Models of intertemporal choice draw on three evaluation rules, which we compare in the restricted domain of choices between smaller sooner and larger later monetary outcomes. The hyperbolic discounting model proposes an alternative-based rule, in which options are evaluated separately. The interval discounting model proposes a hybrid rule, in which the outcomes are evaluated separately, but the delays to those outcomes are evaluated in comparison with one another. The tradeoff model proposes an attribute-based rule, in which both outcomes and (...) delays are evaluated in comparison with one another: People consider both the intervals between the outcomes and the compensations received or paid over those intervals. We compare highly general parametric functional forms of these models by means of a Bayesian analysis, a method of analysis not previously used in intertemporal choice. We find that the hyperbolic discounting model is outperformed by the interval discounting model, which, in turn, is outperformed by the tradeoff model. Our cognitive modeling is among the first to offer quantitative evidence against the conventional view that people make intertemporal choices by discounting the value of future outcomes, and in favor of the view that they directly compare options along the time and outcome attributes. (shrink)

This article addresses whether Nietzsche’s naturalism is best understood as exemplifying the principles of scientific method and the spirit of Enlightenment. It does so from a standpoint inspired by Eugen Fink’s contention that Nietzsche’s endorsements of “naturalism” are best read as hyperbole. The discussion engages with Enlightenment-orientated readings (by Walter Kaufmann, Maudemarie Clark, and Brian Leiter), which hold Nietzsche’s naturalism to endorse of the spirit of empirical science, and an alternative view (provided by Richard Schacht and Wolfgang Müller-Lauter), which holds (...) Nietzsche’s “extended naturalism” to be an informing ethos of historically aware thought rather than a mere “method.” The ensuing discussion endorses the latter approach in terms that seek to take more seriously the implications of Fink’s point about the hyperbolic and figural aspects of Nietzsche’s naturalism. I argue that Nietzsche’s naturalism is indeed often hyperbolic and figural but that this exaggerated form of naturalizing thought allows insights that invite explicit theorization. Turning to an approach suggested by Adorno and Horkheimer, I argue that Nietzsche’s exaggeratedly “naturalistic” take on morality is best appreciated as a form of disturbing and disruptive political intervention in the dominant discourse of modernity in which it overtly situates itself, namely, the instrumentalizing, methodologically fixated liberal discourse of scientific Enlightenment. If we approach his thinking in this way, Nietzsche’s naturalism serves as a valuable resource for critical reflection on the hegemony of contemporary scientific culture. The context for such critical reflection is provided by Giorgio Agamben’s work on sovereign power and modernity. Nietzsche’s naturalism, I argue, is foremost biopolitical in its implications. These implications invite critical reflection on aspects of Agamben’s work; they also, following Agamben’s lead, suggest that we must step beyond the fundamental concepts of liberalism. (shrink)

The essay argues for a nuanced understanding of the notorious dissonance between Derrida and Agamben despite their shared interest in troubling the metaphysical separation between human and animal. I argue that a close scrutiny of their differing strategies towards the matrix of framing issues (such as sovereignty and violence) is salient for keeping the ontological question of species difference open. I suggest that the dissonance between the two thinkers is best understood in relation to systemic and rhetorical effects—namely, the encompassing (...) figure of the circle that structures sovereignty, and the rhetoric of hyperbole that disfigures the circle into an ellipse and the line. This ironic interplay appears through their mutually dissonant readings of the localization of life (human and animal) and the situation of power and violence in relation to sovereignty. (shrink)

The essay argues for a nuanced understanding of the notorious dissonance between Derrida and Agamben despite their shared interest in troubling the metaphysical separation between human and animal. I argue that a close scrutiny of their differing strategies towards the matrix of framing issues is salient for keeping the ontological question of species difference open. I suggest that the dissonance between the two thinkers is best understood in relation to systemic and rhetorical effects—namely, the encompassing figure of the circle that (...) structures sovereignty, and the rhetoric of hyperbole that disfigures the circle into an ellipse and the line. This ironic interplay appears through their mutually dissonant readings of the localization of life and the situation of power and violence in relation to sovereignty. (shrink)

The dream argument and its role in Cartesian doubt continue to engage commentators. As recent scholarship shows, a consensus has yet to be attained. In what follows I attempt to resolve the current debate by offering an account of the dream doubt which captures Descartes’s rhetorical strategy in Meditation I. A faithful reading of the text, I propose to show, reveals that the dream doubt is not entertained seriously nor is it proposed merely for the sake of methodological skepticism. (...) It is rather an integral part of a dogmatic intrusion of Cartesian science at a pivotal point in the critique of prescientific experience. After presenting the proposed interpretation, I examine the accounts offered in the current scholarship. (shrink)

Hegel famously argued that Kantian Moralität is an empty formalism. This article offers a defense of Kant’s formalism and suggests that it is crucial to Hegel’s own idealism. My defense, however, depends on reading Kantian morality non-morally, as a theory of normative authority. Through a reading of the Grundlegung and Religion, the article delineates Kant’s hyperbolic formalism—the insistence on giving an account of the form of rational agency by isolating willing from all content. The article accordingly assesses (...) Kant’s understanding of autonomy as a matter of institution-subjection. It also critically engages Henry Allison’s groundbreaking work on Kant. Hegel follows Kant in arguing that determinacy is a matter of institution-subjection, and in the Logic provides a radically formalist justification of the role of normative authority in determinacy. Unlike Kant, who articulates institution-subjection as a matter of an isolated subject, Hegel shows that institution-subjection is a matter of social practices. (shrink)

