Cult Criminals is a set of early Victorian novels 'sensationally' popular with readers and of immense influence in the development of the novel form. All six novels, commonly labelled 'Newgate' novels, scandalized the Victorians by glamorizing criminals and led to a bitter literary controversy between Dickens and Thackeray, who damned the former's Oliver Twist as a 'Newgate' novel. At the heart of the 'Newgate' debate lay questions concerning the moral and social function of the novel, the relationship between (...) romance and realism in fiction, and whether crime should be portrayed in fiction at all. The Newgate novels function as a bridge between the eighteenth- century tradition of crime fiction and the detective and crime novels of the nineteenth and twentieth centuries, as well as encapsulating many of the social and cultural shifts that took place in the early Victorian period. (shrink)

In the article, based on the elaboration of a large array of literature on the topic, as well as direct and inclusive study of ritual practice, mainly orthodoxy, reveals the place and functional purpose of the religious factor in the complex structure of the religious phenomenon, in various manifestations of religious life.

This article examines a dramatic story about a slave rebellion on the island of Chios and argues that such stories were the medium through which masters and slaves negotiated compromise between the slaves' desire to be free and the masters' desire to control their slaves. This interpretation arises from a recognition of the complexity of a story that on the one hand celebrates the triumphs of a heroic slave over his masters, but on the other hand suggests that such resistance (...) can be contained if masters treat their slaves humanely. Numerous parallels are drawn with contemporaneous and later historical societies involving compromises between subordinate groups and those who would control them. Finally, the article demonstrates that religious cults could be a medium for negotiating a middle ground, and that the story of the slave hero on Chios illustrates this function by making the slave the object of cultic worship by both masters and slaves. (shrink)

Through the examination of QAnon as a religious apocalyptic “digital cult,” this paper integrates individual psychological models regarding the espousal of conspiracy beliefs with sociological and anthropological models of religious cultism, particularly in the context of destructive and violent cults. This integrative model purports to reconcile the apparent contradiction between the extravagant irrationality of the QAnon belief-system with the otherwise normative demographics of its adherents and distinguish—as scholars of religion often do—between the creed, the practice, and the social identity (...) aspects of the movement. Cultic studies are leveraged to discern the functions that different strata of adherents provide to the movement, and elucidate the mechanisms by which they coexist, collaborate, and avoid splitting along organizational or ideological fault-lines. The model also draws upon studies of apocalyptic cults and violent radicalization to caution against counter-productive over-generalization, over-sensationalizing, and over-pathologizing of QAnon believers. (shrink)

This article is a response to recent revealing political attempts to set a political and social function for the Arts through the establishment of performance criteria. A long-standing feature of the historical development of government policy in the UK has been attempts to judge the effectiveness and efficiency of public activity by invidious comparison to effectiveness and efficiency in so-called ‘private’ industry. This tendency requires continuous critical scrutiny.

In the context of the Union of Greater Romania, a problem specific to the development of the Romanian society and of the re-united national state was the regulation of the status or the varied religious cults. It is well known that under the Older Romanian Kingdom, the Orthodoxy was a state religion. The other cults – Lutheran, Catholic, Mosaic, and Moslem – represented small numbers of believers and had not been regulated under the law; they were tolerated. Following the Union (...) of 1918, the Romanian State came to accommodate not just one, but several denominations. Consequently, it had to clarify its relations with the cults in the Romanian provinces of Bucovina, Basarabia, Banat, and Transylvania. These cults which had not existed in the Older Kingdom functioned according to the legislative systems they had belonged to before 1918. Thus came the necessity of establishing the unitary status for the minority cults, which, given the diversity of their religious doctrines, rituals and interests, posed new problems to be settled for the government policy. This also should be the focus of the debates surrounding the forthcoming law of the cults in Romania. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 287-292 [Access article in PDF] Book Review Original Tao: Inward Training and the Foundations of Taoist Mysticism Laughing at the Tao: Debates Among Buddhists and Taoists in Medieval China Taoist Tradition and Change: The Story of the Complete Perfection Sect in Hong Kong Lord of the Three in One: The Spread of a Cult in Southeast China Original Tao: Inward Training and the Foundations (...) of Taoist Mysticism. By Harold D. Roth. New York: Columbia University Press, 1999. xv + 275 pp. Laughing at the Tao: Debates Among Buddhists and Taoists in Medieval China. By Livia Kohn. Princeton: Princeton University Press, 1995. xii + 281 pp. Taoist Tradition and Change: The Story of the Complete Perfection Sect in Hong Kong. By Bartholomew P. M. Tsui. Hong Kong: Chinese Study Centre on Chinese Religion and Culture, 1991. 207 pp. Lord of the Three in One: The Spread of a Cult in Southeast China. By Kenneth Dean. Princeton: Princeton University Press, 1998. xii + 406 pp. Buddhism in China has many forms: sometimes functioning as a foreign object provoking attraction, rivalry, or persecution, and at other times being so integrated that it epitomized or completed Chinese culture. Although the elite monastic community maintained its distinctive Buddhist identity throughout its history, the story of the various forms of popular appropriation of Buddhist elements beyond the monastic [End Page 287] walls is just beginning to be studied. Probably the most important arena where Buddhism became part of Chinese culture is its mixture with Daoist practice, but only in the 1990s have Daoist studies evolved to the point where the Buddhist presence can be traced and evaluated. The four books listed above are among a shelf-full of new studies on Daoism that offer resources for exploring the complex relationships among Buddhism, Daoism, and Chinese culture.The study of the Inner Training by Harold Roth clarifies a core practice within early Daoism that was later integrated--usually without acknowledgment--as a central practice by both Confucianists and Buddhists, especially Ch'an. In contrast, the definitive study by Livia Kohn of the Xiaodao lun shows a carefully constructed Buddhist attack on Daoist scriptures. During the last millennium, the two most influential integrations of the three religions--Daoism, Buddhism, and Confucianism--were achieved by Wang Chong-yang (1113-1170) and Lin Zhao-en (1517-1598). Bartholomew Tsui offers an important field study of the liturgical practices of the contemporary followers of Wang as embodied in Hong Kong temples of Quanzhen (Complete Perfection) Daoism, while Kenneth Dean provides a massive field report of over one thousand temples of the Xiajiao movement in contemporary Fujian Province that revere the teachings of Lin Zhao-en as Lord of the Three-in-One. All four books provide rich materials for reflecting on interreligious encounter in China.The archaeological discovery of lost Chinese texts has made clear that the Lao-tzu is no earlier than the beginning of the third century b.C.E. and did not exist at the time of Confucius. Harold Roth's book argues that earlier than the book of Lao-tzu there was a movement of internal cultivation that was first expressed in two fourth-century b.C.E. texts, the first seven chapters of Chuang-tzu and a text found among the seventy-six texts in the Kuan-tzu that Roth calls Inner Training. Roth proposes that this latter text constitutes the "original Tao" in the sense that it is the core practice embodied in those thinkers who were grouped together by later historians. Roth observes that the earliest identification of a Daoist school (daojia) by Ssu-ma T'an about 110 b.C.E. emphasized techniques or practices, "not the philosophies that developed along with them and that support them.... Techniques must be seen as a way to define pre... (shrink)

In clear, concise language, balancing analysis with evaluation, the author explores briefly the nature and function of ritual, our attitudes toward it, and its proper place in modern life.--L. K. B.

In clear, concise language, balancing analysis with evaluation, the author explores briefly the nature and function of ritual, our attitudes toward it, and its proper place in modern life.--L. K. B.

