continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

How may a society, in a morally defensible way, confront a past of injustice and suffering, and seek to break the spell of violence and disregard for human life? I begin by demonstrating the relevance of this question to the South African Truth and Reconciliation Commission, and I draw attention to André du Toit's long- standing interest in ways in which truth commissions may function to consolidate political change. In the second section of the article, I argue that truth commissions (...) should be regarded as a defensible moral compromise between the values of justice and social unity, and I criticize claims that truth commissions promote transitional justice, when that is understood as a distinctive conception of justice that emerges in circum stances of regime transition. In the third section, I criticize the claim that truth commissions are not a moral compromise at all but embody a superior, restorative conception of justice. I conclude by showing why retribution is required by criminal justice, and why truth commissions must be seen, not as an end in themselves, but as institutions whose function is to emphasize the importance of the rule of law, normal criminal justice, and legal recognition. (shrink)

The role of responsible leadership—for each leader and as part of a leader’s collective actions—is essential to global competitive success (Doh and Stumpf, Handbook on responsible leadership and governance in global business, 2005 ; Maak and Pless, Responsible leadership, 2006a . Failures in leadership have stimulated interest in understanding “responsible leadership” by researchers and practitioners. Research on responsible leadership draws on stakeholder theory, with employees viewed as a primary stakeholder for the responsible organization (Donaldson and Preston, Acad Manag Rev 20(1):65–91, (...) 1995 ; Freeman, Strategic management: a stakeholder approach, 1984 ; Mitchell et al., Acad Manag Rev 22:853–886, 1997 ; Phillips and Freeman, Stakeholder theory and organizational ethics, 2003 . We define and operationalize responsible leadership from the perspective of employees and their views of the actions of their leaders. Drawing on a comprehensive survey of 28 Indian and global organizations operating in India, we report the results from 4,352 employees on the relationship between responsible leadership, their pride in and satisfaction with their organization, and retention 1 year later. Strong associations were found among these variables suggesting that responsible leadership—employee perceptions of the support they receive from managers, the HR practices, and corporate socially responsible actions—may be an overarching construct that connects them to the organization. (shrink)