An important question in Object-Oriented Ontology (OOO) and its associated literature is how OOO relates to its competitor theories. This article is a meta-philosophical investigation into OOO and its grounding, which hopes to fully theorise this relation, deriving ultimately a “negative dialectic” that emphasises the irreducible differences between OOO and non-OOO. Beginning by analysing the use of OOO as a “starting point”, I consider Althusser’s various contributions to meta-philosophical debates. This leads me to focus on Harman’s notion of “hyperbolic (...) reading”, and on how attempts to hyperbolically ground OOO force it to immanently include its competitors. Finally, I apply these insights to systematise both the negative dialectical relation between OOO and non-OOO and the becoming-OOO of thinking, by applying Laruelle’s Non-Philosophy. (shrink)

This article shows the unity of hume's "a treatise" as a problem; green and smith; contemplation and action; the roles of the author; the ambiguities of nature and fiction; scarcity and vanity. "a treatise" as an experiment in autonomy unmixed with heteronomy ; vindication of the ordinary through flight to the extraordinary; mention and use, Retorsion; arguments from silence and violence against hyperbolic evidence and unruly desire; is discourse compatible with dissolution of its author into free-Floating impressions or with (...) representation of his character as avaricious and vain? aristotle, Hobbes, And kant as foils for interpreting hume. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:René Girard LOVE DELIGHTS IN PRAISES: A READING OF THE TWO GENTLEMEN OF VERONA Valentine and Proteus have been friends since their earliest childhood in Verona, and their two fathers want to send them to Milan for their education. Because of his love for a girl named Julia, Proteus refuses to leave Verona; Valentine goes to Milan alone. In spite ofJulia, however, Proteus misses Valentine greatly and, after (...) a while, he, too, goes to Milan. The two friends are reunited in the ducal palace; the duke's daughter, Silvia, is present and Valentine briefly introduces Proteus. After she departs, Valentine announces that he loves her and his hyperbolical passion irritates Proteus. Once alone, however, Proteus has his own announcement to make: he no longer loves Julia; he, too, has fallen in love with Silvia: Even as one heat another heat expels, Or as one nail by strength drives out another, So the remembrance of my former love Is by a newer object quite forgotten.1 If there ever was a "love at first sight," this must be it, we think, but Proteus is not so sure: in three crucial lines, he suggests a different explanation: Is it mine eye, or Valentinus' praise, Her true perfection or my false transgression, That makes me reasonless, to reason thus? (Il.iv. 196-98) 231 232Philosophy and Literature The entire comedy massively confirms the crucial role of Valentine in the genesis of Proteus's sudden passion for Silvia. According to our romantic and individualistic ideology, a borrowed sentiment such as this one is not genuine enough to be really intense. This is not true in Shakespeare; Proteus's desire is so furious that he would actually rape Silvia if Valentine did not rescue her in extremis. When Shakespeare wrote his plays, the second-hand desire he portrays had no name, no official existence, but this is no longer true. We call it mimetic or mediated desire. Valentine is the model or mediator of this desire. Proteus is its mediated subject and Silvia is their common object. Mimetic desire can strike with the speed of lightning because it does not really depend upon the visual impact made by the object; it only seems to. Proteus desires Silvia not because their brief encounter made a decisive impression on him but because he is predisposed in favor of whatever Valentine desires. Mimetic desire is not some modern idea that I would force upon an unwilling writer; it is Shakespeare's own idea and we can see this again in Proteus's soliloquy, which keeps minimizing the role of perception in the genesis of his desire for Silvia: She is fair; and so is Julia that I love, That I did love,... (Il.iv. 199-200) IfSilvia is no more desirable objectively thanJulia, her only advantage is that Valentine already desires her. Shakespeare undermines the predominance of sight in the expression love at first sight. In A Midsummer Night's Dream as well, the two girls are said to be equally beautiful, also for the purpose of reinforcing the case for mimetic desire. II The dramatic context of this first mimetic desire, and of many others in Shakespeare, is the close and ancient friendship of the two protagonists. When Proteus is about to arrive in Milan, Valentine describes this friendship to Silvia and her father: I knew him as myself; for from our infancy We have convers'd and spent our hours together. (II.iv.62-63) René Girard233 When two young men grow up together, they learn the same lessons, they read the same books, they play the same games, and they agree on just about everything. They also tend to desire the same objects. This perpetual convergence is not incidental but essential to the friendship ; it occurs so regularly and inevitably that it seems preordained by some supernatural fate; it really depends on a mutual imitation so spontaneous and constant that it remains unconscious. When we think of imitation, we imagine two people copying each other's manners, habits, accents, and even their likes and dislikes in the still childish and innocent manner of two childish friends. We never think of what Proteus's desire for... (shrink)

This article, inspired by the Derridean thinking of hospitality, attempts to reflect upon the conditions of peace and hospitality, taking a reading of Kant's ‘Toward Perpetual Peace’ as its guiding thread. It endeavours to show that the peace that inhospitable nations maintain between themselves is necessarily illusory, as they continue to amass the restrictive conditions of their hospitality. The hypothesis is proposed that the guiding thread that links the elements of the hyperbolic ethics that Derrida deploys in his (...) ‘questions of responsibility’ seminars indeed concerns this unconditional condition of peace, of which hospitality is the first law. (shrink)

Through a reading of Nietzsche's texts, primarily of Thus Spoke Zarathustra, this article develops a phenomenological description of the variety of intoxication exemplified in conditions of drunkenness, or in states of emotional excess. It treats Thus Spoke Zarathustra as a literary expression of such intoxication, arguing against attempts to find a coherent narrative structure and clear authorial voice behind this text's apparent disorder. Having isolated the intoxicated characteristics of Thus Spoke Zarathustra - its hyperbolic rhetoric and emotions, its (...) lack of balance, its injustice, its shifting and conflicting moods, and its self-contradictions - I then offer an interpretation of the work, and by extension of intoxication itself, in terms of Nietzsche's model of the self as a dynamic multiplicity of forces. At the same time, I argue for a multiple and dynamic conception of personality in general. (shrink)

