All of Charles Thomas Taylor's previous writings have attempted to reveal the universal rational foundation that undergirds all of the various ethical, political, and economic systems that best nurture human existence. With a latent recognition that the presence of symbolism in other areas of human concern, such as in religion or the fine arts, essentially communicates ethical value, Taylor presents his new book to consider the current relevance or irrelevance of religion and art for the ethical life.

The character of the current controversy over geneticallymodified (GM) agriculture, typified by protesters' use of emotivesymbolism, has been largely inspired by the Green movement'snon-governmental organizations and political parties. This articleexplores the deeper philosophical and spiritual motivations of the Greenmovement, to inquire why it is implacably opposed to GM agriculture. TheGreen movement's anti-capitalism, exemplified by the hate-symbol statusof Monsanto as the company pioneering GM crops, is viewed within thewider context of alienation in the modern era. A complex of meanings isseen in (...) Frankenstein as the focal symbol of GM protests, includingperceptions of risk, fears of the remixing of living identities seen ingenetic engineering, and resentment at the spiritual nihilism of thereduction of life to the digital code of DNA. By contrast, RobertGoodin's Green Theory of Value, which postulates the deep psychologicalimportance of nature in locating the self in a meaningful context largerthan ourselves, can explain the power of the Green symbol of thethreatened environment, Gaia. The advent of GM agriculture seems toimply that capitalism and technology can now enframe nature itself,leaving a world devoid of natural myth or meaning, with no escape fromthe alienation and nihilism of modernity. The central question posed forprotagonists of the GM debate is whether their agenda is based on thesepowerful but mythical conceptions of the environment, or whetherpreservation of the real environment is their primary ethic. (shrink)

In this article the importance of the representational character of politics is illustrated on the basis of the philosophy of Kant. The vanishing of the noumenal in post-modern thinking seems to imply fundamental changes in the sensitive response – aesthetics of the beautiful and the sublime – to politics. In the Kantian paradigm the meaning of our affective response to the violence of (human) nature is ruled by a moral perspective of practical reason. Although the representation of practical (...) reason in the empirical is only possible in an indirect way by means of a schematism of analogy, the corresponding – subjectively teleological – aesthetic feelings both of harmony in the beautiful and of resistance in the sublime do symbolize in a reflective judgement the morally determined character and the objectively conceived teleology of nature in the system of rights of a single state as well as of the cosmopolitan world order. (shrink)

The disenchantment of 1848 -- The pessimistic view -- Science, the new god -- The bourgeois world -- The realism of Flaubert -- Optimistic realism -- Russian realism -- Social realism -- Social realism and socialist realism -- The continuing march of science -- The book of despair -- Life in the raw -- The natural history of morality -- Naturalism and moralism -- Painting: the impressionists -- A critique of naturalism -- Human nature in politics -- The natural (...) history of the soul -- The poet as seer -- The mystery of poetry -- A critique of symbolism -- Against the Grain -- The aesthetic ideal -- The decadence -- Some Wilde epigrams -- The influence of Richard Wagner -- Just before the war. (shrink)

During the precolonial period Zulu identity was based on a set of cultural markers defined by the royal family. But European linguists extended the borders of Zulu, as a written language, to include the peoples living to the south of the Tugela river in the colony of Natal. Folklorists, anthropologists, historians, and other social scientists, as well as European employers, adopted this view of the Zulu as a people or Volk. Following the defeat of the Zulu kingdom in 1879, and (...) the decline of the royal family, migrant workers increasingly returned home with this new notion of what it meant to be Zulu. This essentially European interpretation of the word was embraced and spread by Christian converts who, in the twentieth century, sought to mobilize an ethnic political following.Chief Mangosuthu Buthelezi has continued with this tradition. In his speeches he represents the Zulu in primordial terms as a bounded group that historically has occupied both Natal and the old precolonial kingdom. The bantustan of KwaZulu, delineated and defined by the policy of apartheid, is presented as the natural heir to the Zulu kingdom and the Inkatha Freedom Party is portrayed as the guardian of the essence of Zuluness. An attractive historical self-imagery encourages people to define themselves in an exclusive manner as Zulu. Firm values and standards provide an ontological security and a network of assistance for sons abroad. Through a martial imagery, Buthelezi has represented the seven million Zulu as historically the most powerful obstacle to white supremacy. But since the resurgence of nationalist politics in the mid-1980s, and especially since the democratization started in 1990, Inkatha has attempted to attract the Zulu as a people in opposition to the ANC and their allies. This has most visibly resulted in a violent struggle for power; but it has also led to a virulent struggle over what it means to be Zulu. (shrink)