This article argues that Cicero laid down his imperium in Brundisium in September 47 after Caesar had, in a meeting between the two men, granted Cicero permission to retain his imperium and title of imperator for as long as Cicero wished to do so. Instead of accepting Caesar’s offer, Cicero instead immediately repudiated it, laid down his imperium in the city of Brundisium, and went immediately to Tusculum to begin a second period of political retirement. Caesar’s offer and his return (...) to Italy in the autumn of 47 gave Cicero an excuse to consider expired the SCU of 7 January 49 and, by immediately renouncing his imperium, perform, under the cover of his now-fulfilled obligation to the Pompeians, a calculated personal statement of political independence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Biting the Bullet:The Ethics and Aesthetics of ViolenceJonathan AllenThe Bullet's Song: Romantic Violence and Utopia, by William Pfaff. New York. Simon & Schuster, 2004, 368 pp.Regarding the Pain of Others, by Susan Sontag. New York, Picador, 2003, 131 pp.In the nineteenth century a broadly influential branch of Romantic philosophy insisted that goodness and beauty were intimately related. The goals of ethical and aesthetic education were taken to be one (...) and the same—the cultivation of the kalokagathos or "noble-and-beautiful" individual.1 This robust view of the relation between ethical and aesthetic education is now rarely defended; it was dealt a mortal wound by the inconvenient fact that highly cultured or Gebildete individuals have been implicated in the twentieth century's worst political crimes.This does not mean, however, that connections between ethical and aesthetic projects are no longer made. One such attempt to relate ethics and aesthetic—a bleak, somber, and deeply chastened attempt—is presented in the late Susan Sontag's Regarding the Pain of Others. In this small but dense book, Sontag assesses the hope that the reproduction of images, especially photographic images, of violence and atrocity might help to abolish war, or at least to play a role in combating genocide or the commission of gross violations of the laws of war. While she evidently wishes to find "an antidote to the perennial seductiveness of war," Sontag is doubtful that photography is equal to this moral burden.2Sontag's work concentrates on the aesthetic and ethical challenges that confront any attempt to convey the horrors of war to uninvolved observers. Her focus is thus trained on an attempt to exorcise what she refers to as the "seductiveness of war"; she is not primarily concerned to identify the source of war's allure (though she does have some interesting observations to make on the issue).3 William Pfaff, by contrast, is both repelled and fascinated by the modern embrace of violence. The Bullet's Song: Romantic Violence and Utopia offers an enthralling account of the intellectual and aesthetic forces that provoked the feverish modern love affair with violence and war. Pfaff is at least as doubtful as Sontag, however, that that love affair [End Page 100] is over and that we are in a position to forge a more pacific sensibility. Nevertheless, he insists that if we are to have the slightest hope of avoiding a full-scale repetition of the twentieth-century's "carnival of inhumanity," we need to understand the nature of its romance with violence.So how did that romance come about? The central theme of The Bullet's Song is the consequences of the loss of "chivalry." This, according to Pfaff, was a code that "held that what an individual or society could licitly do to another was limited by a morality linked to the essential values of Western civilization."4 Within this framework, it was expected that states would sometimes go to war with one another, but war was seen merely as an extreme means of settling disputes, not of eliminating entire societies or remaking the world. For individuals, war was presented as "a test of valor, rewarded by 'honor'"—in other words, it was seen as an occasion to test oneself in the light of a set of ideals of conduct that operated as constraints on permissible behavior in war.5 All of this came to a sticky end in the trenches of World War I, replaced by a morally nihilistic idea of total war. Pfaff claims that this moral vacuum proved intolerable to many individuals. They reacted in several different ways. Some attempted to construct "codes of individual transcendence" and "collective will," while others gave themselves over to "utopias based on historical fictions."6This is a very large story, and it is in fact too bulky for the confines of this book. First, it must be said that Pfaff fails to present his central claims clearly. He is unclear, for example, as to exactly what was lost with the destruction of the chivalric code, as well as what caused its destruction. At times, he seems to be suggesting that the rise of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dark Arts of Politics:Aesthetics and Engineering in Nazism and FascismJonathan AllenThe Cult of Art in Nazi Germany, by Eric Michaud, translated by Janet Lloyd. Stanford: Stanford University Press, 2004, 271 pp.Building Fascism, Communism, and Liberal Democracy: Gaetano Ciocca—Architect, Inventor, Farmer, Writer, Engineer, by Jeffrey T. Schnapp. Stanford: Stanford University Press, 2004, 291 pp.Despite their obvious centrality to the history of the twentieth century, sixty years after the defeat (...) of the Axis powers fascism and Nazism remain elusive phenomena, hard to define with any real clarity. Scholars wrangle not only over the identification of their central characteristics but also over whether the similarities between fascism and Nazism are close enough to justify considering them as parts of a single category. A growing number of studies, however, ranging from general histories such as Norman Davies's Europe: A History and Mark Mazower's Dark Continent: Europe's Twentieth Century, to more specialized works such as Zeev Sternhell's Neither Left Nor Right and Robert Paxton's fine The Anatomy of Fascism, argue the case for treating fascism and Nazism together.1 A mark of all of these books is their willingness to give serious attention to fascist ideologies and to the interactions between these ideologies and fascist practice and culture. This interest, in turn, makes it necessary to examine anew broader questions about the relations between fascism and the circumstances and attitudes of modern life.The two works under consideration here—The Cult of Art in Nazi Germany, by Eric Michaud, and Building Fascism, Communism, and Liberal Democracy, by Jeffrey T. Schnapp—share the growing concern to take seriously fascist ideology and culture as essential to an understanding of the movement. Michaud sets out to present an analysis of Nazi myth, which he argues was constructed with reference to two models: art and Christianity (xii). His immensely erudite study relates Nazi conceptions of the leader to Romantic views of genius and Christian doctrines concerning the role of the Savior. This allows him to present a distinctive view of Nazi ideology, one that relates it to themes and debates that have figured prominently in the history of European culture and belief. [End Page 113]Schnapp, on the other hand, focuses on the career of a single man—Gaetano Ciocca. Though Ciocca is now an obscure figure, unlikely to be familiar even to most students of fascism, Schnapp argues that his career deserves attention for several reasons. In the first place, he "strove to translate a fascist politics into the language of modern technics in the domains of architecture, urbanism, theater design, animal husbandry, drainage and transportation systems" (7). What is more, Ciocca was no power-hungry opportunist but rather a committed and reflective intellectual, who spent much of his time writing books and articles aimed at explaining and justifying his various projects to a general audience. Last but not least, though Ciocca's passionate commitment to fascism cooled as World War II wore on, this had no visible effect on his engineering projects. In the aftermath of the war, Ciocca presented himself as a nonpolitical "rebuilder" concerned to provide for popular need. In this guise, he served Italy's postwar liberal democracy as enthusiastically as he had previously devoted his projects to the cause of fascism. Ciocca thus presents us with an intriguing puzzle: a committed and reflective fascist intellectual—no Eichmann, Schnapp insists—who was nevertheless able to function equally effectively after the demise of the fascist regime. Schnapp argues that Ciocca's career forces us to examine with care the complex relations between technologies and political ideologies. In fact, I think it compels us to consider more general questions about the extent to which Ciocca's conception of himself as a modernizing technocrat could be equally at home in the political contexts of fascism and a certain kind of elite-centered liberal democracy. Schnapp hints at this issue at several moments but does not address it in a sustained way.Though there have been some notable exceptions, most studies of Nazism in particular have tended to gravitate toward one of two explanatory options. The first, more common in philosophical circles, has been to view... (shrink)

