This chapter contains sections titled: Happy as an Oyster His Wealth is No Use to Him All in One Night Keeping Christmas.

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has (...) followed, has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In the Netherlands, the traditional and famous ‘culture of tolerance’ in the past few years surprisingly became associated with the laxity, half-heartedness, even negligence and indifference with regard to serious problems in a multi-ethnic society. For the time being, a polemical use of the term dominates: tolerance as an aspect of our western ‘superiority’ against barbaric fundamentalism. To regain some grip on the – at least in the Netherlands – apparently ‘hollow’, even politically and morally dubious concept of tolerance, (...) the author returns to the genealogical ‘founding forge’ of the term, the civil war fought in the name of religion in sixteenth- and seventeenth-century Europe. He demonstrates that tolerance was a key-category in a tiring, centuries-old process during which a ‘Gordian knot’ – the congruence of political power and religious faith – was being abandoned. The historical case-study of the dissident preacher John Bunyan and the early Quakers in seventeenth-century England shows, that during the Age of religious Discord political, social and religious themes are inseparably intertwined, not only from the point of view of the defenders of the status quo, but also from the standpoint of the religious dissidents and their ‘illegal’ preaching. In the intellectual history one can witness the birth of the early-modern concept of a minimal, political concept of tolerance. In a negative sense, this was a departure from attempts to uphold or restore the unity of ‘true faith’ by political coercion. In a positive sense it implied the sufferance of dissident faith and religious practices by a political power ‘in order to prevent the worse from happening’. In this process, political power became more and more an autonomous institution, above society. This minimal, political concept of tolerance has been surpassed by the state-sanctioned, juridical freedom of religion. This implies the democratic disjunction of truth and justice, that is, the recognition of an equal, reciprocal right of everyone to live and articulate his or her own truth. This legislation must be supported by a civic and social culture in which tolerance as an ethical virtue is being practiced and cherished. The most exacting form of tolerance is an attitude which tries to overcome the democratic disjunction of truth and justice, in the direction of an ‘oikoumene of religions’ or a ‘fusion of horizons’. But this subtle attitude can easily slip into an ‘idolatry of difference’ and a laissez faire-tolerance, as seemed to have happened in the Netherlands. In the final parts of this introductory essay the author presents the four articles in this thematic edition of Bijdragen: studies on Cusanus, Spinoza and Leibniz regarding tolerance, and an essay on the problems of dealing with alterity. The author concludes with the contemporary dilemma of tolerance. Should the future form of tolerance be based on universalism accompanied with the political neutralization and privatization of religion, nation, culture? Or should tolerance in a globalizing world be fed from particular traditions and sources? (shrink)

Having spent many years researching the best apologetics Christian philosophers could offer, I recently started examining Muslim apologetics. Focussing on the arguments for the Islamic God’s existence by popular Muslim apologist Hamza Andreas Tzortzis, I conclude that they are terrible, and are not of the same quality as the best arguments for the truth of Christianity. Furthermore, I converted one of these into a powerful argument against mainstream Islamic/quranic theism, which can be utilised by atheists and (...) Christians alike; and just about anybody else. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 47-60 [Access article in PDF] Economic Aspects of Social and Environmental Violence from a Buddhist Perspective Sulak Sivaraksa Pacarayasara I have been asked to write on some economic aspects of social and environmental violence, approaching the subject from a Buddhist perspective. Indeed this invitation offers a wide range of choices, but I shall try to keep my subject matter fairly general and straightforward. The present (...) economic reality, widely known as neoliberal capitalism, prizes the accumulation of profits over human well-being and environmental sustainability. As such, it is criminal and hence definitely not the way to regulate or organize the global society. The present trend, however, is increasingly giving the agents and institutions of capital a free hand to do so.The main beneficiaries of this violent and highly unjust system are invariably transnational corporations (though some critics prefer to call them transnational tyrannies), big financial investors, and their supporters. Roughly two-thirds of what is known today as world trade are simply intrafirm or interfirm trade. Small wonder that they are virtually the present-day "masters of the universe," increasingly accumulating special rights, influence, and power vis-à-vis the mass of humanity. An open secret is that the wealthiest 20 percent of the world's population receive 83 percent of the world's total income—a fact that no longer creates consternation or moral outrage in the mainstream; rather, it is taken as a healthy phenomenon that will contribute to human progress. Moreover, the environment is being plundered to quench the greed—which happens to be a bottomless pit—of the few. Inevitably, this creates a two-tiered system both within and between countries; a small opulent minority builds their castles on the suffering and impoverishment of the absolute majority of humanity. A large segment of humanity enjoys freedom with no opportunities and has the freedom to starve but does not enjoy freedom from poverty. Everyday thousands of children are dying from easily preventable disease. Millions more are malnourished or starving. It is against this backdrop that we need to discuss some of the economic aspects of social and environmental violence from a Buddhist perspective.Let us first deal with the production side of the capitalist equation. What is its main driving force and value system? How do they impact social organization and the environment? [End Page 47] Undeniably, the fuel that keeps the capitalist engine running is profit: the more of it, the better, the argument goes. Hence, corporations must be free to pursue it at all costs. The ends justify the means. It is also argued that the profit generated by the system will eventually trickle down to benefit the mass of humanity. The available evidence points otherwise. To be fair, capitalism does generate some benefits to humanity, but they are largely unintended by-products of the system.In the mainstream discourse, profit is said to derive solely from entrepreneurship —a concept that acts as a bicarbonate of soda for intellectual and moral indigestion. In reality, the easiest and cheapest way to reap massive profit is exploitation or ostracism: One is rich by keeping or making others poor, directly or otherwise. The masters then seek solace in the tenuous assumption that the global economy utilizes the best and disposes the rest. Furthermore, the environment is seen as a subsystem of international capitalism, not vice versa. Hence it is to be raped in order to lubricate the wheels of the capitalist machine. Put differently, the insatiable quest for profit upheld by capitalism really reflects greed, hatred, moral callousness, and wanton criminal negligence toward the well-being of the people and environment. The name of the game is getting ahead even at another's expense, to rise to the top of the pecking order. If one frequents any bookstore, one is likely to find business books with interesting titles such as Divide and Rule and Colonizing the Market. This nefarious aggressiveness is benignly known as "free competition" in mainstream parlance. Those who succeed to the top are lauded as "efficient." If allowed to have a firm... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Buddhist CarolPaul M. KeelingI will live in the Past, the Present, and the Future! The Spirits of all Three shall strive within me.—Scrooge on Christmas DayTo the Buddhas of the past, present and all future time... I will prostrate and bow.—ŚāntidēvaCharles Dickens's A Christmas Carol is one of the greatest tales of human redemption known in the Western world. As a child I heard it (...) read aloud every Christmas, and there was always a thrilling magic to rehearing the story of Scrooge's moving spiritual transformation. Yet, the story raises an important spiritual question: Scrooge is a new man on Christmas day, but what about after that? We often vow to be better people and fail. Why is this? A Christmas Carol is, of course, pure fantasy—a deeply heartwarming fantasy that bears repeated hearings—but it nonetheless does raise a real question about how spiritual enlightenment is actually achieved.I still appreciate A Christmas Carol as much as I did when I was a child, but as I have grown older, and after having encountered Buddhist philosophy, I have also begun to contemplate the story of Scrooge's spiritual transformation in a new light. The Buddhist notion of karma entails that, even if we are deeply moved now to change our ways for the better, the unexamined patterns of thought that underpinned our past actions retain a latent force in our mind stream that can influence us unexpectedly. If we are not observant of these patterns of thought, we are likely to repeat the kinds of actions we have performed in the past. Because the force of karma can be very strong, "overnight" spiritual and moral transformations are comparatively rare. On a Buddhist reading, the end of A Christmas Carol is where the spiritual journey for Scrooge actually begins.This underestimation of the force of karma on Dickens's part was, of course, a necessary case of artistic license, but is somewhat conspicuous given that a realization of the law of karma plays a critical (albeit unnamed) role in the story of Scrooge's putative enlightenment. Scrooge's transformation begins with a visit from the ghost [End Page 25] of his deceased business partner, Jacob Marley, a man who was as miserly and selfish as Scrooge himself. Marley's ghost is weighed down by a heavy chain, which represents his regret for having lived such a greedy and shortsighted life. "I wear the chain I forged in life. I made it link by link, yard by yard: I girded it on my own free will, and of my own free will I wore it."1 He warns that Scrooge will be visited by three spirits whose lessons he must heed in order to redeem himself. "Without their visits," Marley declares, "you cannot hope to shun the path I tread."2 Upon Marley's departure we are then treated to a Dickensian image of the Buddhist "lower realms." Scrooge looks out the window into the cold night air and sees a swarm of unfortunate ghostly forms, suffering and encumbered by heavy chains of remorse: "The air was filled with phantoms, wandering hither and thither in restless haste, and moaning as they went.... The misery with them all was, clearly, that they sought to interfere, for good, in human matters, and had lost this power for ever."3 Later, Scrooge's nephew Fred makes this pithy karmic observation: "Scrooge's offences carry their own punishment.... Who suffers by his ill whims? Himself, always."4Throughout the remainder of the night Scrooge is visited sequentially by the three spirits representing the Christmases past, present, and future, who, like helpful bodhisattvas, show him scenes from his life in order to awaken him to a realization of the law of karma. By the Ghost of Christmas Past Scrooge is presented with painful images of his childhood suffering as well as the kindness shown to him by others in the past, and learns how the present direction of his life has been shaped by these experiences. The Ghost of Christmas Present reminds Scrooge of the precious opportunities all around him to do good by his fellow... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education in an Age of Virtuality and Post-Truth by Paul WoodfordPanagiotis A. KanellopoulosPaul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York, Routledge, 2018)This book is provocative. And challenging. It is written with passion, aiming to induce controversy. And with good reason. For we live in times when populism professes an illusionary sense of community, invoking a seemingly 'anti-systemic' but highly hypocritical, racist, and (...) sexist discourse;1 in times where "bullshitting"2 has advanced to the highest governmental levels in many countries; in times where "authoritarian neoliberal statism"3 becomes the new status quo, inducing a scandalous increase of economic inequalities, forcing large populations to live precarious lives; in times where privatization of educational services in the context of market-oriented practices impose restrictive and ultimately unjust politics of accountability and performativity;4 in times where instrumentalization of educational ends has taken the lead, assisted by a systematic co-option and misappropriation of notions such as excellence and creativity;5 in times, finally, where spaces that allow for "the sharing (out) of the incalculable,"6 forging unknown potentialities in education, life, and thought, are being destroyed. In such times, Paul Woodford has stepped in, reclaiming his right to speak uncompromisingly.Hannah Arendt has written that "[w]hen men [sic] are deprived of the public space--which is constituted by acting together and then fills of its own accord [End Page 108] with the events and stories that develop into history--they retreat into their freedom of thought."7 Woodford refuses to retreat. He writes as a public intellectual of the highest order, committed to upset and not please those in power. A great service that his latest book performs is that it speaks daringly, stirring a debate that helps us all to do away with fear. For as Bertrand Russell has aptly said quite a long time ago, "[I]f thought is to become the possession of many, not the privilege of the few, we must have done with fear. It is fear that holds men [sic] back."8Resisting the "melancholy of inner exile,"9 but not immune to possible accusations of left melancholy, understood as "a refusal to come to terms with the particular character of the present,"10 the author wrote a book that provokes music educators to actively think beyond their sealed and safe world of convictions that is based on ideology-free conceptions of music teaching. Estelle Jorgensen has long ago brought to our attention the urgency of this task: "in an era in which the mindset and political reality have changed dramatically, … there is an urgent need to revisit the political character of music education and the ways in which it needs to address the cultural issues of our day."11Along this pathway, Woodford's book encourages music educators to live and teach as public intellectuals, forging "a democratic purpose for music education"12 that acts against the "anachronistic and formalist conception of music that reduces music education to supply-side economics as children are conceived as either future professional musicians or consumers and not as citizens to be prepared in schools to participate intelligently in the political life of society."13 Woodford articulates a vision of music education "as preparation for adulthood and democratic and global citizenship."14 He strongly advocates an approach that balances performance and creativity-based experiences with a socio-historical study of the social, ideological, and cultural workings of different musics in a wide variety of contexts. He encourages music educators to teach "how music's structural properties and qualities contribute to the shaping of people's perceptions and understandings of themselves and their world,"15 "asking the who, what, when, where, how, to, with, or for whom, and, most importantly of all, why of music."16 He envisions a music classroom that exercises social criticism "directly and self-consciously"17 both through "learning how to make music"18 and through thinking about music. He sees this approach as a tool for raising students' consciousness. Woodford's ultimate vision of music education is one that casts it as a means for cultivating "a justice-oriented" approach... (shrink)

#ThisFlag movement was started by Pastor Evan Mawarire in April 2016 bemoaning the collapse of the Zimbabwean economy at the hands of the Zimbabwe African National Union-Patriotic Front (ZANU-PF) government under President Robert Mugabe. Although it started off as accidental, it, however, galvanised disparate groups and enabled them to transform anger against the state from online media to the streets. #ThisFlag movement officially started on the 20th of April 2016, when Pastor Mawarire wearing the Zimbabwean flag posted a video (...) to his Facebook page decrying the state of the economy and what he felt was government’s neglect of its duties to serve the citizens of Zimbabwe. Although one government minister described Mawarire’s actions as a ‘pastor’s fart in the corridors of power’, the reaction by the state security agents points to the contrary. Street protests have been banned. This article interrogates the transformation of #ThisFlag movement from an online struggle to street protests that have turned violent. It also looks at other movements that are complementing #ThisFlag and how the state is responding to these protests both on the social media and on the ground. Evan Mawarire may be considered as an unusual voice from the ever mushrooming new church establishments. As such, it becomes a point of interest to find out what voice there is, which represents what is commonly viewed as mainline churches. Such a voice is identified as coming from Bishop Raymond Mpandasekwa of the Roman Catholic Diocese of Chinhoyi who in one of his sermons delivered an acerbic attack on Mnangagwa’s government as a ‘blood thirsty’ government. The study explored the messages of Mawarire and Mpandasekwa using the socio-theological lenses as guided by Rawls’ theory of civil disobedience. Contribution: This study locates #ThisFlag activism in the context of toxic transformative politics in Zimbabwe. In addition, it contributes to our understanding of the relationship between religion and politics in an unstable political and economic setting. It calls for a re-thinking of the role of the church in Zimbabwean society and discusses the state’s response to those deemed to be not towing the line. It shows that while some religious organisations and groups are too keen to be co-opted by the regime, some have effectively resisted this and have become combative as they fight for people’s rights. Another important contribution is located in how these pastor-cum-activists have harnessed social media to amplify their voices and to reach huge audiences beyond the pulpit. The study is important because it contextualises the role of religion in the country’s contemporary politics, and this fits into the scope of the journal in that it is a multidisciplinary study of both religion and politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Saving Persuasion: A Defense of Rhetoric and JudgmentJames Arnt AuneSaving Persuasion: A Defense of Rhetoric and Judgment. Bryan Garsten. Cambridge, Mass: Harvard University Press, 2006. Pp. xii + 276. $45.00, hardcover.Something of what rhetoricians perennially run up against in modern political philosophy is illustrated by a recent article by Jürgen Habermas in Communication Theory. In a searing indictment of contemporary democracy and the mass media, Habermas writes, (...) "Issues of political discourse become assimilated into and absorbed by the modes and contents of entertainment. Besides personalization, the dramatization of events, the simplification of complex matters, and the vivid polarization of conflicts promote civic privatism and a mood of antipolitics" (2006, 422). Any historian of political communication in the Western democracies since the early nineteenth century is bound to be puzzled by this observation, for the emergence of mass democracy in the United States and England, at least, was characterized by intense popular participation in politics, precisely because political campaigns were heavily personalized, dramatized, simplified, and polarized. At the beginning of the article, Habermas praises Aristotle's Politics for its union of normative theorizing and empirical research, forgetting apparently that Aristotle also wrote a normative and empirical Rhetoric.That Habermas distrusts persuasion is obvious, but what is less clear is how the rhetoriphobia he shares with virtually every modern and contemporary philosopher came about. Bryan Garsten's book—the most important work on rhetoric and political philosophy since Ronald Beiner's Political Judgment—makes the startlingly original argument that the anti-rhetorical stance not only is grounded in a suspicion of private judgment, but that it can be traced back to Hobbes's, Rousseau's, and Kant's fear of the persuasive power of post-Reformation religious enthusiasm. Garsten not only provides provocative rereadings of these three fathers of modern liberalism but also extends our understanding of rhetorical and political judgment in Aristotle and Cicero. His analysis of the problems of persuasion and democracy in the twentieth century, while somewhat less satisfying, includes cogent criticisms of Rawls, Habermas, and theorists of deliberative democracy from what might be called a Ciceronian-Madisonian republican stance. [End Page 94]Saving Persuasion began as a doctoral dissertation in Government at Harvard, under the direction of Harvey Mansfield—after Allan Bloom, perhaps the most influential and controversial of the disciples of Leo Strauss. Although Garsten's book displays both the virtues and vices of Straussianism, it would be unfair to dismiss it as a neoconservative manifesto for rhetoric. (An enthusiastic review of the book appeared in the neoconservative Weekly Standard in February 2007, illustrating the curious fact that the Right "gets" rhetoric in ways that liberals and leftists do not (Deneen 2007).) Currently an assistant professor of political science at Yale, Garsten also received an MA from Cambridge in political theory and intellectual history. His book reveals the influence of Quentin Skinner and the Cambridge School of political theory, whose insistence on reading political philosophy in its historical context is the antithesis of the Straussian rejection of historicism. Garsten thus combines the Straussian emphasis on close reading with the contextual-rhetorical perspective of Skinner; this unique synthesis enables Garsten to solve some ongoing problems in textual interpretation (especially the relationship between Academic skepticism and Stoic natural law theory in Cicero) while developing interesting causal arguments about the rise of the public sphere in the eighteenth century, the decline of interest in rhetoric by liberal political theorists, and the pathologies of contemporary democratic politics.The book is divided into two main parts, following an introduction in which Garsten lays out his central thesis: "[A] politics of persuasion—in which people try to change one another's minds by appealing not only to reason but also to passions and sometimes even prejudices—is a mode of politics worth defending. Persuasion is worthwhile because it requires us to pay attention to our fellow citizens and to display a certain respect for their points of view and their judgments" (3). Persuasion rightly understood cannot be reduced either to manipulation or pandering. Rather, persuasion is inextricably linked to judgment, a human faculty threatened by modernity. Judgment is "the mental activity of responding to particular situations" by... (shrink)