In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...) our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise. (shrink)

The article focuses on the problem of constitutional symbolism in functionally differentiated societies and its relevance to legal, political, and moral systems. The first part analyses differences between the three systems and their constitutional context. The second part concentrates on the moral symbolic function of modern constitutions and its temporal dimension. It shows that the “good/bad” moral code of constitutions draws on expressive symbolism and transforms it into evaluative symbolism and dogma of morality. The final part analyses (...) the prospective character of modern constitution‐making and its symbolic selectivity regarding the past. The paper concludes by emphasising the systemic pluralisation effect of constitution‐making and the impossibility of constituting systems of “pure” law, morality, and politics. (shrink)

The paper deals with visions of Kyiv in the writings of Russian and Ukrainian émigré writers during the interwar period. The city became a focal point of intensive intellectual debate whose participants regarded Kyiv not only as a place of a recent battleground but also as a sacral place and a highly symbolic image. Within the methodological framework of ethnic symbolism, this study attempts to explain how this physical/symbolic dichotomy was used to reinforce continuing claims for historical origin and (...) cultural heritage, thus serving the contemporary purpose of national identity and political legitimacy. It also deploys the concept of displacement as a complex process of negotiation between homeland and hostland within an émigré community — whose sense of loss and identity crisis creates additional impetus, though in different forms, for exploiting historical narratives. (shrink)

Pigs have long held great symbolic import for the people of Vanuatu, a sprawling archipelago 1,000 miles northeast of Australia. In most of the indigenous, small-scale communities which comprised traditional Vanuatu society, pig ownership and pig killing conveyed status, wealth, and informal power. Such rituals were the sole measure of social standing and political rank. In this study, I show how the cultural valuation of an animal, in this case the pig, can evolve as a society undergoes socio-economic development, and (...) also how it can be used to foster nationalistic, partisan. and other political ends. I show how competing nationalist leaders used pig symbolism in their struggle to create a unified national identit_v,for-varying island groups, and how even today, local leaders derive their legitimacy through the manipulation of traditional animal rites. (shrink)

In this paper, I explore the ways in which human bodies, payback, and comestibility become inescapably entangled in cultures in which honor is the prevailing virtue. Shakespeare was deeply sensitive to the social and psychological processes through which these concepts become entwined when honor is at stake—to the ways in which, as a means of corrective response, men who transgress a code of honor can be rightly reduced to their bodies, similar to how those who are not allowed to be (...) full participants in an honor culture (most particularly women) always already are. I begin by examining Shakespeare’s earliest depictions of honor cultures in Titus Andronicus and The Rape of Lucrece, and then briefly discusses how the ideas they trade in are further developed and complicated later in his career, focusing specifically on Othello. -/- . (shrink)

In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...) has been largely denigrated within it: namely, that representation fundamentally depends on structural resemblance. Finally, I demonstrate how conceiving of artistic representation as grounded upon structural resemblances, rather than as a mode of meaningful communication, provides us with a more accurate picture of both (a) how music represents and (b) how we perceive and appreciate musical representations. (shrink)

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...) sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life. (shrink)

Anyone interested in the philosophy of music, especially popular music, should be familiar with Cristyn Magnus, P.D. Magnus, and Christy Mag Uidhir’s contempora.

