Jean-Paul Sartre''s position on religion has traditionally been reduced to variations of his well-known atheism. This is a result of collapsing the distinction between religion and theism, as both critics and supporters of Sartre have commonly done. Consequently, attention to Sartre''s persistent and pervasive concern with religious ideas, symbols, and experiences has been neglected. While the religious implications of Sartre''s thought have mostly been considered in relation to Christian theology, other newer areas of religious studies suggest additional avenues for considering (...) Sartre. Sartre''s possible connections to four such areas are discussed: 1) Eastern religions; 2) Jewish studies; 3) feminist theology, and 4) the psychoanalysis of religion. (shrink)

This book explores major theoretical issues in the study of an individual life through its focus on Jean-Paul Sartre. Sartre's quest for an "existential psychoanalysis" led him to develop what he called "true novels" in the landmark studies of Flaubert and others. In clarifying Sartre's philosophical ideas in relation to the analysis of the self, Stuart L. Charme examines the attraction/repulsion of Freudian concepts and explores parallels to Erikson's ego psychology. Certain "mythic" qualities in religious biography and autobiography are seen (...) as central to Sartre, who presents lives--including his own--as normative models. The book concludes by making a provocative link between the modern preoccupation with self-analysis in biography and autobiography and a fundamental religious need that was once fulfilled by primitive myth. (shrink)

Since his death in 1980, there has been a resurgence of scholarly interest in the life and work of Jean-Paul Sartre, as interpreters have searched for the threads that link the diverse elements of his thought. In this book, Stuart Zane Charme uses the concept of vulgarity as a key to understanding the interaction of Sartre's social background and his analysis of existential authenticity.

In the nursing literature, a number of qualities are associated with loving care. Reference is made to, among other things, humility, attentiveness, responsibility and duty, compassion, and tenderness. The author attempts to show that charm, in the Marcelian sense, also plays a central role. It is argued that the moral foundation of charm is a unity of agape and eros. An impartial giving of the self for others is clearly of fundamental importance in an ethic of care. Including (...) charm in the discussion points to the fact that eros also plays a crucial role. Eros produces a passion for people and for life. It is a physical and spiritual energy that animates a person in all facets of her life, including her caring work. (shrink)

Le Commentarium in Convivium Platonis de Marsile Ficin célèbre le Banquet de Platon. Mais dans cette reprise laudative, de notables infléchissements témoignent d’une réinterprétation décisive du legs du platonisme. En se centrant sur la seule réécriture du portrait de Socrate par Alcibiade, l’article met ainsi en évidence des modifications troublantes et répétées de détail en détail – la laideur du silène, l’atopie du philosophe et la puissance corybantique de ce Marsyas disparaissent au profit de l’éloge d’un Socrate qui « charme (...) » par son éloquence supérieure et apparaît comme un verus amator. Loin d’être mineures, ces modifications répondent en fait à un remaniement métaphysique de la conception de l’amour et, conséquemment, de la « philo-sophie », où se perd la dimension inquiétante de la mania platonicienne. L’effroi de la dépossession est désormais circonscrit dans le circuitus spiritualis normé d’une harmonie cosmique. (shrink)

Charming Cadavers. Horrific Figurations of the Feminine in Indian Buddhist Hagiographic Literature. Liz Wilson. The University of Chicago Press, Chicago 1996. xvi, 258 pp. Cloth: $55.00; £43.95. ISBN 0-226-90053-3; paper: $19.95, £15.95. ISBN 0-226-90054-1.

