In this important new book, leading Black philosopher Mabogo More reflects on his life and career in apartheid South African. The book explores Africana existentialism in relation to issues of race, identity, liberation, freedom, alienation, responsibility and bad faith and includes key essays from More's corpus alongside his philosophical memoir.

Biko was not only considered a 'brilliant political theorist', he is also considered a formidable and articulate philosopher; an important Africana existential philosopher. From Biko's writings, speeches and interviews, Mabogo More's view is that philosophy is not a disembodied system of ideas nor is it a mechanical reflection about the world; rather, it is a way of existing and acting. What Biko himself describes as 'a way of life'. This important perspective on Biko would be of value to (...) many African philosophers, political and social thinkers, social scientists, psychologists, cultural critics, political activists, students, critical race theorists and anyone interested in the ideas that Biko presents. (shrink)

Exploring the implications of Sartre’s existentialism for the problem of racism, a prominent African philosopher provides the ontological basis for understanding the situation of a black person in an antiblack world.

South African philosopher Mabogo Percy More has devoted more than four decades of his work to the problem of “being-black-in-an-antiblack-world.” This article interrogates the extent to which More homogenizes the contingencies of black2 existence and black embodiment, as I feel black existentialists do; or subsumes the phenomenology of the lived experience of blackness under a “black universalist” account that does not give an adequate account of the gendered embodied experiences with antiblack racism. By “contingency” I (...) mean More’s concept of the contingency of existence, where he claims that human existence is without necessity, nor is it justified; and so people resort to attempting to justify their existence and to find meaning by trying to assume the status of God or superiority in relation to others. More argues that contingency is the source of antiblack racism, as white people attempt to justify their existence by dehumanizing black people. I claim that contingency does not only play out in the interracial domain, but is also one of the sources of intraracial sexism within the black community. My interrogation aims to extend the reach of More’s work by giving an existential-phenomenological account of “being-black-and-female-in-an-antiblack-antifemale-world.” To this end, I focus on two contingencies—the contingencies of biological sex and the contingency of physical strength—that More discusses in his sole article on intraracial sexism, “Black Attitudes: A Call for Personhood” (1981). I argue that within the black intraracial domain, these two contingencies are ascribed meaning that creates a binary, which elevates black men to superior status, while reducing black women to the inferior. (shrink)

Black women do not want to become white women because they know that this is impossible. Yet, some black women straighten and curl their naturally kinky hair, or wear hair extensions, weaves and wigs that resemble Caucasian hair. Still, they recognize that hair is only one attribute of their Being and that even if they choose to wear non-African hairstyles, they can concurrently embrace other aspects of their black identity. So, is this a matter of cultural assimilation or integration, or (...) is there a deeper ontological problematic underlying these cross-racial hair styling choices? I interrogate three arguments that black women usually advance for their hairstyling choices – the survival strategy argument, the protective styling argument, and the options-choice argument. I use Mabogo Percy More’s interpretation of Jean-Paul Sartre’s concepts of “the Look,” “facticity,” and “bad faith” to analyze Black women’s hair consciousness through the lens of his “Politics of Being” concept. (shrink)

This book by Mabogo Percy More, the author of a number of books on African philosophy and anti-black racism, analyzes the views of Black Consciousness activist Steve Biko on race and racism in Sout...

To practice philosophy is to be part of a conversation, and this autobiography is a conversation about Mabogo Percy More’s experiences as a black African philosopher in South Africa. Not only is this a conversation about philosophy, but it is also a conversation with philosophy as a profession, its interlocutors, and the philosophical canon. Moreover, it is an account of the philosophers both living and dead who have informed More’s worldview, matched with his lived experience. (...) class='Hi'>More specifically, as he himself says, this is “an autobiography of a black philosopher in apartheid and apartheid South Africa and its academic institutions”. (shrink)

How should black people, indeed any other group of people in general, respond when they are grouped together and oppressed on the basis of the contingency of their physical characteristics? Questions of liberation from oppression involve questions about the means to overcome that oppression. Throughout the ages of struggle against racial oppression, for example, collective black identity and solidarity has been one of the favourite responses and rallying call for racial justice and liberation. In South Africa this response has recently (...) emerged through the formation of a number of highly controversial groups such as: The Native Club, The African Forum, and The Forum for Black Journalists. Critics of these formations think that such black solidarity, divisive, irrational, morally objectionable and, above all, racist. This paper defends the emancipatory racial solidarity tradition, examplified by The Native Club and similar constituted organisations, against such serious charges and critiques mounted by contemporary leading thinkers on identity. The tools for such a defense are primarily derived from Jean-Paul Sartre's conception of group formation in his Critique Of Dialectical Reason. I argue that since anti-black racist consciousness always operates at the level of collectives, it is therefore impossible to fight such racism as an individual; that collective black solidarity is a necessary condition for racial emancipation. (shrink)

This chapter contains sections titled: Institutionalized Philosophy Philosophy Before Apartheid Philosophy During Apartheid African Philosophy in South Africa Philosophy in Post‐Apartheid South Africa Conclusion.

This chapter contains sections titled: The Question of Violence in South Africa Albert Luthuli Nelson Mandela Steve Biko Conclusion.

This is the first book-length work to focus on the philosophical and anthropological contribution of Mabogo More, a prominent and influential black South African existentialist thinker.

