This paper defends “Animal Universalism,” the thesis that all sentient non-human animals will be brought into Heaven and remain there for eternity. It assumes that God exists and is all-powerful, perfectly loving, and perfectly just. From these background theses, the authors argue that Animal Universalism follows. If God is perfectly loving, then God is concerned about the well-being of non-human animals, and God chooses to maximize the well-being of each individual animal when doing so does not harm other individual creatures (...) or violate creaturely freedom. If God is perfectly just, then God does not arbitrarily discriminate against non-human animals by offering humans an opportunity to enter Heaven but not offering the same to each animal. Each of these conclusions implies Animal Universalism. (shrink)

The modern synthesis in evolutionary biology is taken to be that period in which a consensus developed among biologists about the major causes of evolution, a consensus that informed research in evolutionary biology for at least a half century. As such, it is a particularly fruitful period to consider when reflecting on the meaning and role of chance in evolutionary explanation. Biologists of this period make reference to “chance” and loose cognates of “chance,” such as: “random,” “contingent,” “accidental,” “haphazard,” or (...) “stochastic.” Of course, what an author might mean by “chance” in any specific context varies. -/- In the following, we first offer a historiographical note on the synthesis. Second, we introduce five ways in which synthesis authors spoke about chance. We do not take these to be an exhaustive taxonomy of all possible ways in which chance meaningfully figures in explanations in evolutionary biology. These are simply five common uses of the term by biologists at this period. They will serve to organize our summary of the collected references to chance and the analysis and discussion of the following questions: • What did synthesis authors understand by chance? • How did these authors see chance operating in evolution? • Did their appeals to chance increase or decrease over time during the synthesis? That is, was there a “hardening” of the synthesis, as Gould claimed (1983)? (shrink)

Transparency and openness are broadly endorsed in energy and environmental modelling and analysis, but too little attention is given to the transparency of value-laden assumptions. Current practices for transparency focus on making model source code and data available, documenting key equations and parameter values, and ensuring replicability of results. We argue that, even when followed, these guidelines are insufficient for achieving deep transparency, in the sense that results often remain driven by implicit value-laden assumptions that are opaque to other modellers (...) and researchers, and that may not be understood by wider audiences to be controversial. This paper identifies additional best practices for achieving transparency by highlighting issues where disagreement over value judgements will persist for the foreseeable future. Recommendations for deepening transparency are developed by learning from successes and ongoing challenges represented in three case studies. We provide recommendations to accelerate the adoption of additional best practices for deepening transparency of energy and environmental modelling in policy-relevant domains, increasing stakeholder participation with non-modellers, and encouraging interdisciplinary dialogue. (shrink)

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

According to attributor virtue epistemology (the view defended by Ernest Sosa, John Greco, and others), S knows that p only if her true belief that p is attributable to some intellectual virtue, competence, or ability that she possesses. Attributor virtue epistemology captures a wide range of our intuitions about the nature and value of knowledge, and it has many able defenders. Unfortunately, it has an unrecognized consequence that many epistemologists will think is sufficient for rejecting it: namely, it makes (...) knowledge depend on factors that aren't truth-relevant, even in the broadest sense of this term, and it also makes knowledge depend in counterintuitive ways on factors that are truth-relevant in the more common narrow sense of this term. As I show in this paper, the primary objection to interest-relative views in the pragmatic encroachment debate can be raised even more effectively against attributor virtue epistemology. (shrink)

