The Renaissance has long been recognized as a brilliant moment in the development of Western civilization. Little attention has been devoted, however, to the distinct contribution of philosophy to Renaissance culture. This volume introduces the reader to the philosophy written, read, taught, and debated during the period traditionally credited with the "revival of learning." Beginning with original sources still largely inaccessible to most readers, and drawing on a wide range of secondary studies, the author examines the relation of (...) Renaissance philosophy to humanism and the universities, the impact of rediscovered ancient sources, the recovery of Plato and the Neoplatonists, and the evolving ascendancy of Aristotle. Renaissance Philosophy also explores the original contributions of major figures including Bruni, Valla, Ficino, Pico della Mirandola, Pomponazzi, Machiavelli, More, Vitoria, Montaigne, Bruno, and Camapanella. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often (...) resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often (...) resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

A ‘renaissance of the university’ in the European knowledge society is regarded today as a necessity. However, there is an ongoing debate about what that renaissance should look like. The aim of this article is to take a closer look at these debates, and in particular, the disputes related to the public role of the university in the European knowledge society. The aim however is not to assess the validity of the arguments of each of the protagonists but (...) to place the discussion within a broader socio-historical context. From a genealogical point of view, and drawing upon the work of Foucault and Hunter, it is possible to distinguish two kinds of milieu, each embodying their own “intellectual technology” and each leading to a specific conception of the public role of the university: firstly the principled milieu, and secondly the governmental milieu. From this genealogical point of view, I will argue that the modern university was from the very beginning a hybrid institution due to the claims and scopes of both milieus. Furthermore, I will argue that the current discussions reveal the ongoing influence of both milieus and their respective gazes and approaches. (shrink)

Cet article se propose d’analyser la notion d’exercice telle qu’elle est pensée dans les traités d’art maniéristes de la seconde moitié du XVIe siècle en Italie ; il procède à une reconstitution des théories de l’exercice ainsi qu’à une explicitation de leurs sources philosophiques (aristotélisme, néoplatonisme…). Pour les maniéristes, l’art est une disposition subjective qui s’acquiert par l’habitude ; la pratique du dessin est supposée apporter à l’artiste une aisance qui concerne autant sa dextérité manuelle que l’acuité de son jugement. (...) En acquérant un « jugement de l’œil », l’artiste doit apprendre à « savoir voir », afin de pouvoir adapter les règles générales aux situations particulières les plus complexes, comme l’homme prudent d’Aristote. Le dessin, en particulier, est l’occasion pour l’artiste d’affiner et d’enrichir son regard en corrigeant ses erreurs. La grâce, qui est une « facilità nella difficoltà » censée émanée de cette pratique assidue du dessin, implique en outre une forme d’authenticité par rapport à soi-même, l’artiste respectant et cultivant ses tendances naturelles et personnelles. C’est dans ce contexte, où l’art devient vertu et engage la vie entière de celui qui le pratique, que l’exercice du dessin devient un exercice de soi, par lequel l’artiste se forme, se questionne, se perfectionne. (shrink)

At any time, basic assumptions about language have a direct effect on the writing of history. The structure of language is related to the structure of knowledge and thus to the definition of historical reality, while linguistic competence gives insights into the relation of ideas and action. Within the framework of these ideas, and drawing on recent work in linguistic theory, including that of the French structuralists. Professor Struever studies the major shift in attitudes toward language and history which the (...) Renaissance represents. One of the essential innovations of Renaissance Humanism is the substitution of rhetoric for dialectic as the dominant language discipline; rhetoric gives the Humanists their cohesion as a lay intellectual elite, as well as the force and direction of their thought. The author accepts the current trend in classical studies, the rehabilitation of the Sophists which finds its source in Nietzsche and includes the work of Rostagni, Untersteiner, and Buccellato, to reinstate rhetoric as the historical vehicle of Sophistic insight. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

In Italy, notably Florence, the late fourteenth and the fifteenth centuries witnessed the proliferation of texts that discuss the relationship between the mirror and painting. In them, the mirror is closely associated with major innovations of the time such as naturalistic representation and linear perspective. On a technical level, the authors describe the mirror's function in the painting of self-portraits and recommend it be used to draw foreshortened objects more easily and to judge the quality of finished paintings. The technical (...) aspects often lead over to theoretical considerations such as the limitations of perspective, the origins of painting, the analogy between the mirror image and the painted image, and the concept that the mind of the painter resembles a mirror. The fact that these texts do not mention the concave mirror projection method described by Hockney and Falco speaks strongly against its use in the early Renaissance. (shrink)

The argument set out here provides a new understanding of the methods followed by the Renaissance architect Andrea Palladio for depicting the monuments of classical antiquity—in both his drawings and the plates of his seminal architectural treatises, the Quattro libri dell’architettura. It accepts the now-established view that Palladio’s early studies were frequently copied from the drawings of previous practitioners, but it reasons that his later output was also heavily dependent on past achievements. This is contrary to the claims Palladio (...) made in the Quattro libri, which contend that his drawings were based on surveys he had carried out himself, and to the confirmatory presumptions of modern-day scholars. The article first examines the ancient temples Palladio illustrated in the treatise, and observes that they have numerous features that are unsupported by the archaeological record but are also seen either in Palladio’s earlier copy drawings or in the graphic works of his predecessors or contemporaries. Secondly, it considers Palladio’s drawings of bath complexes, which remained unpublished only because of his death, noting that some of them are still reckoned to be invaluable and reliable records of then-accessible remains that Palladio was able to inspect but no longer exist. The conclusion here, however, is that his reconstructions were again based on earlier surveys that he judged dependable, but which he often then adapted and adjusted in line with his personal preferences. The article then continues with a discussion of his probable debts to older architects such as Michele Sanmicheli and Antonio da Sangallo the Younger, and his relationship with his contemporary Pirro Ligorio, whose drawings are often markedly similar to Palladio’s. It concludes by considering whether Palladio’s coverage of ancient architecture reveals the extent of such knowledge at the midpoint of the sixteenth century. (shrink)

This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might (...) call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance. (shrink)

© by Journal of the History of Ideas. Federico Commandino can be considered the personification of the renaissance of mathematics in sixteenth-century Italy. Previous scholars have generally reduced the philosophy of mathematics developed by Commandino in the preface to his translation of Euclid’s Elements to a superficial synthesis of Neoplatonic and Aristotelian elements. Until now, no attention has been paid to Commandino’s use of the sixth-century commentary on Aristotle’s De Anima by John Philoponus. In his article I will argue (...) that, in depicting imagination as a mental drawing board for geometrical figures, Commandino directly relies on Philoponus’s concept of mathematical imagination. (shrink)

This collection offers a set of new readings on the history, meanings, and cultural innovations of the grotesque as defined by various current critical theories and practices. Since the grotesque frequently manifests itself as striking incongruities, ingenious hybrids, and creative deformities of nature and culture, it is profoundly implicated in early modern debates on the theological, philosophical, and ethical role of images. This consideration serves as the central focus from which the articles in the collection then move outward along different (...) lines of conceptualization, chronology, cultural relevance, place, and site. They cover a wide spectrum of artistic media, from prints to drawings, from sculptures to gardens, from paintings to stuccos. As they do this, they engage with, and bring together, theoretical perspectives from writers as diverse as Plato and Paleotti, Vitruvius and Vasari, Molanus to Montaigne. Whether travelling a short distance from Nero's Domus Aurea to Raphael's Vatican logge, or across the ocean from Italy to New Spain, this volume goes further than any previous study in defining the historic understanding of grotesque and, in so doing, providing us with a more nuanced resource for our understanding of an art form once viewed as peripheral. (shrink)

Drawing on the classical concept of rhetorical _dispositio_, this study gives new interpretations of a number of literary texts of the French Renaissance. The often problematic ordering of these texts is studied from a variety of perspectives, historical, theoretical and cultural.