Cyril Scott once described Percy Grainger as a `lovable eccentric'. The Australian-American pianist, composer, ethnologist, and aspiring `all-round man' was, however, more eccentric to his own age than to ours. His views on the environment, food, the body, participatory democracy, and sex all anticipated by several decades views more typical of the mid-late twentieth century. Prolific as a composer, performer, and recording artist, Grainger was an indefatigable writer. This selection of forty-six essays about the production, promotion, and (...) propagation of music is drawn from his over 150 public writings. Written between the turn of the century and the early 1950s, these essays reveal Grainger's youthful compositional plans, his ideas about piano technique, and his enduring high regard for the music of Edvard Grieg, Frederick Delius, and `Frankfurt Group' colleagues Cyril Scott, Roger Quilter, and Henry Balfour Gardiner. Grainger on Music also pursues his evolving thoughts about Nordic music, `Free Music', instrumental usage, and his occasional suggestions for musical development in Australia and the United States. (shrink)

In 1971, John Rawls published A Theory of Justice, the burden of which was strongly egalitarian. But Rawls eventually came to the conclusion that the project of working out a stable, well‐ordered society as argued in A Theory of Justice had failed. In 1993, in Political Liberalism, Rawls sought to establish a sounder theoretical foundation for a stable, well‐ordered society. Rawls was widely viewed, however, as having given up egalitarianism in Political Liberalism ‐ the commitment to a fair distribution, or (...) ‘justice as fairness’, along lines originally developed in A Theory of Justice. I argue, by contrast, that Political Liberalism does not in fact repudiate the egalitarianism of A Theory of Justice. Political liberalism has many variants, including variant conceptions of justice. In the first part of what follows, the question is raised whether political liberalism can defend a conception of justice that is as egalitarian as ‘justice as fairness’. Such a conception would guarantee the fair value of political liberties and would also contain the so‐called ‘difference principal’, which states that social and economic inequalities are to be adjusted so that they are to the greatest benefit of the least advantaged. Although it seems possible to defend such an egalitarian conception of justice, it does not seem necessary, all the same, that all variants of political liberalism should be as egalitarian as justice as fairness. Thus, in the second part of my argument, I seek to overturn, or at least substantially to qualify, the idea that there is no need for political liberalism to be strongly egalitarian. I conclude that the egalitarian credentials of political liberalism have to be bolstered, even more so than Rawls himself seems to think. (shrink)

In a comprehensive assessment of the penetration of Rawls's ideas in the Netherlands since 1971 five debates are discerned in which different aspects are highlighted or play a role. Some of these debates are more or less ongoing ones, some overlap with each other, and some can be pinpointed more precisely in time. In the first 15 years following the publication of A Theory of Justice, attention was focused on the distributive implications of `justice as fairness'. Next, the (...) `liberalism-communitarianism debate' came to the fore. More recently, Kantian aspects of Rawls's theory have been discussed. A fourth, also more recent debate relates to problems of multiculturalism. Finally, in recent years, and more or less in conjunction with the debate on multiculturalism, the current situation of the Dutch welfare state has been discussed. Here we get back to the core of Rawlsian theory, its distributive implications. But now it is argued that this theory focuses too much on equality at the expense of responsibility and incentives. (shrink)

Questions of political identity and citizenship, raised by thecreation of the `new Europe', pose new questions that politicaltheorists need to consider. Reflection upon the circumstances ofthe new Europe could help them in their task of delineatingconceptual structures and investigating the character ofpolitical argument.Does it make sense to use concepts as `citizenship' and`identity' beyond the borders of the nation-state? What does itmean when we speak about `European Citizenship' and `EuropeanIdentity'?It is argued that the pluralism that has led theorists tooffer a conception (...) of citizenship based upon principles of right,rather that the common good, applies even more strongly at thelevel of the European political order. Developing a contractariantheory of federation, an account of the basis of a Europeancitizenship will be offered in which federalism emerges out of anoverlapping consensus of European citizens on the terms of theirpolitical association.`European Citizenship' and `European Identity' are discussedin the context of the so-called `European Union', and not in thewider context of Europe `as a whole', or for that matter on aneven broader `cosmopolitan' scale. However, the gist of the articleis that arguments for concepts of `citizenship' and `identity'that go beyond borders of nation-states and that are applied tothe `European Union', could have implications for an even widerapplication.Finally, and in conclusion, the (empirical) context will beelaborated in which the normative concept of shared liberalcitizenship identity should be realized on a pan-national,European level. (shrink)

Symbol and existence will prove fascinating to Walker Percy scholars and fans who wish to decipher Percy's authentic philosophical stance. Percy, an existentialist Catholic at his core, was also a scientist seeking an objective paradigm to portray his views. Symbol and existence demonstrates that Percy was quite methodical and logical in his thought and provides an entirely new perspective on his scholarship. Much of this book is unique and has never been published before; however, some sections (...) were revised and published as isolated journal articles or book chapters, never presented as the unified whole that Percy intended. The orderly unity of Percy's work has not previously been accessible to scholars and fans. Symbol and existences systematic presentation and its new material offer fresh insight and a more accurate view of Percy's ideas. His early philosophical writings were often revised and significantly modified by outside editorial intent to conform to prevailing intellectual currents of the time. Readers of some published articles with corresponding passages in Symbol and Existence will be surprised to discover major changes in meaning from Percy's initial writing due to editorial intrusion and loss of context upon their removal from Symbol and existence. As the only known systematic representation of Percy's general working theory, Symbol and existence gives an important framework for his diverse intellectual background--philosophy and psychology, medicine and anthropology, semiotic and zoology--creating a coherent view of Percy's "radical anthropology. (shrink)

This paper investigates how the features of CEO equity-based compensation are associated with the agency costs of monitoring in an Australia setting. We find that audit fees significantly increase when firms award large equity grants to CEOs, which is consistent with the notion that auditors perceive higher risk associated with large equity incentives. However, by empirically testing auditors’ responses to the adoption of performance-vesting provisions, we document evidence that it is the use of accounting-based hurdles that potentially encourages unethical reporting (...) issues. We report that audit fees are negatively associated with the use of market-based hurdles, while accounting-based hurdles lead to significantly higher audit fees but combination hurdles lower audit fees. To reduce the possible undesirable properties of accounting-based hurdles, firms adopt longer vesting periods to provide more balanced future-oriented incentives. Practical implications include the remuneration committee being aware of the hidden costs of poorly designed CEO compensation packages and avoiding undesirable ethical implications, particularly, where the CEO has significant power over the corporation. (shrink)