This article addresses the question whether the model of social criticism as 'connected' or 'loyal' which is advanced by Richard Rorty and Michael Walzer offers an adequate picture of social criticism. Two claims are made. First, it is suggested that loyalty is an internally conflicted concept, with three components: a recognition of situatedness in a particular relationship; an affirmation of that relationship by the loyal agent; a set of values or local principles. Where the third component is prominent, loyalty is (...) more reflective and distanced; where the second component predominates, loyalty slips into unreflective commitment. Second, it is argued that Rorty and Walzer conflate the social critic's recognition of his or her situatedness in contexts of power with the affirmation of that situatedness. It is concluded that the model of loyal social criticism is mislead mg, and that the practice of the critic must be tempered by the operation of the sense of injustice. Key Words: connection • loyalty • Rorty • social criticism • Walzer. (shrink)

Devotion to the Prophet Muḥammad was a major feature of late medieval and early modern Islamic religious life across much of the Islamic world. The history of this devotion remains understudied in relation to its importance and pervasiveness. This study takes as its locus of analysis a particular instance of early modern devotion: a weekly, public all-night session of ṣalawāt upon the Prophet that would become known as the maḥyā. Developed by the peasant-turned-shaykh Nūr al-Dīn al-Shūnī in late Mamluk Egypt, (...) performance of the maḥyā would spread over the following century throughout the Arab Ottoman world, undergoing changes, provoking controversy, and becoming embedded in the sacred spaces and ritual life of one city after another. I approach the history of the maḥyā as a discrete and legible instance of ritual change in an Islamic context, exploring this instance of communal devotion to the Prophet through such lenses as ritual studies and the spatial turn, examining the intersection of this devotional ritual with practices of subjectivity, the use and contestation of ritual space, and the meaning, regulation, and experience of the night. (shrink)

A natural deduction formulation is given for the intermediate logic called MH by Gabbay in [4]. Proof-theoretic methods are used to show that every deduction can be normalized, that MH is the weakest intermediate logic for which the Glivenko theorem holds, and that the Craig-Lyndon interpolation theorem holds for it.

This paper examines the intricate relationship between De Senectute and the Second Philippic, arguing that De Senectute is an important lens through which to read the Second Philippic. When Cicero decided on irrevocable opposition to Antony, the moral and political theorizing about the role of senes (literally, ‘old men/elders’) in the state found in De Senectute provided a convenient and topical framework for synthesizing the invective of the Second Philippic. A close reading of De Senectute with the Second Philippic demonstrates (...) that the philosophical thinking of De Senectute informed Cicero’s political persona in the Second Philippic and establishes the Second Philippic as the intellectual successor to De Senectute. (shrink)

The usual rule used to obtain natural deduction formulations of classical logic from intuitionistic logic, namely.

Hegel may be read as endorsing a republican conception of freedom as non-domination. This may then be allied to an expressive conception of freedom not as communal integration and non-alienation, but rather as the development of new powers and capabilities. To this extent, he may be understood as occupying a position between nondomination and expressive freedom. This not only informs contemporary discussions of republicanism and democracy, but also suggests a ‘capabilities solution’ to the otherwise intractable problem of the rabble. Key (...) Words: creativity • democracy • domination • expression • freedom • G.W.F.Hegel • rabble • republicanism. (shrink)