A close reading of Psalm 58, focusing particularly on its stylistic features, reveals the centrality of God's presence to his people in the midst of injustice and evil. In spite of its imprecatory language, Psalm 58 is a song of God's saving activity and a celebration of justice. A powerful seven-fold curse full of rich yet horrific images calls out for the disempowerment of the wicked. The Hebrew text, together with significant text-critical notes, along with a critical translation, colometric (...) division and examination of stylistic features constitutes the first part of the article. The structuring and non-structuring elements of the poem lead us to its primary theological purpose which is discussed in the second half of the article. Placing Psalm 58 within the context of the lament genre, the purpose of its difficult words is examined. In line with authors such as W. Brueggemann and C. Stuhlmueller an attempt is made to surface the significance of formal language of violence in the search for theological meaning. A hermeneutic for understanding and utilising the imprecatory psalms as a form of speech which gives voice to our disorientation and the disorientation of others is presented. In conclusion, the article points out how the often hyperbolic and ugly language of Psalm 58 reflects a biblical spirituality which should not be denied in the prayer forms of the community. (shrink)

Friedrich Nietzsche is one of the most popular and controversial philosophers of the last 150 years. Narcissistic, idiosyncratic, hyperbolic, irreverent--never has a philosopher been appropriated, deconstructed, and scrutinized by such a disparate array of groups, movements, and schools of thought. Adored by many for his passionate ideas and iconoclastic style, he is also vilified for his lack of rigor, apparent cruelty, and disdain for moral decency. In Living with Nietzsche, Solomon suggests that we read Nietzsche from a very different (...) point of view, as a provocative writer who means to transform the way we view our lives. This means taking Nietzsche personally. Rather than focus on the "true" Nietzsche or trying to determine "what Nietzsche really meant" by his seemingly random and often contradictory pronouncements about "the Big Questions" of philosophy, Solomon reminds us that Nietzsche is not a philosopher of abstract ideas but rather of the dazzling personal insight, the provocative challenge, the incisive personal probe. He does not try to reveal the eternal verities but he does powerfully affect his readers, goading them to see themselves in new and different ways. It is Nietzsche's compelling invitation to self-scrutiny that fascinates us, engages us, and guides us to a "rich inner life." Ultimately, Solomon argues, Nietzsche is an example as well as a promulgator of "passionate inwardness," a life distinguished by its rich passions, exquisite taste, and a sense of personal elegance and excellence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 84-106 [Access article in PDF] Irony in the Platonic Dialogues Charles L. Griswold, Jr. I INTERPRETERS OF PLATO have arrived at a general consensus to the effect that there exists a problem of interpretation when we read Plato, and that the solution to the problem must in some way incorporate what has tendentiously been called the "literary" and the "philosophical" sides of Plato's writing. (...) The problem is created by the fact that Plato wrote in dialogue form, indeed a specific type of dialogue form. The solution must somehow combine into a coherent theory of the "meaning" of the dialogues, the ways in which these texts work (such as the use of imagery, metaphor, myth, allusion, irony, as well as argument). At the same time, there exists enormous disagreement about how one ought to move from these general observations to interpretation of a particular text. 1The problem of interpretation lies not merely in the fact that Plato wrote dialogues. That alone would not necessarily present any hermeneutical issues of unusual difficulty. Plato's distinctive use of the dialogue form creates the difficulties. The genre that we might call "the Platonic dialogue" is distinguished by several relevant characteristics.First, there is no character called "Plato" who speaks in any of the dialogues; indeed, "Plato" is mentioned twice in the entire corpus, once as being absent (Pho. 59b10), and once as being present (Apol. 38b6). Authorial anonymity is thus an important feature of the dialogues. 2 At least ab initio, we are not justified in identifying Plato with any one of his characters. Indeed, there are positive reasons why he cannot be identified even with Socrates, as I will discuss below. 3 Plato is absent from his own texts; no simple act of reading them will allow us to ascertain what his views are. 4 It does not follow that Plato's views are [End Page 84] entirely absent from the dialogues—say, in the form of some mysterious "esoteric teaching"—and that they cannot be elicited by a complex act of reading. Just how Plato's views are to be extracted has been, again, the subject of a very long debate. 5 I myself think that Plato's views can be so elicited. 6 But the fact of his anonymity as author means that "Plato's meaning" is not ascertainable in the way that, say, "Kant's meaning" may be ascertainable in the Critique of Pure Reason.A second feature of Plato's dialogues contributes to the interpretive puzzle. The dialogues are clearly fictional in character. They are not—they could not be—transcriptions of conversations which took place. Some dialogues could not have taken place even when the interlocutors were historical figures (for example, at the Phaedrus' ostensible dramatic date the real Phaedrus was not in Athens). Not only are many of the characters entirely fictional, there is clear evidence that even "Socrates" is very much a fictionalized version of the historical character. I am referring not just to the famous statement in the (possibly inauthentic) Second Letter, 7 but to the fact that the Socrates of Plato's dialogues is presented as being a super-human character. This is evident from Alcibiades' description of him in the Symposium as well as from a number of subtle fictions. For example, Plato has Socrates narrate the entirety of the Republic from memory, without a single moment of hesitation or (so far as the reader can tell) any lapse of memory. This fantastic feat is complemented by Socrates' equally fantastic stamina in conversation. The lengthy Protagoras, for example, is narrated in its entirety by Socrates immediately after the dialogue itself has occurred. Socrates never shows any fatigue of any sort. It is not just hyperbole to say that Plato's Socrates is heroic; he is carefully compared, in passages I cannot examine here, to both Achilles and Odysseus. Socrates' absolute calm and self-control before death also evidence his superhuman character. The relation between the historical Socrates and the Platonic Socrates is the source of much fruitful controversy. It suffices for... (shrink)