Toxic speech inflicts individual and group harm, damaging the social fabric upon which we all depend. To understand and combat the harms of toxic speech, philosophers can learn from epidemiology, while epidemiologists can benefit from lessons of philosophy of language. In medicine and public health, research into remedies for toxins pushes in two directions: individual protections (personal actions, avoidances, preventive or reparative tonics) and collective action (specific policies or widespread “inoculations” through which we seek herd immunity). This paper is (...) the beginning of a project of identifying potential inoculations and antidotes to toxic speech. The essay brings a social practice theory of language, with special reliance on language‐games and inferential roles, into conversation with concepts from the study of biologic toxins. Some speech harms are acute while others are chronic and insidious; they have different methods of delivery, come in variable doses, and not everyone is equally susceptible to the power to harm. I argue that of the many kinds of challenges we might issue against toxic speech, challenging its expressive commitments has the greatest potential to stop the damage. The essay explores the different sorts of protections that inoculations and antidotes might offer against discursive toxins and sketches how to imagine these in the practices that govern our speech. The paper does not make policy recommendations, but an epidemiology of discursive toxicity reveals several kinds of “more speech” that might fight against “bad speech.”. (shrink)

In the Netherlands, the traditional and famous ‘culture of tolerance’ in the past few years surprisingly became associated with the laxity, half-heartedness, even negligence and indifference with regard to serious problems in a multi-ethnic society. For the time being, a polemical use of the term dominates: tolerance as an aspect of our western ‘superiority’ against barbaric fundamentalism. To regain some grip on the – at least in the Netherlands – apparently ‘hollow’, even politically and morally dubious concept of tolerance, (...) the author returns to the genealogical ‘founding forge’ of the term, the civil war fought in the name of religion in sixteenth- and seventeenth-century Europe. He demonstrates that tolerance was a key-category in a tiring, centuries-old process during which a ‘Gordian knot’ – the congruence of political power and religious faith – was being abandoned. The historical case-study of the dissident preacher John Bunyan and the early Quakers in seventeenth-century England shows, that during the Age of religious Discord political, social and religious themes are inseparably intertwined, not only from the point of view of the defenders of the status quo, but also from the standpoint of the religious dissidents and their ‘illegal’ preaching. In the intellectual history one can witness the birth of the early-modern concept of a minimal, political concept of tolerance. In a negative sense, this was a departure from attempts to uphold or restore the unity of ‘true faith’ by political coercion. In a positive sense it implied the sufferance of dissident faith and religious practices by a political power ‘in order to prevent the worse from happening’. In this process, political power became more and more an autonomous institution, above society. This minimal, political concept of tolerance has been surpassed by the state-sanctioned, juridical freedom of religion. This implies the democratic disjunction of truth and justice, that is, the recognition of an equal, reciprocal right of everyone to live and articulate his or her own truth. This legislation must be supported by a civic and social culture in which tolerance as an ethical virtue is being practiced and cherished. The most exacting form of tolerance is an attitude which tries to overcome the democratic disjunction of truth and justice, in the direction of an ‘oikoumene of religions’ or a ‘fusion of horizons’. But this subtle attitude can easily slip into an ‘idolatry of difference’ and a laissez faire-tolerance, as seemed to have happened in the Netherlands. In the final parts of this introductory essay the author presents the four articles in this thematic edition of Bijdragen: studies on Cusanus, Spinoza and Leibniz regarding tolerance, and an essay on the problems of dealing with alterity. The author concludes with the contemporary dilemma of tolerance. Should the future form of tolerance be based on universalism accompanied with the political neutralization and privatization of religion, nation, culture? Or should tolerance in a globalizing world be fed from particular traditions and sources? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Sources for Hume's Opening Remarks to Treatise LIVJII Graham Solomon Hume opens Book I, Part IV, Section III of the Treatise with these remarks: Several moralists have recommended it as an excellent method ofbecoming acquainted with our own hearts, and knowing our progress in virtue, to recollect our dreams in a morning, and examine them with the same rigour, that we wou'd our most serious and deliberate (...) actions. Our character is the same throughout, say they, and appears best where artifice, fear, and policy have no place, and men can neither be hypocrites with themselves nor others. The generosity, or baseness of our temper, our meekness or cruelty, our courage or pusilanimity, influence the fictions of the imagination with the most unbounded liberty, and discover themselves in the mostglaring colours. Who were these moralists? One looks in vain in the work of Malebranche, Locke, Shaftesbury and Hutcheson for such a recommendation. Did anyone make that recommendation? One moralist who did was "John Shadow," in a letter to Joseph Addison published in The Spectator, no. 586, 27 August 1714. Addison introduces Shadow's letter with the remark that it "is built upon a thought that is new, and very well carried on; for which Reasons I shall give it to the Publick without Alteration, Addition, or Amendment." I quote at length, for easy comparison with Hume: Sir, It was a good Piece of Advice which Pythagoras gave to his Scholars. That every Night before they slept they should examine what theyhad been a doing that Day, and so discover what Actions were worthy of Pursuit to Morrow, and what little Vices were to be prevented from slipping unawares into a Habit. If I might second the Philosopher's Advice, it should be mine, That in a morning before my Scholar rose, he should consider what he had been about that Night, and with the Volume XVI Number 1 57 GRAHAM SOLOMON same Strictness, as if the Condition, he has believed himself to be in, was real. Such a Scrutiny into the Actions ofhis Fancy must be of considerable Advantage, for this Reason, Because the Circumstances which a Man imagines himself in during Sleep, are generally such as entirely favour his Inclinations good or bad, and give him imaginary Opportunities of pursuingthem to the utmost; so thathis Temper will lye fairly open to his View, while he considers howitis moved when free from those Constraints which the Accidents ofreal Life put it under. Dreams are certainly the Result of our waking Thoughts, and our daily Hopes and Fears are what give the mind such nimble Relishes of Pleasure, and such severe Touches ofPain, in its Midnight Rambles. AMan that murders his Enemy, or deserts his Friend in a Dream, had need to guard his Temper against Revenge and Ingratitude, and take heed that he be not tempted to do a vile thing in Pursuit of false, or the Neglect of true Honour... I think it has been observed in the Course of your Papers, how much one's Happiness or Misery may depend upon the Imagination: ofwhich Truth those strange Workings ofFancy in Sleep are no inconsiderable Instances; so that not only the Advantage a Man has ofmaking Discoveries ofhimself, but a Regard to his own Ease or Disquiet, may induce him to accept ofmy Advice... Shadow has been identified as the poet John Byrom by various of the later editors of The Spectator? Of these, D. F. Bond footnotes Byrom's reference to Pythagoras, noting the publication in English of André Dacier's The Life ofPythagoras, with his Symbolism and Golden Verses; together with the Life ofHierocles, and his Commentaries upon the Verses. Bond notes Hierodes' comments on the following Verses: Never suffer Sleep to close thy Eye-lids, after thy going to Bed, Till thou hast examin'd by thy Reason all thy Actions of the Day Wherein have I done amiss? What have I done? What have I omitted that I ought to have done? If in this Examination, thou find that thou hast done amiss, reprimand thy self severely for it: And if thou has done any Good, rejoice. Dacier cites Porphyry and Marcus Aurelius... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionStuart J. Youngner (bio), Laura A. Siminoff (bio), and Renie Schapiro (bio)This issue of the Kennedy Institute of Ethics Journal (KIEJ) centers on a piece of empirical research. The motivation behind the study of Laura Siminoff, Christopher Burant, and Stuart Youngner (2004) was to find out more about what the general public understands and believes about when a person is dead. More specifically, the study tried to determine how (...) members of the public define death, especially their acceptance and interpretation of the medical concept of "brain death," and their attitudes toward the so-called "dead donor rule," an informal but powerful social and legal norm insisting that the taking of organs for transplantation not cause the death of the source of those organs.As the demand for organs increases and the waiting list grows, the United States has explored multiple ways to expand the pool of potential donors. One approach has been to gerrymander (coherently or not) the line between life and death to shift patients who are extremely compromised but traditionally considered to be in the living category into the dead category. In this way, the dead donor rule remains technically intact. This reasoning is explicit in the report of the Harvard Medical School Ad Hoc Committee (1968) that "introduced" "brain death" to the American culture. Since then, other efforts to redraw the line have been proposed and rejected.One alternative to gerrymandering is to consider under what conditions, if any, it is morally acceptable to violate the dead donor rule. Some would argue that this alternative is the more "honest" approach. Rather than sidestepping moral problems by calling people dead, it brings the moral problems to the surface where the necessity of sticking to the rule can be considered on its own merits. However, when the Journal of the American Medical Association printed a position paper that proposed making anencepahlic newborns an exception to the dead donor rule, along with arguments about why this was acceptable, the outcry was so great that the proposal was retracted (AMA 1995).Clearly, our society has identified organ transplantation as a priority, although two papers in this volume (those by Courtney Campbell and by Megan Crowley-Matoka and Robert Arnold) take issue with that prioritization. The fact that the donor pool has remained relatively stable (and inadequate) despite massive efforts [End Page 211] to increase it speaks, at least in part, to the cultural and legal resistance to "new" ways to procure more organs. Voluntarism seems to have peaked. Financial incentives clash with the heavily endorsed notion of the "gift of life" and seem to many to violate the dignity of the human body. Presumed consent or eminent domain, in which the community has a greater claim to a person's organs than that person or his/her family, go against the grain of American individual freedom and the ethos of patient autonomy.Abandoning the dead donor rule generally is regarded as an even tougher sell to the American public and its legislators. The study by Siminoff and colleagues attempts, among other things, to gauge just how tough this sell would be. What the data actually demonstrate is a matter of interpretation, and this issue of the KIEJ is devoted to some of those interpretations. The authors, with the exception of Daniel Hausman, came together for a meeting in Cleveland, Ohio, during which the study's methods and data were presented with time for questions, clarifications, and general discussion. The authors then worked with the editors to generate the papers printed in this volume.The issue begins with a presentation of the study conducted by Siminoff and colleagues. The same paper also appears in the journal Social Science and Medicine, where it includes the conclusions of the authors (Siminoff, Burant, and Youngner 2004). In the current volume, we present only the methodology of and data from the study, allowing a number of distinguished commentators to offer their own conclusions and reflections.The first response comes from Tracy Schmidt, Executive Director of Intermountain Donor Services, one of our nation's organ procurement organizations (OPOs). For years, organ procurement professionals have reported anecdotal stories about families who wished to donate organs of... (shrink)

Moses Isegawa's Abyssinian Chronicles sets out to rewrite history in that it corrects the distorted colonial vision by creating symbols for a new national identity—dealing with self-consciousness, loss of self-identity, and search for identity in coming to terms with the wreckage of war and independence. In Snakepit, Isegawa returns to his native Uganda haunted by greed and megalomania, a period when Idi Amin's dictatorship turned men in power into agents of deception, extortion, and murder. This article critically (...) analyzes the “postcolonial“ imagery in Snakepit as forms of resistance in the aftermath of colonialism and in the story “The Return of Shadow” in Viviane Sassen's collection of photographs Flamboya, and so challenge the way Western eyes have perceived the African continent. Snakepit and Flamboya thus both function as tools with which Africa's collective identity is redefined, the former coping with Uganda's post-European struggle for independence and fight against African corruption, the latter shedding light on the “darkness” Africa has been associated with by casting a post-European shadow on the image of Africa. (shrink)

What kind of hypocrite should voters choose as their next leader? The question seems utterly cynical. But, as David Runciman suggests, it is actually much more cynical to pretend that politics can ever be completely sincere. Political Hypocrisy is a timely, and timeless, book on the problems of sincerity and truth in politics, and how we can deal with them without slipping into hypocrisy ourselves. Runciman draws on the work of some of the great truth-tellers in modern political (...) thought--Hobbes, Mandeville, Jefferson, Bentham, Sidgwick, and Orwell--and applies his ideas to different kinds of hypocritical politicians from Oliver Cromwell to Hillary Clinton. He argues that we should accept hypocrisy as a fact of politics--the most dangerous form of political hypocrisy is to claim to have a politics without hypocrisy. Featuring a new foreword that takes the story up to Donald Trump, this book examines why, instead of vainly searching for authentic politicians, we should try to distinguish between harmless and harmful hypocrisies and worry only about the most damaging varieties. (shrink)