Reveals the diverse ways that cognition was seen as spread over brain, body and world in the 9–17th centuries - The second book in an ambitious 4-volume set looking at distributed cognition in the history of thought - Includes essays on literature, philosophy, law, art, music, medicine, science and material culture - For students and scholars in medieval and Renaissance studies, cognitive humanities and philosophy of mind - Draws out what was distinctive about medieval and Renaissance insights into (...) (and superstitions about) the cognitive roles of the body and environment - Examines how humanities topics are affected by new insights from the cognitive sciences This collection explores how medieval and Renaissance practices and ideas reveal the expression (and suppression) of cognition as distributed across brain, body and world. As many of the texts and practices have influenced later Western European societies and cultures, this book reveals vital stages in the historical development of our attempts to comprehend and optimise the distributed nature of cognition. (shrink)

This chapter uncovers a less investigated aspect of the relationship between the two most important scholastic schools of the Renaissance, Thomism and Scotism: the influence of Scotist literature on distinctions as seen in some sixteenth-century Thomists. The chapter has a primary focus on Chrysostomus Javelli’s engagement in his discussion of divine attributes with the Scotist doctrine of distinctions, but also considers other Thomist sources. First, the beginnings of the highly specialised Scotist literature on distinctions are traced back to the (...) start of the fourteenth century; I show how some early followers of Duns Scotus, in particular Francis of Meyronnes and Petrus Thomae, systematised Scotus’ ontology of the various grades of being by compiling lists of subtle distinctions to be applied to various levels of reality. I give some indications as to the later reception of these models of distinctions in the Scotist school. Special attention is paid to Étienne Brulefer, since his summary of Petrus Thomae’s model of seven distinctions was Javelli’s source for the Scotist doctrine. I then investigate how Javelli worked with Brulefer’s summary, and how he sought to integrate the Scotist doctrine into his own discussion of divine attributes. Thomists traditionally allowed only a rational or mental kind of distinction among divine attributes, and between them and the divine essence. Javelli, however, endeavours to show how the Thomist position may be reconciled with the Scotist doctrine of a formal or ex natura rei distinction. He did not always endorse this conciliatory approach; I hypothesise that he changed his mind on the subject over time. Finally, I show how other Renaissance Thomists reacted to the Scotist system of distinctions; in particular, I draw attention to the Thomists Andreas Bodenstein von Karlstadt, Bartolomeo Manzoli, and Mattia Gibboni da Aquario, who all wrote treatises on Thomist distinction theory modelled on the Scotist system of distinctions. In some of this literature, lists of distinctions based on Thomist metaphysics were compiled in order to replace the Scotist system. I argue that Javelli’s approach is more conciliatory and, in fact, has some overlap with the concordist thought of Giovanni Pico della Mirandola, who himself considered Scotus and Aquinas to be in fundamental agreement as regards the distinction between divine attributes. (shrink)

Drawing on personal experience, the author discusses the vicissitudes of Jewish identity formation in the last two decades of Communist Poland and the first two decades which followed. He addresses the role of religion in the Jewish revival which occurred in that period, and sets it against other models of Jewish identity – Zionist, Yiddishist and assimilationist - on one hand, and the twin pressures of anti- and philosemitism in Polish society at large. This discussion is placed within the broader (...) framework of the Polish political transformation. He finally suggests that the survival and revival of the Jewish community in Poland offers a more general lesson for the continuation of Jewish peoplehood. (shrink)

The perfect compass, used by al-Qūhī, al-Sijzī and his successors for the continuous drawing of conic sections, reappeared after a long eclipse in the works of Renaissance mathematicians like Francesco Barozzi in Venice. The resurgence of this instrument seems to have depended on its interest to solve new optico-perspective problems. Having reviewed the various instruments designed for the drawing of conic sections, the article is focused on the sole conic compass. Theoretical and empirical applications are detailed. Contrarily to the (...) common thesis of an independant discovery, various elements suggest a direct descent between the birkār al-tāmm of the Arabic mathematical tradition and the Italian conic compass. Then we present the most probable transmission hypothesis involving: 1° Ibn Yūnus and his disciples of Mosul, 2° Sultan Malik al-Kāmil in Damas, 3° Master Theodore and Frederick II at the court of Sicily, 4° Andalò di Negro and Robert of Anjou in Naples, 5° Lorenzo della Volpaia, Vinci, Sangallo and Michelangelo in Florence, 6° Ausonio, Contarini, Thiene and Francesco Barozzi in Venice. (shrink)