When working with a first-order theory, it is often convenient to use definitions. That is, if ϕ(x) is a first-order formula with the free variables shown, one can introduce a new relation symbol R to abbreviate ϕ, with defining axiom ∀x (R(x) ↔ ϕ(x)). Of course, this definition can later be eliminated from a proof, simply by replacing every instance of R by ϕ. But suppose the proof involves nested definitions, with a sequence of relation symbols R0, . . . (...) , Rk abbreviating formulae ϕ0, . . . , ϕk, where each ϕi may have multiple occurrences of R0, . . . , Ri−1. In that case, the naive elimination procedure described above can yield an exponential increase in the length of the proof. In Section 2, I show that if the underlying theory proves that there are at least two elements in the universe, a more careful translation allows one to eliminate the new definitions with at most a polynomial increase in length. In fact, I will describe an explicit algorithm that can be implemented in polynomial time. The proof is not difficult, but it relies on the assumption that equality is included in the logic. A similar trick has been used by Solovay in simulating iterated definitions efficiently, as discussed in Section 3.2 of [Pudl´ak 1998]. Consequently, the result proved here may be folklore, but to my knowledge it has not appeared in the literature, and it is needed in Section 3. It is also sometimes convenient, in a first-order setting, to introduce Skolem func-. (shrink)

Lycophron’s riddling poem “Alexandra” is infamous for hardly ever calling anything by its proper name, but rather employing obscure and erudite metaphors, periphrases, and mythological allusions for people and events as well as local cult epithets for divinities. This article attempts to explain the fact that epithets for gods occur only rarely in isolation, but usually in clusters ranging from two to six different appellations. Assuming that this repetition of information is not merely empty redundancy, Hellenistic extravagance, or an (...) ostentatious demonstration of erudition, it is argued that the clustering also serves a communicative function: Since these epithets are often of regional rather than pan-Hellenic origin, the poet could not expect his readers to be familiar with all of them (and probably used a compilation himself), so by providing several riddling circumlocutions he could increase the chance of his audience’ being able to identify one of them and thus ensure understanding and enjoyment of his poem. (shrink)

The Mexican cult around the image of the Virgin of Tepeyac is commonly addressed in relation with creole nationalism, but that emphasis ignores the survival of its cult until today. Given that construction of identity through ‘miraculous’ images persists through technologies of iconic deployment, it is necessary to examine the original functions of its technologies. I investigate these problems by considering the construction of a newexhibition site for the Virgin of Tepeyac, and the modalities of reproducing the image (...) until today. The historical comparison of these contemporary techniques with those of the seventeenth century enables to appreciate the coherence of this visual tradition and its importance to the construction of social processes in Mexico. (shrink)

Summary The main function of Hellenistic queenship is increasingly understood as contributing to the definition of the basileus. The early Ptolemies produced the most peculiar version of the ‘sister queen’, known throughout the Near East as an ideological construct, but taken literally in Egypt from the time of Ptolemy II Philadelphos and Arsinoe II Philadelphos, the ‘Sibling-Lovers’. The most famous example of a ‘virgin queen’ is Berenike, the daughter of Ptolemy III Euergetes and Berenike II, best known from the (...) Kanopos Decree, which regulated her posthumous cult. Often understood as a merely honorary title for some or potentially all princesses in Alexandria, the basilissa title of unmarried girls has found little scholarly attention so far. Altogether, there are surprisingly few royal daughters for whom we have clear evidence: besides the aforesaid Berenike, her sister Arsinoe III and previously Berenike, the daughter of the Philadelphoi. Claims that Arsinoe II or her sister Philotera had enjoyed the same status at the court of Ptolemy I Soter cannot be substantiated, so that their basilissa titles should be explained by marriage with a king. The phenomenon of virgin queenship was thus of limited duration. It is best interpreted as a ramification of an emphatically endogamous royal dynasty: Ptolemy II and Ptolemy III pledged their most distinguished daughter to the future successor even before he had been chosen from among his brothers. (shrink)

This essay offers a theoretical analysis of the changes which are taking place in the musical consciousness of listeners in the present phase of society. The author seeks rather to deduce the conditions of musical reception from the present stage of musical production. The first part of the article deals with changes in production as they affect the general consciousness of listeners. Light music is discussed as well as serious music insofar as it reaches the consumer. Changes in reception are (...) revealed in certain characteristics like the cult of the melody, of the voice, of the master violin, and they are tied up with specific economic concepts. Success plays a particularly important role in this connection.The second part is devoted to the retrogression in listening, analyzed psychologically. Docile passivity, imitation of pre-given patterns, and bitter resentment of the „abnormal“ have become characteristic for the listener. The author shows how this retrogression has become concretized in the formation of a „musical child’s language.“Many listeners seek to overcome passivity by a pseudo-activity. The social function of certain types like the jitter-bug, the radio amateur, or the man with a knack for jazz, are discussed.L’article entreprend d’interpréter sous forme d’une esquisse théorique les transformations qu’a subies la conscience musicale des auditeurs dans la phase actuelle de l’évolution sociale.On n’analyse pas psychologiquement les réactions des auditeurs ; mais on prend pour point de départ Tétât de la production, et de celui-ci on déduit celui de la réception.La première partie traite de la transformation de la production dans la mesure où celle-ci atteint la conscience commune des auditeurs. L’auteur considère aussi bien la musique légère que la soi-disant musique sérieuse et les modifications que connaît celle-ci pour parvenir à la consommation.Ces modifications font de la musique un fétiche. On en prend pour exemple le culte des „idées“ musicales, de la voix et des „violons de maître“. Le caractère fétiche de la musique se mesure au succès accumulé.Ensuite, on développe quelques catégories du fétichisme musical : dépravation, arrangement, „divertissement élevé“, idolâtrie de la perfection.Au fétichisme de la musique correspond du côté de l’auditeur une régression de la faculté d’entendre — phénomène qui fait l’objet de la deuxième partie de l’étude. On l’interprète comme l’attitude auditive caractéristique des „régressifs“. Soumission passive, imitation de l’antérieurement donné, fureur contre ce qui sort de la norme — définissent cette attitude, qui s’objective en un langage musical puéril en formation et dont quelques éléments sont esquissés.A cette passivité, de larges groupes d’auditeurs cherchent vainement à échapper par une pseudo-activité. Quelques types de pseudo-activité sont décrits : l’enthousiaste, le bricoleur et le „chic type“. On montre la fonction sociale de ces types.Enfin, on traite des possibilités dialectiques de l’audition du régressif. Une confrontation de l’expérience fondamentale de la musique radicalement neuve avec le mode régressif d’entendre termine l’article. (shrink)

Strong links between the cults of apoikiai and metropoleis, forging the Hellenic identity of the colonists, have long been recognised. It becomes increasingly clear that in addition, the mental world of the population of colonies was conditioned by an amalgamation of Greek and local identities. Many important cults of Greek cities in the northern Aegean and the Black Sea area, such as Abdera, Odessus, Olbia, Chersonesus, and the Cimmerian Bosporus, featured both Greek and indigenous elements, their scope and nature varying (...) from place to place. Appropriation of local gods can also be viewed as part of appropriation of the local territory and its traditions. The adaptation of Hellenic gods to the new setting and worship of local gods started at an early stage and served as a powerful cognitive mechanism establishing safe ties to the environment, mediating between different ethnic groups, and shaping people’s self-image and communal identity. The innovations in cult were often expressed by changing names or epithets of deities, emphasizing the change in their nature and functions. (shrink)