Excerpt from An Introduction to Political Philosophy Political philosophy cannot be learnt from text-books. If it be true - "That nature always does contrive That every boy and every gal That's born into the world alive Is either a little Liberal, Or else a little Conservative," then the most interesting problems of political philosophy must remain matters of controversy. It is perhaps for this reason that students are generally asked to approach the subject by way of the study of the (...) writings of certain political philosophers that are generally regarded as classical. Or it may be because, as Aristotle said - "It would probably be right to suppose that not only these but all other political discoveries have been made repeatedly, or rather an infinite number of times in the lapse of ages... It is our duty then while we avail ourselves adequately of the discoveries of the past, to endeavour to fill up the deficiencies that remain" (Politics, Bk. IV. chap. 10). About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Walker Percy’s unusual aspirations set his novels apart from most literary attempts to understand profound human problems. He gave meaning to the category of art as inquiry. In the novels, his characters’ eccentric quests treat everyday things as evidence for abstract and ultimately theological hypotheses. Outside the novels Percy shared their conviction, inspired by philosophical traditions that include Leibniz, Descartes, the British phenomena lists, C.S. Peirce, and Noam Chomsky. This article shows how well in tune he was with (...) these traditions, and especially with Chomsky’s and Peirce’s variants on the thesis that built-in biases picked up from our environment are relevant to everyday and scientific learning. In this respect, Percy too anticipated the significance of more recent developments in cognitive science and robotic learning. Like Peirce, he also believed that these empirical learning patterns have theological resonance. (shrink)

In "The Problem with Percy: Epistemology, Understanding and Critical Thinking," Sharon Bailin argues that critical thinking skills do not generalize because students do not understand the larger epistemological picture in which to situate the importance of arguments and reasons. More plausible explanations are: (I) instructors across the disciplines do not give assignments requiring critical thinking (CT) skills, (2) single courses in CT have little effect, (3) pragmatic arguments showing the effectiveness of CT are more effective than epistemological (...) arguments with the average student. So to achieve the generalization of the logical skills and intellectual dispositions inherent in CT courses, CT thinking cannot be departmentalized. (shrink)

Over the past twenty odd years, North America has witnessed the complete medicalization of unhappiness by transforming it into depression, which has been conceived in psychologically reductionistic terms. Many are unhappy with this state of affairs, including the contemporary American novelists, Walker Percy, Richard Ford, and Jonathan Franzen. This paper explores why they are unhappy with this trend and why they reject psychological reductionism in favor of a vision of life that is more thoroughly moral in its outlook.

This study reexamines the existentialist nature of Walker Percy's fiction, arguing that his debt to Kierkegaard is more substantial than previously acknowledged. Others have noted his employ of Kierkegaardian stages, terminology, and artistic indirection, but they haven't revealed the extent to which his sources lie in Kierkegaard and the action of his novels occurs within the context of a "Kierkegaardian narrative." Prior critics have overstated both the role his protagonist's "searches" and the assistance of others play in their (...) movement to faith. This study rejects the Marcelian reading of Percy's endings and demonstrates that his characters follow a Kierkegaardian path toward faith; they do not move toward faith via the assistance of an other, but subjectively, by despairing of their efforts to find ontological answers in immanent sources and choosing, in the midst of that despair, a paradoxical faith. ;Chapter one pairs Kierkegaardian philosophy with views espoused by Percy in his nonfiction and interviews in order to establish their intellectual affinities: each uses art as a means of responding to the objectifying forces of rationalism and posits a movement toward self which necessitates the embrace of faith after despairing of an aesthetic existence. The second and third chapters provide extended Kierkegaardian readings of The Moviegoer and The Last Gentleman, tracing their sources to his philosophy and demonstrating how each can be read within a Kierkegaardian framework and as a tacit either/or. Percy's protagonists either "come to themselves" by despairing of their own searches and realizing a subjective faith , or they remain in Kierkegaard's aesthetic stage, separated from faith, and thus lost to themselves . Both readings of Percy's novels reveal the ways in which he continually adopts Kierkegaardian categories, images, and details as he works within the larger framework of the paradoxical movement toward faith. The study concludes by emphasizing the Christian character of the narratives of Kierkegaard and Percy and arguing that a strict Kierkegaardian reading of Percy's fiction is more illuminating than the use of multiple existentialist perspectives. (shrink)

Despite a lack of formal university schooling in textual scholarship or in Renaissance studies, Helen Allen became a co-worker and co-editor with Percy Allen in the preparation of the great edition of the letters of Erasmus. Thanks to training she had received from her husband, she herself was largely responsible for the choices in Sir Thomas More, Selections, and the Allens together worked on the notes and glossary.

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

Towards the end of Percy Bysshe Shelley’s fragment ‘The Triumph of Life’ there are some famous lines which raise most of the questions that will concern me in this essay. Never mind, for the moment, the context: the lines I have in mind are these: “I rose; and, bending at her sweet command, Touched with faint lips the cup she raised, And suddenly my brain became as sand “Where the first wave had more than half erased The track (...) of deer on desert Labrador, Whilst the fierce wolf from which they fled amazed “Leaves his stamp visibly upon the shore Until the second bursts—so on my sight Burst a new Vision never seen before.—1[…]Two kinds of things are happening here which I want to point out. The first is that even as the poem is attempting to represent the mind as passive and the experience of the mind as an empty succession of events, it is also making a quite contrary attempt to represent the mind as active and the succession as a structure. The lines dramatise how a play of mental events, as they are represented in language, may be reprocessed in such a way that some of them come to be classified as interruptions or breaks in the otherwise meaningful sequence composed by the others. As my first paraphrase suggested, it seems to make sense to recast Shelley’s narrative into the story of deer chased by a wolf, a story which is then interrupted by the wave which bursts on the shore and which threatens the coherence of the story by threatening to efface all sin that the deer have passed across the beach, have crossed the mind. 1. Percy Bysshe Shelley, ‘The Triumph of Life,’ in Shelley’s Poetry and Prose, ed. Donald H. Reiman and Sharon B. Powers , II. 403-11. The most illuminating reading of these lines is Paul de Man’s in The Rhetoric of Romanticism , pp. 99-100. John Barrell is professor of English at the University of Sussex and author of a number of books on literature and the visual arts, most recently Poetry, Language and Politics . The Infection of Thomas De Quincey and The Birth of Pandora will be published next year. (shrink)