Richard Rorty would have read these passages strategically as so much meta‐physical mumbo jumbo, yet they can "usefully" apply here. Derrida famously argued that differance was neither a word nor a concept. Rorty's dismissiveness here is typical of his transvaluative stylistics, presenting itself, as always, in commonsensical rather than counterintuitive attire. Yet Badiou's reworking of Derrida's non/concept can help us situate Rorty's philosophy in the nonplace between transvaluative legibility and illegibility, where it reads to this day. The eschewal of every (...) "conditions of possibility" rhetoric had consequences for Rorty's Critical reception – consequences that were already implicit in Consequences of Pragmatism, but which Rorty may not have foreseen. Rorty's peculiar tragedy is that he was not a proto‐cultural materialist, any more than he was a "conditions of possibility" antifoundationalist or a by now mythological logical positivist. Neither Rorty nor speculative realists are speculative, of course, in the sense that Hegel's philosophy is called "speculative.". (shrink)

IN A recent work I have attempted to show that visual space tends to have a Euclidean geometrical structure only when the environment is filled with a repetitive pattern of regularly faceted objects carpentered to exhibit simple standard Euclidean shapes, and tends to have a hyperbolic structure when vision is deprived of these clues. I conclude that visual perception--and by analogy, all perception--is hermeneutic as well as causal: it responds to structures in the flow of optical energy, but the (...) character of its response is also hermeneutical, that is, it has the capacity to "read" the appropriate structures in the World, and to form perceptual judgments of the World about which these "speak." The clues that are "read" perceptually as giving a Euclidean visual space are engineered objects, such as streets and buildings with repetitive architectural elements. These scientific artifacts of human culture belong to a family of readable technologies central to the phenomenological and existential-hermeneutical analysis of natural science. (shrink)

There is a well-known remark in Wittgenstein's Philosophical Investigations which even some philosophers sympathetic to his work have found very hard to accept. It reads:Philosophy may in no way interfere with the actual use of language;it can in the end only describe it.For it cannot give it any foundation either.It leaves everything as it is. Surely, it is said, that is carrying matters too far. Wittgenstein's hyperbole should be excused as a harmless stylistic flourish.

Rousseau has the reputation of being a radical egalitarian. I shall suggest that a more careful reading of his work shows him to have been hardly more egalitarian than Plato. He was undoubtedly disturbed by existing inequalities, especially as he observed them in France. He had an original and interesting theory about how inequality among men came into being; he also set out what he considered to be the connections between equality and freedom. As a champion of a certain (...) idea of freedom, he wrote in favor of specific sorts of equality; even as Plato, as the champion of a certain idea of justice, wrote in favor of putting every man in his place. The great difference is that Plato believed that men were never equal, whereas Rousseau believed they had once been equal but no longer were. To the proposition that all men are born equal he could be said to subscribe only in the sense that “all men were originally equal”. Rousseau argued that equality prevailed in the state of nature; but he also said it would be wrong to expect, even to desire such equality in civil society. In the final footnote to his Discourse on the Origins of Inequality he wrote : “Distributive justice would still be opposed to that rigorous equality of the state of nature, even if it were practicable in civil society.” 1 Commentators eager to claim Rousseau as an egalitarian, or proto-Marx, ignore this footnote; as for the opinions expressed in the Dedication to the Second Discourse, opinions no less at variance with egalitarian ideology, they tend to be dismissed as empty hyperbole, designed to ingratiate the philosopher with the authorities of Geneva at a time when he wanted to recover his rights as a citizen and burgess. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Descartes’s Demon and the Madness of Don QuixoteSteven NadlerDescartes’s “malicious demon” (genius malignus, le mauvais génie)—the evil deceiver of the Meditations on First Philosophy whose hypothetical existence threatens to undermine radically Descartes’s confidence in his cognitive f aculties—is an artful philosophical and literary device. There is considerable debate over the significance of this powerful and malevolent being within Descartes’s argumentative strategy. Some insist that its role is a substantive (...) one, with Descartes in troducing the deceiver in order to deepen yet further the skeptical doubts of the First Meditation, doubts from which he hopes, by the grace of a benevolent God, eventually to rescue himself. 1 Others claim that its role is merely a rhetorical one, with the demon meant simply to reinforce already philosophically well-established skeptical doubts that, in the face of everyday habit, are difficult to sustain. 2 Either way, there is no underestimating the force of the hypothesis as an epistemological tool for subverting our faith in our reasoning and sensory powers. [End Page 41]It is useful to place the “evil genius” in the context of seventeenth-century intellectual culture 3 not just for our understanding of what may have been the historical origins of this most extreme and “metaphysical” 4 of all skeptical doubts but also for broadening our appreciation of its significance beyond epistemology alone. When we grasp the various practical (moral, legal, and social) problems and the literary and artistic possibilities raised by the demon hypoth esis, we can see why such an improbably hyper-skeptical thesis is nonetheless deserving of general interest. To take just one example, Richard Popkin, in his seminal work on the history of skepticism in early modern thought, describes the knotty problems that are generated in the legal context of a trial when the issue of the demonic is raised (as in the case of someone on trial for witchcraft). 5In the service of this contextualizing project I compare Descartes’s meditator (with his self-assumed skeptical pose) with a near-contemporary literary character of particular fame and importance. What is especially striking—and instructive—in this comp arison are the parallels and resonances between the kind of general, systematic, philosophically-generated hyperbolic doubt that Descartes introduces by way of his deceptor potentissimus et malignus and the initially more particular (but perhaps eq ually systematic) distrust of the faculties that is suggested by Don Quixote’s own “rationalization” of his illusions. 6 In fact precisely the same philosophical problem is raised both in the first major work of modern philosophy and in the first modern novel: in the face of the possibility of ongoing deception by some powerful and malicious being, how can we possibly trus t our sensory and rational faculties to provide us with true and reliable knowledge? Descartes’s philosophical work can even provide us with a key to understanding part of the nature of Don Quixote’s madness, to systematizing it in its epistemological dim ensions. Reciprocally, it may be that Cervantes’s hero gives us a concrete picture of what it would be like to try to live in the radically deceptive world of the skepticism of the First Meditation. [End Page 42]Did Cervantes’s novel have a direct influence on Descartes’s philosophical reflections? The first part of Don Quixote was published in 1604; the second part, written after several pirated editions of Part I had been circulating for a number of year s, appeared in 1614, the year before Cervantes’s death. The novel was immediately and enormously popular and was quickly translated into a number of other languages. The first French translation of Part I (by César Oudin) was published in 1614. In 1618, François de Rosset translated Part II, and these two translations were published together in one volume in 1639, 1646, and 1665. 7 We can be confident that Descartes knew about Cervantes’s works; and while we cannot say with certainty that he read Don Quixote, given his education, social status, interest in novels of chivalry, and the intellectual circles in which he traveled, it would be surprising if he did not. He... (shrink)