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and (...) Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ABORTION AS A SACRAMENT: MIMETIC DESIRE AND SACRIFICE IN SEXUAL POLITICS Bernadette Waterman Ward SUNY-Oswego "If men got pregnant, abortion would be a sacrament." That familiar taunt is mostly aimed at Roman Catholics to humiliate them for their purportedly religious and anti-rational opposition to abortion. It is conventional to sniffthat the "religious assumptions" on which disapproval of abortion is "typically based" are "highly questionable" (Chambers 1). But the cultural (...) theories of René Girard suggest that it is because men don't get pregnant that abortion already is a sacrament. The key elements of sacrificial religion, as Girard defines it, are the presence of intolerable tension that must lead to social disruption; the choice of a victim who cannot strike back to absorb the community's violence; and the concealment ofthe function ofthe sacrifice, which employs actual violence for the purpose of stabilizing institutional violence. Abortion in America is upheld not as medical or even political policy, but as, in fact, a religious sacrifice. Girard's definition ofreligion requires neither a moral code nor a divinity nor a metaphysical grounding. The cult of Dionysus, to name only one example, evidently endorsed nothing we would recognize as a general code of morality; Buddhism, a far more august example, does not focus on a divinity; animism proposes no universal metaphysics. As to sacraments, Bernadette Waterman Ward19 Thomas Aquinas, following St. Augustine, did not scruple to call nonChristian sacrifices sacraments oftheir religions, "Whether true or false."' Scapegoating defines religious sacrifice. It protects the sacrificing community and promotes its unity—so long as all believe that the scapegoat must suffer. Often the victim is called an enemy to some established order; sacrifice is always conservative, even if it upholds an inherently unstable system. Because powerlessness, not real disruptive power, is the criterion for becoming a scapegoat, sacrifice requires a strong shared illusion. Classical religions provide unopposable gods to choose the tragically necessary victims, allowing strong ambivalence to surround the sacrifice itself. Ifthis is not present, the death or banishment takes on a different character—more political than religious, though Girard notes a fundamental unity between those two methods ofcontrolling mimetic violence. Mimetic violence originates in illusion surrounding a rivalry. Often there is an object involved, such as territory or wealth or political rank, but the object, which seems important, is actually irrelevant. The rivalry can continue, seeking new objects, whatever concrete acquisitions either party makes or loses. General, aimless rivalry dominates a social world of fragile, undefined selves in which anyone can be a model for imitation, and therefore anyone can be a threat to one's sense ofself. What an imitator actually seeks is to have whatever is desirable; most desirable ofall, perhaps, is the ability to know what is desirable, a mysterious quality that is constantly attributed to others; Girard calls this quality "being." From the nursery we are each other's disciples, wanting each other's toys not because of their inherent virtue so much as because someone else has seen some virtue in them. As human desire has no real single object, it has no closure; envy and revenge threaten others in a widening net of destruction. In the classic scenario, the model whose "being" has become matter for imitation finds himself in competition for the object, and attacks the rival, who returns in kind. A disciple who can rally aspire to the model's status can become a dangerous, even a deadly rival; in imagination, and sometimes in reality, they turn each other intp monsters. Yet as the desire has no single object, neither has the rage: the violence can be easily transferred to another object than one's rival. Sometimes those who are uneasy about their status in relation to one another can cement a powerful unity by focusing blame on some common target: a scapegoat. The Orwellian scenario is in fact the normal scenario: individuals caught in the maelstrom of social instability 'Summa Theologiae, 3a.61.1 31. 20Abortion as a Sacrament seek to avoid victimization by diverting the violence into blame and destruction directed, first of all, against someone else—and, if possible, against someone who cannot strike back: a sacrifice. Not all sacrificial religious... (shrink)

Thermoregulation is often thought to be a key motivating factor behind the origins of clothing. Less attention has been given, however, to the production and use of clothing across traditional societies in contexts outside of thermoregulatory needs. Here I investigate the use of disguises, modesty coverings, and body armor among the 10 hunter-gatherer societies in the Probability Sample Files (PSF) within the Human Relations Area Files (HRAF) World Cultures database, with a particular focus on disguise cases and how they compare (...) with strategies of deception across other taxa. The employment of disguises—defined as altering one’s appearance for purposes of deceiving conspecifics or other animals—is noted for eight of the 10 societies, with their use occurring in contexts of hunting, religious or cult practices, and war or interpersonal violence. Most hunter-gatherer disguises demonstrated clear similarities to cases of visual deception found in other species, with the majority of examples fitting categories of animal mimicry, masquerading as plants, disruptive coloration (camouflage), or background matching (camouflage), while disguises unique to humans involved the impersonation of culture-specific “spirit-beings.” Clothing for modesty purposes (nine societies) and body armor (six societies) are also noted. I propose that strategic initiatives by individuals or groups to disguise or conceal themselves represents one possible initial pathway to the cultural evolution of clothing. There are likely multiple potential (nonexclusive) social and functional pathways to the emergence of clothing outside of thermoregulatory needs. (shrink)

The notion that visual attention can operate over visual objects in addition to spatial locations has recently received much empirical support, but there has been relatively little empirical consideration of what can count as an `object' in the ®rst place. We have investi- gated this question in the context of the multiple object tracking paradigm, in which subjects must track a number of independently and unpredictably moving identical items in a ®eld of identical distractors. What types of feature clusters can (...) be tracked in this manner? In other words, what counts as an `object' in this task? We investigated this question with a technique we call target merging: we alter tracking displays so that distinct target and distractor loca- tions appear perceptually to be parts of the same object by merging pairs of items (one target with one distractor) in various ways ± for example, by connecting item locations with a simple line segment, by drawing the convex hull of the two items, and so forth. The data show that target merging makes the tracking task far more dif®cult to varying degrees depending on exactly how the items are merged. The effect is perceptually salient, involving in some conditions a total destruction of subjects' capacity to track multiple items. These studies provide strong evidence for the object-based nature of tracking, con®rming that in some contexts attention must be allocated to objects rather than arbitrary collections of features. In addition, the results begin to reveal the types of spatially organized scene components that can be independently attended as a function of properties such as connectedness, part struc- ture, and other types of perceptual grouping. q 2001 Elsevier Science B.V. All rights reserved. (shrink)

The current orthodoxy on mental representation can be characterized in terms of three central ideas. The -rst is ontological, the second semantic, and the third methodological. The ontological tenet is that mental representation is a two-place relation holding between a representing state and a represented entity (object, event, state of a.airs). The semantic tenet is that the relation in question is probably information-theoretic at heart, perhaps augmented teleologically, functionally, or teleo-functionally to cope with di/cult cases. The methodological tenet is (...) that mental representations are posited solely on third-person explanatory grounds. In this paper, I argue that this picture of mental representation is satisfactory only as an account of mental representation at the sub-personal level. It is unsatisfactory, in a principled way, as an account of mental representation at the personal level. (shrink)

This article reconsiders the historical and typological relation between Greek maturation rituals and Greek mystery religion. Particular attention is given to the word κλεινός (‘illustrious’) and its ritual uses in two roughly contemporary Late Classical sources: an Orphic-Bacchic funerary gold leaf from Hipponion in Magna Graecia and Ephorus’ account of a Cretan pederastic age-transition rite. In both contexts, κλεινός marks an elevated status conferred by initiation. (This usage finds antecedents in Alcman'sPartheneia.) Without positing direct development between puberty rites and mysteries, (...) the article argues on the basis of shared vocabulary and other ritual elements that age-transitions influenced the ideology of mystery cults. It is further claimed that puberty rites and mysteries performed similar functions in their respective social contexts, despite obvious differences of prestige and visibility. Age-transition rites have been analysed in Bourdieu's terms as ‘rites of institution’, in which young elites were publicly affirmed in civic roles: private mysteries can be described in analogous but opposed terms as rites of ‘counter-institution’, in which familiar ritual language and symbols of elite status were used to construct an alternative ‘imagined community’ of mystery initiates. (shrink)