This paper examines Steve Biko’s distinction between black and non-white as a project in the “amelioration” of social concepts and categories. Biko himself—it has been persuasively argued by Mabogo More and Lewis Gordon—writes in the tradition of existential phenomenology. More and Gordon explore Biko’s continuity with Frantz Fanon, and in this paper I draw on their interpretations, attempting to complement and elaborate on these continuities. I also, however, attempt to show how Biko moves beyond Fanon in crucial (...) ways, solving problems that Fanon confronted. By examining Fanon’s and Biko’s categories in light of recent work in social metaphysics, I explore the ways Biko attempts to transform an existing set of oppressive social categories in the world into new social categories. (shrink)

More than a literary study, this book is an analysis of sexual attitudes and practices in the Romantic period, and a contribution to the history and theory of feminism. In exploring the many aspects of his subject, Brown compares Shelley with his contemporaries, particularly Byron, and draws upon extensive research into the laws, ideas, and practices of the period.

My study of Mary Shelley and father includes her husband because Percy Shelley’s obsessions with patriarchy, with “ ‘GOD, AND KIND, AND LAW,’ ” influenced profoundly Mary’s* art and life. Percy’s idealizations of father in The Revolt of Islam and Prince Athanase indicated ways or resolving familial antagonisms which Mary adopted and developed her later fiction. Percy’s relationship with Frankenstein is still more intricate. Recognizing that her husband’s obsessions with father and self-creation were contributing to the (...) deterioration of their marriage, Mary represents these obsessions in Victor Frankenstein—partly to vent in art the anger which would have further damaged the marriage, and party to show Percy before it was too late the errors of his ways. It was too late. Percy responded to Frankenstein in Prometheus Unbound and The Cenci with a reaffirmation of sonship which has been largely unrecognized by scholars.Father looms so large for both Mary and Percy Shelley that no one critical approach can account for him fully. At their most idealistic—and thus most traditional—the Shelleys encourage a critical methodology which integrates the traditional disciplines of biographical and close textual analyses. By taking this approach to Mary’s later fiction and to Percy’s The Revolt of Islam, I can not only confirm the prominence of father for the Shelleys but also establish the ideal against which their most subversive and important art was created. Reading this indirect, overdetermined art in light of the negative Oedipus will help answer important questions about Frankenstein, Prometheus Unbound, and The Cenci and will, I hop, add to our understanding of the vexed role of father in the Romantic period and in subsequent generations whose children we are. William Veeder, professor of English at the University of Chicago, has published books on Yeats, Henry James, and Victorian feminism. His Mary Shelley and “Frankenstein”: The Fate of Androgyny will appear in December 1985. The Art of Criticism: Henry James on the Theory and the Practice of Fiction, coedited with Susan M. Griffin, and Dr. Jekyll and Mr. Hyde: The Centenary, a collection of new essays on Stevenson’s novel, are also forthcoming . He is currently at work on The Serpent’s Tale: Anglo-American Gothic Fiction, 1885-1914. (shrink)