The philosophical works of F. Rosenzweig have particular meaning for both academic and existential inquiries and interests, as he deeply re-observes the religious life of Judaism and Christianity through the reflection of human existence. Fear of death, observation of Plato’s understanding of Eros, overcoming of atheism of Goethe in the experience of faith - these key motives form a challenging discourse of Rosenzweig’s theological and philosophical thought, which invites reader into a truly charming spiritual journey. The article provides an intriguing (...) introduction to the issue of RUDN Journal of Philosophy, which is dedicated to F. Rosenzweig and provides a scope to various aspects of the philosophy of one of the most prominent German-Jewish thinkers of the twentieth century, including topics such as criticism and reception of German idealism and existentialism, «new thinking» as a philosophical system, philosophical interpretation of biblical texts, Kabbalah and mysticism. (shrink)

In Sons of Anarchy, the male members of the MC are only one part of the story, as the Charming women play equally pivotal roles in the action. This chapter takes a look at the women to see how they wield their power, what they do with it, and how it is limited by the world in which they operate. The stories told on Sons of Anarchy are familiar to us. The character's lives ebb and flow with hopes and fears, (...) gains and losses, friendship and enmity, love and resentments, and regrets and triumphs that we can identify with. We ride alongside the characters as they strive for the ideals that make life worth living, such as friendship, love, and happiness, though none of the characters seems to have achieved these ideals perfectly in their lives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept (...) of virtuosity which plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

In the past, pigs were kept near their guardians' homes, ate leftovers from their guardians' kitchens and enjoyed a generally close relationship with humans. The closeness of the relationship, combined with its ultimate end in the killing of the pig, led to a sense of shame . This shame manifested itself in negative expressions about pigs within the English language, which remain to this day. However, the relationship between humans and pigs is becoming increasingly distant, with decisions affecting pigs' lives (...) made in the offices of agricultural industry executives far from the intensive farms on which the pigs live. The new relationship has led to the evolution of a new discourse about pigs, that of the modern pork industry. Because of its technical and scientific nature, this new discourse does not contain the explicit insults of mainstream discourse.Yet, embedded within it are a series of implicit ideological assumptions designed to justify the confinement and exploitation of pigs in high intensity farms. This paper investigates the discourses surrounding pigs in both mainstream culture and the pork industry and discusses attempts to challenge these discourses. (shrink)

Wittgenstein (1993), Derek Jarman’s biopic of the Austrian-born Cambridge philosopher is a fascinating – if perplexing – film. In equal measure aesthetic and didactic, its status is ambiguous, and not only because didacticism in the philosophy of art is often assumed to diminish aesthetic value. Nothing, however, of the film’s aesthetic is depreciated by the intention to instruct. Even if the objective was to teach, the film is also highly aestheticised. Composed of a series of richly theatrical set-pieces, Jarman’s film (...) aspires to a painterly aesthetic. This paper examines the aesthetic and epistemic dimensions of Wittgenstein . The consensus among professional philosophers is that the film, while idiosyncratic and stylised, nevertheless says something important about Wittgenstein’s philosophy. It is as if he has used the project to innovate ways of translating Wittgenstein’s philosophy to aesthetic form. The resultant representational strategies are best understood with reference to the picture theory developed in Wittgenstein’s early philosophy. In the Tractatus Logico - Philosophicus (1922) Wittgenstein characterised the proposition as an articulation of elements that, by virtue of shared logical form, corresponds to the disposition of objects in a possible fact. Under Jarman’s direction, cinematic tableaux are transformed into propositions in the Wittgensteinian sense. In this film, therefore, Jarman has refined his cinematic process into what, following the picture theory, I have called tractarian montage. It is because the philosophy is embedded in the film as a structural component of its form (and not just presented didactically) that Wittgenstein seems oddly right to Wittgensteinian viewers. The aesthetic and epistemic consequences that result from Jarman’s approach are precisely what make the film philosophically interesting – indeed they provide a valuable opportunity to reflect not only on the development of Wittgenstein’s philosophy but also, uniquely, on the relationship between his philosophy and his life. (shrink)

This article considers Utopia’s unethical practices alongside The City of God’s understanding of the earthly polity’s relationship to eschatology. In Augustine’s view, within the earthly city every person could potentially become a friend of the heavenly city in time, and the existing political situation must always be rendered partial and incomplete against the telos of eternity. These convictions stand in conspicuous contrast with Utopia. The Utopian system is in important ways founded on institutionalized practices which not only exclude non-Utopians (or (...) ex-Utopians), but also habituate them to vice. Examining Utopia alongside The City of God illuminates how this ethical problem in Utopia is not just a matter of individual practices or institutions, but rather derives from a more fundamental metaphysical and theological outlook. Not only is Utopia invested in a Utopian/non-utopian distinction; more significantly, this distinction has a tacit eschatological role, since Utopian thinking implies that degradation of one’s capacity for virtue decreases one’s potential to be saved. (shrink)

