibility of human happiness in Sartre -- The possibility of human happiness in (...) Aquinas. (shrink)

Names, descriptions, and demonstratives raise well-known logical, ontological, and epistemological problems. Perhaps less well known, amongst philosophers at least, are the ways in which some of these problems not only recur with pronouns but also cross-cut further problems exposed by the study in generative linguistics of morpho-syntactic constraints on interpretation. These problems will be my primary concern here, but I want to address them within a general picture of interpretation that is required if wires are not to be crossed. That (...) picture will be sketched in sections 3 and 4; subsequent sections will focus on pronouns and binding, drawing heavily on what has preceded. (shrink)

'I think, therefore I am' - Descartes..'Such tricks hath strong imagination..That, if it would but apprehend some joy,..It comprehends some bringer of that joy;..Or in the night, imagining some fear,..How easy is a bush supposed a bear?' - Shakespeare..A unique compendium of key texts of psychology, from Aristotle to cutting-edge neuroscience.

Global Media Ethics is the first comprehensive cross-cultural exploration of the conceptual and practical issues facing media ethics in a global world. A team of leading journalism experts investigate the impact of major global trends on responsible journalism. The first full-length, truly global textbook on media ethics; Explores how current global changes in media promote and inhibit responsible journalism; Includes relevant and timely ethical discussions based on major trends in journalism and global media; Questions existing frameworks in media ethics in (...) light of the impact of global media; Contributors are leading experts in global journalism and communication. (shrink)

Hegel's Philosophy of right concerns ideas on justice, moral responsibility, family life, economic activity and the political structure of the state. He shows how human freedom involves living with others in accordance with publicly recognized rights and laws.

Mental causes are threatened from two directions: from below, since they would appear to be screened off by lower-order, e.g., neural states; and from within, since they would also appear to be screened off by intrinsic, e.g., syntactical states. A principle needed to parry the first threat -causes should be proportional to their effects- appears to leave us open to the second; for why should unneeded extrinsic detail be any less offensive to proportionality than excess microstructure? I say that the (...) second threat relies on a perversion of proportionality that would lay waste to all causal relations. (shrink)

Substantial efforts have recently been made to reform the physician-patient relationship, particularly toward replacing the `silent world of doctor and patient' with informed patient participation in medical decision-making. This 'new ethos of patient autonomy' has especially insisted on the routine provision of informed consent for all medical interventions. Stronly supported by most bioethicists and the law, as well as more popular writings and expectations, it still seems clear that informed consent has, at best, been received in a lukewarm fashion by (...) most clinicians, many simply rejecting what they commonly refer to as the `myth of informed consent'. The purpose of this book is to defuse this seemingly intractable controversy by offering an efficient and effective operational model of informed consent. This goal is pursued first by reviewing and evaluating, in detail, the agendas, arguments, and supporting materials of its proponents and detractors. A comprehensive review of empirical studies of informed consent is provided, as well as a detailed reflection on the common clinician experience with attempts at informed consent and the exercise of autonomy by patients. In the end, informed consent is recast as a management tool for pursuing clinically and ethically important goods and values that any clinician should see as meriting pursuit. Concurrently, the model incorporates a flexible, anticipatory approach that recognizes that no static, generic ritual can legitimately pursue the quite variable goods and values that may be at stake with different patients in different situations. Finally, efficiency of provision is addressed by not pursuing the unattainable and ancillary. Throughout, the traditional principle of beneficence is appealed to toward articulating an operational model of informed consent as an intervention that is likely to change outcomes at the bedside for the better. (shrink)

What Is Political Theory? provides students with a comprehensive overview of the current state of the discipline. Ten substantive chapters address the most pressing topics in political theory today, including: - what resources do the classic texts still provide for political theorists? - what areas will political theorists focus on in the future? - can western political theory alone continue to provide a framework for responding to the challenges of modern political life? The authors assess the intellectual challenges to conventional (...) political theory, such as post-structuralism and the scientific study of politics that have revitalized the field in the last 30 years. They also broaden the perspective to take in non-western ideas and to reconceptualize political theory in the light of specifically global challenges. Students and teachers of political theory and political philosophy will find this book invaluable in understanding the factors that have shaped current political theory and which will guide its future development. (shrink)

Despite holding that all concepts are strictly speaking innate, Leibniz attempts to accommodate the common belief that at least some concepts are adventitious by appealing to his theory of ideal action. The essential idea is that an innate concept can be considered adventitious, in a sense, just in case its ideal cause is to be found outside the mind of the one who possesses the concept. I explore this attempt at accommodation and argue that it fails. [See external link for (...) English draft.]. (shrink)

I examine the (mediated) correspondence between Spinoza and Robert Boyle concerning the latter’s account of fluidity and his experiments on reconstitution of niter in the light of the epistemology and doctrine of method contained in the Treatise on the Emendation of the Intellect. I argue that both the Treatise and the correspondence reveal that for Spinoza, the proper method of science is not experimental, and that he accepted a powerful under-determination thesis. I argue that, in contrast to modern versions, Spinoza’s (...) form of naturalism was a highly rationalist and anti-empirical one. I conclude with a brief account of the value of experience and experimentation for Spinoza’s scientific method. (shrink)

As a practising lawyer and judge, it is the insights gained from Stephen's own experience that give an added practical dimension to this work. As well as his accounts of the history of the branches of the law, Stephen gives several fascinating analyses of famous trials, and explores the relation of madness to crime and the relation of law to ethics, physiology, and mental philosophy. His discussion also includes the subjects of criminal responsibility, offences against the state, the (...) criminal jurisdiction of the Privy Council, libel, Indian criminal law and offences against religion. (shrink)

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing (...) so? Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form? -/- Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator. (shrink)