The rhetoric of Amos includes a wonderful mixture of humour and threat, sarcasm and irony, hyperbole and prediction. Holding the fabric of this conversation together is Amos's place within the prophetic minority - the Yahweh-only party. Making use of sociolinguistics, and particularly the idea of anti-language, I take a closer look at Amos, including his use of overlexicalisation, insider-humour and all the shades of irony one might expect. Typically of a member of an anti-society, Amos exaggerates the differences between insider (...) and outsider, in this case, speaking of 'ivory houses', 'the cattle of Bashan' while appealing to his successful attempts to save the rich from the wrath of God. The offenses of the outsiders are sometimes crystal clear and at other times shrouded in metaphor, and so too is the fate of these people. In reading Amos, we are constantly in danger of falling victim to the persuasive power of his rhetoric. We are drawn into the world of Amos, quickly accepting his boundaries and the ideology of his anti-society, his depiction of reality and his stark caricature of the rich. The rhetoric is persuasive and the irony is divisive forcing a choice of black and white, believer and unbeliever, rich and poor, oppressors and oppressed. We struggle to swim against the current and instead long to respond to Amos's invitation to live - perhaps even to discover that elusive hope at which the book hints: Most of history has been the forging of structures of security and appropriate loyalty symbols, to announce and defend one's personal identity, one's group, and one's gender issues and identity. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

Nietzsche's views on knowledge have been interpreted in at least three incompatible ways - as transcendental, naturalistic or proto-deconstructionist. While the first two share a commitment to the possibility of objective truth, the third reading denies this by highlighting Nietzsche's claims about the necessarily falsifying character of human knowledge (his so-called error theory). This paper examines the ways in which his work can be construed as seeking ways of overcoming the strict opposition between naturalism and transcendental philosophy whilst fully (...) taking into account the error theory (interpreted non-literally, as a hyperbolic warning against uncritical forms of realism). In doing so, it clarifies the nature of Nietzsche's ontological commitments, both in the early and the later work, and shows that his relation to transcendental idealism is more subtle than is allowed by naturalistic interpreters while conversely accounting for the impossibility of conceiving the conditions of the possibility of knowledge as genuinely a priori. (shrink)

Many natural scientists of the past and the present have imagined that they pursued their activity according to its own inherent rules in a realm distinctly separate from the business world, or at least in a realm where business tended to interfere with science from time to time, but was not ultimately an essential component, ‘because one thought that in science one possessed and loved something unselfish, harmless, self-sufficient, and truly innocent, in which man’s evil impulses had no part whatever’, (...) as Nietzsche once commented (Nietzsche 1974, p.106). With the extreme technological changes that have occurred in the last fifty years and the orchestrated management changes in the culture of science, it is now obvious that science is intimately tied to private businesses, industry, and society. Within this structure, the scientist has generally unknowingly defined him or herself in accordance with obsolete myths that have tended to handicap the scientist’s freedom of action, by obscuring the modern political and economic realities of science, and neglecting the inherent responsibilities of the scientist as a critical actor in the theater of human civilization. The increasing incorporation of academic science and private industry, and the governmentally supervised nature of modem academic science, has corrupted the traditional freedom and character of the scientist. In order to navigate oneself and find meaning within the new structure of science, scientists now desperately need a fresh ethos that at once considers modern realities of the politics and management of science, societal urgencies, and global politics, as well as establishing a moral perspective where modern scientists can be actors with their own intentionality and responsibility. -/- In the culture of science, myths and ideologies are of critical importance for the formation of the scientist, because these ideas determine how scientists conceive of themselves as professionals and free individuals. More importantly, these ideas determine how scientists approach scientific activity, which exists in a social context, and which ultimately has the potential to dramatically change the characteristics of civilization as it is played out on the political and technological battlefield. It is a commonly held notion in the community of the natural sciences that science now is essentially what it was when it was described by the Nobel laureates of the past; those sweet, cushioning, pleasant words consecrating the ‘temple of science’; the picture of a humble, rational, and noble Einstein is imprinted into our memories. By dismantling these obsolete myths of the scientist and surveying contemporary trends in science, this article will explore a more realistic perspective toward the field of science. The goal of this investigation is to determine the modern reality and ultimate meaning of ‘science as a vocation’ (Shorett 2003). Finally, moral philosophy will be demonstrated to be a critical clement in the self-assertion of the scientist and the elucidation of the meaning of science as a vocation in a global technological society. -/- From the Postscript, 2015: This article took final form when I was a postdoctoral researcher in Canada. Reading it now, I recognize the article still has value, despite its many flaws, hyperboles, and idealism. Many issues in the article have become increasingly relevant, such as the need to make constant trade-offs in courses of action and continuously search for more morally significant research paths. Perhaps the greatest goals in writing the article were to increase intellectual control over the path of my scientific research, to escape the increasing conformity and constraints on modern life, to participate in an open society, to formulate my personal goals and goal hierarchies, to dispel any delusions of overconfidence, and to not be corrupted. (shrink)