Chinese influence in Asia is complicated by many factors. There are those who argue that China's growing military and economic power make this influence an automatic threat, while others maintain that China's recent attempts at a mute this threat and have succeeded in creating a positive image for many of its regional neighbors. Drawing on survey data collected across 23 countries, we enter this debate by asking what individuals in and across Asia think about Chinese influence. Do they see this (...) influence as positive or negative? What factors at the individual and national levels most clearly shape their perceptions? Using multilevel statistical analysis, we find that Asian opinions of Chinese influence are on the whole quite positive and are influenced by a range of factors, including foreign policy interest, national identification, foreign contact, and recent military conflict. (shrink)

For the last few years, thanks to the Leverhulme Trust, I've been largely absent from my department, working on the late antique philosopher Plotinus. To speak personally – it's been a difficult few years, since my youngest daughter has been afflicted with anorexia during this period, and my own bowel cancer was discovered, serendipitously, and removed, at the end of 2005. Since then I've had ample occasion to consider the importance – and the difficulty – of the practice of detachment, (...) and also to worry about the moral some have drawn from Plotinian and similar philosophies, namely that the things of this world really do not matter much, and that we should withdraw ourselves from them. Maybe it is true, as Plotinus says, that ‘some troubles are profitable to the sufferers themselves, poverty and sickness for example’. But this is not an altogether helpful message for those afflicted by the bundle of disorders that lead to anorexia. It's difficult not to suspect, for example, that Simone Weil would have lived longer but for her Neo-Platonism. It has also been made obvious to me that we are much less in control of our own mental and emotional states even than I had thought before. None of this, of course, should have been any surprise: I have frequently pointed out – to myself and others – the importance of distinguishing between one's self and the states one finds oneself in, and the extreme difficulty of controlling the thoughts we say are ours. Any delusion that my knowledge of these facts is of itself enough to render me immune to them has been – at least for the moment – thoroughly debunked – though the facts themselves are such that this disillusionment, so to call it, is probably both temporary and almost entirely insincere! (shrink)

Socrates engages his audience in Phaedrus with speeches that include revised or newly composed myths that express his theory of philosophical eros. The aim of the speeches is to generate a love for truth that spills over into dialogue. Speeches are a starting point for dialogue, just like physical attraction is the beginning of love. In the case of Phaedrus, the beginning of philosophy is portrayed using playful and rhetorically rich speeches that serve as "love potions" awakening the novice's soul, (...) and ultimately leading Phaedrus to higher rungs on the ladder of love through the palinode, a medicinal speech. It is thinking about speeches, not the speeches themselves, which moves Socrates' student Phaedrus from the love of speeches to the love of Beauty itself. This is a stark contrast to the purpose of speechmaking for the sophist. The sophist seeks to enchant the soul, while the philosopher seeks to charm the soul into loving wisdom through stimulating discussions. Socrates also uses role reversals in the lover-beloved relationship to model the soul's ascent, contrasting the traditional roles with the way the lover and beloved are presented in Socrates' speeches. The novice must actively recollect Beauty itself in order to ascend, rather than passively listening to speeches that provide an image of beauty. Socrates' interlocutors must move themselves up the ladder of love from their own philosophical eros; wisdom is not attained by merely being pushed all the way up the ladder of love. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