In the late English Renaissance, writers as varied as Shakespeare, Hooker, Bacon, and Hobbes problematically engaged the traditional idea of order and helped define a new, secular one. In this intellectual history, Collins treats the idea of order as a dynamic concept which incorporates changing views of self, society, and the relationship between private and public during these years. He sees this as a process of meaning redefinition that simultaneously heightens and comes to terms with the dissolution of the (...) old idea of order; the self-consciously articulated concept of the representative sovereign state replaces the vision of the divine cosmos as the medium for identity and social order. Collins draws on a wide range of political, literary, and other contemporary writings to chart this process--now associated with secularization --providing a provocative analysis of social and intellectual change. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:80 HISTORY OF PHILOSOPHY Gilson often contrasts the God of Aquinas, who is esse, with the God of Augustine, who is essentia. This difference in terminology is taken as emphasizing the essentialist character of Augustine's thought. However, Professor Anderson maintains that essentia should not be regarded as equivalent to the Thomistic notion of essence. F,ssentia is derived, according to Augustine, from esse and is most equivalent to the Thomistic (...) ens. Hence, according to Anderson, Augustine was not ignoring or slighting the factor of existence when he referred to God as essentia. Once again, Anderson's point is valid only if we grant that esse meant "to exisff' for Augustine and could not be interpreted as meaning "to be unchangeable." That there is any doubt that esse meant "to exist" for Augustine seems to be ruled out by Anderson (p. 40). One of Anderson's most interesting theses is the suggestion that the Augustinian distinction between being and non-being is substantially the same as the Thomistie distinction between essence and existence. For Augustine God alone is esse itself, while all creatures are limited by non-esse, i.e., they share in both esse and non-esse. Similarly, for Aquinas only God is esse itself, while all creatures merely possess esse. It is evident that for both philosophers the distinction between what is esse itself and what is not csse itself provides an important way of distinguishing between God and creatures. How much more alike the two distinctions are will depend on how the notion of esse is interpreted by Augustine and Aquinas. One problem is bound to arise: If for Aquinas the "proportionality" of being is to be found in the relationship between esse and essentia in ens, while for Augustine essentia ---- ens, then either Augustine does not have a Thomistic notion of the analogy of being or it must be shown what Augustine 's equivalent for the Thomistic essentia would be. Non-being does not seem adequate for such a role. A good portion of Professor Anderson's essay is devoted to discussing Augustinian metaphysics precisely in the areas in which Gilson claims that Augustine's essentialism creates problems for Augustine the Christian. These include the problems of proving the existence of God, creation and the nature of participation. It is pointed out that many of Augustine's remarks which have frequently been supposed to be of Neoplatonic inspiration are in fact based upon Scripture as far as the Saint is concerned. Although I find some portions of his essay obscure, on the whole I should say that Professor Anderson's study is quite exciting and a considerable challenge to those who are tempted to draw striking contrasts between the "essentialism" of Augustine and the "existentialism" of Aquinas. BRUCE GARSIDE McGiU University Eight Philosophers o] the Italian Renaissance. By Paul Oskar Kristeller. (Stanford, California: Stanford University Press, 1964.Pp. ix -~ 194.$5.00.) The eight chapters constituting the main body of this volume, devoted in succession to Petrarch, Valla, Ficino, Pieo, Pomponazzi, Telesio, Patrizi, and Bruno, are based on the Arensberg Lectures which were delivered by Professor Kristeller in 1961 at Stanford University. Footnotes and bibliographical references have been added, and as an appendix there is included an essay on "The Medieval Antecedents of Renaissance Humanism" which, though delivered as a lecture on several occasions, is here printed for the first time. The purpose of the series of eight lectures, as Kristeller indicates in his short preface, was "to give a brief survey of Italian thought during the Renaissance period". The aspects of Italian Renaissance thought, represented by the authors selected for discussion, are those traditionally described as humanism, Florentine Platonism, Paduan Aristotelianism, and speculative philosophies of nature. As representatives of the humanist movement Petrarch and Valla are selected, not merely because of their prominence but in order to make clear that Renaissance humanism cannot be identified with preference for a particular philosophical tradition. Petrarch preferred Plato to Aristotle, Augustine to Aquinas, and Cicero and Seneca to the Epicureans, whereas Valla preferred the Epicurean philosophy to that of the Stoics or Platonists, and appealed to Quintilian more than to Cicero in his proposals for a reform of... (shrink)

Girolamo Cardano's writings on medicine reflect both the complexity and diversity of the Renaissance medical world and the breadth of his own interests. This book draws on selected themes of in Cardano's medical writings to explore the relation between medicine and Renaissance.

This article introduces the little-known humanist Pompeo Pazzaglia of Bologna. Drawing on the evidence of two collections of his works preserved in miscellaneous manuscripts, it not only reconstructs his biography, but also showcases a selection of his Neo-Latin poems, published and translated here for the first time. Moreover, it publishes some letters and writings which provide new information about book history as well as social, cultural and political events in mid-fifteenth-century Italy, especially in the ambit of Pomponio Leto’s Roman Academy, (...) the papal curia and the court of Naples. Pompeo’s previously unstudied writings yield unique insights into such diverse subjects as the decoration and symbolism of the Roman Pantheon and the Palazzo di San Marco, the marriage of Ippolita Maria Sforza and King Ferrante in Naples, the death of Jacopo Piccinino and the fall of Negroponte to the Ottomans. This study therefore makes a valuable contribution to scholarship on early Renaissance humanism in Rome and Aragonese Naples. (shrink)

Maggie Günsberg explores the intersection between gender portrayal and other social categories of class, age and the family in the Italian theatre from the Renaissance to the present day. She examines the developing relationship between patriarchal strategies and the formal properties of the dramatic genre such as plot, comedy and realism. She also considers conventions specific to drama in performance, including images of both femininity and masculinity. An interdisciplinary approach, drawing on semiotics, psychoanalysis, philosophy, theories of spectatorship and dramatic (...) theory from a feminist perspective, informs Günsberg's critique of landmarks in Italian theatrical history, including work by Machiavelli, Ariosto, Goldoni, D'Annunzio and Pirandello. The book concludes with a chapter on the plays of Franca Rame, assessing the impact of this important figure on contemporary Italian theatre. (shrink)

In discussions of arts and culture, food and drink are often relegated to the realms of mere decoration or mere necessity. However, like the term taste, which begins as one of the five senses but comes to be understood as the most sweeping term for human sensibility, eating and drinking can also be fundamental aesthetic experiences. In this book, author Leonard Barkan covers millennia of Western aesthetic and cultural activity, tracing the history of eating and drinking across literature, art, philosophy, (...) statecraft, religion, and historiography. Drawing on a myriad of historical and analytic perspectives, Barkan demonstrates how the materials of the dining table, the flavor and pleasure of food, and hunger and satiety are central to life and culture. He explores what it means to "read for the food" in works of art, literature, and philosophy, and demonstrates the central role that food played in Roman civilization. He examines the deeply culinary qualities of the Hebrew Bible and the New Testament, the relationship between food and drink and the culture of the Renaissance, and the literal acts of consumption that are endowed with sacred significance. By uncovering the gastronomic underplot in cultural and artistic works, Barkan proposes an interdisciplinary approach to the relation between sense experience and aesthetic experience, and considers what it means to move from the margins to the center in a study of culture. (shrink)