Friedrich Nietzsche is one of the most popular and controversial philosophers of the last 150 years. Narcissistic, idiosyncratic, hyperbolic, irreverent--never has a philosopher been appropriated, deconstructed, and scrutinized by such a disparate array of groups, movements, and schools of thought. Adored by many for his passionate ideas and iconoclastic style, he is also vilified for his lack of rigor, apparent cruelty, and disdain for moral decency. In Living with Nietzsche, Solomon suggests that we read Nietzsche from a very different (...) point of view, as a provocative writer who means to transform the way we view our lives. This means taking Nietzsche personally. Rather than focus on the "true" Nietzsche or trying to determine "what Nietzsche really meant" by his seemingly random and often contradictory pronouncements about "the Big Questions" of philosophy, Solomon reminds us that Nietzsche is not a philosopher of abstract ideas but rather of the dazzling personal insight, the provocative challenge, the incisive personal probe. He does not try to reveal the eternal verities but he does powerfully affect his readers, goading them to see themselves in new and different ways. It is Nietzsche's compelling invitation to self-scrutiny that fascinates us, engages us, and guides us to a "rich inner life." Ultimately, Solomon argues, Nietzsche is an example as well as a promulgator of "passionate inwardness," a life distinguished by its rich passions, exquisite taste, and a sense of personal elegance and excellence. (shrink)

René Descartes (1596-1650) is well-known for his introspective turn away from sensible bodies and toward non-sensory ideas of mind, body, and God. Such a turn is appropriate, Descartes supposes, but only once in the course of life, and only to arrive at a more accurate picture of reality that we then incorporate in everyday embodied life. In this clear and engaging book David Cunning introduces and examines the full range of Descartes' philosophy. A central focus of the book is Descartes' (...) view that embodied human beings become more perfect to the degree that they move in the direction of finite approximations of independence, activity, immutability, and increased knowledge. Beginning with an introduction and a chapter on Descartes' life and works, Cunning also addresses the following key topics: Descartes on the wonders of the material universe skepticism as epistemic garbage, and the easy dissolution of hyperbolic doubt Descartes' three arguments for the existence of God the ontology of possibility and necessity freedom and embodiment arguments for the immateriality of mind sensible bodies and the pragmatic certainty by which to navigate them Descartes' stoic view on how best to live. Descartes is an outstanding introduction to one of the greatest of Western philosophers. Including a chronology, suggestions for further reading, and a glossary of key terms, it is essential reading for anyone studying Descartes and the history of modern philosophy. (shrink)

René Descartes (1596-1650) is well-known for his introspective turn away from sensible bodies and toward non-sensory ideas of mind, body, and God. Such a turn is appropriate, Descartes supposes, but only once in the course of life, and only to arrive at a more accurate picture of reality that we then incorporate in everyday embodied life. In this clear and engaging book David Cunning introduces and examines the full range of Descartes' philosophy. A central focus of the book is Descartes' (...) view that embodied human beings become more perfect to the degree that they move in the direction of finite approximations of independence, activity, immutability, and increased knowledge. Beginning with an introduction and a chapter on Descartes' life and works, Cunning also addresses the following key topics: Descartes on the wonders of the material universe skepticism as epistemic garbage, and the easy dissolution of hyperbolic doubt Descartes' three arguments for the existence of God the ontology of possibility and necessity freedom and embodiment arguments for the immateriality of mind sensible bodies and the pragmatic certainty by which to navigate them Descartes' stoic view on how best to live. Descartes is an outstanding introduction to one of the greatest of Western philosophers. Including a chronology, suggestions for further reading, and a glossary of key terms, it is essential reading for anyone studying Descartes and the history of modern philosophy. (shrink)

The primary focus of this article is a reading of Venus Hottentot 2000, a performance-text that reperforms the hyperbolization of Black female sexuality. In using the corporeality of the Black body as a strategic site of postcolonial resignification, this performance is moreover an interrogation of the colonial gaze that has fetishized the Black body. In foregrounding Venus Hottentot 2000 as a point of departure for exploration, the article proceeds by delving broadly into the representational history of the ‘Hottentot’ female. (...) Furthermore, to facilitate an understanding of the constitutive power of the colonial gaze and the possibilities of subverting and displacing that gaze from that of a postcolonial diasporic aesthetic practice, the article frames the postcolonial feminist reading of Venus Hottentot 2000 via an investigation of the processes by which the ‘Hottentot’ female has been festishized and scopically objectified within colonial discourse - processes whereby the ‘Hottentot’ female became a signifier of Black female sexuality. The article concludes by reading this performance as an example of a postcolonial ‘cultural war of positioning’, which offers moreover a contemporary rescripting of Black subjectivity. (shrink)