This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...) of representation, such as the one I offer, have been much maligned in philosophy since the 1960s. Most theories assimilate representation under “meaning,” which has usually been thought to belong primarily to language. As a result, representational content has been taken to be purely conventional in the way that sentential meaning is. People want to know what music “means,” and these theories interpret this as “what does it refer to?” or “what propositions does it express?” I argue that propositional communication is only one (small) part of the issue. Once we overcome the bias of conceiving of musical works as essentially linguistic items, speech acts (performed) or sentence tokens (written), we can begin to take music on its own terms to discover how it represents—one way in which it “means.” The first step is to “naturalize” music’s representational content. Influenced by recent discussions in the philosophies of mind and science, I argue in Chapter 1 that composers represent extra-musical objects, events, and states of affairs through their works by exploiting antecedent relations (such as similarities in pitch, timbre, and structure) in order to secure reference to them. In Chapter 2, I survey and respond to the main challenges that those skeptical of music’s representational possibilities would raise against my theory of musical representation. In Chapter 3, I explore a number of ways through which music has been claimed to represent in order to show how my theory accounts for these diverse phenomena better than its conventionalist rivals, both in terms of the metaphysics and the epistemology. Chapter 4 extends this discussion by offering an account of how we perceive, understand, appreciate, and interpret sophisticated musical representations. I conclude by teasing out some of my theory’s implications and suggesting areas for further research. (shrink)

Based on an extended fieldwork, the paper discusses the construction of identity in a Brazilian quilombo - a term originally used by the Portuguese authorities to juridically define the flights of the Brazilian slaves. Appealing to a Constitutional Article granting the property of the land to the descendant of the fugitive slaves, the people of Frechal (Maranhão) obtained - after complex events overshadowed by tension and violence - the expropriation of the land bought by an entrepreneur of São Paulo with (...) the precise intent to forcibly expel the local population. Founding their right on an idea of cultural authenticity and mobilizing a symbolism capable of legitimating their claims and of giving them a legal weight, they transformed themselves from object of slavery, discrimination and racism to ethno-political subjects. Proceeding from the analysis of this paradigmatic case, the article shows how the term quilombo can be "re-semanticized" in order to be applicable to the contemporary situations of the Afro-Brazilian population. The actuality of the word, transferred from its original juridical meaning of colonial matrix, is founded on the idea that the quilombo s are not isolated survivals of the past to honor in the memory of the heroes that fought against slavery. Rather they represent true projects of a new political order, nuclei of the contemporary resistance founded on the collective property of the land. As such the quilombos are considered as real counterpoints to the neoliberal expansion in the rural areas. (shrink)