The aim of this article is to reveal with an overall approach, how the psycho-social background, starting from woman image in first periods and reach modern day, is embraced by outstanding theorists of modern psychology, and also how these collected works are reflected in their definitions of woman. If it is considered that woman has been discussed with reflections against and not from primary sources throughout history, it can be seen that the most essential roots of woman (...) narrations can be found in oral culture and the parts of written texts are made over symbol, metaphor, proposition and story. However myths (stories) that take place in oral and partly written culture about primitive man, are sacred tales, they will also present data regarding human image. Therefore with a limited effort of human being to understand the infinite, it can be understood what human being think, feel and how they interpret rather than gods/goddesses ontology. From this point of view, this article that consists of two parts, first of all will mention especially about perception of Goddess in those reflected to image of God, maintaining its efficiency in conscious or unconscious as a system of symbols intrinsic to human nature and cultural code background and then the woman image will be roughly discussed with a descriptive style over the world of mythology, psychology and faith. In the second part, it will be examined in detail how all the written and oral information about understanding woman by modern anthropologists are interpreted with the perspective of modern psychology specific to theorists such as Freud, Jung and Fromm. Eventually, it will be emphasized that past and future are integrated with information, experience and feelings with an active relationship; perception and approach of woman have stayed up to date in time continually; mythology, psychology and religion are important factors within this matter.Summary: Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy. Despite the dominance of male gender in the images of God in these analogies which are the products of human experience, female Gods that is to say Goddesses are not few. The matter of how the image of goddess come to the fore in a distinctly male-dominant society is a noteworthy matter. The narration of Earth Mother over female symbol in myths in which the harmony is constantly secured within the inner and exterior world and mention about living in harmony with the universe is an important data in order to understand female characteristics attributed to God. Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy.The woman subject is influenced by transferred life experience within the historical process, and it is an undeniable fact that ancient “woman perception” has reflections to the present day. Within the history of humanity, striking definitions about woman can be seen in sacred statements in symbol language. Therefore, it is proper to examine primarily the image of sacred and then examine female meaning that is charged on that image. The aim of this study can be summed up with two themes: a) try to understand the general framework of reflections of the present image of woman, style of narration and comprehension in psychological, sociological, and religious terms by getting help from myths which mention about ancient image of God, although there is centuries old difference between those stories and us, b) reveal the image of woman in Freud, Jung, and Fromm’s approach which establishes a bond between mythology that is a system of symbols special to human nature and human psychology and discuss this subject by using psychology of religion.When reviewed ancient Far East and Middle East myths and also Ancient Greek mythology, it can be seen that gods are not cloistered supernatural beings who do not have abstract personalities and also do not lead a wholly metaphysic life. The crucial issue here is; the reality that Gods and Goddesses are shown as a model to both man and woman. Psychologists who examine religion in terms of psychology state that first outcomes about the image of God come up not with behavior but with emotion. The attributions of gender, related to the emotion in question are cited during the transfer of those emotions as well. Therefore; philosophers, culture and religion historians, theologians, anthropologists, archaeologists, psychologists, and sociologists have contributed to this transfer when they discuss the cult of God or Goddess throughout the history. It is interesting that the usage of the term of God maintains while the usage of the term of Goddess decreases. Civilization historians claim that the appearance of divine religions particularly quickens the course of transition from goddess to god. According to them, during this period in which there is a transfer from polytheist image of God to monotheist image of God, the quantitative change in the perception of God comes with a qualitative change. According to Fromm, during this power gathering period, there has been a transfer from mother and feminine (woman) centered religion to father and masculine (man) centered religious experience/ God image. According to him, in the second stage of humanity development, “the children of Earth Mother turn into the children of divine father”, there is a transition from unconditional love of mother to authoritarian sympathy of father, from an image of supplemental and surrounding Goddess to authoritarian image of God who makes requests by his nature, lays down principles and laws, and supports the power and search for a successor to deliver the power.The perception of women who led to Prophet Adam deviated from the truth and expelled from heaven is spread around especially the regions of one-God religions. This has strengthened the idea that divine religions have a negative view towards women. Including Islam, the reason of all divine religions’ encountering with claims that they have a negative approach against woman stem from applying to that religions’ human resources rather than essential religious sources which are existing or lost earliest forms.Oedipus complex is an important thesis of Freud which explains the development of religion and morals; establish the base of his psychology, and in fact, important in terms of his making connection with difference of kinds and flow or non-flow of request and needs while explaining human behaviors. According to Freud who points to sexuality and aggression which are the most powerful two instinct in the biology of male or female; the first three or five years of a newly born human- this is the period in which the basic part of personality is formed- the definition of self is extremely influenced by his/her gender (in both biological and sociocultural terms). Freud who put forward father-son conflict in the struggle to survive between Zeus and his sons in Moses and Monotheism (1998c) and Totem and Taboo (1998a), makes an explanation about the origin of religion and humanity over two male characters. Jung pays attention to goddess image as much as the image of god and do not approach this situation only as a polytheism or sociocultural explanation or childish appearances of a primitive mind. He accepts goddesses as a reflection of archetypes in human. Male has a feminine side, female has a masculine side, and a unity occurs when both complete each other. According to Fromm, a taxonomy referring to woman and man is primarily a sociology-based approach rather than a biology-based one. Fromm (1995) thinks that the whole depiction shows individuals’ own desire and needs, that is to say, their psychology rather than a theology. Transition from mother (woman) centered religion to father (man) centered religious experience and God image is essentially one of the most important breaking/inversion points of human being, not humanity. As a result, it can be said that it is an important point to clearly understand the story of mankind to examine that intense freshness at hand and centeredness of quantitative and qualitative changes of divine or God image of ancient societies come down after psychological, sociological, religious, economic, political, and cultural changes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Socially Engaged BuddhismBrian KarafinSocially Engaged Buddhism. By Sallie B. King. Honolulu: University of Hawai‘i Press, 2009. 192 pp.In a chapter on the philosophical and ethical foundations of the socially engaged Buddhist movement, Sallie King retells a story from the Burmese liberation struggle against military dictatorship. The story was originally told by Aung San Suu Kyi (b. 1945), the Burmese Buddhist activist who is one of the several (...) representative figures (heroes and heroines) of King’s synoptic account of the modern tradition of Engaged Buddhism. An activist against the dictatorship, Uncle U Kyi Maung, being interrogated by officers of military intelligence as to why he had joined the National League for Democracy, the organization headed by Aung San Suu Kyi, Uncle Maung replied: “For your sake” (p. 32).This story of Buddhist resistance can stand as a representative anecdote for King’s useful history of Engaged Buddhism. The context is one of political oppression and torture, abuse of human rights and repression of democracy, and the attempt to respond to this historical situation from a perspective rooted in the traditional Buddhist spirituality of Asia in a fashion that makes that spirituality relevant to the crises of modernity. The interrogated activist responds to the threat of torture with courage rooted in a Buddhist spiritual practice, and thus is able to assert a political stance grounded in a compassionate recognition of his interdependence with the so-called enemy who is temporarily holding power over him. This constellation of factors illustrates the phenomenon of Engaged Buddhism: It is a form of Buddhist spirituality, not a departure from tradition but an application of traditional ideas—of compassion, interdependence, impermanence, no-self, karma, and others—to the modern period, and specifically to a modern Buddhist Asia riven by war, political oppression, ecological crisis, and capitalist globalization in economics and culture. [End Page 215] This application of Buddhist spirituality to modern Asian (and global, though King’s focus is on Asia) history represents an alternative form of politics, and specifically of political resistance: nonviolent, nonadversarial, rooted in indigenous Asian cultures rather than imported from the West (as would be the case with the various Marxist and liberal political ideologies also at play in the colonial and postcolonial period that saw the development of engaged Buddhism). This is a political resistance, in King’s presentation, grounded in compassion rather than justice, and thereby offering to global observers a significantly different slant on modern politics than the Western ideologies and movements, secular as well as religious.“Engaged Buddhism” as a term, says King, was coined by Thích Nhất Hạnh (b. 1926) in the context of the war in Vietnam. This was to be a form of Buddhism that drew on the traditional sources (wisdom that knows interdependence/emptiness and compassion that acts on that wisdom) but found skillful means to intervene concretely in the multiple crises related to the war: in the form of social service work including education, but also political activism to address the underlying causes of the war. King demonstrates with this example of Thích Nhất Hạnh and Vietnam the combination of traditional Buddhist ideas with modern contexts of practical application that characterize the movement as a whole. The template of the “four noble truths” is foundational to Thích Nhất Hạnh’s thought—suffering, its causes, the cessation of suffering and the path to that cessation. But in a world of war and political oppression the causes of suffering cannot be only located intra-psychically—yes, the afflictive mental states of greed, hatred, and delusion are the ultimate sources, but the deluded collective hatred that issues in war must be seen as a relatively autonomous factor calling for its own analysis and response. If the orphans of a bombed-out village can be said to suffer from afflictive mental states it is really the minds of those carrying out the bombing who must be transformed, and this obviously requires intervention into the political realm, given that the war makers are not themselves usually willing to sit down and explore the causes of their unskillful behavior. Hence, engaged Buddhism is Buddhism in... (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as (...) a means of subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 428-435 [Access article in PDF] Agapic Friendship Sharon E. Sytsma ARISTOTLE CATEGORIZED FRIENDSHIP into three types: friendships of pleasure, friendships of utility, and complete (perfect or true) friendships (1156a5-10). 1 The thesis developed here is that Aristotle neglects an important kind of friendship. Various aspects of his theory of friendship have been challenged, but no one has charged that his categorization (...) is incomplete. 2 In what follows, an Aristotelian account of the friendship between James Steerforth and David Copperfield in Dickens' David Copperfield will be given, and then shown to be inadequate. Then a brief account of agapic love will be given and shown to be another basis of friendship—agapic friendship. Finally, the agapic nature of the two young men's friendship will be highlighted. I One might suppose that the friendship between David Copperfield and Steerforth is a mixed form of the three types of friendships identified by Aristotle. There can be no doubt that their friendship was pleasurable and useful to both. The two boys (and later young men) were appreciative of the other's pleasing appearance. David frequently comments on the pleasure attending any kind remark issuing from Steerforth on his own behalf. He admits his pleasure in being "cherished as a kind of plaything in my room," indicating his awareness of Steerforth's pleasure in being with him. Steerforth took great pleasure in David's imaginative and talented storytelling, which David eagerly [End Page 428] used as a "cementing" force in their relationship. Surely, Steerforth also took pleasure in the respect and admiration of his doting schoolmate.Also undeniable is that both friends found each other to be useful. David treasured the gift of Steerforth's protection. Being favored by Steerforth automatically elicited the admiration and envy of the other schoolboys. "No one dared to annoy one whom [Steerforth] honored with his countenance." Steerforth, on his part, found David's storytelling to be a useful antidote to his insomnia.However, David's love for Steerforth went beyond any self-interested concern. David loved Steerforth for his friend's own sake. He stayed up late and rose early to recount and embellish tales, not because he was motivated by self-interest or fear, but only because he "admired and loved him." David perceived Steerforth to be considerate and generous, and he mistook his friend's self-confidence as evidence of nobility of character.These perceptions were hardly objective. David's good nature, generous-mindedness, and youthful naiveté kept him from recognizing the faults in his friend's character, even in the face of ample evidence. Steerforth's cruel streak should have been obvious to David since he witnessed Steerforth allowing another student, the hapless Traddles, to take the blame when Steerforth laughed in church, and his ruthless exposure of Mr. Mell's secret shame of having a mother living on charity in an almshouse. He heard Steerforth's story about how he had "accidentally" thrown a hammer into Rosa Dartle's face. David's uneasiness on these occasions was overcome by his natural generosity of spirit and sense of gratitude. When shocked by a cold and arrogant insult against Little Em'ly's fiancé, Ham, David responds with full confidence: [You may] try to hide your sympathies in jest from me, but I know better. When I see how perfectly you understand them and how exquisitely you can enter into happiness like this plain fisherman's, or humour a love like my old nurse's, I know that there is not a joy or sorrow, not an emotion, of such people, that can be indifferent to you. And I admire and love you for it, Steerforth, twenty times the more! So even though David has an inflated sense of Steerforth's virtue, his thinking of Steerforth as virtuous was integral to their relationship, and that in itself would support thinking of the friendship as based on the good.Given Steerforth's defects of character, one might easily be led to the conclusion that Steerforth loved David only for the pleasure and [End Page 429] benefits of his... (shrink)

While the unprecedented lockdown measures were at the heart of the debate in the first year of the pandemic, the focus since then has shifted to vaccination issues. The reason, of course, is that vaccines and vaccinations have become available by now. All experts agree: If mankind had failed to develop vaccines against SARS-CoV-2, the death toll would have been much higher. This issue seeks to explore what could be described as a “generational approach to vaccinations”. The question (...) “What can we do to avoid future pandemics?” is related to different aspects of the failures and successes of humanity’s vaccination strategy against SARS-CoV-2. Pathogens are among the existential risks to humanity that could potentially kill a large part of it in a very short time. For all the tragedy and horror it has brought upon the world, the Corona virus has not been lethal on such a large, all-encompassing scale. But it could serve as a wake-up call for more and better prevention in the future, put differently: as a call to build a “preventive society”. When people look back to the year 2022 from the year 2200, will they think of the absence of mandatory vaccination as a dangerous anachronism? And will the unequal global distribution of vaccines be seen as an unbearable vice of our epoch? And will “human infection studies” still be dismissed as unethical if a dangerous new virus boards human bodies? If intergenerational justice means improving the life chances and living conditions of future generations to the largest possible extent, then its link to (the avoidance) of infectious diseases is obvious. We should protect future generations from foreseeable damage if we have the power to do so. “We” is humankind in its entirety. Politically, humanity is divided into many single nations. But biologically, as members of the same species, we share the same vulnerability regardless of ethnicity. The regular reader of this journal might wonder why this issue of IGJR has a different structure. An unprecedented pandemic calls for an unprecedented reaction and therefore IGJR 1/2021 and 2/2021 are special issues that deal with this disruptive event. We have invited several health experts, politicians and scholars alike to share their perspectives in short opinion pieces (instead of regular peer-reviewed articles). And we are exploring something new: the publication of a FRFG policy paper. This policy paper starts off with a historical overview on how pandemics have afflicted humanity in the past. It separates moral from legal duties and formulates “epidemiological imperatives” – the way of thinking of a responsible and solidary individual facing the task of preventing an outbreak of epidemics in a community. With the discovery of vaccines, and their availability, the catalogue of duties is increased by one more: to get the jabs as an act of solidarity with others, including future generations. This would prevent states from being forced to take disease control measures that bring about drastic collateral damage. During the first two years of the Corona pandemic, states have imposed lockdowns. The closure of schools has put a special burden on the youngest members of society. This could have been prevented during the second and the further waves. The policy paper also calls for more government funding for prophylactic vaccine research and for the designation of vaccines as “global public goods”. The issue then moves on to a section dedicated to opinion papers by various different authors. The first paper, written by Agnes Binagwaho and Kedest Mathewos (both from University of Global Health Equity, Rwanda), focuses on the issue of health inequity, a concern which has gained more and more traction during the Covid-19 pandemic. The paper examines how vaccine distribution during the pandemic was mainly focused on the global north and how such actions might affect future generations’ perception of what is just, fair and morally correct. The second paper, by Samantha Vanderslott (University of Oxford), focuses on the right and wrongdoings connected to pandemic preparedness and response. The third paper, authored by Rajeev Sadanandan (Health Systems Transformation Platform, India), talks about the lessons that can and should be drawn from child immunisations. The fourth paper, by Adriano Mannino (LMU and Parmenides Foundation, Munich), delves into the question how future generations will assess our actions and our response to the current pandemic. The fifth and final paper, written by Jörg Tremmel (FRFG and University Tübingen), is centered around the question whether human infection studies could have been implemented during the early stages of the pandemic to minimise deaths and severe infections. The issue concludes with two reviews on recent books by Alberto Giubilini and Katie Wright. In his review of Giubilini’s The Ethics of Vaccination, Marius Kunte notes that it contains a “thought-provoking plea” for individual, collective and institutional obligations to reach high vaccination rates. Judith Kausch-Zongo concludes her review of Wright’s Gender, Migration and the Intergenerational Transfer of Human Wellbeing with a special emphasis on the book’s empirical findings, and praises it in its entirety as “undoubtedly important”. Both books serve as poignant reminders of how sustainable societies can only emerge once the challenges revolving around its most vulnerable members have been properly addressed. (shrink)

"As the child of refugees of World War II Europe and a renowned philosopher and scholar of propaganda, Jason Stanley has a deep understanding of how democratic societies can be vulnerable to fascism: Nations don't have to be fascist to suffer from fascist politics. In fact, fascism's roots have been present in the United States for more than a century. Alarmed by the pervasive rise of fascist tactics both at home and around the globe, Stanley focuses here on the structures (...) that unite them, laying out and analyzing the ten pillars of fascist politics--the language and beliefs that separate people into an 'us' and a 'them.' He knits together reflections on history, philosophy, sociology, and critical race theory with stories from contemporary Hungary, Poland, India, Myanmar, and the United States, among other nations. He makes clear the immense danger of underestimating the cumulative power of these tactics, which include exploiting a mythic version of a nation's past; propaganda that twists the language of democratic ideals against themselves; anti-intellectualism directed against universities and experts; law and order politics predicated on the assumption that members of minority groups are criminals; and fierce attacks on labor groups and welfare. These mechanisms all build on one another, creating and reinforcing divisions and shaping a society vulnerable to the appeals of authoritarian leadership. By uncovering disturbing patterns that are as prevalent today as ever, Stanley reveals that the stuff of politics--charged by rhetoric and myth--can quickly become policy and reality. Only by recognizing fascists politics, he argues, may we resist its most harmful effects and return to democratic ideals."--Jacket. (shrink)

: In his work Truth and Truthfulness, Bernard Williams offers a very different interpretation of philosophical genealogy than that expounded in the secondary literature. The “Received View” of genealogy holds that it is “documentary grey”: it attempts to provide historically well-supported, coherent, but defeasible explanations for the actual transformation of practices, values, and emotions in history. However, paradoxically, the standard interpretation also holds another principle. Genealogies are nevertheless polemical because they admit that any evidence that would (...) serve to justify a genealogical account is indexical to a perspective. In short, genealogies are not true per se. This view of genealogy leaves it vulnerable to three criticisms. I call these three: (1) the reflexive, (2) the substantive, and (3) the semantic. In contrast, Williams argues that all genealogies provide a functional account for the manifestation of something and further, that a State of Nature story subtends these accounts. The upshot of Williams’ approach is that it makes for strange philosophical bedfellows. For example, Nietzsche’s account for the rise of Christian morality shares methodological features with Hobbes’ functional explanation for the emergence of civilization and yet Nietzsche seems to take issue with genealogists who are hypothesis mongers gazing haphazardly into the blue. In the following article, I flesh out, more fully, how to make sense of Williams’ novel reclassification of genealogy. I show that Nietzsche’s genealogies are State of Nature stories and, just like Hobbes’ State of Nature story in chapter thirteen of Leviathan, are subtended by our collective corporeality. I then demonstrate how Nietzsche’s three stories in the Genealogy, when brought together, serve to undermine what Williams refers to as “ . . . a new system (of reasons)—which very powerfully resists being understood in such terms . . . ” Finally, I explain how my reconstruction of Williams’ interpretation of the genealogy immunizes it against the three criticisms noted above. (shrink)

This chapter contains sections titled: Nietzsche's Useful Fictions The Commercial Origins of Christmas Santa Claus and the Social Compact The Spirit of Giving and the True Meaning of Christmas.