Originally a religious term, from the sixth century B.C. on, the word "t'ien," or "heaven," played a significant role in discourse among philosophical schools. The earliest of these was Juism . This study analyzes statements concerning T'ien in three early Juist texts: the Analects, Mencius, and Hsun Tzu. ;Previous analyses of the role of T'ien in Juism have viewed that role in terms of a model of evolving meanings of "t'ien" during the late Chou period, which claims that the term (...) originally denoted an anthropomorphic deity, but increasingly came to denote "Nature." Studies of the role of T'ien in Juist texts have explored whether this model fits those texts. ;This essay holds that to identify characteristically Juist meanings of the term "t'ien," we must do more than identify referential images which may have been associated with its uses in Juist texts. We should, instead, explore the function which uses of the term may have had in relation to the activities and goals of the early Juist school. ;The focus of those activities and goals has traditionally been understood as a political program. This study argues that early Juism was essentially a socially insular cult devoted to mastery of traditional ritual skills; political purism functioned to shelter the cult from political responsibilities and dangers. ;If this is correct, the role of T'ien in early Juist texts should reflect a disjunction between ritual and political spheres. And indeed we find that throughout the three texts analyzed, the term "t'ien" is generally employed to picture a supreme ethical entity--whether a god, Fate, or Nature--as a prescriptive basis for ritual practice in the present, or as a descriptive force ensuring that Juist political efforts will be futile in the present and successful in the future. ;Thus, in early Juist rhetoric, T'ien is used to justify Juism's ritual focus and legitimize its contemporary withdrawal from political activity. This is the characteristic instrumental meaning of the term "t'ien" in early Juist texts, remaining central despite changes in connotative imagery associated with the term in late Chou thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.3 (2003) 207-222 [Access article in PDF] Burke Contra Kierkegaard:Kenneth Burke's Dialectic via Reading Søren Kierkegaard G. L. Ercolini Isaac—to his children Lived to tell the tale— Moral—with a Mastiff Manners may prevail. —Emily Dickinson Kenneth Burke employs the term dialectic throughout his works and yet, despite its profuse recurrence, the term remains ambiguous. Much secondary scholarship has focused on Burke and dialectics, and still the (...) term in Burke remains—if not already complicated—cloudy. 1 Part of the difficulty regarding this term stems from Burke's own ambiguity; another part from critics' tendency to rely on Burke's own use and definitions for clarification of this concept. The arguments have been helpful and illuminating, yet Burke's dialectic can be further clarified by going beyond what Burke means by the term by focusing on how he deploys dialectical criticism in his own work. 2 This article focuses on Burke's appropriation of the existential thinker Søren Kierkegaard as a particularly clear and remarkable instance of the operation of Burke's dialectic in his criticism. I maintain that although Burke's reading of Kierkegaard is arguably a misreading, his strategic appropriation of Kierkegaard in A Rhetoric of Motives (1950) not only serves as a clear deployment of the dialectic, but also functions as a foil against which Burke defines his own critical method. Burke's reading of Kierkegaard emphasizes the function of resolution in Burke's critical project.The current literature, although quite informative, does not put Burke's dialectic in sharp focus. Rueckert argues that Burkean dialectics "is really a branch of what Burke was to later call logology, the study of words, of language, of symbol systems" (1994, 14). Heath claims that dialectic "is an analytical tool to help us diagnose perspectives so that we can [End Page 207] examine whether they make sense and consider their implications for social relations" (1986, 162). Crusius contends that, "dialectic for Burke is the study of verbal universes, the disinterested pursuit of a vocabulary's implications" (1986, 24). While Brummett and Crusius show similarity between Hegel's and Burke's dialectic, Heath and Wess distinguish Burke's dialectic from Hegelian idealism and teleological history respectively. 3 Most of the arguments concerning Burke and dialectic focus on "The Dialectic of Constitutions" in A Grammar of Motives (1969), while A Rhetoric of Motives (1962), where Burke identifies humankind as homo dialecticus, is hardly engaged with regard to this concept. 4 Burke's working through Kierkegaard in A Rhetoric of Motives demonstrates Burke's dialectical criticism—thus providing an operational account of Burke's dialectic—and allows for his revelation of the three motives in the realm of rhetoric: the Order, the Secret, and the Kill. 5 And yet, despite this centrality of Fear and Trembling, surprisingly little has been said about Burke's Kierkegaard beyond passing mention. 6Despite editorial advice to the opposite regarding an article that would later become a part of the book, Burke evidently regarded his reading of Kierkegaard as important. Joseph Bennett, editor of Hudson Review, responded as follows to Burke's 1948 submission of the article entitled "Imagery of Killing": "I would like to request that you eliminate Kierkegaard from the article in question, confining it simply to literary exegesis and excluding the philosopher theologian." 7 Although he complied for the article, Burke retained his reading of Kierkegaard in A Rhetoric of Motives. Despite the lack of attention given to it, Burke's engagement with Kierkegaard clearly demonstrates how Burke views ethical criticism as that which resolves opposition, negation, and paradox to a higher order. Burke contra Kierkegaard The section entitled "Order" in A Rhetoric of Motives contains a detailed, twenty-three-page discussion of Kierkegaard's Fear and Trembling. In this discussion, Burke primarily attacks Kierkegaard for encouraging what Burke enigmatically and elliptically identifies as the "cult of the Kill."Burke's portrayal of Kierkegaard is hardly flattering: at the crescendo of his analysis in A Rhetoric of Motives he claims that thinking such as Kierkegaard... (shrink)

This thesis is an examination of human maturation as portrayed in Plato's Phaedrus. Adulthood is reached when a transition from an appetitive attitude into an intellectual focus has been accomplished. The practice of philosophy, considered as the "love of wisdom", represents the greatest actualization of human potential. Facilitation of this transition is realized by a process of initiation into philosophy, and Plato makes full metaphoric use of the phenomenon of religious initiation in his description of becoming a philosopher. Much of (...) the dramatic content of the dialogue can thus be explained as a reference to the cultic practice of initiation. This religious background alerts the reader to Plato's arguments that maturation into a philosophical perspective is a necessary condition to human survival, both on an individual and community-wide basis. ;Metaphysically, this problem can be understood as a result of the perspective that emphasizes the discreteness of the parts in any system. When the parts of a political community are understood as private individuals that are discrete, their obligations towards one another vanish. Similarly, if the individual is understood as a bare aggregate of parts, no unifying principle is in place to provide a sustained functioning order. In both cases, Plato explicates the divisive force within the system as the ascendancy of appetitive concerns in the determination of conduct. The solution to this problem rests in philosophy's ability to order the parts such that an organic whole is achieved. Phaedrus' role as a profaner of the cult of Eleusis opens the question of whether philosophy is capable of actually providing this unifying basis for the community, or whether it itself is open to the dissent and separation evidenced by Phaedrus' behaviour towards the cult. In response to this question, The Phaedrus establishes philosophy as a non-profanable enterprise, both because of a basic inexpressibility of the deeper insights of philosophy, and because of the unending process of initiation involved in becoming a philosopher. (shrink)

This article involves a critical examination of the recent paradigm shift in the appraisal of women's dress. Whereas in the past, female fashion was criticized primarily in terms of its impractical and restrictive nature and more `functional' and `natural' modes of dress were advocated, in recent times the legitimacy of the notion of `functional' or `natural' dress has been challenged. As theorists such as Wilson, Sawchuck and Hollander have pointed out, to assume that there is a `natural' mode of dress (...) which reflects the body `as it really is' wrongly presupposes that the body pre-exists culture when in fact it is always inescapably encoded by cultural norms. However, as is argued in the article, while recent theorists have revealed the naivete of the functionalist paradigm upon which previous critiques of fashion have been premised, their alternative conception of liberatory dress as that which highlights the constructed nature of the body is equally as problematic insofar as it leaves unchallenged the reduction of self-identity to image which the advertising and fashion industries now endorse and promote. In championing the idea of dress as a parodic play in which the body of the wearer is denaturalized, postmodern theories of fashion display an unwitting complicity with our contemporary culture of the spectacle which privileges the cult of appearance over all other sources of identity formation. (shrink)

A problem of the system of values becomes more an actual in terms of the ideological crisis of society. Instability of human development, which caused by the crisis state of society is generates instability and in the institution of marriage. Outstanding issues are - the instability of marriage and a high divorce rate, one-child family. Ukraine takes the third place divorce among European countries. The way out of this situation could be change of paradigm values, by borrowing from Turkic social (...) culture of moral and family values, and bringing them into a society that "sick" cult of consumption. The phenomenon of ethnic family should be defined as a step towards integration into the global society. Becomes important study of the functioning of inter-ethnic families, so it will be necessary to find out which mark applied to the institute Ukrainian marriage value system Turkic ethnic social groups, to identify the factors that contribute to the dynamics of ethno symbiotic relationship. (shrink)