We criticize the classical evidentialist approach to religious epistemology as articulated by John DePoe from the perspective of phenomenal conservatism.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.1 (2002) 118-119 [Access article in PDF] Book Review The Cambridge Companion to Augustine Eleonore Stump and Norman Kretzmann, editors. The Cambridge Companion to Augustine. Cambridge: Cambridge University Press, 2001. Pp. xv + 307. Cloth, $59.95. Paper, $21.95. Given the immeasurable influence of Augustine upon the Western tradition, a volume devoted to him in the Cambridge Companion Series has been long overdue. Fortunately, (...) the lacuna has been filled by a work that exhibits the quality of scholarship and clarity of presentation that has become a hallmark of this series. Ably edited by Eleonore Stump and Norman Kretzmann, it will serve admirably as a guide for students and professionals alike, with much that is of interest to seasoned Augustine scholars.As Stump tells us in her introduction, the eighteen essays of the volume are loosely grouped according to eight topics. These are philosophy of religion, metaphysics and theology, philosophy of mind, theory of knowledge, philosophy of language, ethics, political philosophy, and Augustine's influence. As is apparent from this list, the essays cut a vast swath through Augustine's corpus, though they focus on what is of greatest interest to philosophers. In addition, since Augustine did not recognize a clean division between philosophy and theology, much that we now classify as theology gets attention as well.In keeping with the aim of the series, the character of the essays is, for the most part, expository. Each author takes pains to explain the outlines of Augustine's position on the particular topic under consideration, and most do so with considerable attention to the evolution of his thought and the context in which he wrote. Christopher Kirwan's essay, for example, not only traces the development of Augustine's philosophy of language from his early De magistro and De dialectica through his mature De doctrina Christiana, but highlights those areas in which the influence of Stoic dialectic can be detected. Similarly, John Rist's essay on faith and reason includes a discussion of the relation of Augustine's views on credibilia to the Platonic tradition, and Paul Weithman's essay on political theory examines Augustine's critique of Ciceronian ideals of political society. Thus, while systematic in their exposition, the essays give due recognition to the fact that Augustine's views evolved through continual reassessment of the antique heritage in light of changing concerns and circumstances, particularly an increasing concern to articulate the foundations of a new, scripturally inspired, vision of God, humanity, and society. [End Page 118]In addition to exposition and historical analysis, many of the authors use their essays as occasions for constructive philosophical engagement. Perhaps the best of these is Stump's essay. Noting the pervasive disagreement among interpreters over Augustine's doctrine of free will, she distinguishes three positions available to defenders of free will--compatiblism, common libertarianism, and modified libertarianism--in order to bring greater conceptual clarity to the interpretive task. She then shows that in his early work, De libero arbitrio, Augustine develops an essentially libertarian position (though which form he is committed to remains ambiguous), but that this account comes into tension with his views concerning the action of grace on the will as they were later developed in opposition to the Pelagians. In itself this is not a startling claim, but Stump's analytical skills enable her to identify precisely where the tension lies, and she suggests a way that Augustine could have resolved this tension without compromising his basic commitments.If there is any quibble to be had with the volume, it is that several of the essays are too compressed. Roland Teske's essay on the soul and William Mann's essay on evil, for example, run a mere seven and nine pages each. Though informative, given the centrality of these topics to Augustine's thought, they would have been more useful had they been expanded. Because of this, the most satisfying essays are those in which the authors stretch out. Scott MacDonald's piece on the divine nature is particularly good in this regard. In... (shrink)

Keith Ansell Pearson and Diane Morgan , Nihilism Now! Monsters of Energy ISBN - 9780333732922Gary Banham and Charlie Blake , Evil Spirits: Nihilism and the Fate of Modernity ISBN - 9780719056420.

English critics were brilliant initiators and exploiters of biblical criticism. This momentous exercise, whereby the 'Holy Scriptures' became the object of human critique independent of church control, is illustrated by John Drury in the present volume with excerpts from such famous critics as Coleridge, Blake and Matthew Arnold, and lesser names such as Collins and Deist and Bishop Sherlock. Robert Lowth's famous lectures on the Psalms, which had an important influence on Blake and Christopher Smart, are well represented here, (...) as is the famous contribution to Essays and Reviews by Benjamin Jowett. This book provides the only available collection of biblical criticism from this important period of critical enquiry, the eighteenth and nineteenth centuries. The extracts are accompanied by a full editorial introduction, notes and a bibliography. They should be read by all students of literature and theology interested in the period. (shrink)