In his recent book Criticism and Social Change Frank Lentricchia melodramatically pits his critical hero Kenneth Burke, advocate of the intellect’s intervention in social life, against the villainous Paul de Man, “undisputed master in the United States of what is called deconstruction.” Lentricchia charges that “the insidious effect of [de Man’s] work is not the proliferating replication of his way of reading … but the paralysis of praxis itself: an effect that traditionalism, with its liberal view of (...) the division of culture and political power, should only applaud.”1 He goes on to prophesy thatThe deconstruction of deconstruction will reveal, against apparent intention, a tacit political agenda after all, one that can only embarrass deconstruction, particularly its younger proponents whose activist experiences within the socially wrenching upheavals of the 1960s and early 1970s will surely not permit them easily to relax, without guilt and self-hatred, into resignation and ivory tower despair. [CSC, p. 40]Such is Lentricchia’s strenuous conjuration of a historical moment in which he can forcefully intervene—a summons fraught with the pathos excited by any reference to the heady days of political enthusiasm during the war in Vietnam. Lentricchia ominously figures a scene of rueful solitude where de Manian lucidity breaks into the big chill. And maybe it will. But Lentricchia furnishes no good reason why it should. De Manian deconstruction is “deconstructed” by Lentricchia to reveal “against apparent intention, a tacit political agenda.” And this revelation is advertised as a sure embarrassment to the younger practitioners of deconstruction—sweepingly characterized as erstwhile political activists who have, wide-eyed, opted for a critical approach that magically entangles its proponents in the soul-destroying delights of rhetoric and reaction. Left unexamined in Lentricchia’s story, however, is the basis for the initial rapport between radicalism and deconstruction. Why should collegiate activists have turned into deconstructionsists? Is not that, in Lentricchia’s terms, the same question as asking why political activists should have turned to literary criticism at all? If we suppose this original turn to be intentional, how could the initiates of this critical approach ever be genuinely betrayed into embarrassment by time or by its herald, Frank Lentricchia? On the face of it, the traducement of a secret intention would be unlikely to come as a surprise, since deconstructing deconstruction is not only the enterprise of Marxist critics like Lentricchia but also of Jacques Derrida, archdeconstructor, who unashamedly identified the embarrassment of intention as constitutive of the deconstructive method. If deconstruction is at once a natural outlet for activists and the first step on a slippery slope that ends in apostasy , it suggests a phenomenon with contours more suggestively intricate, if not less diabolically seductive, than the program Lentricchia outlines. And it is a phenomenon as worrisomely affiliative as it is bafflingly intricate. We need to know whether the relations between deconstruction and radical politics, between deconstruction and apostasy between deconstruction and criticism, and between apostasy and criticism are necessary or contingent, or neither and both at once. 1. Frank Lentricchia, Criticism and Social Change , p. 38; all further references to this work, abbreviated CSC, will be included in the text. Jerome Christensen, professor of English at the Johns Hopkins University, is the author of Coleridge’s Blessed Machine of Language and the forthcoming Hume’s Practice: The Career of an Enlightenment Man of Letters. He is currently at work on a study of Byron and the issue of strong romanticism. (shrink)

IntroductionIn May 2006, the small group of doctoral students working on ecophilosophy at the Higher Institute of Philosophy at K.U.Leuven invited the Dutch environmental philosopher Martin Drenthen to a workshop to discuss his writings on the concept of wilderness, its metaphysical and moral meaning, and the challenge social constructivism poses for ecophilosophy and environmental protection. Drenthen’s publications on these topics had already been the subject of intense discussions in the months preceding the workshop. His presentation on the workshop and the (...) three critical responses by Wim Bollen, Glenn Deliège, and Richard Kover are published here in a thoroughly revised form on the basis of further and ongoing discussions about the issues involved. Three further contributions to the discussion are added: one by Nathan Edward Kowalski, a young Canadian philosopher who studied in Leuven and wrote his as yet unpublished dissertation on “Evil in Nature,” a second one by Kingsley Goodwin who is currently writing a dissertation on deep ecology at University College in Dublin and, finally, my own unsystematic thoughts inspired by Martin Drenthen’s provocative and stimulating hermeneutics of our postmodern understanding of nature and wilderness, as well as the diverse critical responses to Drenthen’s views by the other contributors. I owe gratitude to all of them for enriching my own ecophilosophical thought and enlarging its horizon although as my fragmentary reflections show at the cost of yet greater uncertainty and more questions about the possibilities of arguing for a radical environmentalist position. Such a position would somehow connect or ground our moral obligation to preserve genuine non-human otherness, wild and free nature, in the non-human meaning of such nature and in our essential need to be in direct and concrete contact with that field of wild non-human meaning because we ourselves belong to nature, because we are not only and purely civilized but are also and most fundamentally wild and free. Three fundamental questions need to be distinguished: the question about our moral obligations regarding nature and its preservation, the metaphysical question about the nature of nature or the meaning of nature, and the question of the metaphysical grounding of our morals in general, and of our moral obligation regarding nature in particular, in the nature or meaning of nature. The complex intertwinement between these three questions is at the heart of Martin Drenthen’s reflections.The authors contributing to the present discussion approach the various issues from markedly different philosophical backgrounds and concerns: critical theory, anthropology, analytic philosophy, phenomenology, hermeneutics, and deep ecology are all to some degree or other brought to bear on the question of what wilderness means for us, why we are fascinated by it and what it actually and in the first place is.Another interesting difference between the five respondents to Martin Drenthen’s wilderness-philosophy relates to the place from which they write: while the Canadians Richard Kover and Nathan Edward Kowalski have wilderness of some sort still close at hand, the Belgians Wim Bollen and Glenn Deliège write from a place which has been thoroughly domesticated, cultivated, and industrialised for a long time. Martin Drenthen himself, of course, writes from the same kind of place as these last two, which explains why he only refers to the wilderness that he has read about in novels, seen in movies, or experienced as recreated in the reserves of the Netherlands. The Irish Kingsley Goodwin writes perhaps from a third, intermediate place that is not wild anymore but still much more natural than Belgium or the Netherlands are.The differences in philosophical approach and concern combined with the difference of place generate a rich tapestry of perspectives and voices wrestling with the fundamental questions of our perceived homelessness and alienation from nature, our cultural discontent, our longing for and need for radical alterity, of immanence and transcendence, of who we are and where we belong, and more concretely of whether there is more to ground our efforts to preserve nature than enlightened self-interest and subjective preference. Martin Drenthen deserves praise for inaugurating this fruitful discussion with his intriguing and highly paradoxical effort to hybridize a postmodern deconstruction of the idea and ideal of wilderness as unspoilt and true nature on the one hand with a new metaphysics of wilderness on the other. Arne Naess, who is generally regarded as the founding father of deep ecology, pointed out the positive and stimulating role that vagueness in the expression of ideas can play in political and philosophical debate. Such general and vague but highly suggestive expressions as ‘all life is one’ are not empty at all, as is often claimed; they are rather full of possibilities of ‘precisation’ and differentiation. Drenthen’s wilderness-philosophy is certainly not vague to the degree of ‘all life is one,’ but his expositions are similarly pregnant with a wealth of further questions, precisations, distinctions, and conceptual clarifications. Good examples of different kinds are to be found in the contributions of Nathan Edward Kowalski and Richard Kover. Kowalski points out that Drenthen’s notions of culture and wilderness need to be made more precise by distinguishing them from the notions of civilization and wildness such that wild cultures become a conceptual possibility. Richard Kover takes the lead from Drenthen’s question about the reason for our postmodern fascination for wilderness to confront it with our primordial fascination in terms of the dependence in the evolution of our subjectivity and our consciousness on the focused perceptual attention on wild forms.Glenn Deliège situates Martin Drenthen’s wilderness-philosophy in its original context of the Dutch debate on the preservation of nature, in particular on the new wilderness paradigm. According to this paradigm, the nature to be preserved should be true and pure, truly natural and wild nature, that is nature outside of and free from the cultivating and domesticating influence of humans. In the Netherlands, however, such nature no longer exists; it can only be preserved after it has first been artificially recreated. Deliège gives an informative summary account of the highly charged three-cornered debate between the adepts of this wilderness-paradigm, the proponents of the more traditional form of conservation of remnants of the typical European landscapes created by pre-industrial farming practices and the modern technocratic functionalists. This debate makes obvious that there are quite different views of the nature of nature and its value. Enter social constructivism: the contested nature of nature is nothing more than a social construct, an idea in a collective mind. The contestation itself is a struggle for authority and power between different such social constructs, any claim to scientific objectivity and objective truth for one’s image of nature is an arrogation of a truth which doesn’t exist and is potentially oppressive by silencing other views. Nature then is up for the grabs of politics, political negotiation, and compromise between various interest groups who all want to get some benefit from nature, some use-value.The problem with Drenthen’s effort to articulate a normative concept of nature which cannot be deconstructed in this way is the extreme formality and emptiness of his metaphysical concept of wilderness as that which is always ‘beyond’, always ‘more’ and which can never be exhausted by any image and construction of nature. Any more concrete determination is mere appearance; the thing in itself is a border concept of that which in fact cannot be grasped conceptually. Glenn Deliège is critical of this formality and emptiness from which it will be impossible to derive any concrete guidance for our conservation practices. He then goes on to defend the Arcadian tradition of our appreciation of nature as giving us a historically well-grounded orientation for those practices. Of course that Arcadian tradition is obviously a cultural construction but that doesn’t make it completely arbitrary and contingent since it is itself ultimately grounded in and open to modification by our concrete sensuous experiences of nature.Deliège here raises the very important issue of the relation between our concrete perceptual and bodily experiences in and with nature and our concepts and metaphysical images of nature. Drenthen himself approaches this issue from the hermeneutical perspective of our need to make sense of our experiences and to articulate their meaning. His confrontation with social constructivism and his effort to salvage something from its relativizing acid lead him, however, into the direction of a highly abstract and empty concept of wilderness.Richard Kover shows that perception is, indeed, the key to a radical critique of social constructivism. He does this with the help of the ecological anthropology of Paul Shepard, the structuralist anthropology of Claude Levi-Strauss and the phenomenology of Maurice Merleau-Ponty. It needs to be said here that Kover takes his leave from an unpublished paper by Martin Drenthen with the title “How to appropriate wilderness appropriately?” – the paper is accessible though on Drenthen’s web-site - in which Drenthen comments and reflects upon three contemporary wilderness-tales, one of them being Werner Herzog’s much-discussed documentary on Timothy Treadwell, an American environmentalist drop-out who lived thirteen summers among wild grizzlies in the Alaskan wilderness before being killed together with his girlfriend by a grizzly bear.Kover tries to show that we are not imprisoned in the mirror-cabinet of our mind or of our human sociality. To make his case, he starts from Paul Shepard’s thoughtful observation that the evolutionary emergence of the mind did not remove us from the natural world but actually connected us deeper with it. Through our mind we evolved more fully into it because our mind is primordially in our senses and in the ability to articulate a perceptual world. The natural world in the form of the system of natural species and their relations is the primary model for perceptual discriminations, for the fundamental discovery of order with its twin-aspects of distinction and discontinuity on the one side and relations and continuity on the other side. Our cognition is essentially perceptually based, our subjectivity is primordially informed by our inherence in the sensible world. Perceptual cognition is inherently intentional and relational, it is not an autonomous mental construction, it is rather in the world and informed by that which is perceived. The other is always intertwined with the subject. We are always already hooked up with the world, with the others, before we start reflecting, thinking, and conceptualizing. This is one of the major themes in Shepard’s work: what this insight means with regard to our relations to non-human otherness, in particular to our perceptual encounter with wild animals. In our encounter with non-human otherness, we are confronted with an essentially ambiguous sense of both affinity and disjuncture. Wild animals demonstrate to us that we are not homeless or alien to this world, that we fundamentally belong to it and are part of it. Their difference, however, shows us that there are different perspectives and ways of being in the world. “Thus the encounter with non-human others inform humans that we are both of the world and simultaneously not the world and there are horizons of significance beyond our own perspective.”Nathan Edward Kowalski comes to a similar conclusion when he situates our morality in the larger moral order of wild nature. According to Kowalski it is indeed a moral order though not our own, an Other to our morality but not simply a negative one. It is, as Drenthen says, a highly paradoxical amoral morality. But what can it mean to speak of morality here? For Kowalski it means that the issue is not merely the theoretical recognition and acknowledgment of axiological transcendence, of non-human values out there, but whether we will appropriately conform to and comport ourselves towards that axiological transcendence so that we can find a human homeland in wild nature instead of turning it into a wasteland. The question then is, how to fit our own human morality into this larger order and greater reality, to subordinate it to that greater reality as a part of it and encompassed but not denied by it so that we can be moral and natural at the same time, tender carnivores hunting the sacred game. Indigenous people follow a moral protocol in their relationship with non-human others which acknowledge and respects their autonomy, their alterity, and the sacred mystery of their different ways of being. They are not befriended but some of them are hunted and eaten – as an exchange in the gift-economy of nature.The problem of the homelessness and alienation from nature is discussed by Wim Bollen from the radically different vantage point of critical theory. In Adorno’s and Horkheimer’s Dialectic of Enlightenment the human story unfolds as a tragic effort to liberate ourselves from nature and to become fully human through rational control when in the end this effort turns against ourselves and instead of liberation and human flourishing we get social domination and repression of our natural needs. The frustrations and mutilations imposed upon us by a repressive civilization give rise to the regressive desire for a return to a natural existence. Referring to the myth of Odysseus and Circe as interpreted by Adorno and Horkheimer, Wim Bollen equates such a natural existence with animal life. In the light of contemporary knowledge about primitive existence, however, this equation is highly problematic. Palaeolithic foragers were already fully human in all respects. A life without civilization need not be an animal-existence.According to Adorno/Horkheimer, our subjectivity and autonomy have to be wrested from animal-nature through an exertive struggle that cannot but proceed by a threefold strategy of domination: the domination of non-human otherness, of human others, and of our own inner nature. The siren song of nature consists in the temptation to give up that struggle for the promise of an unreflective, non-alienated natural existence without toil.When Odysseus’ men give in to Circe’s seduction they are, however, not transformed into wild animals but into swine. According to Bollen this signifies that we cannot re-wild ourselves, that we remain imprisoned in civilization, either as master-subjects or as domesticated animals. Bollen, by the way, like Drenthen, does not distinguish conceptually between civilization and culture. Since re-wilding for Bollen means the impossibility of returning to animal-existence, which is actually the impossibility of becoming another species since biologically we are animals already, to be imprisoned in civilisation means nothing else than to be imprisoned in our humanity. The fact that we cannot become wild animals again – according to Paul Shepard, however, we are still wild animals – is indeed, as Bollen stresses, a trivial form of alienation. A more meaningful concept of alienation which can be put to critical use must refer to a culturally and historically determined frustration and deficit inside the cultural order that is to be overcome not by an impossible regression but by progressive politics leading beyond the three intertwined forms of domination. Not back to nature but forward towards a reconciliation of culture with nature! Such a reconciliation would neither collapse culture into the immanence of nature nor submerge nature into the transcendence of culture. According with the three forms of domination it would be a three-dimensional form of reconciliation.Odysseus’ men did not got what they thought were promised them: the complete liberation from the burden of being autonomous subjects, of being civilized, but they got something worthwhile, namely a certain from of pleasure, a limited and provisional relief and escape. Bollen sees a critical potential in these piggish pleasures after all and consequently even in the siren song of nature since these pleasures were only experienced because Odysseus’ men gave in to it. But one has to give in to this siren song critically if it is to unfold its liberating potential. The problem with pleasure though in bourgeois society is that it is necessarily betrayed, instrumentalized and sold.Kingsley Goodwin’s paper starts by defending deep ecology against the charge of asserting a naïve and dogmatic metaphysics of nature. For convenience sake, but not quite unproblematically, he identifies deep ecology with the environmental thought of Arne Naess. A metaphysics of nature for Naess is always part of a personal worldview. Worldviews which are partly inspired by ecology Naess calls ecosophies. Naess always stresses the personal character of such a worldview and the irreducible plurality of them. It used to be a common misunderstanding of the platform of deep ecology which Naess conceived together with George Sessions that it expressed in a condensed form the metaphysical beliefs of deep ecology. Naess’ intention, however, was to try to articulate in a general fashion the basic viewpoints on which the supporters of the deep ecology movement agreed. It would be possible then to derive these viewpoints from quite different worldviews. In light of this, I think, that Goodwin’s characterisation of the platform as “pragmatic and activist” is not quite appropriate.Goodwin goes on to compare Drenthen’s conception of wilderness and wildness with the similar position developed by Neil Evernden in his book The Social Creation of Nature. He like Naess in his personal ecosophy stresses the crucial role of perceptual experience of wild otherness to find an antidote to the relativity and contingency of our interpretations of nature. Evernden refers to studies on child development to argue for a non-dualistic and relational conception of the self, similar to Naess’ relational ontology. According to Goodwin, Drenthen, in spite of his hermeneutical approach remains too much indebted to the Western subject/object-dualism. The object, in this case wild nature, is pure otherness.With regard to a compost heap, Goodwin shows that we are not separated from nature by an inseparable gulf, that nature is close at hand, and that we can experience and explore it, appreciate the complex play of identity and difference it consists of, the exchanges and transformations and that we can identify with the organisms involved in these exchanges.*The proceeding remarks only highlight some of the prominent themes and considerations in the various contributions to this topical issue of Ethical Perspectives. Hopefully the reader will feel invited and enticed to read the articles themselves, starting, preferably of course, with the essay by Martin Drenthen, who sparked off this lively discussion on the moral meaning of wild nature. I am honoured and pleased to be able to introduce these rich explorations by such talented young environmental philosophers who are eager to develop environmental philosophy further and lead it into new directions. They all have to wrestle with and find answers to the challenge postmodern deconstruction and social constructivism pose for environmental philosophy. In the face of that challenge, it is even more difficult than it already was to provide solid and convincing arguments for the defence of wild and free nature beyond merely pragmatic arguments in terms of its utilitarian value for us. The reason for that defence is not clear-cut and proves to be just as evasive as the moral meaning of nature itself. But neither that reason nor that meaning are mere phantoms and mirages that vanish when we approach them and try to grasp them. They are more substantial, even if they will never have the solidity of a mathematical proof or a scientific measurement. Their locale is the lifeworld which from the point of view of scientific and logical precision and clarity is a messy place where subject and object, reason and heart, fact and value, experience and thought and, yes, nature and culture cannot be clearly separated. This has important consequences for environmental philosophy and its methodology. Conceptual analysis and logical argumentation have to become sensitive to the richness of experience in the lifeworld and to the diverse efforts of its articulation: i.e., they have to open themselves up and maybe even to subordinate themselves to phenomenological and hermeneutical approaches. For me personally this is one of the most important conclusions I draw from the discussion presented here. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Political Identity of the Philosopher:Resistance, Relative Power, and the Endurance of PotentialSamuel McCormickThe troublemaker is precisely the one who tries to force sovereign power to translate itself into actuality.—Giorgio AgambenBeyond the Straussian Practice of "Philosophic Politics"In the second half of the 1920s, Bertolt Brecht began a series of short stories about a "thinking man" named Mr. Keuner. Among the first stories he published was "Measures Against (...) Power" ("Maßnahmen gegen die Gewalt"), the opening passage of which provides the subject of this essay:As Mr. Keuner, the thinking man [Denkende], was speaking out against power in front of a large audience in a hall, he noticed the people in front of him shrinking back and leaving. He looked around and saw standing behind him—Power [Gewalt]."What were you saying," Power asked him."I was speaking out in favor of Power," replied Mr. Keuner. [End Page 72]After Mr. Keuner had left the hall, his students inquired about his backbone [Rückgrat]. Mr. Keuner replied: "I don't have a backbone to be broken. I'm the one who has to live longer than Power [Gerade ich muß länger leben als die Gewalt]."(2001, 3)How are we to understand the political activity of this "thinking man"? Clearly, Mr. Keuner is no Cynic. Unlike Diogenes, who famously ordered Alexander the Great to step out of the way and then openly rebuked his authority as king, Mr. Keuner refuses to play the part of the parrhesiastes.1 His political activity more closely resembles that of a Stoic philosopher. Consider, for instance, the way his reply to Power echoes that of Seneca the Younger: "It seems to me erroneous to believe that those who have loyally dedicated themselves to philosophy are stubborn and rebellious, scorners of magistrates or kings or of those who control the administration of public affairs. For, on the contrary, no class of man is so popular with the philosopher as the ruler is" (Ep. 73.1–2 [1920, 105]).Given this attitude toward the powers that be, we might also figure Mr. Keuner's conduct in terms of the Straussian practice of "philosophic politics." For Leo Strauss, one of the most striking, and sometimes strident, twentieth-century scholars to consider the political identity of the philosopher, philosophic politics consists in "satisfying the city that the philosophers are not atheists, that they do not desecrate everything sacred to the city, that they reverence what the city reverences, that they are not subversives, in short, that they are not irresponsible adventurers but good citizens and even the best of citizens." This is the defense of philosophy that is required "always and everywhere," Strauss concludes, regardless of what the dominant political order might be (1991, 205–6).Although he is certainly willing to appease Power, Mr. Keuner differs from Strauss's philosophic politician in three fundamental ways, each of which suggests that a closer examination of his speech and action is in order. First, the Straussian practice of philosophic politics does not consist in advocating for political or social change but in defending the discipline of philosophy. For Strauss, "there is no necessary connection between the philosopher's indispensible philosophic politics and the efforts which he might or might not make to contribute toward the establishment of the best regime" (1991, 205). For Mr. Keuner, however, the discipline of philosophy—and with it his identity as a "thinking man"—is neither in need of defense nor distinct from his political activity but, instead, available for use as a persuasive resource in his interaction with Power. How he [End Page 73] avails himself of the tropes and topoi of philosophical inquiry can only be determined by examining his conduct closely.Second, the proper site of philosophic politics is not the political activity of "thinking" men and women but their philosophical tracts and treatises. Thus, in searching for the "philosophic politics" of Mr. Keuner, Strauss would have us focus not on his interaction with Power but on the writings for which he has come to be known as a "thinking man." As I argue in a recent edition of this journal (2005, 302–3), this... (shrink)