The Homeric Hymns are commonly taken to be religious poems in some general sense but they are often said to contrast with cult hymns in that the latter have a definite ritual function, whereas "literary" hymns do not. This paper argues that despite the difficulty in establishing a precise occasion of performance for the Homeric Hymns, we are nevertheless in a position to identify their ritual function: by intoning a Hymn of this kind, the singer achieves the (...) presence of a god before participants in a public festival. The key mechanism by which the hymnist does this is the evocation of a god via the elaboration of a typical unit of traditional hymnic discourse, what I call the "theme of recognition ." The pragmatic operation of narrative such as this is similar to the device known in the study of magical texts as the historiola, or short narrative that serves as a verbal model for a desired outcome in the patient's world. This kind of operation is called, in this paper, "symbolic action," a term borrowed from the rhetorician Kenneth Burke. The theme of recognition is traced in the fabric of the expansive Hymns , and the paper further argues that an important generic marker in the Hymns, the greeting of the god , discloses their pragmatic function, the hymnist's skillful deliverance of the god before his hearers. (shrink)

Plato and Aristotle each present traditional forms of religious practice (e.g., sacrifice, choral performance, prayer, and temple cult) as activities that are worth performing. Because these philosophers advocated such unconventional theological views, their endorsement of conventional religious practice strikes some readers as surprising. This dissertation examines why Plato and Aristotle defended traditional religious practice. Specifically, it investigates their views on its efficacy (i.e., what benefits religious practice produces and how it is thought to produce them). Chapters 1-2 provide the (...) intellectual background necessary to appreciate Plato and Aristotle’s individual contributions. Chapter 1 outlines a view of efficacy that was common in the archaic period (the “Traditional View”). It shows that the literature from that period consistently promoted the idea that, through the performance of traditional religious practice, humans can influence the gods to effect change in all spheres of life: in the cosmos, the city, and the individual psyche. Chapter 2 shows that this view was destabilized in the dawn of the classical period, in the fifth century BCE. The pre-Socratic philosophers and Sophists of this period introduced several theological innovations that forced their proponents to reevaluate the traditional story about what traditional Greek religious practices accomplished and how they accomplished it. Plato both expands and narrows the understanding of efficacy that is set forth in the archaic age. He argues that, for a token religious practice to be successful, it must be performed according to certain ethical standards. Chapter 3 outlines Plato’s ethical criteria and argues that, while the philosopher, like proponents of the Traditional View, denies the efficacy of “illegitimate” performances that contravene these standards, he believes that religious practice can influence all realms of human life theogenically through the instrumentality of the gods. It also shows that Plato expands the modes of efficacy by introducing the possibility that religious practices produce benefits anthropogenically, without the assistance of the gods. Chapters 4-5 each detail a specific religious practice and articulate how Plato thought they could be executed according to his standards. Chapter 4 investigates Plato’s identification of choral performance and sacrifice as forms of play in the Laws, arguing that he imagined them to function as games do elsewhere in that work, when pursued in accordance with the laws and reason, and when performed for pleasure’s sake. Chapter 5 evaluates the role of petitionary prayer in Plato’s dialogues and shows that the philosopher valued the practice for its ability to facilitate intellectual achievement and integrated petitionary prayer into his psychology. Chapters 6-7 focus on Aristotle’s treatment of efficacy. Chapter 6 examines Aristotle’s Metaphysics Λ and argues that, in contrast to Plato, Aristotle discards the Traditional View entirely by denying the ability of religious practices to move the gods to action or to effect change in the cosmos. It reconciles passages from the Nicomachean Ethics and Politics, which seem prima facie to endorse conventional attitudes towards the gods, with the philosopher’s metaphysical views, which appear to contradict them. Chapter 7 examines the social and psychological benefits of religious practice in Aristotle’s Politics, where the philosopher claims that the institution of religion forms a necessary part of the city. It demonstrates that, for Aristotle, religious practice provides residents with rest and leisure, obligates them to observe laws, and promotes the development of friendship between residents. (shrink)

Closed-form ceramic rattles are found throughout the southern Levant. Previous interpretations of these rattles focused primarily on their connection to music and the funerary cult. They overlooked the fact that rattles existed in household contexts, which links them to families and children. This study reassesses the ceramic rattles using an interdisciplinary approach centered on the family. It draws specifically upon household archaeology, anthropology, and sensory studies. It is suggested here that the ceramic rattles of the southern Levant had a (...) dual function. The sound of rattles could quiet children while simultaneously warding off the spirits that were provoked when children cried. In doing so, the rattles would protect the child, and in turn the family unit. While the present study reassesses the ceramic closed-form rattles popular within the southern Levant, it has implications for further research on the other forms of rattles, such as open-form rattles and sistra, found throughout the ancient Near East. (shrink)

As in religious traditions, the soul organizes entirely the human condition horizon; postmodern culture sets the body as the organizing centre of its sacralizing mechanisms. Some even speak about a cult and about ritual mechanisms having a religious charge. On the one hand, the body is attributed a symbolic dimension surfacing in the fight against the finite and life’s lack of meaning. On the other, turning the body into a centre of the existential universe triggers a better delineation of (...) the functions it may fulfill. An important role belongs to the networking function that crosses over the human inhabited worlds, from the physical one to the spiritual and religious one. To highlight these aspects, I called on the reflections in Aurel Codoban’s communication philosophy. The new view on corporality brings the image of body as language, as communication instrument and as significant surface. Against this background, the body sets a self-concern whose consequence, symbolically, is a dialectic movement of body and soul nourishing one other and improving one another in light of authenticity. (shrink)

This article analyzes the relationship between married women's waged labor and their position in the racial stratification order, comparing Chinese-Canadians in British Columbia and Chinese-Americans in California and Hawaii. It utilizes a theoretical perspective that sees gender as differentially constructed within ethnic groups and as reflecting the interaction of group heritage, historical experiences, and location in the stratification order. Both historical and current census data are examined. Chinese women had initially low rates of participation in the waged labor force. They (...) first functioned as unpaid labor in family enterprises, entering the waged labor force only after the decline of the era of ethnic enterprise. This may initially have been a response to the limited earning capacity of Chinese males, but women remained there even after husbands' income improved. It would appear that the Chinese community initially possessed a set of norms comparable to the cult of domesticity, but their experiences in North America produced a normative transformation. They shifted from believing that “a married woman's place was in the home” to believing that “a married woman has an obligation to work and help support her family.”. (shrink)

This article reflected a comparison of 1 and 2 Chronicles with its source documents. It transpires that the history of Israel and Judah is selectively retold by the authors of Chronicles with deliberate omissions and additions reflecting a certain emphasis. While the northern kingdom is negatively portrayed, the southern kingdom is positively evaluated. David is idealised as the perfect king. He is credited with founding the religious cult, which is contradicting the view in Exodus. The Jerusalem temple cult (...) is legitimised and asserted as representing the only accurate religion. Chronicles 1 and 2 secured the temple elite’s position by legitimising their actions, functioning in this community as a discourse of power for as long as the (second) temple existed. Being a discourse of power, it set margins and excluded various groups usually considered part of the people of YHWH. The destruction of the (second) temple led to the disempowerment of this text, opening the way for it to be included in the Hebrew canon. The key insights of this article were that 1 and 2 Chronicles were used as a discourse of power, but the power block was lifted once the second temple was destroyed.Contribution: This article fitted into the scope of the journal by using historical-critical methods but also concepts from poststructuralism, namely the concept of powers behind texts and in language. (shrink)