The central concern of this paper is to prove that Blake and Wordsworth, in spite of some revealing differences between them, essentially share the same world view. Before showing how this works, we first of all should discuss, however briefly, the main difference between them.The main difference between Blake and Wordsworth is perhaps discernible in the way they respond to Nature or the physical frame of things. Here, their remarks on each other would be quite illuminating. Though there is no (...) evidence that they knew each other personally, there is concrete proof that they read some of one another's works and even commented on them. Three sources immediately come to mind in this regard: first, there is Samuel Palmer's anecdote that Wordsworth borrowed a copy of Blake's Songs of Innocence and of Experience from a friend that “he read and read and took … home to read again”; second, we have Blake's 1826 annotations to the poems of Wordsworth contained in Keynes' Nonesuch Edition of Blake; third, there is Henry Crabb Robinson's Diary, Reminiscences, and Correspondence. (shrink)

Some recent discussions of narrative structure consider the narrative as a sequence of events, and assume that the structure is what is manifested by the relation between any given event and the event 1, or perhaps the whole sequence from the first event up to the th event in the book. In the present discussion this approach will be modified in two ways. It will be modified, later on, by considering what would be happening if the writer were revising his (...) work into the final version, out of a penultimate version which was, as it were, a next-most complex version: one to which some final "complexifying" process had not yet been applied. The other way in which the present discussion will modify that approach is that it will consider narrative not as one sequence of events but as an interrelated set of sequences. · 1. E.g., R. Barthes, "Introduction à l'analyse structurale du récit," Communications, no. 8 , pp.1-27. John Holloway, professor of Modern English at the University of Cambridge, has written The Victorian Sage, The Charted Mirror, The Story of the Night, Blake: The Lyric Poetry, and five volumes of verse, such as New Poems. He is presently completing a book on poetic modes from Milton to Hardy and coediting a four-volume series on English and Irish street ballads. His other contribution to Critical Inquiry," Supposition and Supersession: A Model of Analysis for Narrative Structure" appeared in the Autumn 1976 issue. (shrink)