In recent years historians of science have come to an increasing appreciation of the role played by such moral and affective categories as “trust,” “wonder,” “pedantry,” and “self‐discipline” in the knowledge‐making enterprises of the early modern period. Barbara Benedict's book on curiosity is a most welcome contribution to the literature devoted to such topics. In a lively and entertaining work, Benedict sets out to “analyse literary representations of the way curious people, including scientists, authors, performers, and readers, were engaged in (...) practicing and producing curiosity itself” . The author modestly states at the outset that the work is not, and does not claim to be, a history of science, and indeed as a whole the essay perhaps falls short of the more ambitious promise of the subtitle—“a cultural history of early modern inquiry.” Yet it deals with a subject that is nonetheless of profound importance for historians of seventeenth‐ and eighteenth‐century science.Of particular significance is the way in which the book demonstrates how curiosity and its representations served to demarcate the boundaries of legitimate topics of knowledge and modes of enquiry. The discourse about curiosity thus served to inform central epistemological questions of the period: Is it appropriate to seek all knowledge on all topics, and is it to be sought by all people? If there are areas of knowledge that are illicit, what are they and why are they proscribed? What are the proper methods for the various spheres of knowledge? Benedict carefully articulates the role played by the discourse of curiosity in the sanctioning of some projects and the censuring of others. To take one of the many telling examples found in the book, the protagonist of Thomas Shadwell's Virtuoso is presented as epitomizing the curious impulse, here manifested as a puzzlingly earnest quest for useless knowledge and a strange fascination with base and undignified natural objects. The odd proclivities of this character demonstrate in a forceful way how the new natural philosophy could be regarded as merely an outlet for the intellectual vice of curiosity—and how far the new knowledge‐making enterprises fell short of social approval amongst those whose approbation mattered most. The familiar seventeenth‐century rhetoric of the “usefulness of natural philosophy” was thus in part a response to accusations of curiosity leveled against experimental philosophers. Benedict observes that “early modern literary culture struggled to mold curiosity into forms that would preserve public values” . Apologists for the scientific activities of the Royal Society, in keeping with this goal, sought to depict the quest for natural knowledge as a legitimate expression of a curiosity that had been appropriately disciplined and directed in ways that would contribute to the common good.The book also traces the varying fortunes of curiosity, nicely delineating the reciprocal relations between subjective and objective, between the curious sensibility and curiosities, between wonder and wonders. At times it might have been helpful for the author to have transgressed the self‐imposed limitation of examining literary representations and to have considered some formal accounts of curiosity as they occur in contemporary works of moral psychology in which this human propensity is carefully described and precisely located among the other affections. Without more direct information about the contemporary taxonomy of the affections curiosity too easily shades into wonder, credulity, greed, avarice, and acquisitiveness. In short, the relations of curiosity with its neighboring affections—the subtle transformations of which constituted an integral part of the changing status of curiosity—could perhaps have been more finely drawn. This, however, is a minor issue. Benedict has written a good book on an important topic, not least for historians of science because it clearly shows how the eventual establishment of the social respectability of curious individuals and objects was an essential phase in the legitimation of natural history and natural philosophy. (shrink)