Phenomenology is an emerging field within the broader domain of African and Africana philosophy. The phenomenological method, with its various approaches to studying the meaning of lived experience, is at the core of the thought of African philosophers such as Paulin Hountondji, Dismas A. Masolo, Achille Mbembe, Mabogo More, Tsenay Serequeberhan, Noel Chabani Manganyi, and proponents of Africana Philosophy such as WEB Du Bois, Frantz Fanon, Lucius Outlaw, Lewis Gordon, George Yancy, and Linda Martin Alcoff. Technically, the term (...) “African phenomenology” is not used as widely, or introduced as systematically, as Africana phenomenology. The aim of this chapter is to introduce some of the central issues and theorists of the field of African phenomenology. As the subtitle of this chapter indicates, its scope is limited to what one may call introductory perspectives in African phenomenology. The idea is to outline for further investigation some thematically related contributions to African phenomenology with specific reference to the grounding work of Paulin Hountondji as related to works of Kwasi Wiredu and Dismas A. Masolo. Hountondji’s critical adoption of Husserl’s classic phenomenological approach offers a broad, foundational scope, which makes it particularly suitable for a basic introduction to African phenomenology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Last Man by Mary ShelleyJennifer A. Wagner-LawlorMary Shelley. The Last Man. 1826. Edited by Chris Washington. Norton Critical Editions. New York: W. W. Norton, 2023. xxiv + 571 pp. Paperback, ISBN 9780393887822.New critical editions of well-known literary works serve several important functions, and those designed specifically for students serve two of the most important: to introduce readers to texts that were overlooked during and since the author’s (...) time, but that might find greater favor today; and to re-introduce to a new generation of students classic texts that have lost critical favor or been neglected. Mary Shelley’s The Last Man (1826) is a novel long overshadowed by brilliance and resilient legacy of her first novel, Frankenstein (1818), written at a mere eighteen years of age. As so often happened to nineteenth-century women who published under their own names, both Frankenstein and The Last Man were hammered critically by male reviewers (and often by the few female ones) unable to believe any woman, and certainly no “good” woman, could compose these stories. And by 1826, Mary Shelley had already gained notoriety thanks to her association with the radical politics and “free-loving” Shelley-Byron circle). No wonder then that contemporaneous reviewers—even as they brought themselves to compliment the narratological and formal accomplishment the novel represents—could not countenance either its content or its author, as the novel “violated” certain forms of literary and gender propriety: indeed, the novel was deemed the product of a “diseased imagination” (The Monthly Review).Modern assessments of the novel are far more admiring of Shelley’s sophisticated examination of national and cultural mythic structuralizations, and receptive to the boldness of Shelley’s profoundly ironical assessments of them. In this new Norton Critical Edition of The Last Man, Chris Washington comes to the text with a refreshingly undeferential approach to Shelley’s Romantic forebears and immediate companions. Not because they [End Page 582] deserve being knocked off their pedestals, but because—granting all that—Shelley’s text has a lot more to give to us. This is the first time the Norton Critical Edition series has produced an annotated critical edition of The Last Man (Broadview’s appeared in 1996), and it is therefore both welcome and well overdue. For this reader, The Last Man is in some ways arguably superior to Frankenstein, certainly better written and developed. Frankenstein packs the greater punch, but The Last Man picks up and reweaves, on a much larger loom, the same thematic threads: justice and judgment; hospitality and generosity; family love and ethical obligation to community and nation; “civilized” and “wild” spaces. These themes are figured not only in terms of landscape but also in terms of geopolitical organization (i.e., the West vs. “the East,” presumed source of the virus); the bounded- vs. unbound-ness of the creative imagination (also tied to cultural notions of civilization and wilderness); solitude and loneliness; alienness and otherness; alienation and self-alienation and/as dehumanization; the human and the posthuman. While part of Frankenstein’s greatness is its narrative concision and stylistic spareness, the greatness of The Last Man, written by the more mature writer, intellectually and technically (and without the interference of Percy Shelley), is how fully Shelley “fleshes out” those entanglements in this later novel.Setting aside therefore the inclusion of “the usual suspects” (xx) of earlier editions, Washington gives space to critical approaches that are not focused so intensely on the influences of Shelley’s biography. In an excellent introduction Washington emphasizes the various ways in which this novel opens up to (still) intractable political and human rights issues: slavery, imperialism, nonheteronormative genders and sexualities, and precarious lives.Washington addresses particularly what Shelley’s text has to offer—and does offer—to today’s students. He shares his own experience of teaching this novel during COVID times, finding the students, used to speed of communication and multimedia delivery, resistant initially to the narrative’s pacing, and reintroducing them to the pleasures of the slow build-up of plot and setting, as well as the excruciating tension of watching a slow-burn approach to seemingly unavoidable catastrophe. But Washington rejects... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Uncanonical Dante: The Divine Comedy And Islamic PhilosophyPaul A. CantorThe distorted notions of invisible things which Dante and hisrival Milton have idealized, are merely the mask and the mantlein which these great poets walk through eternity enveloped anddisguised. It is a difficult question to determine how far theywere conscious of the distinction which must have subsisted intheir minds between their own creeds and that of the people.Dante at (...) least appears to wish to mark the full extent of it byplacing Riphaeus, whom Virgil calls justissimus unus, inParadise, and observing a most heretical caprice in hisdistribution of rewards and punishments.—Percy Shelley, A Defence of PoetryIThe case of Dante provides an excellent opportunity to open up the question of the Western canon. In one sense, Dante is the perfect example of a canonical author. His name is one of the few certain to appear on anybody’s short list of the truly central authors in the Western literary tradition. But in another sense Dante can be regarded as uncanonical. In his own day he was widely suspected of being heretical in his religious views, 1 and a careful reading of his works does indeed raise serious doubts about his being the pillar of orthodoxy he is often taken to be today. 2 Out of this interplay between the canonical and the noncanonical Dante, I hope to show that the issue of the Western canon is more complicated than either its defenders or its attackers generally present it.In discussing the issue of the canon, it is important to sort out at the [End Page 138] beginning what we do and do not mean by the term. A canonical work may merely be a work that has been accepted into the literary canon, one that has become a touchstone in the reading and teaching of literature. But the term canonical can suggest something else, that the work is orthodox and somehow represents a central authoritative position in Western culture. The word canonical is so loaded with religious connotations that it is difficult to separate the relatively neutral first meaning of the term from the loaded second meaning. Dante is a case in point. When people refer to him as a canonical author, they usually do not simply mean that he is widely read and taught. Most discussions of Dante today treat him as representing an authoritative cultural moment in the Western tradition, as the supreme embodiment of the medieval mind. Viewed that way, Dante becomes an emblem of everything contemporary critics of the Western canon bitterly hate and reject. The reason they feel that they must attack authors like Dante and displace them from the center of literary study is that these authors have come to stand for orthodoxy and thus seem to enforce the hegemony of Western culture.Critics who wish to champion various forms of non-Western culture have a particular axe to grind with canonical authors like Dante. The contemporary debate over the Western canon seems to be premised on a sharp opposition between Western and non-Western cultures, as if they were complete and irreconcilable antitheses, and even wholly unrelated. One of the principal charges against the Western canon is that it is Eurocentric, that it remains confined within a narrow orbit of European ideas and beliefs, thus excluding all other views of the world. A corrolary of the idea of Eurocentrism is the concept of Orientalism, developed by Edward Said. 3 Said argues that throughout its history, the Occident has defined itself in opposition to the Orient, basing its elevated self-image on a debased vision of the cultural Other. In Said’s argument, the Occident views itself as rational as opposed to an irrational Orient, as emotionally disciplined in contrast to an emotionally uncontrolled Orient, and as masculine over against a feminine Orient.In medieval Europe the Orient was chiefly represented by the Muslim world, and one does not have to look far in medieval literature to find the kinds of orientalist stereotypes about which Said writes. The French Song of Roland contains excellent examples, but even the Divine Comedy seems to... (shrink)