The first and preliminary part of this discussion examines Todorov's remark, in his article "Structural Analysis of Narrative" , on certain tales in the Decameron. These are advanced as dealing with a "concrete problem" which "illustrates" what Todorov "conceive[s] to be the structural approach to literature." The second part offers an alternative analysis of the Decameron tales. The third part comprises some observations, from a similar point of view, on Crime and Punishment. The anterior purpose of the whole discussion is (...) to identify at least some points where insights about "structure," in a fairly strict sense, seem to bear genuinely upon the insights of the literary critic. John Holloway, Professor of Modern English at the University of Cambridge, is the author of, among others, The Victorian Sage, The Charted Mirror, The Story of the Night, Blake: The Lyric Poetry, The Proud Knowledge, Planet of Winds, and five volumes of verse. His previous contribution to Critical Inquiry, "Narrative Structure and Text Structure," appeared in the March 1975 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Robert Leo CRITICISM OF CONSCIOUSNESS IN SHELLEY'S A DEFENCE OF POETRY IN his "Ode to Liberty" Shelley locates by encircling and enfolding metaphors a mythic Hellenic moment, one in which verse was yet "speechless" and philosophy still burdened with "lidless eyes." Greece— always for Shelley either the displaced Garden of prethematic unity or the mythic dream of integrated civic and aesthetic life—is about to inaugurate Athens and (...) the "wrinkled image" of historical consciousness.1 Poetry, thinking, and the tilling of an earth "to human use" are implicitly related and foreseen as destiny: from their enchanted caves Prophetic echoes flung dim melody. On the unapprehensive wild The vine, the corn, the olive mild, Grew savage yet, to human use unreconciled; And, like unfolded flowers beneath the sea, Like the man's dark thought in the infant's brain, Like aught that is which wraps what is to be, Art's deathless dreams lay veiled by many a vein Of Parian stone; and, yet a speechless child, Verse murmured, and Philosophy did strain Her lidless eyes for thee... (11. 49-60). Shelley could be describing the reading or speaking of a text, for poetic experience is an originating moment which unfolds our reflections and anticipations. Poetry elides speechlessness and the empty gaze. Its goings are all returnings, its experience is always inventive before meanings codify and resolve: "Every original language near to its source," we find in the Defence (p. 279), "is in itself the chaos of a cyclic poem; the copiousness of lexicography and the distinctions of grammar are the works of a later age and are merely the catalogue and the form of the creations of poetry." What was dark to experience is now illumined, 46 John Robert Leo47 as different regions in experience are uncovered or redistributed by language across our shifting horizons. Thus this bringing-foward-intoclarity, this moving of the previously inexpressed into articulation, is the pattern not only behind Shelley's view ofGreece producing a "sun-fire garlanded" Athens (1. 68), but also the more pervasive design describing other regarded experience. James Edie puts it this way: "We... can learn to make distinctions in our experience by attending to differences of meaning which are normally below the level of our own cultural threshold. By attending to a given region of experience, we can lower the differential thresholds already sedimented in our language almost indefinitely and make what was implicit in our experience more and more explicit."2 Edie's comments may be taken as responses to questions emerging from modernist readings of Shelley and other visionary poets—Blake, Hart Crane, or Charles Olson are instances—who sense the poetic project as a criticism of consciousness, within the lived body, as it struggles to make a world. How do language and the imagination consort in the critical regeneration of our lives? In what sorts of ways is renascence the uncovering and unfolding of an indefinite wholeness by the unlayering of fixed habits and attitudes? How does Shelley's Defence of Poetry, both a text on aesthetics and a reading of the world, suggest their alignment? What methods from critical discourse make Shelley's poetics present to our experience and thought? The adjustment of these issues is the task of the remainder of my article. First I examine Shelley's organization of consciousness into "reason" and "imagination" and trace the meanings of these functions in their immediate social context. A brief dispute with the reductive idealism of Platonic tradition allows for my third procedure, which is a phenomenological description of the imaginative field according to Husserl. Finally, I try to explicate Shelley's understanding of imaginative "decentering" within our experience. I Poetry and prose are saturated with references to phenomena. Texts refer to interior and exterior events (memory, rain), which are objects ofandfor consciousness. Shelley grasps this co-givenness of consciousness and world, their correlativity, as a condition revealed and strengthened by metaphor, which itself arrests us as "that of which we are speaking through words."3 But if it is the nature of language to be both perceptual and yet transcendental, both present and absent, it still exists as the imagination's voice in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamForest HansenKingsley Blake Price, Professor of Philosophy at The Johns Hopkins University for more than three decades, died in Baltimore on October 27, 2009, at the age of 92. He had long served as an editorial consultant for PMER and participated in numerous PME international symposia. His personal and academic life drew admiration from his colleagues, students, and friends (overlapping classes).Kingsley was born in Salem, Indiana, where his (...) father was a Baptist minister. The family moved from there to California, and Kingsley grew up in Berkeley. He earned his B.A. with highest honors from University of California, Berkeley (1938) and went on there for his M.A. (1942) and Ph.D. (1946). His dissertation was on Locke’s theory of knowledge. Kingsley taught first at the University of Washington, then at the University of Nevada and Sarah Lawrence College (where he became a good friend of Susanne Langer) before becoming an assistant professor of philosophy and education at Hopkins in 1953. He retired from Hopkins in 1986. In the meantime he published books and articles, presented invited papers, and traveled extensively, especially to England, France, Italy, and Greece. In 1973–74 he was president of the Philosophy of Education Society.What is especially remarkable about this is that Kingsley became blind at the age of four, as a result of undiagnosed scarlet fever. For the rest of his life he was dependent upon others to read to him (he was never keen on taped readings, and was a consultant to the Library of Congress concerning recordings for the blind). He also needed others to help him with daily practical tasks. Yet he remained fiercely independent and lived alone until his death. He did not use a seeing-eye dog and only rarely a white cane.Besides his two books, Education and Philosophical Thought (1962) and On [End Page 194] Criticizing Music (1982), Kingsley published numerous articles and reviews in the Journal of Philosophy, the Review of Metaphysics, the Journal of Aesthetics and Art Criticism, Educational Theory, the British Journal of Aesthetics, the Philosophy of Music Education Review, and others. His publications were mostly on topics of art (especially music) and education. He had long been working on a manuscript of reflections upon the alleged emotional qualities of music. Kingsley criticized other theories as having inconsistent of otherwise insupportable claims. Some of his former students hope to bring this work to fruition as a book.Kingsley took piano lessons as a youngster and, typically, excelled. As a teenager he placed second in a Major Bowes Amateur Hour radio competition and considered a career as a concert pianist. When one former student asked why he had not pursued that, Kingsley replied that philosophy was more in need of an excellent philosopher than music was of an only good pianist.A February memorial for Kingsley was postponed because of a blizzard in the Baltimore area. On April 25, 2010, former graduate students, readers, colleagues, and friends—some from as far away as California, Wyoming, Hawaii, and Florida—gathered in Baltimore to honor Kingsley and share their remembrances. Besides their expressions of admiration for his philosophical acumen and his rigorous teaching, people noted Kingsley’s high moral principles, his wide range of interests in the humanities, his commitment to efforts promoting world peace, and his connoisseurship in gardening and antique furniture. Many graduate students rode with him on his tandem bicycle, and later invited him to give papers at their colleges. He was a meticulous dresser and was proud of his bow ties, his four-in-hands, and his beret. Besides such personal testimonies by those present, letters by family members, friends abroad, former graduate students, and other friends were read. Photographs were on display, and recordings of some of Kingsley’s favorites by Bach, Schubert, and Vaughan Williams were played.Above all, Kingsley was that rare professor who maintained friendship with many of his students. He is survived by an older brother, two sisters, and numerous nephews, nieces, and their offspring. And by his many friends for whom his life has made a lasting impact. [End Page 195]Forest HansenEaston, Maryland Professor Emeritus, Lake Forest College forestval2... (shrink)