As reflected in the spirit of the times, certain fundamental changes have occurred in such concepts as nature, reason, and life. While in the liberal era nature appeared to man as a sphere to be conquered by him for the enhancement of his material happiness, today it is an ideal offering an escape from the vicissitudes of social life. Confidence in the power of reason and of science turns into hatred of intelligence, because the latter is an instrument of domination (...) for the privileged classes, and leads the majority of men to accept utopian dreams which cannot be realized. Whereas the philosophy of liberalism glorifies the individual as an active agent having a higher meaning, he now falls into disrespect as a merely passive link in the overpowering totality of life.This article analyses Hamsun as a typical representative of such a postliberal ideology. At all points where he develops his own interpretation of life and the world, he portrays the longings of a disillusioned bourgeois civilization in terms of these new concepts. The ideal which he pictures as an escape from the bourgeois civilization of our times is only superficially in conflict with it. His most important subjects and themes derive their social function from a historical situation which calls for an attitude of obedient subordination to authority.There are two elements in Hamsun's dream of a return to nature : the resentful disillusionment which wants to fence off nature as its private property, because it has little to expect from the social reality in which it lives, on the one hand ; and on the other, the adoration of the heroic as reflected in the overpowering sweep of the forces of nature. This admiration of power is further enhanced by the glorification of peasant life. The ideal of nature is finally characterized by a biological interpretation of erotic relationships. Brutality and sentimentality interchange abruptly within such an ideology as they do in actual authoritarian character types of the present day.Hamsun criticizes all important aspects of urban life, exhibiting another form of his anti-rational attitude. However, it is important to notice his relationship to industry : he has contempt for the working class but utters not one critical word against the employers.His philosophy of life, which minimizes the individual and exalts the powers that be, corresponds to the trends of the time : men are scurrying around like ants, without plan or aim ; most of them are crushed, and this is justified because the forces of life require unconditional obedience and absolute subordination of the individual.Finally the author presents some characteristic documents about the influence which Hamsun has exerted. In the post-war period socialists and liberals were singing the same paeans of praise for Hamsun as the fascists more recently.Les trois transformations les plus importantes de la conscience sociale au cours de ces cinquante dernières années, concernent les idées de nature, d'esprit et de vie. Dans le libéralisme, la nature apparaît avant tout comme une réalité que l'homme doit maîtriser pour accroître ses richesses matérielles. Aujourd'hui, dans son apparence immédiate, elle devient un idéal qui doit libérer les hommes des déceptions que leur inflige l'existence collective. Au lieu de la confiance ancienne en l'esprit et en la science, éclate maintenant la haine de l'intellect, qui sans doute offre aux classes privilégiées un instrument affiné de domination, mais n'apporte à la majorité des hommes que des utopies rationalistes sans signification concrète. L'individu, que la philosophie libérale transfigurait en lui attribuant une fonction supérieure, apparaît comme un élément passif d'une totalité toute puissante, la vie.L'article montre ensuite en Hamsun un représentant typique de cette idéologie post-libérale. Sur tous les points décisifs, sa conception de l'homme et de la nature révèle sa véritable signification : elle traduit dans des catégories nouvelles les aspirations de la bourgeoisie déçue. L'opposition entre son idéal et la société bourgeoise est d'ailleurs tout apparente. La fonction sociale de ses thèmes les plus importants est la préparation d'une humanité soumise, prête à s'incliner sans protester devant l'autorité.Derrière le rêve de Hamsun d'une existence en accord immédiat avec la nature, on aperçoit le ressentiment petit bourgeois, qui veut faire de la nature sa propriété privée parce qu’il a peu à attendre dans la réalité. On aperçoit aussi le culte de l'héroïque en soi, que symbolise la violence desphénomènes naturels. Le culte de la force est encore accentué par la transfiguration du paysan. L'idéal d’une vie conforme à la nature est finalement caractérisé par la représentation biologique que se fait Hamsun des rapports érotiques. Constamment, dans cette idéologie, sentimentalisme et brutalité se juxtaposent sans intermédiaire — mélange qui appartient en propre également au type d’homme autoritaire du présent.L’anti-intellectualisme de Hamsun se manifeste sous forme d’une critique des éléments les plus importants de la civilisation urbaine. En particulier, son jugement sur l’industrie est décisif ; il méprise le prolétariat, sans jamais dire un mot contre les entrepreneurs.Sa représentation, marquée par l’actualité, du néant de l’individu et du respect qui convient devant les puissances existantes, s’exprime aussi dans une philosophie de la vie. Les hommes grouillent comme des vers, beaucoup sont piétinés ; mais cette destinée est juste, car la puissance de la vie a le droit d’exiger de l’individu obéissance sans réserve et soumission absolue.A la fin, l’article rassemble quelques témoignages caractéristiques de l’accueil fait à Hamsun. Il en résulte qu’en particulier après la guerre, socialistes et libéraux ont admiré sans critique Hamsun de la même manière que des littérateurs fascistes. (shrink)

In the period 4800-3600 BC. in the eastern part of the Trypillia area arose "giant settlements" or "megasites" / "mega-settlements" with thousands of buildings. In the central parts of these living conglomerates, scientists found special buildings that were recognized as sanctuaries, sacred complexes or temples. In the late period of the Trypillia culture they disappeared. These religious buildings were built with a focus visible processes of celestial bodies and the laws of cyclic rotation of the Earth in space, and included (...) in their internal filling usually cruciform altars, ritual utensils, troughs with graters for the preparation of ritual bread and numerous other ceremonial and religious artifacts. There were also unique finds, such as gold jewelry and a perforated clay disk with tockins to it from the space of the Nebelivka Temple. The interior and exterior walls of the Trypillia sacral centers were painted with natural colors with a predominance of red. The wood carving for decoration of elements of a skeleton of a construction was investigated also. The first Temples on the European continent show that even at that time there was a cult of architecture. In general, it is clear that such Trypillia objects of religious worship carried encoded astronomical information in symbolic form. The building itself was oriented with regard to worldsides and designed relative to visible celestial bodies. This indicates that the people of Trypillia had a fairly clear worldview, which allowed them to reach the level of understanding the structure and mechanisms of many natural cyclical processes on Earth. Trypillia cosmology united the celestial and terrestrial spheres, and the Temple was the point of contact of the earth with the visible Universe. In his work, the author traces the existing analogies in the structure of construction of Trypillia and sacred complexes of the ancient Middle East and biblical ideas about the Tabernacle and the House of the Lord in the ancient Jews, given the fact, that the Trypillia temple building is known from 4,000 years BC. and several thousand years older than the Middle Eastern counterparts. There are also significant parallels in the construction of temples in the context of Indo-European religious heritage. It is noted that the Temple was not only a metaphysical reflection of the annual cycle with a focus on the points of the equinoxes and solstices, but also had a higher religious function, which consisted in the combination of the terrestrial sphere with the celestial, the connection of man with the mystery of the cosmos. (shrink)

In the texts that presented the theoretical assumptions of the Parc de La Villette, Bernard Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Jacques Derrida, prove that (...) terms such as disruption, dissociation, disfunction, disjunctions and dispersion not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette, 1985, in which the architect’s design drawings and texts explaining his concepts related to the Park de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Peter Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus a thesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the stratus of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