Questions could and should be raised about the political profile of English Romanticism both in particular and in general. Wordsworth’s poetry is especially useful to me here because of the way in which, through formal discontinuities, it dramatizes political conflicts. Reacting against these discontinuities, aesthetically minded critics have simply tended to leave out of the canon those poems which have the greatest capacity to help us become aware of a political poetics. In this respect it may well be that Wordsworth (...) is the most stylistically perverse of the Romantic poets. Not the most difficult to read, necessarily—Percy Bysshe Shelley’s breath-suspending songs and William Blake’s determination to produce “variety in every line” with the aim of unfettering poetry surely make more aggressive and obvious demands on the reader.1 But in these cases we can be reasonably sure that the difficulties are part of a conscious and coherent intention to set imagination to work in kindling sparks from ashes. Wordsworth also set out to do this, and we can agree that he did so with some success in some poems. But critics from Samuel Taylor Coleridge onward have rightly questioned the unity of Wordsworth’s canon in this respect. In Biographia Literaria, Coleridge notices the “inconstancy of the style,” an unevenness and a general inability to satisfy the demands of “good poetry” conceived as something possessing an organic form.2 This concern with a wholeness and consistency of artifice is more Coleridge’s than Wordsworth’s, and it seems to me that it is precisely the disjunctions in the poems that embody some of their most original and historically urgent meanings. The blemishes recorded by Coleridge—alternating and dissimilar states of feeling, overminuteness in description, and obsession with “accidental circumstances” , overuse of the dramatic mode, disproportion of thought to event, and so forth—can in fact serve as eloquent signals for discerning the complexities of the poems as they address a historical crisis in consensus embodied exactly in the unstable vehicle of the Wordsworthian speaker.3 3. I have explored the “formal” implications of this crisis in Irony and Authority in Romantic Poetry , and the terms of its historical discourse in Wordsworth and the Figurings of the Real . David Simpson is professor of English at Northwestern University. He is the author of Irony and Authority in Romantic Poetry , Wordsworth and the Figurings of the Real , and Fetishism and Imagination: Dickens, Melville, Conrad and editor of German Aesthetic and Literary Criticism: Kant, Fichte, Schelling, Schopenhauer, Hegel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spectres of Pessimism: A Cultural Logic of the Worst by Mark SchmittJohn StoreyMark Schmitt. Spectres of Pessimism: A Cultural Logic of the Worst. Cham: Palgrave Macmillan, 2023. 147 pp., hardcover, $44.99. ISBN 9783031253508.[End Page 256]What I have called radical utopianism was an important concept for two of the founding figures of British cultural studies, E. P. Thompson and Raymond Williams.1 In 1976, in the revised edition of William (...) Morris: Romantic to Revolutionary, Thompson introduced into English Miguel Abensour's concept of the "education of desire."2 This has had a profound impact on what has become known as utopian studies but has had hardly any influence on cultural studies. Ruth Levitas together with Thompson (from whom she borrowed the concept) have probably done more than most to make Abensour's formulation popular in critical work on utopianism.3Abensour, however, was almost certainly drawing on part of a point made by William Morris in a letter written in 1884. Morris writes of the teaching of desire and political organization as the two main components necessary to bring about radical change: "The means whereby this is brought about is first, educating people into desiring it, next organising them into claiming it."4 But he also writes of another form of education, what he called "the education of discontent."5 In "Art Under Plutocracy," a lecture given in Oxford in 1883, he explained, "It is my business here to-night and everywhere to foster your discontent … [and] to help in educating that discontent into hope, that is into the demand for the new birth of society."6 He made a similar point in a lecture given in Manchester earlier in 1883:My business herein is to spread discontent. I do not think that this is an unimportant office; for, as discontent spreads, the yearning for bettering the state of things spreads with it, and the longing of many people, when it has grown deep and strong, melts away resistance to change in a sure, steady, unaccountable manner.7The role of the education of discontent is to undermine our sense of the inevitability of the here and now, to make change conceivable and to believe that it is possible, promoting what Raymond Williams calls an "active wanting"—"Possibility, seriously considered, is … not what with luck might happen. It is what we can believe in enough to want, and then, by active wanting, make possible."8 For Morris, the production of utopian desire, as a result of the interrogation of the here and now from the perspective of an alternative social space, would, according to Thompson, "help people to find out their wants, to encourage them to want more, to challenge them to want differently, and to envisage a society of the future in which people, freed at last of necessity, might choose between different wants."9 [End Page 257]Radical utopianism allows us to dare to dream that the way things are is not inevitable—that is, a world arranged in the interest of the powerful few. It broadens our vision of the world and opens up new ways of seeing. As the familiar is defamiliarized, what we have learned to think of as immutable suddenly looks changeable and the capitalist dogma There Is No Alternative can begin to give way to the enabling slogan Another World Is Possible. It allows us to anticipate the possibility of a world in which the words of Percy Bysshe Shelley, to slightly misquote them, have a revolutionary insistence: "We are many, they are few."Radical utopianism seeks to free imagination from the limits placed on it by a society run in the interests of the powerful few and to know that these limits are historical. While we seem able to see the past as historical and the future as history waiting to happen, the present seems outside history: in a word, "natural." Radical utopianism makes the present historical. Understood in this way, it is not an attempt to produce blueprints of the perfect society. Given the historical variability of human nature, it is impossible to predict what a perfect society might be like. Instead, radical utopianism is... (shrink)

Alexis de Tocqueville asserted that America had no truly great literature, and that American writers merely mimicked the British and European traditions of the eighteenth and nineteenth centuries. This new edited collection masterfully refutes Tocqueville's monocultural myopia and reveals the distinctive role American poetry and prose have played in reflecting and passing judgment upon the core values of American democracy. The essays, profiling the work of Mark Twain, F. Scott Fitzgerald, John Updike, Edith Wharton, Walt Whitman, Henry James, Willa Cather, (...) Walker Percy, and Tom Wolfe, reveal how America's greatest writers have acted as society's most ardent cheerleaders and its most penetrating critics. Christine Dunn Henderson's exciting new work offers literature as a portal through which to view the philosophical principles that animate America's political order and the mores which either reinforce or undermine them. (shrink)

Is philosophy of film without theory an oxymoron or a family of non-, anti-, and a-theoretical approaches with which to engage in film-involving philosophical scholarship and understanding? The goal of this collection is to argue for the latter and to do so by example. By demonstrating a mere handful of the many ways in which philosophy of film without theory might be pursued, in tandem with the insights born of these methods, the volume’s contributors both implicitly and explicitly challenge the (...) academic assumption that engaging philosophically with film must be a theoretical activity. Indeed, they indicate the potential for championing without theory scholarship across the humanities for anyone whose projects and practices seek and celebrate humanistic understanding. -/- Contributors include Lucy Bolton, Carla Carmona, James Conant, Katheryn Doran. Maximilian De Gaynesford, Rob van Gerwen, John Gibson, Eran Guter & Inbal Guter, Colin Heber-Percy, Iris Vidmar Jovanović, Andrew Klevan, David Macarthur, Rupert Read, William Rothman, Constantine Sandis, and Sebastian Sunday. Films and television programmed discussed include Gravity, Le notti di Cabiria, Dunkirk, The Handmaid's Tale, Three Colours: Red and many more. -/- In addition there is an interview with Richard Allen and Malcolm Turvey. (shrink)