"Although this book looks back mainly to Blake (after all, Locke could not have read Blake) it also looks past Blake to discover a Locke not given much shrift by Blake scholars. It does this in a constantly interesting sinuous juxtaposition of Blake's and Locke's views on a variety of subjects, some wonderfully unexpected. Glausser's grasp of his material is impressive, and he writes with admirable clarity.... A deft blending of historical, biographical, and interpretive scholarship."--Hazard Adams, Byron W. and Alice (...) L. Lockwood Professor of Humanities, University of Washington Locke and Blake is a composite critical biography of two giants of 18th-century culture. Organized by topics of cultural significance for the period, it weaves together two lives, focusing on critical topics as opposed to biographical details, in order to illuminate ideas of Locke and Blake and the cultural contexts and transformations of the "period" they shared. Glausser begins each chapter by sketching a biographical connection between the two men, which in turn leads to a broader discussion of textual as well as cultural significance. From their shared experience of having had paintings stolen by a friend, for instance, Glausser details the two men's angry responses and then explores the larger social issue of private property at each end of the 18th century. Other points of correspondence include mothers and lovers, charges of sedition, medicine and the body, slavery, and printing. Glausser's new approach to the lives and ideas of Locke and Blake offers a more balanced treatment of their relationship than has been available in the past. Through this juxtaposition and rethinking of the two traditional "antagonists" of the period, he moves beyond adversarial caricatures of temperament, faculty, ideology, and intention and illuminates both the century and the two intellectual giants who stood at either end of it. Wayne Glausser is professor of English at DePauw University and author of articles on Locke and Blake as well as various topics in recent American fiction and popular culture. (shrink)

Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition.

Blake. By Peter Ackroyd (New York: Alfred A. Knopf, 1996) 399 pp. $35.00; The Judgment of Paris. By Hubert Damisch, translated by John Goodman. (Chicago/London: University of Chicago Press, 1996) 377 pp. $55.00/£43.95 cloth, $19.95/£15.95 paper; Gombrich on Art and Psychology. By Richard Woodfield, ed. (Manchester: Manchester University Press, 1996) 271 pp. £45.00.