The mathematical nature of modern science is an outcome of a contingent historical process, whose most critical stages occurred in the seventeenth century. ‘The mathematization of nature’ (Koyré 1957 , From the closed world to the infinite universe , 5) is commonly hailed as the great achievement of the ‘scientific revolution’, but for the agents affecting this development it was not a clear insight into the structure of the universe or into the proper way of studying it. Rather, it was (...) a deliberate project of great intellectual promise, but fraught with excruciating technical challenges and unsettling epistemological conundrums. These required a radical change in the relations between mathematics, order and physical phenomena and the development of new practices of tracing and analyzing motion. This essay presents a series of discrete moments in this process. For mediaeval and Renaissance philosophers, mathematicians and painters, physical motion was the paradigm of change, hence of disorder, and ipso facto available to mathematical analysis only as idealized abstraction. Kepler and Galileo boldly reverted the traditional presumptions: for them, mathematical harmonies were embedded in creation; motion was the carrier of order; and the objects of mathematics were mathematical curves drawn by nature itself. Mathematics could thus be assigned an explanatory role in natural philosophy, capturing a new metaphysical entity: pure motion. Successive generations of natural philosophers from Descartes to Huygens and Hooke gradually relegated the need to legitimize the application of mathematics to natural phenomena and the blurring of natural and artificial this application relied on. Newton finally erased the distinction between nature’s and artificial mathematics altogether, equating all of geometry with mechanical practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Pretexts of Authority: The Rhetoric of Authorship in the Renaissance PrefaceSteven RendallPretexts of Authority: The Rhetoric of Authorship in the Renaissance Preface, by Kevin Dunn; xii & 198 pp. Stanford: Stanford University Press, 1994, $32.50.This study is of broader interest than its title might suggest; it engages many of the current issues in literary and cultural studies, and does so with exceptional intelligence. Drawing on Jürgen (...) Habermas’s notion of “the public sphere” and recent research on the history of private life, Dunn focuses on prefatory rhetoric in order to study the ways in which writers of the sixteenth and seventeenth centuries struggled to establish their authority, to define themselves as authors and to regulate their relations with their readers. As they challenged collapsing medieval models of authority, Dunn argues, Renaissance writers had to invent different strategies of self-presentation and discursive legitimation, developing in the process the Renaissance conception of authorship, and eventually a new model of intellectual activity in the service of the public good. [End Page 181]The first part of the book discusses Luther’s effort to ground an oppositional discourse in a personal narrative of suffering and redemption, and Milton’s later recognition of himself as a “member incorporate” of a (Puritan) body for which he can speak as a representative; these represent two termini of the development of Protestant prefatory rhetoric. The second part traces a parallel development in “scientific” writers (Descartes, Bacon, Hobbes, Locke, Sprat), moving from the Cartesian effort to ground science in a personal narrative of discovery to Bacon’s institutionalization of science and Hobbes’s theory of representation based on “common sense.”These chapters offer many insights that deserve close attention. However, since I lack space here to discuss each of them in detail, I will mention only a few points that suggest the wider implications of Dunn’s study. First: he is alive to the role of the body in prefatory rhetoric, as a “private” proof of spiritual authority (in Paul), as a flawed textual corpus (in Luther), and as a model of the body politic (in Hobbes and others). Second: he challenges—correctly, in my view—Foucault’s famous claim about the role of “penal appropriation” in the development of the modern conception of the author, arguing that “texts, books, and discourses begin to need authors at the moment when their transgression itself seeks institutionalization. In other words, it is when the subversive discourse finds itself on the brink of empowerment, of articulating something more than a negative critique of reigning orthodoxies, that the authority of the author becomes necessary” (p. 10). Third: he describes the conflict in Renaissance authors between self-authorization and the desire to prevent readers from following their example—that is, they strive both to open up and to shut off a discursive potential—and offers a subtle account of the persistence of this desire, in the form of the claim to authorial ownership, in writers fully involved in the literary marketplace. Fourth: most of the authors examined here are not traditionally regarded as “literary”; Dunn is casting a broader net, including theological, philosophical, political, and scientific writing, and this is, of course, very much in the spirit of the times—both of our own, and that of the writers discussed. For as Dunn observes, the modern notion of “literature” arises sometime around the end of the Period with which he is concerned in this book—and, perhaps, as a result of the development he describes in it. He argues that “with science having secured its discursive boundaries through the complementary myths of objectivity and public utility, literature became the new site for working out the completing claims of public and private. It is at such a site that literature begins to emerge as an independent category, a place crucial for cultural and political negotiations” (p. 16). As Dunn shows, this is reflected in the way late seventeenth-century French and English prefaces abandon advocacy for critical judgment, handing down sentences based on publicly accepted, secular norms.This fine, illuminating, readable book makes a stimulating contribution to our understanding of the history of cultural authority.Steven RendallUniversity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:80 HISTORY OF PHILOSOPHY Gilson often contrasts the God of Aquinas, who is esse, with the God of Augustine, who is essentia. This difference in terminology is taken as emphasizing the essentialist character of Augustine's thought. However, Professor Anderson maintains that essentia should not be regarded as equivalent to the Thomistic notion of essence. F,ssentia is derived, according to Augustine, from esse and is most equivalent to the Thomistic (...) ens. Hence, according to Anderson, Augustine was not ignoring or slighting the factor of existence when he referred to God as essentia. Once again, Anderson's point is valid only if we grant that esse meant "to exisff' for Augustine and could not be interpreted as meaning "to be unchangeable." That there is any doubt that esse meant "to exist" for Augustine seems to be ruled out by Anderson (p. 40). One of Anderson's most interesting theses is the suggestion that the Augustinian distinction between being and non-being is substantially the same as the Thomistie distinction between essence and existence. For Augustine God alone is esse itself, while all creatures are limited by non-esse, i.e., they share in both esse and non-esse. Similarly, for Aquinas only God is esse itself, while all creatures merely possess esse. It is evident that for both philosophers the distinction between what is esse itself and what is not csse itself provides an important way of distinguishing between God and creatures. How much more alike the two distinctions are will depend on how the notion of esse is interpreted by Augustine and Aquinas. One problem is bound to arise: If for Aquinas the "proportionality" of being is to be found in the relationship between esse and essentia in ens, while for Augustine essentia ---- ens, then either Augustine does not have a Thomistic notion of the analogy of being or it must be shown what Augustine 's equivalent for the Thomistic essentia would be. Non-being does not seem adequate for such a role. A good portion of Professor Anderson's essay is devoted to discussing Augustinian metaphysics precisely in the areas in which Gilson claims that Augustine's essentialism creates problems for Augustine the Christian. These include the problems of proving the existence of God, creation and the nature of participation. It is pointed out that many of Augustine's remarks which have frequently been supposed to be of Neoplatonic inspiration are in fact based upon Scripture as far as the Saint is concerned. Although I find some portions of his essay obscure, on the whole I should say that Professor Anderson's study is quite exciting and a considerable challenge to those who are tempted to draw striking contrasts between the "essentialism" of Augustine and the "existentialism" of Aquinas. BRUCE GARSIDE McGiU University Eight Philosophers o] the Italian Renaissance. By Paul Oskar Kristeller. (Stanford, California: Stanford University Press, 1964.Pp. ix -~ 194.$5.00.) The eight chapters constituting the main body of this volume, devoted in succession to Petrarch, Valla, Ficino, Pieo, Pomponazzi, Telesio, Patrizi, and Bruno, are based on the Arensberg Lectures which were delivered by Professor Kristeller in 1961 at Stanford University. Footnotes and bibliographical references have been added, and as an appendix there is included an essay on "The Medieval Antecedents of Renaissance Humanism" which, though delivered as a lecture on several occasions, is here printed for the first time. The purpose of the series of eight lectures, as Kristeller indicates in his short preface, was "to give a brief survey of Italian thought during the Renaissance period". The aspects of Italian Renaissance thought, represented by the authors selected for discussion, are those traditionally described as humanism, Florentine Platonism, Paduan Aristotelianism, and speculative philosophies of nature. As representatives of the humanist movement Petrarch and Valla are selected, not merely because of their prominence but in order to make clear that Renaissance humanism cannot be identified with preference for a particular philosophical tradition. Petrarch preferred Plato to Aristotle, Augustine to Aquinas, and Cicero and Seneca to the Epicureans, whereas Valla preferred the Epicurean philosophy to that of the Stoics or Platonists, and appealed to Quintilian more than to Cicero in his proposals for a reform of... (shrink)