The species of vitalism discussed here, to immediately rule out two possible misconceptions, is neither the feverish cosa mentale found in ruminations on ‘biopolitics’ and fascism – where it alternates quickly between being a form of evil and a form of resistance, with hardly any textual or conceptual material to discuss – nor the opaque, and less-known form in which it exists in the worlds of ‘Theory’ in the humanities, perhaps closely related to the cognate, ‘materiality’. Rather, vitalism here is (...) a malleable construct, often with a poisonous reputation, hovering in the realms of the philosophy of biology, the history of medicine, and the scientific background of the Radical Enlightenment. This is a more vital vitalism, or at least a more ‘biologistic’, ‘embodied’, medicalized vitalism. I first distinguish between what I would call ‘substantival’ and ‘functional’ forms of vitalism, as applied to the eighteenth century. Substantival vitalism presupposes the existence of something like a vital force which either plays a causal role in the natural world as studied by scientific means, or remains a kind of hovering, extra-causal entity. Functional vitalism tends to operate ‘post facto’, from the existence of living bodies to the desire to find explanatory models that will do justice to their uniquely ‘vital’ properties in a way that fully mechanistic models cannot. I discuss some representative figures of the Montpellier school as being functional rather than substantival vitalists. A second point concerns the reprisal of vitalism in ‘late modernity’; from Hans Driesch to Georges Canguilhem. I suggest that in addition to the substantival and functional varieties, we then encounter a third, more existential form of vitalism, articulated by Canguilhem, in which vitalism is a kind of attitude towards Life. All of this, I hope, argues for a form of vitalism which is neither tedious scientism nor dangerous political rhetoric of health and sickness; instead, a vitalism with its own discreet charm. (shrink)

This paper presents Freud’s argument that the clinical process of psychoanalysis must continually combat the patient’s resistance to the analyst’s interpretations. It also presents systematically Wittgenstein’s counterargument. Wittgenstein contends that psychoanalytic interpretations are enormously attractive and that their “charm” predisposes the patient to accept them. He traces their charm to six sources, each of which is discussed.

This paper presents Freud’s argument that the clinical process of psychoanalysis must continually combat the patient’s resistance to the analyst’s interpretations. It also presents systematically Wittgenstein’s counterargument. Wittgenstein contends that psychoanalytic interpretations are enormously attractive and that their “charm” predisposes the patient to accept them. He traces their charm to six sources, each of which is discussed.

This paper presents Freud’s argument that the clinical process of psychoanalysis must continually combat the patient’s resistance to the analyst’s interpretations. It also presents systematically Wittgenstein’s counterargument. Wittgenstein contends that psychoanalytic interpretations are enormously attractive and that their “charm” predisposes the patient to accept them. He traces their charm to six sources, each of which is discussed.

Volume 52, Issue 11, October 2020, Page 1116-1119.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept (...) of virtuosity which plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

In the course of Western history, philosophy has proven to be an active participant in the process of secularization. This article seeks to examine that philosophical role more closely. The central question is how the role of philosophy must be rethought in light of the contemporary critique of classical secularization theory. The first part of the article sheds light on the current crisis of secularization theory. Drawing on recent scholarship in the social sciences, it explains why the classical tenets and (...) assumptions of secularization theory are no longer being considered as plausible and empirically grounded hypotheses. Against that background, the second part turns to philosophy. It examines the implications for a philosophical tradition of religious criticism that has consciously operated within this once-undisputed model of secularization. The question is how this critique of religion must be rethought, if its prominent role in the history of modern philosophy can no longer be ascribed to a general secularization of the Western mind. The third and final part attempts to answer this question by focusing on one of the most frequently overlooked, yet most significant and crucial elements in the history of philosophical secularization: the intrinsic intellectual attraction of religious disenchantment. (shrink)

In Judgment and Agency, Ernest Sosa takes “reliabilist” virtue epistemology deep into “responsibilist” territory, arguing that “a true epistemology” will assign “responsibilist-cum-reliabilist intellectual virtue the main role in addressing concerns at the center of the tradition.” However, Sosa stops short of granting this status to familiar responsibilist virtues like open-mindedness, intellectual courage, and intellectual humility. He cites three reasons for doing so: responsibilist virtues involve excessive motivational demands; they are quasi-ethical; and they are best understood, not as constituting knowledge, but (...) rather as putting one “in a position” to know. I elaborate on and respond to each of these concerns. I argue that none of them provides Sosa with a good reason for excluding responsibilist virtues from occupying a central role in his reliabilist virtue epistemology. I conclude that Sosa owes virtue responsibilism an even wider embrace. (shrink)