In lieu of an abstract, here is a brief excerpt of the content:“A Candle in Sunshine”Desire and Apocalypse in Blake and HölderlinMichael Kirwan, SJ (bio)Introduction1René Girard, in the wake of the critical theorists Adorno and Horkheimer, offers “an analysis of the present epoch.” His work can be seen as a further attempt to articulate the “dialectic of Enlightenment”: to explore precisely why, despite the hopes invested in the possibilities of human emancipation, the “enlightened world radiates disaster triumphant.” Like them, Girard (...) seeks to diagnose the present age and its Siamese twinning of emancipatory knowledge and barbarism.He does so by invoking messianic religious themes, notably the biblical theological category of apocalypse.2 In Battling to the End—by Girard’s own admission, a “bizarre book”—the apocalypse has quite specific geographical and historical coordinates. The hypermimetic rivalry between France and Germany that escalates through the nineteenth century reaches a symbolic tipping point in Hegel’s fascinated interpretation of Napoleon Bonaparte’s intervention at Jena in 1806—a fascination shared by Carl von Clausewitz (1780–1831), Prussian military theorist and author of the unfinished treatise On War. Girard thinks through Clausewitz’s appalled realization of the special nature of this [End Page 179] conflict: namely, that the intense “escalation to extremes” that ensnares these two protagonists will prove capable of overwhelming the “sacrificial” function of warfare. In other words, war will no longer have the capacity for channeling and containing conflict within strictly codified parameters. Click for larger view View full resolutionThe Last Judgement (1808) by William Blake (1757–1827), The Egremont Collection (accepted in lieu of tax by H.M. Treasury in 1957 and subsequently transferred to the National Trust). © NTPL/John Hammond[End Page 180]Following this logic, Girard argues that the total mobilization of populations begun with the French revolutionary army has indeed escalated, into the nightmarish catastrophes engulfing Europe and the world in the last century, which we now experience in the form of a global and globalized “war on terror”—a “global civil war.” Robert Hamerton-Kelly understands the situation as apocalyptic, defined as “an interpretation of politics in the form of a coded narrative.”3 Drawing on the root meaning of apokalypsis as “unveiling” or “disclosure,” he declares that ”something is being revealed about our world order, whether by divine grace or human reason,”4 a revelation that not only documents the threat to order but is itself a cause of the instability.Whether this heightened sense of history and its convulsions constitutes a significant change in mimetic theory, an “apocalyptic turn,” is open to debate. Hamerton-Kelly reminds us that Girard’s writing has been apocalyptic from the outset: witness Girard’s discussion of “The Dostoyevskian Apocalypse” in his first book. In his other main works, Girard has developed “an apocalyptic anthropology” that unveils the sacred structure of “this world.” This is apocalypse, but with a twist:Mimetic theory is ironically apocalyptic, because it is the opposite of what normally passes for that genre. It is nonviolent, while the vulgar apocalypse is violent, it decodes while the vulgar encodes, nevertheless, it is apocalyptic because it deals with universal history and human nature and assumes that historiography is possible and the human story is not “a tale told by an idiot.” It is apocalyptic because it decodes the encryption of violence in the vulgar apocalypse, in symbols such as the divine judgement and the torture of the guilty.5Bringing this context to light is less a matter of archaeology as of astrophysics: here, as it were, is modernity’s “big bang,” the point of origin of the matter and anti-matter of resentful energy that now threatens to overwhelm us.6 Girard’s reading offers much for the historian to grapple with, and yet it calls for more than historical analysis. In addition to Hegel and Clausewitz, Girard summons a further witness, Friedrich Hölderlin (1770–1843), a “theological poet” or Dichter, whose life and verse are read as a further commentary on the turbulent opening decade of the nineteenth century. The aim of the present article is to elucidate this poetical-theological dimension of Girard’s argument, partly by highlighting Girard’s invocation of Hölderlin, but also... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“A Candle in Sunshine”Desire and Apocalypse in Blake and HölderlinMichael Kirwan, SJ (bio)Introduction1René Girard, in the wake of the critical theorists Adorno and Horkheimer, offers “an analysis of the present epoch.” His work can be seen as a further attempt to articulate the “dialectic of Enlightenment”: to explore precisely why, despite the hopes invested in the possibilities of human emancipation, the “enlightened world radiates disaster triumphant.” Like them, Girard (...) seeks to diagnose the present age and its Siamese twinning of emancipatory knowledge and barbarism.He does so by invoking messianic religious themes, notably the biblical theological category of apocalypse.2 In Battling to the End—by Girard’s own admission, a “bizarre book”—the apocalypse has quite specific geographical and historical coordinates. The hypermimetic rivalry between France and Germany that escalates through the nineteenth century reaches a symbolic tipping point in Hegel’s fascinated interpretation of Napoleon Bonaparte’s intervention at Jena in 1806—a fascination shared by Carl von Clausewitz (1780–1831), Prussian military theorist and author of the unfinished treatise On War. Girard thinks through Clausewitz’s appalled realization of the special nature of this [End Page 179] conflict: namely, that the intense “escalation to extremes” that ensnares these two protagonists will prove capable of overwhelming the “sacrificial” function of warfare. In other words, war will no longer have the capacity for channeling and containing conflict within strictly codified parameters. Click for larger view View full resolutionThe Last Judgement (1808) by William Blake (1757–1827), The Egremont Collection (accepted in lieu of tax by H.M. Treasury in 1957 and subsequently transferred to the National Trust). © NTPL/John Hammond[End Page 180]Following this logic, Girard argues that the total mobilization of populations begun with the French revolutionary army has indeed escalated, into the nightmarish catastrophes engulfing Europe and the world in the last century, which we now experience in the form of a global and globalized “war on terror”—a “global civil war.” Robert Hamerton-Kelly understands the situation as apocalyptic, defined as “an interpretation of politics in the form of a coded narrative.”3 Drawing on the root meaning of apokalypsis as “unveiling” or “disclosure,” he declares that ”something is being revealed about our world order, whether by divine grace or human reason,”4 a revelation that not only documents the threat to order but is itself a cause of the instability.Whether this heightened sense of history and its convulsions constitutes a significant change in mimetic theory, an “apocalyptic turn,” is open to debate. Hamerton-Kelly reminds us that Girard’s writing has been apocalyptic from the outset: witness Girard’s discussion of “The Dostoyevskian Apocalypse” in his first book. In his other main works, Girard has developed “an apocalyptic anthropology” that unveils the sacred structure of “this world.” This is apocalypse, but with a twist:Mimetic theory is ironically apocalyptic, because it is the opposite of what normally passes for that genre. It is nonviolent, while the vulgar apocalypse is violent, it decodes while the vulgar encodes, nevertheless, it is apocalyptic because it deals with universal history and human nature and assumes that historiography is possible and the human story is not “a tale told by an idiot.” It is apocalyptic because it decodes the encryption of violence in the vulgar apocalypse, in symbols such as the divine judgement and the torture of the guilty.5Bringing this context to light is less a matter of archaeology as of astrophysics: here, as it were, is modernity’s “big bang,” the point of origin of the matter and anti-matter of resentful energy that now threatens to overwhelm us.6 Girard’s reading offers much for the historian to grapple with, and yet it calls for more than historical analysis. In addition to Hegel and Clausewitz, Girard summons a further witness, Friedrich Hölderlin (1770–1843), a “theological poet” or Dichter, whose life and verse are read as a further commentary on the turbulent opening decade of the nineteenth century. The aim of the present article is to elucidate this poetical-theological dimension of Girard’s argument, partly by highlighting Girard’s invocation of Hölderlin, but also... (shrink)

Reissued here in its corrected second edition of 1864, this essay by John Stuart Mill argues for a utilitarian theory of morality. Originally printed as a series of three articles in Fraser's Magazine in 1861, the work sought to refine the 'greatest happiness' principle that had been championed by Jeremy Bentham, defending it from common criticisms, and offering a justification of its validity. Following Bentham, Mill holds that actions can be judged as right or wrong depending on whether they (...) promote happiness or 'the reverse of happiness'. Although attracted by Bentham's consequentialist framework based on empirical evidence rather than intuition, Mill separates happiness into 'higher' and 'lower' pleasures, arguing for a weighted system of measurement when making and judging decisions. Dissected and debated since its first appearance, the essay is Mill's key discussion on the topic and remains a fundamental text in the study of ethics. (shrink)

In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann Herder and (...) the Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment. "--John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment Zammito's book finally fills it. All students and scholars of Kant will want to consult it."--Frederick Beiser, Times Literary Supplement. (shrink)

The text of each poem is given in letterpress on the page facing the beautiful color reproductions of the plate. The book is printed on vellum.