aspirations, the rise of western monasticism was the most note worthy event of the early centuries. The importance of monasteries cannot be overstressed as sources of spirituality, learning and auto nomy in the intensely masculinized, militarized feudal period. Drawing their members from the highest levels of society, women's monasteries provided an outlet for the energy and ambition of strong-willed women, as well as positions of considerable authority. Even from periods relatively inhospitable to learning of all kinds, the memory has been (...) preserved of a good number of women of education. Their often considerable achievements and influence, however, generally lie outside even an expanded definition of philo sophy. Among the most notable foremothers of this early period were several whose efforts signal the possibility of later philosophical work. Radegund, in the sixth century, established one of the first Frankish convents, thereby laying the foundations for women's spiritual and intellectual development. From these beginnings, women's monasteries increased rapidly in both number and in fluence both on the continent and in Anglo-Saxon England. Hilda (d. 680) is well known as the powerful abbsess of the double monastery of Whitby. She was eager for knowledge, and five Eng lish bishops were educated under her tutelage. She is also accounted the patron of Caedmon, the first Anglo-Saxon poet of religious verse. The Anglo-Saxon nun Lioba was versed in the liberal arts as well as Scripture and canon law. (shrink)

Cet article se propose d’analyser la notion d’exercice telle qu’elle est pensée dans les traités d’art maniéristes de la seconde moitié du XVIe siècle en Italie ; il procède à une reconstitution des théories de l’exercice ainsi qu’à une explicitation de leurs sources philosophiques. Pour les maniéristes, l’art est une disposition subjective qui s’acquiert par l’habitude ; la pratique du dessin est supposée apporter à l’artiste une aisance qui concerne autant sa dextérité manuelle que l’acuité de son jugement. En acquérant (...) un « jugement de l’œil », l’artiste doit apprendre à « savoir voir », afin de pouvoir adapter les règles générales aux situations particulières les plus complexes, comme l’homme prudent d’Aristote. Le dessin, en particulier, est l’occasion pour l’artiste d’affiner et d’enrichir son regard en corrigeant ses erreurs. La grâce, qui est une « facilità nella difficoltà » censée émanée de cette pratique assidue du dessin, implique en outre une forme d’authenticité par rapport à soi-même, l’artiste respectant et cultivant ses tendances naturelles et personnelles. C’est dans ce contexte, où l’art devient vertu et engage la vie entière de celui qui le pratique, que l’exercice du dessin devient un exercice de soi, par lequel l’artiste se forme, se questionne, se perfectionne. (shrink)

The beginning of the fifteenth century marks a new stage in the reception of the Platonic dialogues in the Latin West. Throughout the medieval period only four dialogues of Plato--the Timaeus, Phaedo, Meno, and part of the Parmenides--were accessible to Latin readers, and the study of Plato was almost wholly confined to the first of these texts, which is chiefly concerned with natural philosophy. In the first half of the fifteenth century this situation changed dramatically: six new dialogues or parts (...) of dialogues were translated by Leonardo Bruni, the Republic was translated three times, George of Trebizond made versions of the Laws, the Epinomis, and the Parmenides, and a dozen other dialogues were made available in Latin by various other translators. With the work of Marsilio Ficino, who published in 1484 the first translation of the Complete Works, the translation activity of the fifteenth century come to fruition. ;The renewed interest in translating Plato in the early fifteenth century was not however at first a renewal of Platonism. The translation of Plato made part of a cultural program whose premisses were in fact foreign to Platonic thought; Plato was instead put to the task of showing that pagan literature was compatible with Christianity, or read as a wise sage full of melodious maxims in usum scholarum, or so twisted as to endorse with his authority some political belief of the translators. These ulterior motives had their influence on the translations themselves, which were frequently excerpted, bowdlerized, or otherwise expurgated of inappropriate sentiments. Such philosophical understanding of Plato as the early humanists displayed was derived from the Philosophica of Cicero. ;It is only with the Plato-Aristotle controversy of mid-century that some more sophisticated understanding of Platonic philosophy begins to emerge. Despite the central role Plato played in his apocalyptic theology, George of Trebizond does not seem to have had a very firm grasp of Platonic thought, but his opponent in the controversy, Cardinal Bessarion, was able to draw upon the philosophical sagacity of the Byzantine and Western scholastic traditions, and produced a more penetrating, if at times incoherent, interpretation of Plato's thought. It is only with Marsilio Ficino however that philosophical understanding was combined with the philological attainments necessary to produce a respectable translation of Plato, and this may account for the great success Ficino's translations enjoyed in subsequent centuries. (shrink)

In this essay I revisit The Prince and the Discourses and argue that across the design of these two texts on the theme of conspiracy Machiavelli constructs an ambush on Medici princes. I reconsider Mary Dietz's (1986), and Langton's and Dietz's (1987) suggestion that Machiavelli's The Prince was a deceptive political act through an exploration of the link Dietz and Sheldon Wolin (2004) draw between Machiavelli's method and Renaissance artistry. I suggest that Machiavelli applied a one-point linear perspective – (...) a scientific and visual method of pictorial representation and geometrical modelling that emerged for the first time in the Renaissance – to the political field. I test this hypothesis on the theme of conspiracy in Machiavelli’s work by arguing that The Prince ultimately presents one vantage point – that of the prince – while the Discourses offers another – that of the conspirators. I argue that a blind spot is created by these two texts when they are jointly considered: conspirators seduced, recruited, and trained by the Discourses eliminate a prince caught off guard for having followed the advice on conspiracy in The Prince. (shrink)

The renaissance of Aristotelian virtue ethics has produced an extensive philosophical literature that criticizes markets for a lack of virtues. Drawing on Michael Sandel’s virtue-ethical critique of price gouging during natural disasters, we (1) identify and clarify serious misunderstandings in recurring price-gouging debates between virtue-ethical critics and economists. Subsequently, (2) we respond to Sandel’s call for interdisciplinary dialogue. However, instead of solely calling on economics to embrace insights from virtue ethics, we prefer a two-sided version of interdisciplinary dialogue and (...) argue that virtue ethics should embrace economic insights. In particular, we argue that if virtue ethics is to preserve its social relevance under modern conditions, it should re-conceptualize its notion of virtue and re-evaluate the self-interested but effective—and in this sense solidary—help among strangers via markets as virtuous rather than devaluate it as greed, that is, as vicious price gouging. (shrink)