The symbolism introduced earlier provides a convenient vehicle for examining the status and consistency of Aristotle's three diverse justifications and for explaining how he means to avoid Protagorean relativism without embracing Platonic absolutism. When the variables ‘ x ’ and ‘ y ’ are allowed to range over the groups of free men in a given polis as well as over individual free men, the formula for the Aristotelian conception of justice expresses the major premiss of Aristotle's three justifications: (...) (1) (∀ x )(∀ y ) (P(x)·W(x)/P(y)·W(y)=V(T(x))/V(T(y)))Democracy is justified by adding a minor premiss to the effect that as a group the many ( m ) are superior (>) in virtue and wealth to the few best men ( f ): 85 (2 d ) (P(m) · W(m)) > (P(f) · W(f)) (3 d ) V(T(m))>V(T(f))Absolute kingship is justified when a godlike man ( g ) appears in a polis who is incommensurably superior (≫) in virtue and wealth to all the remaining free men ( r ): (2 k ) (P(g) · W(g)) ≫ (P(r) · W(r)) (3 k ) V(T(g)) ≫ V(T(r))True aristocracy requires a more complex justification, which was symbolized in Section 4. These justifications are compatible with each other since they apply to different situations. The polises where democracy and true aristocracy are justified contain no godlike men, and the polis in which democracy is justified differs from that in which true aristocracy is justified in containing a large group of free men who individually have little virtue ( Pol. III.11.1281b23-25, 1282a25-26). Each of the justifications is a valid deductive argument. Aristotle affirms the major premiss they share on the basis of a twofold appeal to nature. The principle of distributive justice, the concept as distinguished from the various conceptions of distributive justice, is itself according to nature ( Pol. VII.3.1325b7-10) and so too is one particular standard of worth, the standard of the best polis. Consequently, the question of the status of these three justifications, whether they are purely hypothetical or not, is a question about the minor premiss or premisses of each. In the case of the democratic premiss Aristotle's answer is straightforward: it is sometimes but not always true ( Pol. III.11.1281bl5-21). Hence the justification of democracy is not purely hypothetical. Nor is the justification of absolute kingship. The man who is “like a god among men” ( Pol. III.13.1284a10-11) would be a man of heroic virtue (see VII.14.1332bl6-27); and such a man, Aristotle says, is “rare” ( σπávιoη ) (not nonexistent) ( E.N. VII.1.1145a27-28). The minor premisses of the aristocratic argument describe a situation where all of the free men in a given polis have sufficient wealth for the exercise of the moral and intellectual virtues and where all of the older free men of the polis are men of practical wisdom. In the Politics Aristotle makes only the modest claim that such a situation is possible: It is not possible for the best constitution to come into being without appropriate equipment [that is, the appropriate quality and quantity of territory and of citizens and noncitizens]. Hence one must presuppose many things as one would wish them to be, though none of them must be impossible ( Pol. VII.4.1325b37-38; see also II.6.1265al7-18). But Aristotle appears to subscribe to the principle that every possibility is realized at some moment of time ( Top. 11.11.115bl7-18, Met. Θ.4.1047b3-6, N.2.1088b23-25). This principle together with the claim that the situation described is possible entails that the situation sometimes occurs. Thus even Aristotle's justification of true aristocracy is not purely hypothetical. The final question is Aristotle's way of avoiding Protagorean relativism without embracing Platonic absolutism. The relativist, along with everyone else ( E.N. V.3.1131a13-14, Pol. III.12.1282bl8), can accept the principle of distributive justice: Q(x)/Q(y) = V(T(x))/V(T(y)) And he can concede that particular instances of this principle, particular conceptions of justice, accurately describe the modes of distributing political authority that appear just to particular polises and to particular philosophers. What he denies is that there is any basis for ranking these various conceptions of justice or for singling one out as the best (Plato, Theaet. 172A-B). Aristotle, following in Plato's track ( Laws X.888D7-890D8), maintains against the relativist that nature provides such a basis. But he departs from Plato in his conception of nature. For Plato “the just by nature” ( τó ρυσει δίκ↑oν }) ( Rep. VI.501B2) is the Form of justice, an incorporeal entity ( Phdo. 65D4-5, Soph. 246B8) that exists beyond time and space ( Tim. 37C6-38C3, 51E6-52B2), whereas for Aristotle the sensible world is the realm of nature ( Met. A.1.1069a30-b2). Thus in appealing to nature Aristotle does not appeal to a transcendent standard. Nor does he appeal to his main criterion of the natural, namely, happening always or for the most part. Aristotle's theory of justice is anchored to nature by means of the polis described in Politics VII and VIII, and he regards this polis as natural because it fosters the true end of human life and because its social and political structure reflects the natural hierarchy of human beings and the natural stages of life. Thus the nature that Aristotle's theory of justice is ultimately founded on is human nature. (shrink)

By the late 1920s in Europe new art directions were regarded as already completed phenomena, a part of “avant-garde tradition.” Such views were expressed by Jean Arp and El Lissitzky’s in their book Kuntismen, and by Amédée Ozenfant’s in Art. Bilan des arts modernes en France. Similar opinions were also voiced by Jan Brzękowski, a Polish poet and critic, who regarded this time as a period of “establishing certain values” rather than new breakthroughs. In this article I discuss Brzękowski’s strategies (...) as a spokesman of modern art, an intermediary between the Parisian artworld and Polish avant-garde, an author connected with constructivism, and also with surrealist circles in Paris. My main focus is his magazine “Sztuka Współczesna – L’Art Contemporain” and his series of articles “Mileages,” in which he summarizes the developments of modern art. Conscious of the “wearing up” of avant-garde ideas and critical about seeking “novelty” for its own sake, Brzękowski tried to establish a progressive position based on the idea of formal discipline and creative construction. While rejecting a mimetic conception of art, he argued for abstract artistic form that would be “anchored to the bottom of life,” thus emphasizing the interplay of abstract and figurative elements and their dialectic. (shrink)