Lockean approaches to property take it that persons can unilaterally acquire private ownership over hitherto unowned resources. Such natural law accounts of property rights are often thought to be of limited use when dealing with the complexities of natural resource use outside of the paradigm of private ownership of land for agricultural or residential development. The tragedy of the commons has been shown to be anything but an inevitability, and yet Lockeanism seems to demand that even the most (...) robust common property arrangements be converted to privatized units. This often motivates a move away from natural law in the moral analysis of property rights. I argue however that it is not the deontological nature of Lockean principles that are at fault, but rather the manner of their application. Lockean theory often exhibits a bias in favour of private property: assuming that only private property can protect one’s interest in autonomy, and therefore asserting that each individual has a power of private acquisition. Starting with a claim against interference however enables us to mould the appropriate property rights to each individual’s particular interest in autonomy. This sometimes leads to private ownership, but often leads to various forms of commons. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 15.2 (2005) 199-210 [Access article in PDF] Conflict-of-Interest Policy at the National Institutes of Health: The Pendulum Swings Wildly* Evan G. DeRenzo **This article addresses the National Institutes of Health (NIH) employee conflict-of-interest (COI) policy that went into effect February 2005. It is not, however, merely an account of another poorly crafted government policy that cries out for revision. Instead, it (...) is also a story about one of our nation's most important and prestigious institutions and its struggles to navigate the crosscurrents of scientific aspirations, power politics, public ambivalence toward capitalist economics in the biosciences, and the media's inclination to exaggerate problems and under report complicated facts. It is also a tale of greed, politics, purgatory, and redemption. The dramatic and abrupt change in the NIH COI policy demonstrates the difficulty of balancing the production of cutting-edge science with the demands for transparency resulting from work performed in the public interest on the public tab. It is an unhappy chapter in the life of a government agency that is also a national treasure. And, one hopes, it will be an example of how harmful and ill-conceived law can be revised and amended to advance national health and well-being. What is the New NIH COI Policy? The new NIH COI employee policy, more accurately referred to as the Interim Final Rule (Federal Register 2005), is a sweeping set of prohibitions on activities and holdings to reduce the possibility that NIH employees will have any actual [End Page 199] or apparent conflicts of interest. For the most part, the prohibitions are applied across-the-board—i.e., without distinction to employee category or function. The new policy includes prohibitions on outside activities, stock holdings, and awards. It prohibits all NIH employees from engaging in any compensated or uncompensated employment, including consulting, serving on advisory or other such boards, and compensated teaching, speaking, writing, or editing with certain kinds of entities. The first class of such entities is referred to as substantially affected organizations, defined as biotechnology, pharmaceutical, medical device companies, and others with similar interests. But these are not the only entities included in the prohibitions. Other organizations from which NIH employees now are cut off are hospitals, clinics, and other health care institutions; health, science, or health research-related professional associations and consumer and advocacy groups. Included also are educational institutions and not-for-profit independent research institutes that are, or were, recent NIH funding applicants, grantees, contractors, or cooperative research and development agreement (CRADA) partners. The only exemptions appear to be for health care institutions at which NIH employees provide clinical care and some forms of writing—e.g., an NIH physician who moonlights at her/his local hospital's emergency room or submits a manuscript to a peer-reviewed journal that receives only unrestricted funding from a prohibited entity. Prohibited and/or restricted holdings include stock in biotechnology, pharmaceutical, and medical device companies and others in research, development, or manufacture of medical devices, equipment, preparations, treatments, or products. The prohibitions apply to senior NIH employees; restrictions in the amount of such holdings apply to all remaining employees. Both apply to the spouses and minor children of NIH employees. If an NIH employee wins an award, the monetary allowance in most cases is limited to $200. In sum, the scope of this policy is vast, too vast to be reasonable. Too many employees are restricted in too many ways. Where appropriate restrictions have been placed on senior NIH employees, even these constructive aspects of the policy are overshadowed by the unfairness and destructiveness of other aspects. This policy far exceeds anything that could be considered sound. Fortunately, the policy has a built-in assessment process to begin at the end of the policy's first year of implementation. One can only hope that a fair and open evaluation will be conducted, the results of which surely must result in major revisions to what is now bad regulation. Why the Policy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Save Us From Being Saved:Girard's Critical SoteriologySimon J. Taylor (bio)One of the most striking things about the work of René Girard is that it is an overarching critique of what it is to be saved. The paradox that Girard presents us with is that "salvation" is something from which we must be saved. This combination of salvation as something that must be avoided and something (...) we desperately need appears to have the characteristic of a "double bind," about which Girard has written so much.1 Are we then, even within Girard's own thesis, bound to the mimetic doubling of need and revulsion that can end only in the expulsion or death of a common victim? It is this question that I hope to explore in this article.Girard's Critique Of SalvationTo set out Girard's critique of salvation, it is first necessary to see that what he has come to call the victimage mechanism ("mécanisme victimaire") is, in fact, salvation. Girard's thesis states that desire is mimetic, based on the imitation of another's desire. "Desire is always an imitation of another desire, desire for the same object, and therefore, an inexhaustible source of conflicts and rivalries" (Girard 1978, 39). As the rivalry produced by this desire intensifies, it spreads and produces conflict and violence on a large scale. On an unlimited scale, Girard identifies this with the Hobbesian "war of all against all."2 And it is at this point that the victimage mechanism kicks in. It is at this point that the identification of a scapegoat and the expulsion or killing of the scapegoat produce unity and restore peace. It is this, in Girard's originary scene, that leads to the simultaneous origins of society and religion. In restoring unity to the group, and hence founding the community, the victim becomes sacred, a god. This in itself is an indicator of the salvific power that the scapegoat effects in the community. In order that the violence, once diverted, should not break out again, two things are necessary: ritual, specifically sacrifice, and myth. Ritual reenacts the founding murder upon which society is based, enabling the [End Page 21] participants to transfer their violence to another victim. Myth is the story told by the persecutors about the events that led to the creation of their community, that is, the founding murder. Thus, religion "dehumanizes violence; it protects man from his own violence by taking it out of his hands, transforming it into a transcendent and ever-present danger to be kept in check by the appropriate rites appropriately observed and by a modest and prudent demeanor.... religion protects man as long as its ultimate foundations are not revealed" (Girard 1978, 134–35). Salvation has happened, and a cult arises to disburse the effects of this salvation.It is important that we take this account of religion with full seriousness and do not regard it simply as the prologue to Girard's later promotion, even rehabilitation, of the Judaeo-Christian tradition. This is salvific: religion protects us from our own violence; it has mechanisms for bringing to an end outbreaks of that violence. Elsewhere Girard can speak of "the negative usefulness of religion as a social prop against anarchy and chaos" (Girard 1997, 162–63). This is salvation: violence is dealt with and human society can dwell in relative peace. Religion, on this account, is not "pie-in-the-sky," a transcendent deferral of gratification. It has real benefits to society today; it is attractive, elegant, and simple. What more could we want from religion?But Girard will not allow us to rest content with this account of religion. He is blunt when he declares that "most religions are based on a lie, which is the supposed guilt of the victim" (Girard 1993c, 32). Nietzsche wrote that "The sacrificial animal does not share the spectators' ideas about sacrifice, but one has never let it have its say,"3 and this is precisely the origin of Girard's critique of the salvation offered by religions based on scapegoating. Girard is attempting to let the sacrificial animal have its say. All too often, these... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education (...) philosophy community, the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martha Nussbaum on Dickens's Hard TimesPaulette KidderAt the heart of Martha Nussbaum's work in capability ethics is a rejection of utilitarianism. Nussbaum has repeatedly recounted a pivotal moment in Dickens's Hard Times (1854), in which the young Sissy Jupe delivers an innocent but devastating critique of the utilitarian system.1 Nussbaum's most extended and compelling reading of Hard Times appears in Poetic Justice: The Literary Imagination and Public (...) Life.2 Nussbaum convincingly shows that Dickens's novel is a "deep attack" on utilitarianism, going to the heart of the assumption that the human good consists in maximizing the satisfaction of preferences of the greatest aggregate of persons.In what follows, I will review Nussbaum's philosophical reading of the novel and its critique of utilitarianism, and then return to Hard Times to show that Nussbaum has systematically omitted references to the Biblical themes and references that pervade the novel. Arguing that Dickens's attack on utilitarianism draws much of its power from the resonance of these historically rooted symbols of transcendence, I will conclude with a reflection on the reasons for Nussbaum's avoidance of these themes in her own reading of the book.Hard Times, which focuses on a set of characters living in the polluted and class-divided manufacturing city of "Coketown," is known as Dickens's most polemical novel. The novel announces its central theme immediately in the opening speech by Thomas Gradgrind to the young students of the Gradgrind School: "Now, what I want is, Facts. Teach [End Page 417] these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else...."3From the youngest age, the children in Gradgrind's school are taught to avoid wonder and imagination and only to focus on science and mathematics—the study of what is observable and measurable. This education leaves his two eldest children, Tom and Louisa, miserably unequipped for the choices they face as adults. Young Tom Gradgrind grows up to be an undisciplined wastrel, incurring gambling debts that lead him to embezzle money and then to frame a factory worker, Stephen Blackpool, for the crime. Louisa Gradgrind endures a miserable marriage to her father's wealthy friend, Josiah Bounderby.At the moral center of the novel is Sissy Jupe, a girl who proves impervious to Gradgrind's educational system. Sissy, the daughter of a horse trainer who works for Sleary's Circus, is abandoned by her father and taken into the Gradgrind home. Sharing the moral center with Sissy is Stephen Blackpool, a weaver whose honesty and conviction cause him to run afoul of both his employer Bounderby and the demagogic Slackbridge, organizer for the trade union.In her reading of Hard Times, Nussbaum identifies four elements of utilitarianism: commensurability, aggregation, maximizing, and exogenous preferences, all of which are both dramatized in the novel and critiqued by it (PJ, p. 14). Commensurability means that "all the valuable things under consideration [are regarded as] valuable because they contain some one thing that itself varies only in quantity" (PJ, p. 14). Characters that Dickens presents as memorable individuals are seen by Gradgrind's system as "parcels of human nature." Students in Gradgrind's School are called by number instead of name, and the workers of Coke-town are seen as "hands and stomachs," and are likened to "ants and beetles." Individuality is erased by what Nussbaum terms Gradgrind's "abstracting mathematical mind" (PJ, p. 21).Aggregation, the second utilitarian element, means that data about individual lives is pooled, "without regarding the boundaries between lives as especially salient for the purposes of choice" (p. 14). Louisa Gradgrind is taught, for example, to view the working classes as "Something to be worked so much and paid so much, and there ended; something to be infallibly settled by laws of supply and demand; something that blundered against those laws, and floundered into difficulty; something that was a little pinched when wheat was dear, and overate itself when wheat was cheap... But, she had scarcely thought more of separating [End Page 418] [the people of Coketown] into units, than of separating the sea itself into its... (shrink)

In this paper I criticize a growing movement within public policy circles that self-identifies as neoliberal. The issue I take up here is the sense in which the neoliberal label signals a turn away from libertarian political philosophy. The are many import ant figures in this movement, but my focus here will be on Will Wilkinson of the Niskanen Center, not least because he has most prolifically written against libertarian political philosophy. Neoliberals oppose the idea that the (...) rights that libertarianism claims people have are useful guides for making the world a freer place because they forestall too much governmental/democratic political action that they purport to be necessary for increasing freedom. Wilkinson mistakenly takes libertarianism to be a set of ideal public policies for achieving a perfectly free society. If it were, he would be right to turn away from it. But placing rights to freedom at the center of their theory of justice does not commit libertarians to an all-or-nothing approach to political change. Consequences and strategy matter – particularly in a non-ideal world – without abandoning the idea that each individual has a right to freedom. In mistaking libertarian moral claims as a set of policy prescriptions, Wilkinson complains that idealistic policy prescriptions not only fail to take account of how those who disagree will respond to such policies if implemented, but also thereby undermines the justice of those policies in the first instance. Wilkinson proposes that change in the direction of freedom must go through the proper channels of actually-existing democratic legitimacy. It as this stage that Wilkinson’s project comes into direct conflict with libertarianism. Whilst libertarianism is not committed to any particular method of creating a free society under non-ideal conditions, and therefore does not rule out democratic political activism as one among many means of doing that, it cannot be committed to the permanence of democratic political authority, and this is what Wilkinson’s neoliberalism demands above all else. It turns out that Foucault’s characterization of neoliberalism long ago is still accurate to Wilkinson’s own view: that neoliberalism is not about creating a society of free individuals, it is about designing the state apparatus in ways that are inspired by the workings of free society – it is about legitimizing the chains, not breaking them. Neoliberalism is not a pragmatic alternative to libertarianism, but rather a gross misapplication of it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martha Nussbaum on Dickens's Hard TimesPaulette KidderAt the heart of Martha Nussbaum's work in capability ethics is a rejection of utilitarianism. Nussbaum has repeatedly recounted a pivotal moment in Dickens's Hard Times (1854), in which the young Sissy Jupe delivers an innocent but devastating critique of the utilitarian system.1 Nussbaum's most extended and compelling reading of Hard Times appears in Poetic Justice: The Literary Imagination and Public (...) Life.2 Nussbaum convincingly shows that Dickens's novel is a "deep attack" on utilitarianism, going to the heart of the assumption that the human good consists in maximizing the satisfaction of preferences of the greatest aggregate of persons.In what follows, I will review Nussbaum's philosophical reading of the novel and its critique of utilitarianism, and then return to Hard Times to show that Nussbaum has systematically omitted references to the Biblical themes and references that pervade the novel. Arguing that Dickens's attack on utilitarianism draws much of its power from the resonance of these historically rooted symbols of transcendence, I will conclude with a reflection on the reasons for Nussbaum's avoidance of these themes in her own reading of the book.Hard Times, which focuses on a set of characters living in the polluted and class-divided manufacturing city of "Coketown," is known as Dickens's most polemical novel. The novel announces its central theme immediately in the opening speech by Thomas Gradgrind to the young students of the Gradgrind School: "Now, what I want is, Facts. Teach [End Page 417] these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else...."3From the youngest age, the children in Gradgrind's school are taught to avoid wonder and imagination and only to focus on science and mathematics—the study of what is observable and measurable. This education leaves his two eldest children, Tom and Louisa, miserably unequipped for the choices they face as adults. Young Tom Gradgrind grows up to be an undisciplined wastrel, incurring gambling debts that lead him to embezzle money and then to frame a factory worker, Stephen Blackpool, for the crime. Louisa Gradgrind endures a miserable marriage to her father's wealthy friend, Josiah Bounderby.At the moral center of the novel is Sissy Jupe, a girl who proves impervious to Gradgrind's educational system. Sissy, the daughter of a horse trainer who works for Sleary's Circus, is abandoned by her father and taken into the Gradgrind home. Sharing the moral center with Sissy is Stephen Blackpool, a weaver whose honesty and conviction cause him to run afoul of both his employer Bounderby and the demagogic Slackbridge, organizer for the trade union.In her reading of Hard Times, Nussbaum identifies four elements of utilitarianism: commensurability, aggregation, maximizing, and exogenous preferences, all of which are both dramatized in the novel and critiqued by it (PJ, p. 14). Commensurability means that "all the valuable things under consideration [are regarded as] valuable because they contain some one thing that itself varies only in quantity" (PJ, p. 14). Characters that Dickens presents as memorable individuals are seen by Gradgrind's system as "parcels of human nature." Students in Gradgrind's School are called by number instead of name, and the workers of Coke-town are seen as "hands and stomachs," and are likened to "ants and beetles." Individuality is erased by what Nussbaum terms Gradgrind's "abstracting mathematical mind" (PJ, p. 21).Aggregation, the second utilitarian element, means that data about individual lives is pooled, "without regarding the boundaries between lives as especially salient for the purposes of choice" (p. 14). Louisa Gradgrind is taught, for example, to view the working classes as "Something to be worked so much and paid so much, and there ended; something to be infallibly settled by laws of supply and demand; something that blundered against those laws, and floundered into difficulty; something that was a little pinched when wheat was dear, and overate itself when wheat was cheap... But, she had scarcely thought more of separating [End Page 418] [the people of Coketown] into units, than of separating the sea itself into its... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education (...) philosophy community, the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

The expertise defense is the best-known response by armchair philosophers to the challenge posed by experimental philosophers regarding the trustworthiness of intuitions. In a series of recent experiments, Experimental philosophers have recently focused on professional philosophers, claiming that, contrary to what the expertise defense assumes, philosophers’ intuitions are no less susceptible to the influence of irrelevant factors (the direct strategy). Additionally, drawing from literature on expertise, they contend that, unlike other domains of expertise, practice does not improve philosophers’ (...) intuitions (the indirect strategy). In this paper, adopting a skill-based perspective on expertise, my primary objective is to defend the expertise defense against both direct and indirect strategies. Based on the skill-based account, I present three arguments against the direct strategy by challenging its power, scope and methodology. Furthermore, borrowing empirical findings from recent literature on expertise, I argue against the indirect strategy that four skills that constitute philosophical expertise regarding thought experiments can be improved through various forms of practice, including deliberate practice. However, my moderate defense departs from typical versions of the expertise defense since I argue that while recent experiments by experimental philosophers cannot undermine the expertise defense, they provide valuable insights into philosophical expertise. (shrink)