Drawing primarily upon Dante’s three major philosophical treatises (De vulgari eloquentia, Convivio, and Monarchia), this essay explores how Dante’s ethico-political philosophy operates within the crucial tension between the phenomenology of time as the condition for the possibility of human moral development and yet also as, metaphysically speaking, the privation and imitation of eternity. I begin by showing that, in the De vulgari eloquentia, Dante’s understanding of the poetic and rhetorical function of the illustrious vernacular is tied to his political philosophy (...) in a way that depends upon a rich but ultimately unresolved tension between (a) the demand that only an atemporal, unchanging vernacular would be suitable for the tasks of universal monarchy and (b) the recognition that only a temporal, localized, and changing illustrious vernacular could possibly bring about the existence of the universal monarchy. In the second half of the essay, I will turn to Dante’s treatment of the providential grounding for the independence of spiritual and temporal authority in Convivio and Monarchia. I will argue that Dante’s understanding of divine providence provides common justification for the temporal and spiritual authorities whose independence he otherwise insists upon. Finally, drawing on the letter to Cangrande della Scala (the authorship of which is disputed), I will discuss how, for Dante, the providential ground for the legitimacy of temporal authority can only be discerned through the allegorical interpretation of history itself. In light of my discussion of these themes in Dante’s political philosophy and its dependence on his understanding of divine providence, I will conclude with a brief reflection on how Dante’s understanding of divine providence might help us better appreciate important aspects of the neglected legacy of Renaissance humanism in the history of early modern philosophy. (shrink)

This essay argues that what is provoking about Ibn Rushd today is not his stance on such topics as the eternity of the world, God's knowledge of singular things, or the immortality of the soul. It is rather his radical philosophical elitisim, i.e., his view that every religion has room for philosophy, but only for the few - the majority must simply follow holy writ and leave all questioning and allegorical interpretation to those few individuals who possess sufficient training in (...) apodictic thinking. I start out with chapters on Salman Rushdie and his view of Ibn Rushd in the novel Two Years, Eight Months and Twenty-Eight Nights and the reception of Ibn Rushd in the Latin scholastic tradition. I then switch to Ibn Rushd’s biography and the context of his work in Almohad Andalusia. I provide an overview of the development of Islamic philosophy up until Ibn Rushd. I then, in five chapters, offer a detailed reading of his fatwa in defense of philosophy (called the Decisive Treatise). I conclude with some general remarks on the relationship between metaphysics and politics in Ibn Rushd’s works, drawing parallels to other thinkers both in the Islamic and in the Western tradition. The book ends with a selection of Danish-language translations of texts by Ibn Rushd that were translated into Latin during the Middle Ages and the Renaissance (his Letter to a friend concerning God’s knowledge of singular things, the last chapter of the Incoherence of the Incoherence, and commenta 5 and 36 from the Commentary on De anima III). (shrink)

From ancient Greece to Renaissance Italy to the Modern period, the classical ideal, with its elusive goal of perfecting nature, has held a tenacious grip on Western culture. Nowhere has its hold on the artistic imagination been more pervasive than in France between the seventeenth and nineteenth centuries. The art and life of Raphael formed the bedrock of the classical tradition in French art, yet no comprehensive study of Raphael's impact on the art theory, criticism, and practice of classicism (...) exists. This book fills that gap. Transcending limited notions of artistic influence, the book demonstrates that Raphael had as much impact as a symbol as he did as a paradigm of the classical tradition. Focusing on French art and theory from the classical to the Romantic era, _Raphael and France_ is part of the ongoing revision of views of that period which has been taking place for the last twenty years. The book demonstrates that the shifts from classical to Rococo to neoclassical aesthetics were not as abrupt or as all-encompassing as has been assumed. By tracing the continuity and transformation of the classical ideal, with Raphael's art and image as central paradigms, Rosenberg achieves a broader, more accurate, and comprehensive view of French artistic developments during this period. Rosenberg draws on careful readings of primary sources, including the correspondence and lectures of the French Academy, some of which are unpublished; most of the major theoretical treatises by French and foreign authors; and contemporary criticism and works of art. In the process, he strikes a methodological balance between traditional art-historical approaches and insights provided by more contemporary approaches, such as semiotics and post-structuralism. As the notion of isolated genius as the prime force in art has given way to a broader, more contextual view of art and history, interest in past traditions once regarded as outmoded or dead has grown tremendously. This book makes a timely contribution to this widening area of inquiry. (shrink)

This paper draws a correlation between the experience of consumerism portrayed in the critique of Alexander and Baudrillard and in the theory of plenitude derived from Renaissance literature. It draws parallels between features of the modern and antique sensibilities. It suggests that the e-commerce practitioner manipulates a modern economy informed by a cosmology which depicts imagery capable of interpretation in terms of conceptions derived from archaic themes. These are drawn from the High Renaissance and relate to Neoplatonism which (...) is in turn linked to Renaissance occult philosophy. Ecommerce metaphors display these aspects; and thereby both hook into, and valorise — rendering liminal — the experiential dimension of the consumer, and its incipient tensions between desire anticipated and that achieved. The article suggests how the populist magic of consumerism is not only facilitated by e-commerce but how that magic arose at a pre-modern, intellectualist level. From a philosophical perspective, readers will note the inter-relationship of earlier bodies of thought to contemporary management theories of e-commerce. Academics or practitioners interested in e-commerce or e-business are offered a fresh and radical interpretative perspective on these areas, which expresses a novel role for metaphor in terms of linking features of pre-modern and modern conceptions of reality, aslant the subjective absorption of figurative images of a textual derivation. (shrink)