This article deals with a highly debated text, namely 2 Maccabees 12, specifically the problematic verses (38–45) which contain a theology that is distinctly non-Jewish in import. Indeed, most recent scholars concerned with this passage do not seem to be unanimous apropos the best interpretation of the events that are described, resulting in a range of different opinions concerning, inter alia, the afterlife, purgatory and/or doctrinal disputes between Pharisees and Sadducees. By means of an interpretivist or constructivist epistemology, the authors (...) advocate that normally, traditional Judaism emphasises personal, individual responsibility and accountability, whereas in this text God is portrayed as requiring material, financial payment for wrongdoing and not individual תשובה [teshuvah]. This is in contradistinction to, inter alia, Exodus 30:11–16 and theologically Jewish ‘transgression’ has clearly metamorphosed into Christian ‘sin’. In addition, Judas Maccabeus seems to have retained a half-shekel methodology (employed for Jewish men of military age – soldiers) whilst emphasising the ‘atonement for your lives’ from Exodus 30:11–16 in a more literalistic, materialistic, non-Jewish sense whilst de-emphasising the real need to maintain the Temple as well as the proper, traditional rules of תשובה. (shrink)

This essay explores the phenomenon of common sense through a contextual analysis of Hannah Arendt’s political application of Kant’s Critique of Judgment. I begin by tracing the development of Arendt’s thinking on judgment and common sense during the 1950s which led her to turn to the third Critique. I then consider the justification of her move by examining the philosophical context and political applications of the third Critique, arguing that within it Kant made an original and profound discovery: that the (...) phenomenon of common sense contains a hidden faculty that may anchor moral and political judgments. I conclude by arguing that Arendt was on firmer ground than is often thought in adapting Kantian common sense to politics, a fact that may afford new possibilities for the practice of moral and political thought. (shrink)

Shortly after the Vandals took Carthage in 439, the city's Catholic bishop, Quodvultdeus, and a large number of his clergy were said to have been placed “naked and despoiled on broken ships” and put to sea, banished from Africa. By God's mercy, the exiles made their way safely to Naples, where Quodvultdeus quickly came to be regarded as a saint: a fifth-century mosaic from the catacombs of St. Januarius in Capodimonte seems to depict the African bishop, and by the middle (...) of the ninth century his feast day was celebrated in the local liturgical calendar. A similar story could be told of Gaudiosus of Abitina, another fifth-century African bishop who was said to have fled the Vandals and who also achieved sainthood in Campania. The flight of refugees like Quodvultdeus and Gaudiosus from the political turmoil that wracked North Africa between the fifth and the eighth centuries, however, has long been seen as having a far greater significance than the reinvention of exiled African bishops as southern Italian holy men. In late antiquity and the early Middle Ages, the cults of numerous saints who had been martyred in Africa and whose cults had originally developed there spread beyond the shores of the southern Mediterranean to the rest of the Christian world. In seeking to explain the diffusion of these cults, historians have long focused on the movements of refugees—and, above all, those who fled the Vandals' conquest of Africa and their subsequent persecution of the region's Catholic population—as displaced Africans such as Quodvultdeus are thought to have brought the relics of their local saints with them into foreign exile. (shrink)

Modernist philosophy and psychology have pursued a variety of methods and models for understanding the universal inclination of human persons toward moral self-deception. We tend, as the Scriptures reveal and as recent empirical studies have confirmed, to think more highly of ourselves and our personal moral caliber than we ought. Whereas, Freud, Sartre, and others have offered solutions to the “paradox” of self-deception—that is, how one can be both deceiver and deceived—their solutions ultimately fall short in terms of both coherence (...) and explanatory power. From a Christian perspective, secular frameworks are bound to falter because they do not account for humanity’s status as fallen and sinful before a holy God. The gospel of Jesus Christ, on the other hand, offers means not only of understanding, but overcoming, moral self-deception. Historically, no movement of Christian spirituality has been more rigorously skeptical of the human ability to “know thyself” truly than the Puritans. This analysis of Puritan pastoral theology provides a helpful lens through which to view, and undermine, the deceitfulness of the human heart. (shrink)

Empirical evidence suggests that fishes, as a whole, are emotional and possess intelligence comparable to that of mammals. Furthermore, although data are sparse, recent studies suggest that representatives from the two major “fish” taxa—bony fish (e.g., groupers and cleaner wrasses) and cartilaginous fish (e.g., giant mantas)—may possess self-awareness and a theory of mind. These capacities indicate that a fish could be capable of the emotion of betrayal. Modern, small-scale aquaculture operations present preconditions in which betrayal might be felt by a (...) fish. (shrink)