The so-called “problem of student relativism” among college students refers to the tendency of students to contend that ethics are simply relative to an individual’s personal views. This paper sees student relativism less as a problem and more as a developmental issue involving self-definition. As such, many philosophy teachers choose texts that are aim to engage students in reflecting upon this developmental issue. In addition to classic texts like Descartes’s “Meditations” and “The Apology of Socrates,” this paper suggests that (...) two further works that address themes relevant to this issue are Martin Heidegger’s “Being and Time” and Walker Percy’s novel “The Moviegoer.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 341 if you started asking them questions about possible worlds. But Bradley's contribution is to have given us a painstaking and thorough reading of some extremely tightly wound and important aspects of the Tractatus, to have brought that text into direct contaot with con· temporary issues, and to have made progress toward showing that how· ever remarkable we thought the Tractatus was, it is still more (...) remarkable than that. JOHN CHURCHILL Hendrix College Conway, Arkansas The Human Person: Animal and Spirit. By DAVID BRAINE. Notre Dame, Indiana: University of Notre Dame Press, 1992. Pp. xxv + 555. $32.95 (cloth). Any study in philosophical anthropology that rejects both mate· rialism and dualism, and seeks to set forth a " holistic " alternative, may be met in many quarters with some skepticism today-especially if that alternative seeks to accommodate itself to religious teaching regarding the soul's continued existence after death. For, it will be asked, on the one hand, how can it deny that the esse of the human being ceases at death (538) without affirming some sort of dualism? On the other hand, unless it is some sort of soft-headed New Age philosophy (which this most certainly is not), how can it sustain its claim to "holism" while rejecting the monolithic materialism of those whom Walker Percy once described as our "brain engineers, neuropharmacologists, and chemists of the synapses "? The challenge is " how to produce an account which allows the human person to continue exist· ing after death, and even to have body restored to it, while remaining completely faithful to the insight that it belongs to human nature to be bodily," and, at the same time, to " avoid reerecting the soul into a complete substance" (xix). The peculiar obstacle faced by such a project is the pervasive proclivity towards reductionism in modern accounts of human nature stemming from the impress of both materialism and dualism. Both analyze the human person into an aggregate of parts in certain relations, the behavior of the whole being ·the result of the interactions of these parts. " In all this the materialist has exactly the same picture as the dualist. Indeed, unless the mental can first be represented as inner, logically independent of anything in the ' outer man ' and the ' world,' there is no way in which it can be identified with a brain-process or 342 BOOK REVIEWS state" (3). So whether one thinks of the mind as an independent en· tity (as in dualism), or not (as in materialism), the body is left to be accounted for by the brain engineers and their aggregates of physi· ological, anatomical, neurological, and chemical causes. And since materialism involves no complicating questions about causal interaction between the physical and the mental (as in dualism), it is usually preferred on grounds of its simplicity-all causation being subsumed under the physical. In this ambitious tome, David Braine, a philosopher at the University of Aberdeen, offers a thoroughgoing analysis and critique of such views, whereby he undertakes to overturn these ways of viewing human nature and to offer a holistic alternative. He sets forth a framework for understanding things like perceiving, doing, and speaking as irreducibly the acts of the psychosomatically integrated beings to which we normally attribute them-an understanding that conforms to the ordinary experience of such acts in ourselves and in others. He seeks to expose how materialist arguments repeat the mistakes of the dualists by reducing human beings (and other animals) to their aggregate parts, segmented sequences, and their interrelations. He takes issue with the arguments of recent analytical philosophers (such as Davidson and Dummett) in detail, and sets forth a holistic alternative-both with re· spect to the human person as " animal" and as " spirit." As to the human as "animal," Braine notes, accordingly, that "it is the bodily animal being as such, not just its mind, which is an ' I ', a ' he or she ', a focalized subject in relation to the world. The primary reason why human behaviour cannot be simulated by a computer does not lie in things special to human beings, but in the fact that this fo. calized psychophysical structure which they share with the... (shrink)

Summary This article opens with a brief introduction to Giuseppe Mazzini, with particular reference to his commitment to republicanism, an ideal that would be fulfilled in Italy only after considerable time and with great difficulty. It then focuses on Mazzini's critical reception of Byron. Although Giuseppe Mazzini and Percy Bysshe Shelley would have allowed a more obvious comparison, it was Byron who really attracted Mazzini's attention and criticism. Mazzini uses Byron, on the one hand, as a means to (...) demonstrate that Italians could discuss European poetry without putting at risk their national identity, or, as the classicists maintained, that fragile and fragmented profile of a nation that contemporary Italy offered to the minds and hearts of thousands of young people. On the other hand, however, Mazzini questions Byron's authority by subverting and converting his value, in a very personal way: he gradually substitutes Byron's with a different authority and credits him with new values. Mazzini could not accept Byron as the emblem of elitism and isolation: Byron's solipsism needed to be purified, and his renowned cynical attitude tempered; eventually Byron's myth needed to be connected to the destiny of peoples and nations. (shrink)

Alexis de Tocqueville asserted that America had no truly great literature, and that American writers merely mimicked the British and European traditions of the eighteenth and nineteenth centuries. This new edited collection masterfully refutes Tocqueville's monocultural myopia and reveals the distinctive role American poetry and prose have played in reflecting and passing judgment upon the core values of American democracy. The essays, profiling the work of Mark Twain, F. Scott Fitzgerald, John Updike, Edith Wharton, Walt Whitman, Henry James, Willa Cather, (...) Walker Percy, and Tom Wolfe, reveal how America's greatest writers have acted as society's most ardent cheerleaders and its most penetrating critics. Christine Dunn Henderson's exciting new work offers literature as a portal through which to view the philosophical principles that animate America's political order and the mores which either reinforce or undermine them. (shrink)