These are the working notes of the workshop on Model-based and Qualitative Reasoning in Biomedicine, which was held during the European Conference on Artificial Intelligence in Medicine, AIME’03, on 19th October, 2003, in Protaras, Cyprus. The workshop brought together various researchers involved in the development and use of model-based and qualitative reasoning methods in tackling biomedical problems. Much of the biomedical knowledge is essentially model-based, as it is the understanding of the structure and function of biomedical systems that researchers (...) wish to achieve, and this is best done by developing models of these systems. In situations where it may not be appropriate or possible to use quantitative methods, researchers use qualitative approaches. Depending on the biomedical problem concerned, such descriptions may involve causal, temporal and spatial knowledge, possibly of an uncertain nature. Also in the medical management of disorders in patients, qualitative and model-based approaches are being used. For example, systems used for diagnosing disease rely on explicit models of normal or abnormal structure and behaviour (often referred to as ’first-principles models’) of the underlying disease process. Qualitative knowledge plays a role in the modelling of disease and treatment processes, including the handling of the uncertainty involved in these processes. Hence, there is little doubt that model-based and qualitative methods fit the biomedical domain really well. However, one of the problems with research in the biomedical field is that researchers applying model-based and qualitative-reasoning methods are often closely linked to their application field, such as, for example, cell biology or clinical medicine, and find it difficult to keep in contact with colleagues doing similar research, but working in a different biomedical application field. This is even more difficult if the techniques used are also different. For example, researchers involved in Bayesian network research and researchers using qualitative simulation methods hardly exchange views and ideas, despite the fact that their methods have in common that they emphasise representing qualitative biomedical knowledge. It was the aim of this workshop to bring together researchers along the entire spectrum of the biomedical field, from health-care research and clinical medicine to human biology, using a variety of methods and techniques, from (qualitative) Bayesian networks and symbolic machine learning, to qualitative simulation.. (shrink)

In various places today we encounter a veritable cult of happiness, a socially mandated optimism, and a pathologization of persistent negativity or reluctance to participate as sickness to be treated. In this essay, I develop a critical perspective on this system of hegemonic happiness through an engagement with the thought of Adorno. It acts, I argue, as ideology in his sense of the term. After situating the discussion in the context of the broader philosophical project of Negative Dialectics, I (...) elaborate the sustained critique of “the doctrine of inner health” laid out in Minima Moralia. Then, as an expansion and update of this critique, I consider in more detail the prevailing form of the inner health discourse—what I will call “the happiness machine.” As a brief excursus into popular culture, I read an episode of The Twilight Zone as an apologue for this ideological mechanism and its functioning. Finally, I suggest a way of articulating refusal of the happiness machine rooted in Adorno’s conception of resistance. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Die Untersuchung gliedert sich in einen allgemeinen und einen besonderen Teil. Der allgemeine Teil, der die ersten neun Kapitel umfasst, hat es mit den Veränderungen zu tun, denen die Funktion des Kunstwerkes in seiner technisch reproduzierten Gestalt unterworfen ist. Die Qualität seiner technischen Reproduktion und die Geschwindigkeit ihrer Herstellung sind seit den einschlägigen Erfindungen des letzten Jahrhunderts in schnellem Wachstum begriffen. Die Zeit, die zwischen der Erfindung der Lithographie und der des Tonfilms liegt, umfasst kaum mehr Jahrzehnte als die zwischen (...) der Erfindung des Holzschnitts und der der Lithographie liegenden Jahrhunderte. Der Film ist die derzeit fortgeschrittenste künstlerische R ‘produktionstechnik. Er bedeutet in der Geschichte der Kunst etwas grundlegend Neues, nämlich die Reproduktion eines auf Reproduzierbarkeit angelegten Kunstwerkes. Der besondere Teil der Untersuchung hat es mit dem Film als der der Kunst in der Epoche ihrer technischen Reproduzierbarkeit spezifischen Form zu tun.Das erste Kapitel der Untersuchung entwickelt den Unterschied zwischen manueller und technischer Reproduktion des Kunstwerkes. Das zweite* umschreibt den jeder Reproduktion entzogenen Bereich der Echtheit, der die Aura des Kunstwerkes bildet. Das dritte bestimmt den Charakter der gegenwärtigen Wahrnehmung als bestimmt durch den Verfall der Aura. Das vierte weist die Fundierung der Echtheit in den Zusammenhängen des Rituals auf. Das fünfte hat es mit dem Unterschied des auf dem Ritual beruhenden Kultwertes des Kunstwerks von seinem Ausstellungwert zu tun. Das sechste zeigt, welchen verschiedenen Entwicklungsstufen der Technik Kultwert und Ausstellungswert des Kunstwerkes entsprechen. Das s'ebte handelt von dem beginnenden Übergewicht des Ausstellungswertes über den Kultwert in der Photographie. Das achte beleuchtet die Sonderstellung der griechischen Kunst durch ihren fast völligen Mangel an technischen Reproduktionsverfahren. Das neunte weist auf die Schwierigkeiten hin, die der überkommenen Aesthetik durch die Photographie und den Film erwachsen.Der zweite Teil der Untersuchung zieht aus den Analysen des ersten Teils die Folgerungen für die Filmtheorie. Er beschäftigt sich mit den Umständen, die aus dem Film dasjenige Kunstwerk machen, an dem die derzeitige Funktionsänderung sich am deutlichsten abnehmen lässt. Diese Funktionsänderung besteht in der Überführung des Kunstwerkes aus der ritualen in die politische Praxis.The investigation is divided into two parts, the first conceived on general lines and the second dealing with one specific aspect of the question. The general part deals with the changes to which the function of a work of art is subjected in its technically reproduced form. The quality of its technical reproduction and the speed with which the same is established have made great progress since the inventions of last century in that sphere. The period of time existing between the invention of lithography and that of the sound film contains scarcely more decades than there are centuries between the invention of the wood-cut and that of lithography. The film, at present, has the most highly developed technic of artistic reproduction. In the history of art the film represents something fundamentally new, namely, the reproduction of a work of art which aims precisely at such reproducibility. The second part of the investigation deals with the film as the specific form of art in the era of technical reproducibility.The first chapter develops the difference between manual and technical reproduction of a work of art. The second delimits the sphere of authenticity which forms the aura of a work of art and which is withdrawn from every reproduction. The third defines the character of modern perception as determined by the deterioration of the aura. The fourth chapter shows that the foundation of authenticity lies in the associations of ritual. The fifth deals with the difference between the cult-value based on ritual and the exhibition-value of a work of art. The sixth shows the various stages in the development of technical art to which the cult-value and the exhibition-value of a work of art correspond. The seventh treats the beginnings of the predominance of the exhibition-value over the cult- value in photography. The eighth throws light on the special position of Greek art due to its being almost completely lacking in methods of technical reproduction. The ninth draws attention to the difficulties which arise for traditional esthetics Through photography and the film.The second part of the investigation draws from the analyses of the first part certain conclusions concerning the theory of film-making. It concerns itself with the circumstances which make the film the work of art from which the modern change of function can be most clearly deduced. This change of function consists in the transference of the work of art from the realm of ritual to that of politics. (shrink)

Christopher Arciszewski (1592–1656), Arian mercenary and man of many facets, conducted a journal in which, it is suspected, he described military campaigns, the state of the colony and other interesting phenomena he was able to observe during his time of service in Brazil. In 1641, Gerard Vossius was completing his magnum opus De theologia. In Chapter 8 of the first volume, Vossius discusses the “cult of the demon” among various peoples. As an example the Netherlander erudite provides a colorful (...) description of such a cult among the Brazilian Tapuya tribe. Since the author never traveled to Brazil, he makes use of the observations of Christopher Arciszewski. How does an Arian, brought up in an atmosphere of intense pluralism and far-reaching tolerance towards other belief systems (or at least imbued with a strong relativism), react when he encounters, first-hand, a culture utterly different, and completely alien to him? His presentation of a hierarchically constructed morality existent among various cannibalistic tribes is, in a sense, an intellectual breakthrough. Instead of treating the nativescollectively as one homogenous culture, as simply “savages”, Arciszewski distinguishes between various cultural units, and treats them individually. The nobleman attempts to convey their own views of morality not on the basis of European ethical systems, but on the local ones in place. In his day, such ideas were nearly unthinkable for most educated Europeans. Cannibalism of any kind was perceived as godless behavior, a sort of devilry, which would eventually be abolished with coming of the “light of Christianity” to the New World and the inevitable Europeanization of the natives. The reader can marvel at the extent to which Arciszewski is willing go in his relativism, to the point of sympathizing with the Tapuya. He allows them to explain to the reader the functioning of theirendo-cannibalistic culture. Arciszewski adds to the rationalization of cannibalism a detailed description of the death-rite among the Tapuya, presenting these ceremonial customs in accordance with their own beliefs, as something potentially interesting for humanistic intellectuals back in the Old World. Vossius’ book also discusses the question of the tribe’s spiritual beliefs: their conceptions of good and evil, deities, etc. The reader once again witnesses Arciszewski’s readiness to accept beliefs and deities completely unknown to European religion. The author does not prima facie discount the possibility that the “universal laws” operating in the Old World have no place in the Brazilian wilderness. His philosophical outlook, demonstrated by his rationalization of what had before been considered “magical” or “irrational”, is surely a foreshadowing of the rationalism of Enlightenment, whose modes of thinking constitute the core-foundation for alllater philosophical and scientific inquiry. Arciszewski, as an Arian brother par excellence, essentially operated with such conceptual tools as relativism, toleration and universalism, and his intellectual arsenal did not altogether differ from our own. As such, Arciszewski, and Europeans like him, helped free the Western worldview of its mediaeval philosophically limited conceptions of the cosmos, and propelled it in new directions of inquiry. This led eventually to a decided shifting of the European worldview away from superstition towards reason: the most definitively crucial moment in European intellectual history. (shrink)