We argue that differences in the institutional setting of Europe and the US is the critical factor in understanding policymaking in Europe and the United States, and particularly the influence of nongovernmental organizations (NGOs). To test this relationship between institutional differences, corporate social responsibility (CSR), and NGO activism, we investigate 12 cases involving US and European companies in each of three industries. We conclude that different institutional structures and political legacies in the US and Europe are important factors in explaining (...) the influence of NGOs on business and in the policymaking process, regardless of the timeliness of corporate strategy or NGO influence. (shrink)

Regional market integration in Europe and North America has grown increasingly extensive. This integration has created institutions and structures to guide pancontinental political, economic, and social policies. At the same time, both regions are experiencing pressures of decentralization. These competing trends are transforming relationships between and among business, society, and government. This article compares and contrasts integration in North America and Europe, and discusses the implications of political, economic, and institutional changes in these two regions for business-government relations and the (...) structure and strategic orientation of the corporate public affairs (PA) function. This article reviews recent literature on comparative political economy, business and public policy, and corporate PA, and it presents a conceptual model and research propositions, supported by case illustrations, of how integration and decentralization affect business-government relations and corporate PA in Europe and North America. (shrink)

A difference of opinion exists among some philosophers who have recently inquired whether Marx thinks that capitalism is distributively unjust. What has to be determined is whether in Marx's view the wage worker suffers an injustice in not receiving most or all of the surplus value he creates. Allen Wood argues that this is not Marx's view, and George Brenkert agrees, for quite similar reasons; but Ziyad Husami and Gary Young, on the other hand, argue in reply to Wood, and (...) on overlapping grounds, for the opposite interpretation; Wood, in turn, has defended himself against Husami. (shrink)

Given the strong mimetic and dramatic qualities found in Judith the authors make the suggestion that perhaps, before LXX Judith became a fixed, written text, the basic fabula might well have been part of an oral tradition. The authors accept that an appropriately written dramatic work, whether transmitted through reading or an oral presentation, by means of its performative qualities, has the potential to achieve immediacy. Here, the audience may become captivated with its own familiarity and memory of popular, communally (...) shared narratives. Accordingly, this article attempts to find evidence in the Greek text of LXX Judith for a possible oral precursor. In this context, corroboration is sought for the employment of verbal aspect and mood of the Greek language as well as instances of drama, theatrics, bodily gestures, mnemonic devices or special emphasis on the employment of the senses such as sight, taste and smell. The authors suggest that based on an analysis of the text of Chapter 13, there is much circumstantial evidence for the Judith fabula once being an oral narrative – one that embodies the dramatic and even encourages audience participation. This characteristic strongly suggests the removal of the fourth wall – the notion of an imaginary boundary between any fictional work and its audience. Contribution: This article shows that Judith 13 is indeed the climax of the narrative. However, it goes further. It is a vivid scene with various performative aspects. There are props, dialogue and audience participation. This research is cutting-edge and paves the way for new explorations. (shrink)

There are some Marxist moral philosophers who think that a distinctive and defensible ethic can be unearthed from Marx's writings. The task of unearthing it must, of course, be kept distinct from the task or elaborating and defending it. Professor Aronovitch undertakes both tasks in his paper, but he does not always succeed in keeping them apart. As a result, I believe, damage is done to the exegetical side of his project.The question of whether there is a Marxian ethic is (...) a problem both of textual interpretation and of moral philosophy. Consider, for instance, the claim that Marx has an ethic whose centrepiece is a principle of selfrealization. It is an exegetical problem to provide evidence that a principle of self-realization is to be found in Marx and to explain how he understands it. (shrink)

A difference of opinion exists among some philosophers who have recently inquired whether Marx thinks that capitalism is distributively unjust. What has to be determined is whether in Marx's view the wage worker suffers an injustice in not receiving most or all of the surplus value he creates. Allen Wood argues that this is not Marx's view, and George Brenkert agrees, for quite similar reasons; but Ziyad Husami and Gary Young, on the other hand, argue in reply to Wood, and (...) on overlapping grounds, for the opposite interpretation; Wood, in turn, has defended himself against Husami. (shrink)

Thousands of texts discuss Egytpain cosmology and cosmogony. James Allen has selected sixteen to translate and discuss in order to shed light on one of the questions that clearly preoccupied ancient intellectuals; the origins of the world.