Against Nature – Chapter Abstracts Chapter 1. A Transdisciplinary Approach. In this short book you will find philosophy – metaphysical and political - economics, critical theory, complexity theory, ecology, sociology, journalism, and much else besides, along with the signposts and reference texts of the Information Systems field. Such transdisciplinarity is a challenge for both author and reader. Such books are often problematic: sections that are just old hat to one audience are by contrast completely new and difficult to (...) another. My hope is that in the interconnections, arguments and thrust of this polemic, readers will discover both interest and insight, alongside a range of new avenues to explore. This introductory chapter sets the scene – today’s digital world of Tech Giants and Fake News, its roots in the philosophical arguments of the 1920s, and the book’s key claims: (i) that the early 20th century philosophical grounding of today’s digital revolution is culpable in digital’s (growing) contribution to the ecological catastrophe unfolding in the 21st century; (ii) that process philosophy offers a new way to rethink that philosophical grounding, and reshape the digital revolution to support strategies to counter that catastrophe. Chapter 2. The Problem with Digital. This chapter begins with a brief overview of the research approaches in information systems as an academic field, before turning to the deeper roots of its malaise, in individualism, and its looming consequences. The three branches of Information Systems research, in academia, prove to be a useful lens through which to understand the field: Positivism, Interpretivism, and the Critical stance taken by this book. The ‘scientism’ at the root of positivism is examined, and the positivism in Information Systems critiqued as a historically contingent response to the ascendancy of a new brand of economics in Business Schools after the Second World War. But the computational market-fundamentalist form of economics sponsored in the 1950s (and applied by governments since the 1970s) centred around notions of the individual rational actor as an information processor. The philosophical underpinning of methodological and possessive individualism in this approach is exposed, and its influence upon the development – long before computing – of the science of ecology, and our notion of ecosystems, introduced. Chapter 3. The Future Does Not Exist. The philosophical core of the book, this chapter introduces process philosophy. Through an examination of the irreversible reality of subjectivity, Bergson’s famous notion of the durée reélle, and Whitehead’s critique of the bifurcation of subject and object, are introduced. The causally closed ‘time’ of positive science determines existence from the beginning to the end of the universe, be it three seconds or three trillion years. But the reality, of course, is that the future does not exist: our choices are real, and only one of myriad potential futures comes into being at each moment. As Bergson insists, durational succession exists, I am conscious of it; it is a fact. Bergson’s star – once the brightest of any living philosopher in the world – faded almost as quickly as it rose, under the onslaught from the logical positivists whose verificationism insisted that any proposition has no factual meaning if no evidence of observation can count for or against it: all ethics, aesthetics, romance, and metaphysics – and the very subjectivity with which duration is experienced - were thus closed down and dismissed. In this chapter it is reintroduced, to a new audience. Chapter 4. The World in a New Light. Many fundamental problems in the world can be seen as resulting from the false philosophy of bifurcation, fixity, and the reification of abstractions critiqued by process philosophy. Being – with all the isolation and focus upon the individual that it entails – must, if we are to address these problems, be seen as secondary to Becoming, with all the connection, interrelatedness, and complex collectivity that it implies. Choices become clearer, between positivism and interpretivism, between accents upon individualism or collectivism, between reductionist and complex adaptive systems approaches. The systemic individualism in Anglo-American societies can be regarded as actually harmful: the Tech Giants severing ties and bonds rather than connecting us; algebraic ecological models actually breaking the co-dependencies and co-requisites upon which real – complex - ecological health depends. Positivism, built as it is upon methodological individualism, seen in the light of process philosophy, becomes a danger to personal psychological balance – cutting us off from one another; a danger to the social fabric – undermining and impoverishing our civic life; and a danger to the ecological health of the planet – ignoring the immense (eco)systemic impact of our activities over the last centuries upon everything around us in the natural world. Chapter 5. A Theoretical Manifesto for Green IT. We are not islands, and in a process-relational social organisation much must be held in common. We are individuals, but we cannot survive alone. Four different perspectives on individualism show it to be little more than greed. An ecological economics reintegrating the household, the social, the supportive State, and – crucially – the life-giving earth into our polities is introduced and promoted. I introduce the concept of ‘Infomateriality’ – a non-bifurcated digital world where the physical bodies of people - fingers touching keyboards and eyes scanning screens - are as much ‘hardware’ as cabling, circuitboards and haptic interfaces, and the social practices, power relations, and embedded politics within IT artefacts define all such techné as fundamentally social. Abstract divisions are false, and whole, socially embedded systems should be the focus of IS, and from a philosophically and sociologically much deeper perspective. ‘Tech for Good’ is held up as movement in the right direction. My hope is that this book will help promote action, in the field of information systems, toward a better world, where Green Tech for Good is deployed for Nature, rather than against it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 11.4 (2001) 391-400 [Access article in PDF] Bioethics Inside the Beltway A Shooting on Capitol Hill: "The Ruby Satellite System," Mental Illness, and Failure of the American Legal System Peter J. Cohen On 24 July 1998, Russell Eugene Weston, Jr., stormed the United States Capitol, forced his way through a security checkpoint, bypassed a metal detector, and entered the office complex of Representative Tom (...) DeLay (R-TX), the House Majority Whip (Weil 1998). During this period of terror, he shot and killed two officers of the Capitol Police and seriously wounded another as they attempted to end his foray. 1 Weston was severely wounded by several Capital police officers and taken into custody. After being treated for his injuries, he was incarcerated in the District of Columbia. 2On 5 May 1999, Weston was transferred to the Federal Correctional Institute in Butner, North Carolina (United States v. Weston, 69 F. Supp. 2d 99 (D.D.C. 1999), 103), where he remains to this day. He has neither been brought to trial nor received appropriate psychiatric therapy, but continues to be warehoused "in solitary confinement under constant observation... in a psychotic state (United States v. Weston, 255 F.3d 873; LEXIS 16851 (U.S. App. 2001b), 3-4 [LEXIS]). I will briefly detail the legal events responsible for this mad situation and suggest alternative actions that should have been taken at the very onset of the case. Early Chronology Although overtly the crime appeared to be senseless and without any conceivable motivation, Weston believed that his acts were justified and necessary. The story he told to the court-appointed forensic psychiatrist, Sally C. Johnson, M.D., 3 was that while working for NASA in the early 1980s, he had developed a "Ruby Satellite System," a powerful machine that could reverse time. With access to this system, nothing was permanent--the user could simply reverse time and exit from the current scene. However, the "System" was now controlled by cannibals who were developing and spreading "Black Heva," the deadliest disease known to [End Page 391] humankind, similar to HIV or the plague. It resulted from human corpses rotting and turning black. Time was running out, and Weston believed he had to return to override the "Ruby Satellite System" in the Capitol so that he could stem the spread of "Black Heva" and prevent world calamity. He believed that if he were tried, convicted, and even executed, he could simply time reverse himself, place himself in a safe within the Capitol, and subsequently resume his life at whatever point he chose (United States v. Weston, 206 F.3d 9 (D.C. Cir. 2000), 19-20).On 22 April 1999, the district court accepted Dr. Johnson's diagnosis that Weston suffered from paranoid schizophrenia, the symptoms of which were so severe that he would be incapable of understanding the proceedings against him and of assisting in his own defense. On this basis, the court had no difficulty in finding him incompetent to stand trial (U.S. v. Weston 1999, 102).At Weston's initial hearing, Dr. Johnson had testified that medication would be efficacious in treating Weston's delusions: [T]he standard of care in someone suffering from this type of symptom picture would be to treat them with medication.... [T]here is a good likelihood that he'll have a positive response, positive in the sense that his symptoms will diminish in response to treatment.... The potential benefits to treating the defendant far outweigh the risks.... (U.S. v. Weston 1999, 108) The defense presented no expert testimony refuting Dr. Johnson's presentation. The district court then ordered that Weston begin receiving medication in order to render him nondangerous and competent for trial (U.S. v. Weston 1999, 108-9). The Problem Weston refused to be medicated! 4 He has continued to claim that the administration of antipsychotic drugs against his will would violate his Fifth Amendment due process liberty interest in avoiding unwanted bodily intrusion and implicated... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.2 (2001) 3-8 [Access article in PDF] The Two Secrets of the Fetish Jean-Luc Nancy "Commodity fetishism": Marx's formula has been imprinted on the largest and most resistant of cultural memories. It has become almost anonymous, or rather synonymous with Marx's very name, as is the case with certain coined terms(cogito, categorical imperative...). This privilege could only be due to a very particular virtue. Such a virtue is (...) that which not only consists in characterizing, in the strict sense of the word (to typify a property or an essence), but even in characterizing in such a way that the character (the stamp, the seal) is somehow inscribed on the thing itself and can no longer be detached from it, or at least without some loss in the substance of the thing.In Kantian terms: the intuition presented under the word "fetishism" is printed or traced indelibly onto the concept of "commodity," giving rise to a schema "commodity," from which a new image, and thus a new idea, ensues. Not just the commodity as the fetish—as if this were one of its traits or one approach among others—but rather the essence of the commodity revealed as fetish, so that the fetish character would remain once the approach was shifted or the "secret" of its "mystical character" was revealed. (As we know, these are all Marx's own terms.)As is also known, the secret consists in that the commodity value (or exchange value) of the object (or product), which seems to be its intrinsic or immanent property (parallel in this way to its use value, which is extrinsic and completely relative to its utilization in a given sociotechnical context) only covers, masks or represses the origin of its pure or absolute value—this last value being nothing other than the living human labor of the producer, which the act of production incorporates into the product. But the commodity value deflects this incorporated creative life toward equivalence within an exchange, where the producer (the worker) finds himself surreptitiously stripped of the part of the value that the mercantile calculation does not exchange for the maintenance of its labor force, but rather sets to the account of capital. * * * Here we are not concerned with addressing the problems associated with the evaluation or the appreciation of living work as it is related to the intensification or the very creation of value ("the surplus-value"), nor with respect to the extortion suffered by the creator of value (the valuable and value-making man, the living man as maker, as giver of prices in an absolute fashion) to the benefit of the one who accumulates value in the form of general equivalence, creating mercantile prices through a common currency. Currency is the fetish, where fetishism is fixed: belief in the value of the market price itself. The critique of political economy—that is, the critique of the economy as politics—reveals the inanity of this belief, and if this critique cannot measure the hidden and mysticized or mystified value in monetary terms, the principle of this critique remains [End Page 3] no less, but even more so, the incommensurability of the value creator and the marketed product.Alienation is not measurable. It is at the same time the principle of the critique and its impasse from the moment that we would like to, and indeed that we should, oppose one measure to another: the critical measure of the fetish against the mercantile measure through the fetish.In contrast, what we would like to sketch out here would have the following hypothesis as a point of departure: does not the strength of Marx's formula derive from a power other than that of the only critique thus broached? Is there not another energy, and another enigma, slipped into the first, adding itself to the revelation of the secret, even exceeding this revelation and perhaps in this fashion displacing just a bit the secret itself (precisely because it is not measurable)?This other power would derive from "fetishism" itself. That is to say... (shrink)

Can dialogue make real impact on the state of affairs in the real world, or is it a pastime of the polite societies or a lullaby useful for sending gullible grown-ups into “sleep”? In the present paper, following a two-tier analysis of the notion of dialogue, as “shared exploration towards greater understanding, connection, or possibility,” and as a product of our “collective intentionality,” I shall develop a bifurcated argument. Against the cynic pundits, who preach that realpolitik and (...) not dialogue is the name of the game in our daily interactions with each other, I shall argue that in an increasingly pluralistic world, dialogue is a powerful and indispensable means for making desirable changes. Similarly, against the over-enthusiastic optimists who believe that dialogue provides us with a magical wand, I shall argue that dialogue is as good as we can make it: dialogue cannot work miracles in a vacuum of collective will. The upshot of my argument is that firstly, dialogue is an indicator of the rationality and maturity of the social actors: the more rational the social actors the more ubiquitous and effective the dialogue and vice versa. And secondly, although, dialogue itself may lead to frustration or even violence, it is the absence of dialogue that poses the greatest danger for the future of mankind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.1 (2001) 21-37 [Access article in PDF] Conscience and the Concealments of Metaphor in Hobbes's Leviathan Karen S. Feldman Introduction Conscience is not a topic of terribly heated debate in Hobbes research. 1 Nevertheless, my claim in this article is that conscience in the Leviathan, which Hobbes poses as an example of the dangers of metaphor, is not merely an example of the dangers of (...) metaphor, but rather is the most dangerous metaphor, the metaphor that corrupts knowledge and thereby makes error and deception possible. Hobbes's brief account of conscience, which appears in the chapter of Leviathan on the ends of discourse, tells the story of the insinuation of metaphor into proper nomenclature; however, his example of the metaphorical use of the word conscience turns the story into one in which public knowledge itself is made private and thereby corrupted. Moreover, according to the story, private conscience is itself invented by means of a metaphor; it is in effect metaphorized into being. 2 With the emergence of private conscience, the potential of privatization expands from the privatization of the meaning of words to an entire private sphere of opinion. The metaphorical corruption of conscience invents a new understanding of knowledge as isolated from other witnesses, and the resultant privatization of truth lends itself to the corruption of that truth. Thus, whereas Hobbes characterizes the wrong use of names (of which metaphor is an instance) as a threat to accurate judgment and reason (L 22-23, 34, 161-62), as I will argue in the sections following, Hobbes's demand for the preservation of proper meaning in Leviathan corresponds to an anxiety regarding privacy and its peculiar potential for corrupting truth and knowledge. Hobbes's worries as to the dangers that metaphor poses to the stability of the commonwealth thereby converge with his worries about the dangers of conscience to the principle of public authority (cf. Strong 1993). [End Page 21] Hobbes's condemnations of conscience In Leviathan, conscience is condemned as a source of principles of human decision and action in a commonwealth. The problem with conscience as a principle of action is that it renders each individual inventor of his own rules and judge of his own actions. In brief, individual conscience is incommensurable with the public authority that defines a commonwealth: Another doctrine repugnant to civil society, is, that whatsoever a man does against his conscience, is sin; and it dependeth on the presumption of making himself judge of good and evil. For a man's conscience, and his judgment is the same thing, and as the judgment, so also the conscience may be erroneous. Therefore, though he that is subject to no civil law, sinneth in all he does against his conscience, because he has no other rule to follow but his own reason; yet it is not so with him that lives in a commonwealth; because the law is the public conscience, by which he hath already undertaken to be guided. Otherwise in such diversity, as there is of private consciences, which are but private opinions, the commonwealth must needs be distracted, and no man dare to obey the sovereign power, further than it shall seem good in his own eyes. (L 311) In this account, conscience is not just inferior to civil law as a principle guiding action, but at odds with civil society and the good of the commonwealth. The fact that conscience is private renders it problematic for the commonwealth for several reasons: First, as privately invented, it may be erroneous. Likewise, because it is private, conscience does not possess any binding power outside the individual, private sphere. Each person may be bound by his own conscience, but insofar as consciences differ, standards of action differ, and this leads to the undermining and distraction of the commonwealth. Likewise, private consciences may be divergent from one another, and the conflicts in private judgment produce conflicting actions that disturb the peace of the commonwealth. This rule of privacy is, moreover, associated with primitive life and with the state of nature... (shrink)

Alarm over the prospect that prenatal diagnostic techniques, which permit identification of fetal sex and facilitate abortion of healthy but unwanted female fetuses has led some to urge their outright prohibition. This article argues against that response. Prenatal diagnosis permits timely action to preserve and enhance the life and health of fetuses otherwise endangered, and, by offering assurance of fetal normality, may often encourage continuation of pregnancies otherwise vulnerable to termination. Further, conditions in some societies may sometimes (...) render excusable the inclination to abort certain healthy female fetuses. In places where abortion for fetal sex alone is recognised as unethical, however, medical licensing authorities already possess the power to discipline, for professional misconduct, physicians who prescribe or perform prenatal diagnosis purely to identify fetal sex, or those who disclose fetal sex when that is unrelated to the fetus's medical condition. (shrink)

One of the most pertinent sites of investigation in Fanon studies is the question of how Fanon theorizes the imbrication of gender with that of race and colonialism. For many, his silence or disavowals, whether explicit or implicit, allow an uncritical masculinism to slip into his theories of subjectivity, subjugation, and revolution. This article contributes to these discussions by arguing that for Fanon, gender and race are colonial technologies rather than natural sites of experience. Bringing together (...) Fanon's recently translated clinical writings and his political essay on the revolutionary roles of Algerian women in the war against French colonization, it is possible to see how Fanon theorizes the French imposition of gender norms as attempts to engineer the social reproduction of a marginalized and racialized population. In short, gender is an implicitly racialized technology in French colonial society whose aim is the naturalization of political and sexual arrangements of power that justify the continuation of French occupation. Fanon works to demystify gender and race as technologies so that the colonized may seize them in the interest of their own liberatory invention. (shrink)

Christmas gives us that 'sweet little Jesus Boy' and Lent follows that with the 'gentle Jesus, meek and mild.' He was neither of those. In point of fact, he was the 'tough guy from Nazareth.' He was consistently abrasive, if not abusive, to his mother (Lk 2:49; Jn 2:4; Mt 12:48) and aggressively hard on males, particularly those in authority. In Mark 8 he cursed and damned Peter for failing to get Jesus' esoteric definition of Messiah correct. (...) Nobody else understood it either. Jesus had made it up himself and not adequately explained it to anybody until then. He called the religious authorities snakes, corrupt tombs, filthy chinaware, fakes, and Mosaic legalists who had forgotten God's real revelation of universal grace and salvation in the Abraham Covenant. He tore up the temple in the middle of a worship service and cursed those present for turning God's house of prayer into a den of thieves, when actually they were kind, helping out-of-town tourists obtain the proper sacrifices for the liturgical rituals. Jesus was persistently aggressive, often angry and not infrequently irrational, killing an innocent fig tree with his curse, for example. He constantly attacked the Pharisees and their proposals for renewing the spiritual vitality of the Jewish Community. He abused numerous people by healing them on the Sabbath just to make his political point against the religious leaders. He could just as well have healed them on Tuesday, if he really wanted to heal them. By healing the blind man in John 9 on the Sabbath, for example, he caused the man to be driven out of his synagogue, his family, and his community of faith; isolated and abandoned as if he were a leper. Even when he said surprising things about children, his focus was not on the children but on his disciples, using the children as tools for making an assertive teaching point. Jesus' life was one of perpetually aggressive claims for his vision of God's reign. He constantly and intentionally provoked conflict and disruption of the status quo, spiritually and politically. He refused to negotiate, compromise, palliate, or mollify his insistence upon keeping his elbow perpetually in the eye of the people in power. In all this he would not back down. The principle by which Jesus operated was absolute and that is why he did not back down, even though they killed him for this very reason. His principle was simply that the renewal of Jewish spirituality could only come from a return to the Abrahamic Covenant, which declared (Gn 12; Rm 8) that God is gracious and universally forgiving towards all humankind, unconditional to our conduct and behaviour, and radically in that it removes all fear, guilt, and shame from the equation of our relationship with God (Mi 7:18-20). He saw that the Pharisees and Scribes were absolutely wrong in assuming that the Mosaic legal system would renew the Jewish relationship with God. He was not the gentle Jesus, meek and mild. He was that tough guy from Nazareth! He had good reason and he was willing to go the distance for what he stood for, even to death on the cross. (shrink)