C. S. Peirce posits that the self is known only through negation—by the knower finding out that he or she is wrong. Even more importantly he considers a man to be nothing more than a sign. This is existentially inadequate. In this chapter, Stacey Ake shows the shortcomings of Peirce’s Firstness, Secondness, and Thirdness in creating human identity by utilizing and developing Walker Percy’s notion of Fourthness in order to show that there is a positive way to (...) create identity and, more importantly, community. (shrink)

When we discuss the value of a work of art we are confronted immediately with two difficulties: the terms we use, and the peculiar character of art. No one, to my knowledge, has ever doubted that an artist produces a form of some kind, and that in any discussion of art as art that form must somehow be considered; but the terms we use generally have no reference to form. We miss the form in various ways We use terms that (...) are nonartistic—that is, terms that refer to something external to the work, as when we speak of the subject of a painting, of what was depicted rather than the depiction of it, though we know full well that what we respond to is not what was depicted but the depiction of it. "This is a play about Oedipus— what does that tell us of the diverse forms produced by Sophocles, Seneca, Dryden, Voltaire, Gide, Cocteau? Or again, we use terms which are analogical, for example, the "rhythm" of a painting; the difficulty with these is that they are ambiguous and also that, while they may relate to the work, they can designate it only insofar as there is similarity between it and the analogue. Again, we use terms which seem to designate a single form when in fact they refer to forms of the utmost heterogeneity, as when we speak of "the novel"; this usually arises out of the indiscriminate application of the term over some considerable span of history, so that the "historical slippage" of meaning is gradual and goes unnoticed. As the term broadens in meaning to include more and more heterogeneous forms, the essence of each is lost, and the term comes to apply only to accidental analogies between the forms. In the end very little can then be said, involving only the most abstract and general accidents of likeness. Henry James' The Art of Fiction, Percy Lubbock's The Craft of Fiction, and E.M. Forster's Aspects of the Novel illustrate this condition perfectly. The complaint that it is impossible to discuss tragedy because the term has been diversely employed and its proffered justification stem from this condition. The complaint and the justifications are both trivial, and the solution of the difficulty is simple. All that is necessary is to distinguish the different senses of the term by distinguishing the different things to which it is applied. Language is ambiguous, and we use it ambiguously; this in no way implies that the ambiguities cannot be cleared up. Finally, we may use terms which indeed have reference to the form of the work but place the part for the whole; that is, terms which are elements in its definition but do not constitute the complete definition. Thus we designate something, not through the form proper but through the device or method used, as in "drama," "sculpture," "etching," "collage," or through the means or medium, as in "charcoal sketch," "watercolor," "oil painting." The point is not that the object is not, say, a drama or a watercolor; of course it is. The point is rather that these terms do not as such refer to the form and refer to it completely. If in fact they stipulated form, all charcoal sketches would be alike in form, and all oil paintings, and all dramas. One consequence of speaking in such a fashion is that we are likely to confuse the method with the form and talk of, say, "the nature of drama" as though all drama were of the same "nature," whereas the dramatic method is used in a wide variety of forms; or to confuse the medium or means with the form and to assure that the work can have no properties beyond those of its medium, as though artists did not exist and all art were simply nature.Elder Olson, poet and critic, has received numerous awards for his verse . Among his many works are Tragedy and the Theory of Drama, and The Theory of Comedy. His contributions to Critical Inquiry are "The Poetic Process"" , Part 1 of a "Conspectus of Poetry", and Part 2 of a "Conspectus of Poetry". (shrink)

My education in political poetry begins with William Blake’s remark about John Milton in The Marriage of Heaven and Hell: “The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil’s party without knowing it.”1 The statement is usually taken as a charming misreading of Milton or as some sort of hyperbole. We find it lumped with other readings which (...) supposedly view Satan as the hero of Paradise Lost, such as Percy Bysshe Shelley’s in A Defence of Poetry, although neither Blake nor Shelley says anything of the kind.2I consider Blake’s statement simply accurate. I think it the best single thing anybody has ever said about Paradise Lost. If not clear as a bell, then at least as compressed as diamonds. The insouciant opening gesture takes for granted what to Blake is obvious” that the poetry qua poetry is better, more exciting, more energetic in the sections dominated by Stan, worse, duller, less poetic in the sections dominated by God. As a lover of poetry Blake has evidently struck a perplexity. Why does Milton’s Satan excite me and this God bore me even though he plainly intends me to adore God and scorn Satan? The answer could have been that Milton “wrote in fetters” where constrained by theology and the danger of lapsing into inadvertent sacrilege, but “at liberty” otherwise. Other critics have claimed that it is impossible to make God talk successfully in a poem, but the Book of Job is enough to refute that position. Why did Milton choose to make God talk at all? Dante cleverly avoided that difficulty.The second half of Blake’s sentence not only solves the Paradise Lost problem but proposes a radical view of all poetry which might be summarized as follows: All art depends on opposition between God and the devil, reason and energy. The true poet is necessarily the partisan of energy, rebellion, and desire, and is opposed to passivity, obedience, and the authority of reason, laws, and institutions. To be a poet requires energy; energetic subjects make the best material for poems; the truer the poetry, the more it will embody the truths of Desire. But the poet need not think so. He can be of the devil’s party without knowing it. 1. William Blake, “The Marriage of Heaven and Hell,” Complete Poems, ed. Alicia Ostriker , p. 182.2. Let one instance serve: Marjorie Hope Nicolson wonders whether the members of the “‘Satanic School’ of Milton criticism” have read past books 1 and 2 of Paradise Lost . Alicia Ostriker, professor of English as Rutgers University, is the author of Stealing the Language: The Emergence of Women’s Poetry in America. Her most recent book of poetry is Imaginary Lover. (shrink)