Petrić motivira svoj pokušaj deheleniziranja filozofije i kršćanske teologije činjenicom da su oko četiri stotine godina nakon »starih teologa«, koji su bili pod utjecajem Platonove filozofije, skolastički teolozi počeli u teologiju uvoditi Aristotelovu filozofiju i uzimati njegove »bezbožnosti« kao temelje vjere. Ispričava ih što nisu poznavali niti mogli poznavati stare teologe jer nisu znali grčki i stoga su im bili nepoznati Platonovi i Aristotelovi izvorni tekstovi u kojima se ti stari mudraci spominju. Ne oprašta im, međutim, što su pokušali »bezbožnošću (...) poduprijeti pobožnost«. Stoga Petrić nastoji pokazati da je Aristotel našao sve problemske motive svoje metafizike, fizike i etike u prastarih egipatskih i kaldejskih mudraca, i to najvećim dijelom posredovanjem Platona. Isto tako nastoji pokazati kako je spomenute probleme Aristotel preformulirao, pretumačio u duhu starogrčkog jezika i duha, ali djelomično i prešućivao.Heideggerov analogni noviji pokušaj dehelenizacije filozofije i kršćanske teologije polazi od teze o »zaboravu pitanja o bitku«, odnosno o »smislu bitka«. Taj »zaborav« skrivila je tradicionalna metafizika koja je tretirala bitak kao »najopćenitiji« i stoga »najrazumljiviji« pojam i na taj način dispenzirala filozofiju da ponovo promišlja pitanje o bitku. Pitanje o bitku blokirala je metafizika i time što je bitak tretirala kao »biće« i navela teologiju da i Boga tretira kao »biće«, doduše kao »najviše«, ali ipak kao biće. To je omogućilo da se teologija razumije kao »pozitivna« znanost i time se uvrsti među druge »pozitivne« znanosti. Heideggerov motiv da »destruira« tradicionalnu metafiziku jest da usmjeri mišljenje prema njegovoj zaboravljenoj bitnoj zadaći, a time i teologiju da se, oslobođena od tradicionalne metafizike, uputi novim putovima.Najnoviji poticaj kritičkom tematiziranju dehelenizacije kršćanske vjere, i uopće europskog duha, dao je teolog i sadašnji papa Joseph Ratzinger, posebno u svom predavanju na Sveučilištu u Regensburgu, u kojem je desetak puta kritički apostrofirao dehelenizaciju. Podvrgnuo je kritici tri vala dehelenizacijskog programa u kršćanskoj teologiji: od izgona metafizike iz teologije u Reformaciji, preko historiziranja u liberalnoj teologiji 19. i 20. stoljeća, do brisanja tragova helenizacije kršćanske vjere u ideji inkulturacije. Ratzinger podvrgava kritici ograničavanje uma , započeto matematizacijom europske znanosti u renesansnom platonizmu, koje je Kant kanonizirao. Posljedice toga ograničavanja uma nisu relevantne samo za kršćanstvo koje teži suprotnome, tj. proširenju uma , nego i za zapadnoeuropski duh u cjelini.Petrić’s attempt at dehellenizing philosophy and Christian theology was motivated by the fact that about four centuries after the “ancient theologians”, who were influenced by Plato’s philosophy, scholastic theologians began to introduce Aristotle’s philosophy into theology and adopt his “impieties” as the foundations of faith. He justifies their ignorance and inability to learn about the ancient wise men by the fact that they had no knowledge of Greek and were thus not familiar with the original texts of Plato and Aristotle in which the wise men were mentioned. He does not forgive them, however, for trying to “support piety by impiety”. Thus Petrić attempts to demonstrate how Aristotle found all the problem motives of his metaphysics, physics and ethics in the wise men, drawing mostly upon Plato. He also attempts to show how Aristotle reformulated the mentioned problems, reinterpreted them in the spirit of the old Greek language and thought, but also ignored some of them.Heidegger’s more recent similar attempt at dehellenizing philosophy and Christian theology is grounded on a thesis of the “neglect of the question of being” – that is, the “meaning of being”. This “neglect” is the result of traditional metaphysics which treated being as “the most general” and thus “the most understandable” notion, and in such a way dispensed philosophy to reconsider the question of being. The question of being was blocked by metaphysics in that it treated being as an “entity”, prompting theology to treat God as an “entity” as well, though “the supreme” but still an entity. This led to the understanding of theology as a “positive” science and its eventual classification among the “positive” sciences. Heidegger’s motive to “destroy” traditional metaphysics is to stream thought towards his forgotten major goal, and thus prompt theology, once freed from traditional metaphysics, to seek new strands.The most recent attempt at critical thematization of dehellenization of Christian faith and European spirit in general has been made by the theologian and present pope, Joseph Ratzinger, particularly in his lecture delivered at the University in Regensburg in which he repeatedly criticized dehellenization. Three stages of dehellenization program in Christian theology are the subject of his criticism: from the banishment of metaphysics from theology in the Reformation, through historization in liberal theology of the nineteenth and twentieth century to the erasing of the traces of Hellenization of Christian faith in the idea of inculturation. He also argues against mind limitation started by mathematization of European science in Renaissance Platonism and canonized by Kant. The consequences of mind limitation are not only relevant to Christianity which strives towards the very opposite – broadening of the mind , but to the Western spirit on the whole. (shrink)

This article draws on the perspectives opened up by two recent collective volumes, one dedicated to the Tabula Aurea and the Concordantiae textuum discordantium [...] Thomae Aquinatis produced in the 15th century by Peter of Bergamo, and completed by his confrere Ambrose ‘de Alemania’ (Mario Meliado / Silvia Negri [Hrsg.], Widerspruche und Konkordanz. Peter von Bergamo und der Thomismus im Spatmittelalter), and the other focusing the tradition of the Summistae, i.e. the Renaissance and modern commentators on the Summa theologiae (...) of Thomas Aquinas (Lidia Lanza and Marco Toste [eds], ‘Summistae’. The Commentary Tradition on Thomas Aquinas’ ‘Summa Theologiae’ from the 15th to the 17th Centuries). On this basis, I propose to examine the way in which certain genres and specific types of theological and philosophical writings can mark an often decisive shift in the content and orientation of a particular tradition of thought (in this case, the Thomist tradition). (shrink)

Western civilization since the Renaissance, argues Gray Cox, conceives of material things as objectively knowable and hence manipulable by the detached subject. We knowers are masters of nature. The presuppositions about how things are known and used also color our attitudes concerning human problems. Our culture is conflict centered. When we try to give substance to the concept of peace, we draw a blank: peace is the static absence of war. We do not bring peace to fruition because we (...) have no inkling of the kind of thought it requires. Cox shakes up our habitual ways of thinking in order to give peace a chance. The ways of peace are activities in which subjects mutually engage with openness to understanding. We grow in intersubjective community by working together. (shrink)

Western civilization since the Renaissance, argues Gray Cox, conceives of material things as objectively knowable and hence manipulable by the detached subject. We knowers are masters of nature. The presuppositions about how things are known and used also color our attitudes concerning human problems. Our culture is conflict centered. When we try to give substance to the concept of peace we draw a blank: peace is the static absence of war. We do not bring peace to fruition because we (...) have no inkling of the kind of thought it requires. Cox shakes up our habitual ways of thinking in order to give peace a chance. The ways of peace are activities in which subjects mutually engage with openness to understanding. We grow in intersubjective community by working together. (shrink)

As an imprint of Confucian culture, China’s education intersects state governance in making and governing educational subjects as ‘talent’, an official translation of the Chinese term ‘rencai’ (literally, human-talent). Whereas the English word ‘talent’ itself denotes ‘[people with] natural aptitude or skill’, ‘talent’ is currently mobilized in China not only as a globalized discourse that speaks to the most aspired educational subjects for the 21st century but also as a re-invoked cultural notion that relates to Confucian wisdom. Drawing upon Foucault’s (...) biopower hypothesis and Confucian thought, this paper leverages upon China’s unique manipulation of ‘talent’ as certain skills and human subjects, both cultivable through education, to problematize China’s talent making and governing in two dimensions. First, it unpacks the various technologies of power entangled in China’s talent making and governing within its ‘state governance’ paradigm. Second, it unpacks Confucian thought as an archaeological prototype for China’s present talent appeal, meanwhile explicating their divergences in defining ‘human’, ‘talent’, and the human-talent interpellation. In so doing, this paper makes two arguments. First, the linguistic notion of ‘talent’ functions as a Foucauldian apparatus of biopower, making (up) new kinds of people and normalizing a certain population as the objective/object of China’s state governance. Second, CPC’s re-invocation of Confucian talent discourses is more of a rhetorical strategy than an authentic cultural renaissance gesture. (shrink)