The author examines the symbolism of the Indian politician's common dress: white coarse khadi cham pioned by Gandhi. Does its continued survival during the post-independence era signify merely hypocrisy, empty ritual? What does it implicitly communicate about the public and private intents ofpoliticalfigures? What values does the khadi conceal in its texture? Do they serve any purpose? Chakrabarty's analysis concludes by admitting that though khadi no longer conveys any message as to the prevalence of Gandhian convictions, yet it constitutes (...) a deep-seated resistance by Indian democracy and politics to the wholesale loss of their identity in the rising surge of global capitalism. (shrink)

This contribution explores the question to what extent religious narratives can move the adherents of religious communities to violence or teach wisdom and compassion, drawing on Ricoeur’s work on narrative, ethics, and biblical interpretation. It lays out Ricoeur’s account of narrative identity, urging him to connect his account of phronesis more fully with his analysis of threefold mimesis in his earlier work. It considers his biblical hermeneutics in light of this work on identity and moral action and suggests that bringing (...) these various dimensions of his work together more fully than he himself does would provide a more substantive account of how identity is shaped in religious contexts. It might on the one hand help us to understand more fully a turn to fundamentalism or religious violence and on the other hand draw more clearly on the phronetic resources within religious traditions, especially as they are expressed in ritual behavior, to combat violence and teach wisdom and compassion. (shrink)

Claude Lefort is one of the leading social and political theorists in France today. This anthology of his most important work published over the last four decades makes his writing widely accessible to an English-speaking audience for the first time. With exceptional skill Lefort combines the analysis of contemporary political events with a sensitivity to the history of political thought. His critical account of the development of bureaucracy and totalitarianism in the Soviet Union and Eastern Europe is a timely contribution (...) to current debates about the nature and shortcomings of these societies. His incisive analyses of Marx's theory of history and concept of ideology provide the backdrop for a highly original account of the role of symbolism in modern societies. While critical of many traditional assumptions and doctrines, Lefort develops a political position based on a reappraisal of the idea of human rights and a reconsideration of what "democracy" means today. The Political Forms of Modern Society is a major contribution to contemporary social and political theory. The volume includes a substantial introduction that describes the context of Lefort's writings and highlights the central themes of his work. (shrink)

This book offers an opportunity for an anti deficit and positive examination of Black/Black-multiracial culture and its role in creating educational efficacy among academics of color. Through personal narrative, educational and learning theory, and creative writing/poetry, this hybrid text examines the cultural path to the doctorate.

Democracy has been a flawed hegemony since the fall of communism. Its flexibility, its commitment to equality of representation, and its recognition of the legitimacy of opposition politics are all positive features for political institutions. But democracy has many deficiencies: it is all too easily held hostage by powerful interests; it often fails to advance social justice; and it does not cope well with a number of features of the political landscape, such as political identities, boundary disputes, and environmental (...) crises. Although democracy is valuable it fits uneasily with other political values and is in many respects less than equal to the demands it confronts. In this volume prominent political theorists and social scientists present original discussions of such central issues. Democracy's Values deals with the nature and value of democracy, particularly the tensions between it and such goods as justice, equality, efficiency, and freedom. (shrink)