pt. 1. lecture 1. Issues and problems ; lecture 2. Mircea Eliade's Cosmos and history and cyclical time ; lecture 3. The early enlightenment and the search for the laws of history, Vico's New science of history ; lecture 4. The high enlightenment's cult of progress, Kant's idea for a universal history from a cosmopolitan point of view ; lecture 5. Hegel's philosophy of history ; lecture 6. Marx's historical materialism ; lecture 7. Nietzche's critique of historical consciousness, On (...) the advantages and disadvantages of history for life ; lecture 8. Weber's historical sociology -- pt. 2. lecture 9. Taking the long view, Arnold Toynbee and world historical speculation ; lecture 10. Twentieth-century neo-idealism, R.G. Collingwood's The idea of history ; lecture 11. The positivist conception of historical knowledge, Carl Hempel's The function of general laws in history ; lecture 12. Analytic musings, Arthur Danto's Narration and knowledge ; lecture 13. Social history, structuralism, and the long duree, Fernand Brandel's On history ; lecture 14. Post-structuralism and the linguistic turn, Hayden White's Introduction to metahistory ; lecture 15. Naturalism revisited, William McNeill's Plagues and peoples ; lecture 16. The heterogeneity of historical understanding. (shrink)

Confucianism in general, and Confucian ideals in particular, which arrived in Vietnam in the first cen- turies of our era, were accepted by our Vietnamese dynasties and have served as ideological functions for a long time. Furthermore, Confucian morality has played a significant role in Vietnamese tradi- tional life. Additionally, Confucian virtues have had a long-standing influence on Vietnamese society. It has had a beneficial and detrimental impact on public life since its inception. The purpose of the article is to (...) examine the tactics of Confucian politics’ influence on modern Viet- namese society and our societal problems. The rel- evance of customs, traditions, and beliefs, as well as the cult of ancestor worship, is highlighted; the value of moral education in the family is empha- sized; and the influence of public opinion is being highly considered. Along with that, the impact of Confucian principles on Vietnamese society is ex- amined, both through the institutions of communal self-government in villages and communes and through policy implementation. The author points out various inconsistencies between Confucian principles and modern Vietnamese society. Further modernization, according to the author, should be accomplished not by shattering the ideals embod- ied in Vietnamese society or by Confucianism’s standards, but by adapting their individual provi- sions to the needs of the present. (shrink)

In her drama Cassandra Lesia Ukrainka pays considerable attention to language and demonstrates its two defi ning forms and functional paradigms. One of them is language that appeals to the essential components of being. It is language that refl ects human existence in all its acuity and fullness of appearance. This language is complex and diffi cult to understand, but is the only real language of the age of modernism. Another language is superfi cial, appealing not to the depths (...) of life and universal categories, but to temporary human needs and aspirations. Its task is to identify the ways and means of achieving a desired goal. Such language is manipulative, because its speakers tend to hide their personal interests under claims of the common good. Also, in the drama, Lesia Ukrainka innovatively raises a number of questions related to the internal laws of world development, the processes of human cognition, the functioning of language, and the understanding and interpretation of the word. The formulation and presentation of these issues demonstrate the clear modern attitude that the writer professed and embodied in her drama. (shrink)

The principle of non-injury toward all living beings in India was originally a rule restraining human interaction with the natural environment. I compare two discourses on the relationship between humans and the natural environment in ancient India: the discourse of the priestly sacrificial cult and the discourse of the renunciants. In the sacrificial cult, all living beings were conceptualized as food. The renunciants opposed this conception and favored the ethics of non-injury toward all beings, which meant that no (...) living being should be food for another. The first represented an ethics modeled on the power that the eater has over the eaten while the second attempted to overturn this food chain ethics. The ethics of non-injury ascribed ultimate value to every individual living being. As a critique of the individualistic ethics of noninjury, a holistic ethics was developed that prescribed the unselfish performance of one’s duties for the sake of the functioning of the natural system. Vegetarianismbecame a popular adaptation of the ethics of non-injury. These dramatic changes in ethics in ancient India are suggestive for the possibility of dramatic changes in environmental ethics today. (shrink)

Abstrakt/Abstract: Ve dvacátém století se nejrůznější společenské vědy musely obecně vyrovnávat s relativizací těch nejzákladnějších konceptů, jako je komunikace, text, význam, bytí nebo realita. Současně se pak začalo nevyhnutelně otřásat i heuristické, intuitivní pojetí autora jako „toho, kdo píše“. Naše pojednání představuje stručný exkurz do moderního teoretického myšlení, které se z tohoto hlediska otázkou autora zabývalo. Zmiňujeme se o Nové kritice, která odmítala pátrání po autorově záměru a usilovala o interpretaci literárního díla jako soběstačné entity. Dále pojednáváme o Rolandu Barthesovi, (...) který prosazoval pojetí díla jakožto součásti textového pole, přičemž otázka autora je pro něho zcela irelevantní. Posléze věnujeme pozornost způsobu, jímž se k autorovi staví Michel Foucault. Ten rozebírá jeho diskurzivní fixaci a táže se, jakou funkci plní koncept, s nímž člověk ve skutečnosti pracuje, když o autorovi hovoří. Závěrem se zaměřujeme na určité prvky kultu osobnosti, které lze na konci dvacátého století i v současnosti v pojetí autora vysledovat. Referenčním rámcem celého pojednání je vztah konceptu autora k představě esenciálního významu literárního textu. The twentieth century saw a whole range of disciplines within the field of social sciences struggle to come to terms with a relativisation of some of the fundamental concepts of traditional thinking, such as communication, text, meaning, existence, and reality. Inevitably, the heuristic, intuitive notion of the author as "the one who writes" also started to fray around the edges. Our article presents a short overview of some modern theoretical thinking that has tackled the que+stion of the author in this new context. We mention the New Critics, who refused to seek the author's intention and endeavoured to interpret literary works as autonomous entities. We then discuss Roland Barthes and his conception of literary work as part of an indefinite textual field; in this conception Barthes considers the question of an author as entirely irrelevant. Then we focus our attention on how the problem of the author is addressed by Michel Foucault. He treats the author as a concept, explores its discursive implications, and examines the modalities of its functioning. In the final part of the article we focus on certain marks of cult of personality that can be observed in authors at the end of the twentieth century as well as today. As a referential framework for our analysis, we employ the relation between the concept of the author and the essentialist notion of a determinate meaning of a literary text. (shrink)

The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a "creative" and "creating" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. Their similarity is established (...) on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the "creator" and "observer" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the "observer" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process. (shrink)