Paul Ricoeur was one of the most important philosophers of the twentieth century. In this short and accessible book, he turns to a topic at the heart of much of his work: What is translation and why is it so important? Reminding us that The Bible, the Koran, the Torah and the works of the great philosophers are often only ever read in translation, Ricoeur reminds us that translation not only spreads knowledge but can change its very meaning. In spite (...) of these risk, he argues that in a climate of ethnic and religious conflict, the art and ethics of translation are invaluable. Drawing on interesting examples such as the translation of early Greek philosophy during the Renaissance, the poetry of Paul Celan and the work of Hannah Arendt, he reflects not only on the challenges of translating one language into another but how one community speaks to another. Throughout, Ricoeur shows how to move through life is to navigate a world that requires translation itself. Paul Ricoeur died in 2005. He was one of the great contemporary French philosophers and a leading figure in hermeneutics, psychoanalytic thought, literary theory and religion. His many books include Freud and Philosophy and Time and Narrative. (shrink)

The seventeenth century saw dramatic advances in mathematical theory and practice. With the recovery of many of the classical Greek mathematical texts, new techniques were introduced, and within 100 years, the rules of analytic geometry, geometry of indivisibles, arithmatic of infinites, and calculus were developed. Although many technical studies have been devoted to these innovations, Mancosu provides the first comprehensive account of the relationship between mathematical advances of the seventeenth century and the philosophy of mathematics of the period. Starting with (...) the Renaissance debates on the certainty of mathematics, Mancosu leads the reader through the foundational issues raised by the emergence of these new mathematical techniques, including the influence of the Aristotelian conception of science in Cavalieri and Guldin, the foundational relevance of Descartes' Geometrie, the relation between geometrical and epistemological theories of the infinite, and the Leibnizian calculus and the opposition to infinitesimalist procedures. In the process Mancosu draws a sophisticated picture of the subtle dependencies between technical development and philosophical reflection in seventeenth century mathematics. (shrink)

In a compelling chronicle of her search to understand Beauvoir's philosophy in The Second Sex, Margaret A. Simons offers a unique perspective on Beauvoir's wide-ranging contribution to twentieth-century thought. She details the discovery of the origins of Beauvoir's existential philosophy in her handwritten diary from 1927; uncovers evidence of the sexist exclusion of Beauvoir from the philosophical canon; reveals evidence that the African-American writer Richard Wright provided Beauvoir with the theoretical model of oppression that she used in The Second Sex; (...) shows the influence of The Second Sex in transforming Sartre's philosophy and in laying the theoretical foundations of radical feminism; and addresses feminist issues of racism, motherhood, and lesbian identity. Simons also draws on her experience as a Women's Liberation organizer as she witnessed how women used The Second Sex in defining the foundations of radical feminism. Bringing together her work as both activist and scholar, Simons offers a highly original contribution to the renaissance of Beauvoir scholarship. (shrink)

The author recounts some of the early history of what is now known as MBSR, and its relationship to mainstream medicine and the science of the mind/body connection and health. He stresses the importance that MBSR and other mindfulness-based interventions be grounded in a universal dharma understanding that is congruent with Buddhadharma but not constrained by its historical, cultural and religious manifestations associated with its counties of origin and their unique traditions. He locates these developments within an historic confluence of (...) two very different epistemologies encountering each other for the first time, that of science and that of the meditative traditions. The author addresses the ethical ground of MBSR, as well as questions of lineage and of skillful ?languaging? and other means for maximizing the possibility that the value of cultivating mindfulness in the largest sense can be heard and embraced and cultivated in commonsensical and universal ways in secular settings. He directly addresses mindfulness-based instructors on the subject of embodying and drawing forth the essence of the dharma without depending on the vocabulary, texts, and teaching forms of traditional Buddhist environments, even though they are important to know to one degree or another as part of one's own development. The author's perspective is grounded in what the Zen tradition refers to as the one thousand year view. Although it is not stated explicitly in this text, he sees the current interest in mindfulness and its applications as signaling a multi-dimensional emergence of great transformative and liberative promise, one which, if cared for and tended, may give rise to a flourishing on this planet akin to a second, and this time global, Renaissance, for the benefit of all sentient beings and our world. (shrink)

Five hundred years after his death, Niccolò Machiavelli still draws an astonishing range of contradictory characterizations. Was he a friend of tyrants? An ardent republican loyal to Florence’s free institutions? The father of political realism? A revolutionary populist? A calculating rationalist? A Renaissance humanist? A prophet of Italian unification? A theorist of mixed government? A forerunner to authoritarianism? The master of the dark arts of intrigue? This book provides a vivid and engaging introduction to Machiavelli’s life and works that (...) sheds new light on his originality and relevance. Gabriele Pedullà—a leading Italian expert and acclaimed writer—offers fresh readings of the Florentine thinker’s most famous writings, The Prince and the Discourses on Livy, as well as lesser-known texts. A new and often surprising Machiavelli emerges: one closer to his time but also better suited to inform our own. Pedullà’s portrait of Machiavelli highlights his close attention to social and emotional bonds, staunch opposition to oligarchy, keen awareness of the economic side of power dynamics, and strong preference for history over philosophy as a guide for leaders. This book recovers the excitement Machiavelli roused in his first readers for a twenty-first-century audience, capturing his capacity to provoke, both then and now, with unconventional ideas and startling insights. (shrink)

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that includes (...) the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that includes (...) the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

Descartes' Discourse marks a watershed in European thought; in it, the author sets out in brief his radical new philosophy, which begins with a proof of the existence of the self (the famous "cogito ergo sum"). Next he deduces from it the existence and nature of God, and ends by offering a radical new account of the physical world and of human and animal nature. Written in everyday language and meant to be read by common people of the day, it (...) swept away all previous philosophical traditions. This new translation is an ideal introduction to Descartes for the general reader. It is accompanied by a substantial introductory essay from Renaissance scholar Ian Maclean that is designed to provide in-depth historical and philosophical context. The essay draws on Descartes' correspondence to examine what brought him to write his great work, and the impact it had on his contemporaries. A detailed section of notes explain Descartes' philosophical terminology and ideas, as well as historical references and allusions. Any reader can feel comfortable diving in to this classic work of Renaissance philosophical thought. (shrink)

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)