This paper explores the Eichmann trial in its dimension as a living, powerful event, whose impact is defined and measured by the fact that it is "not the same for all." I examine this legal event from two perspectives: Hannah Arendt's and my own. I pledge my reading against Arendt's, in espousing the State's vision of the trial, but in interpreting the legal meaning of this vision us one that exceeds its own deliberateness and distinct from (...) the State's ideology. I use Nietzsche's terms to contrast "critical history" with "monumental history." Whereas the official State vision of the trial is, I propose, precisely one of "monumental history, " Arendt's vision offers a substitutive "critical history." I analyze, one against the other, what I call the monumental legal vision of the Eichmann trial and the critical vision offered by Arendt. Exploring thus the monumental versus the critical as two opposed but non-exclusive and, in fact, profoundly complementary perspectives, I examine, side by side, the Eichmann trials' monumental focus on the victims and Arendt's critical objections to this focus: her objections, I show, are based in a jurisprudential conservatism coexisting with a historiographical radicalism. The Eichmann trial, in my view, is on the contrary and diametrically, historiographically conservative, but jurisprudentially revolutionary. I argue that Arendt failed to see the way in which the trial in effect did not simply repeat the victim's story, but historically created it for the first time. I submit, in other words, that the Eichmann trial legally created a radically original and new event: not a rehearsal of a given story, but a groundbreaking narrative event that is itself historically and legally unprecedented. Examining the trial's transformation of victims into prosecution witnesses, I analyze the victim-oriented focus of the trial as s legal process of translation of private traumas into public ones and as a public scene of the recovery of language and legal subjecthood by victims who were formerly defined by the oppressor's language and who were, therefore, not just injured, but essentially robbed of a language in which to articulate their injury and name their victimization. I argue that the Eichmann trial expanded the space available for moral deliberation in creating a new legal language: the trial was the victim's trial only insofar as it was now the victims who, against all odds, were precisely writing their own history. To enable such a writing, the Eichmann trial had to enact not simply memory, but memory as change. It had to dramatize upon its legal stage before the audience nothing less than a conceptual revolution in the victim. And this, in fact, is what the trial did This historically unprecedented revolution in the victim that was operated in and by the Eichmann trial is, I suggest, the trial's major contribution not only to Jews, but to history, to law, to culture - to humanity at large. I further argue that as a singular legal event, the Eichmann trial calls for a rethinking - and sets in motion a transvaluation - of the structures and the values of conventional criminal law. I submit that the quintessence of the Eichmann trial is the acquisition of semantic authority by victims. It was the newly acquired semantic and historical authority of this revolutionary story that, for the first time, created what we know today as the Holocaust: a theme of international discussion and world conversation designating the experience of the victims and referring to the crime against the Jewish people independently from the political and military story of the Second World War. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Lily of the Valley, or Love as Breathing in the ScentChantal Jaquet (bio)The Lily of the Valley, published by Balzac in 1836, can be considered as a standard in olfactory literature since the novel is entirely built on the perception of odors and the central role of breathing in romantic relationships. As the title indicates, it is in the floral and olfactory registers that the essence of (...) love expresses itself. Perfume presides over the birth of love, the recognition of the other, and the definition of the woman's identity. We can read it as a poetics of breathing that tells another story and re-enchants the world. The Lily of the Valley offers a powerful antidote to the impediments to breathing nowadays. I try here to interpret it like an ode celebrating another way of inhaling the world through love and perfumes.Love at first scentThe Lily of the Valley tells the story of the platonic love of a young man, Felix, for a married woman, Madame de Mortsauf. From the beginning, their first meeting takes place under the auspices of breath and perfume. During a party, Felix, who is extremely bored, finds refuge on an abandoned bench; a woman, taking him for a child, sits next to him. Felix is then immediately drawn to the stranger's perfume and is pulled out of his sullen torpor to feel an unparalleled fascination:Immediately, I smelt a woman's fragrance which shone in my soul as oriental poetry was to shine later. I looked at my neighbour and was more dazzled by her than I had been by the ball.(15)Perfume thus triggers love and becomes the very essence of the beloved woman. Before he perceives any visual detail, Felix is flooded with an olfactory emotion, which will be taken over and amplified by the poetic evocation of the Orient and its fragrances. The woman's scent, which re-enchants his morose universe, dazzles him with its brilliance and eclipses vision by taking possession of its attributes. It is only afterward that he begins to examine the shoulders, bosom, and hair of the woman with the luminous perfume. It is the act of inhaling her perfume that triggers his [End Page 34] love at first sight and wrests the following confession from him: "All of a sudden, I was in love" (16).This primacy of olfaction and breathing continue to hold true in the absence of the beloved when the latter is no longer smelled, but simply evoked: "At the thought that my queen-elect lived in Touraine I breathed the air with delight [...]" (16). The feelings that develop even before a second meeting takes place do not belie the first romantic olfactory sensation, but strengthen it following a process of crystallization that transforms the soulmate into a fragrant flower. The stranger, under the influence of Felix's poetic imagination, becomes the lily of the valley, a symbol of beauty and purity. Despondent over the disappearance of the woman he loves, whose name he does not even know, the young man, pressured by his family to seek distraction, travels to Touraine, to the Château de Frapesle, to stay with a friend of his mother's. He discovers a magnificent valley near Montbazon, which, in his eyes, can only be where his beloved resides. Here we see the perspicacity of the lover who picks up the scent of his beloved and sees her face in the landscape:She lived there. My heart had not misled me. [...] She was, as you already know, though you know nothing yet, THE LILY OF THIS VALLEY, where she grew for Heaven, filling it with the perfume of her virtues.(18)The olfactory dimension of the lily prevails here over floral vision. It is the perfume of her virtues exhaled in the valley that defines the beloved permanently and immemorially, and makes her into a celestial creature with the odor of sanctity. The use of the imperfect tense in "she was the lily" evokes the magic of a love story that seems like a fairy tale. She was the lily, because once upon a time there was a woman who... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A CRITICAL NOTE ON THOMAS MORRIS'S THE LOGIC OF GOD INCARNATE 1 KEVIN L. FLANNERY, S.J. Campion HaU Oxford, England PROFOUND philosophical puzzle lies at the center of traditional Christian docbrine: hmv a person (the second person of the Trinity) who is omniscient, omnipotent, omnipresent, etc., can have become human, given that humans are limited in knowledge, beset with '\Veaknesses, and in some sense spatially circumscribed. Unless this (...) belief in the Incarnation is to he dismissed as pious sentimentality, a philosophical case must be made for at least the possible rationality of the idea. A mol'e than valiant attempt at such a case has been made by Thomas Morris. Indeed, although it claims only to be arguing that the idea of God Incarnate is not impossible-and even acknowledges some agreement with Peter Geach's claim that natural reason cannot even establish the non-contradictoriness of the Incarnation-The Logic of God Incarnate, by means of the clarity of its arguments and the calm assurance with which its author successfully confronts the preponderance of modern philosophical argumentation against the Incarnation, manages to put the traditional doctrine in a quite plausible,light. A large part of the power of Morris's arguments lies in a number of almost common-sensical distinctions which he draws ea:rly on. His wielding of these distinctions is deft and sure. 1 Ithaca and London: Cornell University Pr11,ss, 1986. Pp. 220. $19.95 (hardcover). 141 142 KEVIN L. FLANNERY, S.J. He does not crack nuts, he slips his keen knife into their seams, and they fall open. Take for instance a problem proposed by A. D. Smith: If Christ is God, then he cannot have begun to exist at a certain point in human history because God (and his Son) are necessarily eternal. But then nothing can count as a man, a creature, which does not have a beginning in time and which is thus coeval with God.2 Smith concludes, of course, that the Son could not!have become man. Underlying his argument, however, as Morris points out, is the unwarranted assumption that beginning to exist in human history is an essential characteristic of humans -is part of what it means rto "count as a man." Indeed, considered on its own, i.e., independent of theofogical considerations, to say tha.t human beings ·as a matter of essence have 1beginnings is almost a truism. But theologians are hy no means forced to accede to Smith's conclusions since it is possible to draw ·a distinction between essential human properties :and common ones. At the present moment it is correct to say that an human beings have spent at least a portion of their lives on planet Earth. This is a property common to all humans. A hundred years from now, however, it may very well he the case that some humans, having spent :their entire lives on the moon or in some spaice station, will never have set foot on Earth. " Earth-dwelling," therefore, while a common pmperty of present day humans, cannot be an essential property. By simply identifying the property "having hegun to exist at a cerfain point in history " as similarly common but not essential, Morris permits orthodox Christian theologians to assert that t:he Son of God (who has existed for all time) became fully (i.e., essentially) a man. Drawing another (though connected) distinction, he asserts that Jesus Christ, aJ.though fully human, was not merely human. That is, although he possessed aill the properties which 2A. D. Smith, "God's Death," Theology, 80 (July, 1979)): 265; quoted in Morris, p. 62. THOMAS MORRIS'S THE LOGIC OF GOD INCARNATE 143 are essential to being human, he was not limited to these but possessed in addition properties essential to a category of persons aboV'e the human: Godly properties. A mere human possesses "limitation properties " such as that adduced by Smith. We are merely human because we have haid a beginning in history. But no orthodox Christian theologian has ever rurgued that Jesus Christ was merely a man; indeed, that would.be to hold the heresy known as PsilantJhropism. The former distinction has some very... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Overcoming Greed:An Eastern Christian Perspective1Valerie A. KarrasAs an Eastern Orthodox Christian, I have chosen to approach the topic of "overcoming greed" from an Eastern Christian perspective, relying particularly on the writings of some of the early theologians of the Greek East. It is not coincidental either that laissez-faire capitalism arose in the Western Christian world, or that the first strongholds of communism developed in Eastern (...) European, traditionally Orthodox, countries. Both phenomena speak to an intrinsic difference in the way in which human beings are conceived as relating to the world and to each other, both personally and communally.The traditional Eastern Christian model of the human person as not simply caretaker of creation, but fundamentally as a mediator uniting all aspects of creation in humanity's own nature,2 has led historically to a general lack of interest in exploiting creation (in fact, the worst environmental problems in the Orthodox world occurred in countries after they came under totalitarian communist domination). Similarly, the Eastern Orthodox emphasis on the relational, and even communal, nature of salvation created an environment hostile to the individualist, exploitative model upon which modern Western economics has been founded (this has been rapidly changing in post-communist Eastern European countries and Russia, however).The Eastern Church identifies this phenomenon of exploitative and abusive relationships toward nature and other persons as a consequence of the fallen condition of humanity, that is, humanity as it currently exists, in a state where our natural communion with God has been ruptured. In this context, Christianity in general and Eastern Christianity in particular recognize greed as one of the passions (equivalent to what Buddhism describes as "cravings") that are part of our fallen human nature, a consequence of our separation from God. Some of the passions are primarily physical in nature, others emotional or psychic, but in fact virtually all passions are a combination of the two.Greed, a passion of both soul and body that is endemic to our current existence, is typical of this understanding. There are two aspects to the vice of greed: (1) the emotional or spiritual dimension, that is, the acquisitive lust that usually betokens either a deep-seated insecurity or, worse, a desire for power and control; and (2) the [End Page 47] external, physical manifestations of greed in the actual acquisition of things, often to the detriment or exploitation of others. Eastern Christian writings attempt to work on both dimensions of the passion of greed, especially the spiritual, while often distinguishing between greed (a moral vice) and wealth (an amoral condition).This article will focus on two early church theologians, Clement of Alexandria and John Chrysostom. In particular, it will focus on their biblical exegeses of two pertinent New Testament passages: Jesus' conversation with a young righteous scholar of the Mosaic Law and the parable of Lazarus and the rich man, respectively. Finally, I will suggest that, for Orthodox Christians, an important key to overcoming greed is disciplined asceticism, to be practiced by all persons and not simply by monks and nuns. Asceticism—the exercise of control over the passions through fasting, prayer, chastity (understood differently for married and unmarried persons), and almsgiving—is the vehicle by which to cultivate an attitude of apatheia or passionlessness, the Christian equivalent of the Buddhist ideal of detachment.Clement was a philosopher-theologian who headed the great Christian catechetical school in Alexandria in the late second century C.E. In his treatise Who IstheRich ManWhoWill Be Saved? 3 Clement mused on the spiritual and soteriological dimensions of greed by reflecting on Jesus' encounter with the wealthy young "lawyer," that is, scholar of the Mosaic Law, who questioned Jesus on how to acquire eternal life. In his response, the young man showed himself righteous in his adherence to the demands of the law, but ultimately unwilling to commit all of himself by giving away his property, even though Jesus said that it was the price to inherit eternal life.Clement pondered whether it were therefore possible for anyone wealthy to be saved, given Jesus' declaration that "it is easier for a camel to go through the eye of a needle than for a rich man... (shrink)

Toni Morrison suggests that storytelling is a highly effective way of structuring knowledge, and that the harnessing of a clever allegory, the search for well-patterned language is a constant, provocative engagement with the contemporary world. This article considers the ways poetry, imagination, and well-patterned language are utilized in the philosophies of Ralph Waldo Emerson, Richard Rorty, and Leonard Harris. The author notes that there are apparent similarities between Rorty and Harris, but one should also notice that (...) there are significant differences in these two philosophical positions. The author ultimately argues that Harris's move toward poetry and well-patterned language is extremely powerful and needed if people wish to move beyond a well-established set of values and norms. Harris prods us to tell thought-provoking, engaging stories—to intricately tuck knowledge into allegory and well-patterned language—but do it without being an apologist for the prevailing bourgeois liberal democratic tradition. In this manner, the harnessing of metaphor and clever allegory, the creative engagement with poetry and well-patterned language (in philosophy) is a provocative means of engaging the oppression, dispossession, and immiseration of the contemporary world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.1 (2001) 21-37 [Access article in PDF] Conscience and the Concealments of Metaphor in Hobbes's Leviathan Karen S. Feldman Introduction Conscience is not a topic of terribly heated debate in Hobbes research. 1 Nevertheless, my claim in this article is that conscience in the Leviathan, which Hobbes poses as an example of the dangers of metaphor, is not merely an example of the dangers of (...) metaphor, but rather is the most dangerous metaphor, the metaphor that corrupts knowledge and thereby makes error and deception possible. Hobbes's brief account of conscience, which appears in the chapter of Leviathan on the ends of discourse, tells the story of the insinuation of metaphor into proper nomenclature; however, his example of the metaphorical use of the word conscience turns the story into one in which public knowledge itself is made private and thereby corrupted. Moreover, according to the story, private conscience is itself invented by means of a metaphor; it is in effect metaphorized into being. 2 With the emergence of private conscience, the potential of privatization expands from the privatization of the meaning of words to an entire private sphere of opinion. The metaphorical corruption of conscience invents a new understanding of knowledge as isolated from other witnesses, and the resultant privatization of truth lends itself to the corruption of that truth. Thus, whereas Hobbes characterizes the wrong use of names (of which metaphor is an instance) as a threat to accurate judgment and reason (L 22-23, 34, 161-62), as I will argue in the sections following, Hobbes's demand for the preservation of proper meaning in Leviathan corresponds to an anxiety regarding privacy and its peculiar potential for corrupting truth and knowledge. Hobbes's worries as to the dangers that metaphor poses to the stability of the commonwealth thereby converge with his worries about the dangers of conscience to the principle of public authority (cf. Strong 1993). [End Page 21] Hobbes's condemnations of conscience In Leviathan, conscience is condemned as a source of principles of human decision and action in a commonwealth. The problem with conscience as a principle of action is that it renders each individual inventor of his own rules and judge of his own actions. In brief, individual conscience is incommensurable with the public authority that defines a commonwealth: Another doctrine repugnant to civil society, is, that whatsoever a man does against his conscience, is sin; and it dependeth on the presumption of making himself judge of good and evil. For a man's conscience, and his judgment is the same thing, and as the judgment, so also the conscience may be erroneous. Therefore, though he that is subject to no civil law, sinneth in all he does against his conscience, because he has no other rule to follow but his own reason; yet it is not so with him that lives in a commonwealth; because the law is the public conscience, by which he hath already undertaken to be guided. Otherwise in such diversity, as there is of private consciences, which are but private opinions, the commonwealth must needs be distracted, and no man dare to obey the sovereign power, further than it shall seem good in his own eyes. (L 311) In this account, conscience is not just inferior to civil law as a principle guiding action, but at odds with civil society and the good of the commonwealth. The fact that conscience is private renders it problematic for the commonwealth for several reasons: First, as privately invented, it may be erroneous. Likewise, because it is private, conscience does not possess any binding power outside the individual, private sphere. Each person may be bound by his own conscience, but insofar as consciences differ, standards of action differ, and this leads to the undermining and distraction of the commonwealth. Likewise, private consciences may be divergent from one another, and the conflicts in private judgment produce conflicting actions that disturb the peace of the commonwealth. This rule of privacy is, moreover, associated with primitive life and with the state of nature... (shrink)