Comparative political theory is at best an embryonic and marginalized endeavor. As practiced in most Western universities, the study of political theory generally involves a rehearsal of the canon of Western political thought from Plato to Marx. Only rarely are practitioners of political thought willing (and professionally encouraged) to transgress the canon and thereby the cultural boundaries of North America and Europe in the direction of genuine comparative investigation. Border Crossings presents an effort to remedy this situation, fully launching a (...) new era in political theory. Thirteen scholars from around the world examine the various political traditions of West, South, and East Asia and engage in a reflective cross-cultural discussion that belies the assumptions of an Asian "essence" and of an unbridgeable gulf between West and non-West. The denial of essential differences does not, however, amount to an endorsement of essential sameness. As viewed and as practiced by contributors to this ground-breaking volume, comparative political theorizing must steer a course between uniformity and radical separation--this is the path of "border crossings.". (shrink)

This paper challenges the first Gettier counterexample to the tripartite account of knowledge. Noting that 'the man who will get the job' is a description and invoking Donnellan's distinction between their 'referential' and 'attributive' uses, I argue that Smith does not actually believe that the man who will get the job has ten coins in his pocket. Smith's ignorance about who will get the job shows that the belief cannot be understood referentially, his ignorance of the coins in his pocket (...) shows that it cannot be understood attributively. An explanation for why Smith appeared to have justified true belief is given by distinguishing between 'belief' and 'belief in truth'. Smith believes the sentence 'the man who will get the job has ten coins in his pocket' to be true (he mistakenly believes that Jones will get the job, of whom he knows that he has ten coins in his pocket) (hence his 'belief'), the sentence is true (hence 'truth'), and he has sufficient reason to assent to it (hence his 'justification'). But he does not believe the proposition expressed. Hence he does not know it either. (shrink)

Pranger directs his attention to the everyday experience of citizens, including their Angst, their estrangement, and other existential phenomena, and extrapolates from them a political theory which will integrate the private and public dimensions of individual lives, and which will take into account the multiple political settings and allegiances within the overall national community. First, he explores the institutional setting of the citizen in which the citizen is seen as the player of a particular status role. Next he looks at (...) the category of action where citizen action is seen as basically anonymous, with its outcome ever unpredictable, a fact which Pranger feels any philosophy of government must take into account. By far the strongest chapter is the one on Symbolism and Attitude in which Pranger forges a theory of the relation between public and private and of the citizens' individual and collective symbolic construction of reality. The final chapter explores modern man's anomie, his Wendung, and his uprootedness, as a dimension of political reality. Pranger insists that modern striving for order must take seriously the disorder, confusion, and ambiguity in the daily lives of each individual citizen. Unfortunately Pranger's erudition and insistence on alluding to the work of others renders the book diffuse, his thesis elusive. This is especially unfortunate in light of the fact that he is at his best when he puts his note cards aside and speculates on his own.--S. O. H. (shrink)

"M. F. Simone Roberts's A Poetics of Being-Two is animated by a lively and engaging voice, drawing readers in with a sense of serious purpose working (delightfully) in tandem with a sense of humor. Roberts's aesthetics and her close readings of Yves Bonnefoy, St-John Perse, and Jorie Graham clearly demonstrate the literary effectiveness of Irigarayan sexual difference as an analytic trope, even as they emphasize the philosophical and political possibilities sexual difference opens up for feminism, environmentalism, and all levels of (...) contemporary cultural critique and activism."—Gail M. Schwab, Hofstra University -/- In An Ethics of Sexual Difference, Irigaray calls for a new poetics in the sense of both art and life. Rather than a critique from within philosophy, A Poetics of Being-Two tests Irigaray's ethics by extending it to other sites of cultural production. Where Irigaray's method finds stirrings and repressions of sexual difference in philosophy, this project explores that tension in poetics. Building from Irigaray's ethics, the book describes a poetics of being-two as concerns gendered subjectivity in literary poetics and then traces the on-going emergence of a poetics of being-two in the post-symbolist poetic tradition. Irigaray scholars will be interested in the sustained interpolation of Irigaray's ethical concepts as principles for a critical aesthetics and in their hermeneutic application in reading a literary tradition. Readers in comparative literature will find the first sustained feminist engagements with the major French poets Bonnefoy and Perse and an elucidation of their influence on the Pulitzer Prize winning poet Jorie Graham. (shrink)