My education in political poetry begins with William Blake’s remark about John Milton in The Marriage of Heaven and Hell: “The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil’s party without knowing it.”1 The statement is usually taken as a charming misreading of Milton or as some sort of hyperbole. We find it lumped with other readings which (...) supposedly view Satan as the hero of Paradise Lost, such as Percy Bysshe Shelley’s in A Defence of Poetry, although neither Blake nor Shelley says anything of the kind.2I consider Blake’s statement simply accurate. I think it the best single thing anybody has ever said about Paradise Lost. If not clear as a bell, then at least as compressed as diamonds. The insouciant opening gesture takes for granted what to Blake is obvious” that the poetry qua poetry is better, more exciting, more energetic in the sections dominated by Stan, worse, duller, less poetic in the sections dominated by God. As a lover of poetry Blake has evidently struck a perplexity. Why does Milton’s Satan excite me and this God bore me even though he plainly intends me to adore God and scorn Satan? The answer could have been that Milton “wrote in fetters” where constrained by theology and the danger of lapsing into inadvertent sacrilege, but “at liberty” otherwise. Other critics have claimed that it is impossible to make God talk successfully in a poem, but the Book of Job is enough to refute that position. Why did Milton choose to make God talk at all? Dante cleverly avoided that difficulty.The second half of Blake’s sentence not only solves the Paradise Lost problem but proposes a radical view of all poetry which might be summarized as follows: All art depends on opposition between God and the devil, reason and energy. The true poet is necessarily the partisan of energy, rebellion, and desire, and is opposed to passivity, obedience, and the authority of reason, laws, and institutions. To be a poet requires energy; energetic subjects make the best material for poems; the truer the poetry, the more it will embody the truths of Desire. But the poet need not think so. He can be of the devil’s party without knowing it. 1. William Blake, “The Marriage of Heaven and Hell,” Complete Poems, ed. Alicia Ostriker , p. 182.2. Let one instance serve: Marjorie Hope Nicolson wonders whether the members of the “‘Satanic School’ of Milton criticism” have read past books 1 and 2 of Paradise Lost . Alicia Ostriker, professor of English as Rutgers University, is the author of Stealing the Language: The Emergence of Women’s Poetry in America. Her most recent book of poetry is Imaginary Lover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:_Russell_ journal (home office): E:CPBRRUSSJOURTYPE2502\REVIEWS.252 : 2006-02-27 11:52
eviews WITTGENSTEIN APPROACHED G L Philosophy / U. of Iowa Iowa City,  ,  -@. Brian McGuinness. Approaches to Wittgenstein: Collected Papers. London and New York: Routledge, . Pp. xv, . .. his book is a joy to read. Brian McGuinness is among the foremost Tscholars of Wittgenstein’s life and work. For better than  years, his papers have given (...) perhaps the most clear and authoritative account of the complex intellectual and personal journey of Wittgenstein. The collection of these important papers in one book is an outstanding gift to all who are interested in early analytic philosophy. The papers are not presented diachronically, but topically, starting with McGuinness’s discussions of the interplay between Wittgenstein’s philosophy and his conception of himself, as Austrian patriot, as teacher, as Jew, as architect, as penitent. There is much controversy in all of this. It is upsetting to learn that Wittgenstein remarked (likely sometime shortly after the events of Pearl Harbor in ) that “Things will be terrible when the war is over, whoever wins. Of course very terrible if the Nazis won, but terribly slimy if the Allies win” (p. ). In spite of McGuinness’s attempts at charitable explanation, it is hard to excuse this remark. Wittgenstein should have recognized that it was imperative that the Allies win, for surely he could not, by then, have been blind to the pogroms of Nazism (if not the implementation of their Final Solution to the Jewish question). It is just disappointing to discover Wittgenstein’s dalliance with anti-Semitism or with Weininger’s deplorable Sex and Gender. Nonetheless, McGuinness offers a wonderful and balanced portrait of Wittgenstein with a welcome minimum of hyperbole either concerning his genius, achievements and influences, or his eccentricities and failings.  As also in McGuinness’s Wittgenstein, a Life: Young Ludwig (London: Duckworth, and Berkeley : U. of California P., ; reprinted as Young Ludwig: Wittgenstein’s Life, – with a new Preface [Oxford: Clarendon P., ]) russell: the Journal of Bertrand Russell Studies n.s.  (winter –): – The Bertrand Russell Research Centre, McMaster U.  - _Russell_ journal (home office): E:CPBRRUSSJOURTYPE2502\REVIEWS.252 : 2006-02-27 11:52  Reviews In a second part, the book delves into the origins and nature of Wittgenstein ’s Tractatus Logico-Philosophicus. Since the papers in this part do not come diachronically, it would be nice for each to have a date by its title, so that if there is an historical development of McGuinness’s ideas it could be more easily tracked. But evolving or not, the interpretations in McGuinness’s papers are of the very highest quality. I know of no one else who has come closer to unravelling the often cryptic entries in the Tractatus. Though some of McGuinness’s assumptions about Russell’s philosophy are now challenged by new interpretations —in particular, it seems that Russell never held a theory of types of entities —there remain a great many gems in these papers. Among them are the following: Wittgenstein’s conception of solipsism is not Cartesian and epistemic, but concerns the limits of logical form and the proper ethical attitude towards life (p. ); the Notes on Logic were offered as satisfying the dissertation requirement for Wittgenstein’s .. degree (p. ); Wittgenstein included among the “logical constants” such notions as that of a “predicate” and a “dual complex”, not just logical particles such as “not”, “or”, “all” and “some” (p. ); Wittgenstein’s Grundgedanke was independent of his “picture theory” (p. ); Wittgenstein’s “logical atomism” was to be a purified form of Russell’s so that it forms “true logical atomism” with no differences of type and with the unification provided by neutral monism of mental and physical particulars (p. ); Wittgenstein and Russell had similar attractions to Spinozistic ethics, the conception of the world sub specie aeternitatis and the “mystical” as what inspires the scientific attitude (pp. , ); Hertz’s elimination of the concept of “force” in physics was an inspiration for Wittgenstein’s elimination of “classes”, “probability”, and the logical constants (p. ); structured variables were central to Wittgenstein’s Tractarian programme (p. ); Wittgenstein’s conception of philosophical analysis has important ties to Kuhn’s concept of a paradigm (pp. , , ). These... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Translation of Levinas’s Review of Lev Shestov’s Kierkegaard and the Existential PhilosophyJames McLachlan (bio)In 1937, Emmanuel Levinas published a review of Lev Shestov’s Kierkegaard and the Existential Philosophy.1 In one of the first studies in English on Levinas, Edith Wyschogrod claims: “What Levinas writes of Shestov’s analysis of Kierkegaard might well be taken as a program for his own future work.”2 The review of Shestov’s Kierkegaard book shows Levinas (...) sympathy with Shestov’s rebellion against rationalism and totalism, his complaint that the individual and all her concerns, desires, and suffering were crushed by the world and ignored by philosophy. But his review of Shestov’s book also shows Levinas’s concern the rebellion could end in “the vanity of personal protest” and substitute subjective imprisonment for the imprisonment of history.3 Such irrationalism could lead to its own forms of violence, which in 1937 were becoming apparent.Like Levinas, Shestov helped introduce Husserl in France, although in Shestov’s case as an adversary to Husserl with whom he developed a friendship.4 The exchange between Shestov and Levinas’s Strasbourg teacher Jean Hering helped publicize Husserl in France.5 As an [End Page 237] exile in Europe, Shestov published his most powerful works Potestas Clavium, In Job’s Balances, Athens and Jerusalem, and Kierkegaard and the Existential Philosophy. Shestov sought, through a continued hammering, to escape the trap of Being toward radical freedom.6 The form of Shestov’s escape attempt can be situated between Levinas and Kierkegaard. He shares with Levinas the desire to escape ontology but, like Kierkegaard, Shestov’s version of the escape is into a radically individual relation with God through a violent repudiation of the universal; thus, both Levinas’s disagreement with and attraction to Shestov in his 1937 review of Kierkegaard and the Existential Philosophy prefigure his rejection of Kierkegaard.One must be wary of reading Shestov as a kind of introduction to any thinker he engages, and thus the inclusion for many years of Shestov’s book on short bibliographies on Kierkegaard was extremely misleading. The book was quite influential when it appeared in 1936 around the same time as Jean Wahl’s Études Kierkegaardiennes. Shestov’s work is filled with hyperbole, exaggeration, and polemic. All of his writings are more literary essays than works of scholarship. And it is this mesmerizing writing that Russian literary critic D. S. Mirsky called “the tidiest, the most elegant, the most concentrated... in short, the most classical prose in the whole of modern Russian Literature.”7 A more perceptive reader than many Kierkegaardians who have read Kierkegaard and the Existential Philosophy, Levinas wrote in 1937 that “the philosophical project of M. Shestov often takes on the allure of brilliant literary essay. It is a ‘poem’ rather than a ‘work.’ The author is more present therein than his subject.”8Here Levinas notes several important points about Shestov’s Kierkegaard book. Perhaps the most important is that it is not primarily about Kierkegaard that “the author is more present therein than his subject.” Levinas sees Shestov had indeed seized on one of the central aspects of Kierkegaard’s thought but “what affects us more deeply still, and this is not its smallest attraction, the ideas of M. Shestov.”9 This is true of all of Shestov’s work. It is a “vast symposium” around the problems that agitated Shestov. [End Page 238]________Emmanuel Levinas, review of Kierkegaard and the Existential Philosophy (Vox clamantis in deserto), by Leon Chestov, trans. T. Rageot and B. de Schloezer, Revue des Études Juives 101, nos. 1–2 (1937): 139–41.The thought of Søren Kierkegaard, Danish philosopher, dead in 1855, has known for some time a rare good fortune. Jaspers and Heidegger in German, Jean Wahl and Gabriel Marcel in France, are some of the names that permit us to measure the quality of the influence, which, in a very solid manner, he has also exercised on the only modern philosopher of Judaism worthy of the name, Franz Rosenzweig. This good fortune is not just a mode. The moral crisis opened by the War of 1914 has given men a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.4 (2005) 490-491 [Access article in PDF] Husain Sarkar. Descartes' Cogito: Saved from the Great Shipwreck. New York: Cambridge University Press, 2003. Pp. xviii + 305. Cloth, $65.00. Descartes's first critics attacked his cogito, ergo sum as deficient; his present critics attack it as excessive. Either way, it is an Archimedean point in Descartes's world and merits a book-length study. In this book, (...) Husain Sarkar makes a powerful case that the cogito is not an argument, but rather an "experiment," generating an intuition enabling Descartes to retrieve a timber from what Bourdin called the "great shipwreck" of the hyperbolic doubt.Sarkar places the experiment within his own fresh readings of Descartes's philosophy. They will be illuminating to new Descartes scholars. Some readings will seem perverse or cryptic. Constructive passages illuminate more, polemic passages less, as when Sarkar finds seven flaws in Hintikka's cogito interpretation. Despite the polemic excesses, Sarkar writes with modesty, epitomized by his slogan, "Reason with them in the most courteous manner."With verve and imagination Sarkar presents the cogito as an experiment which can be carried out in any world at all and yields an intuition that qualifies as a Cartesian first principle. He suggests various implications of his interpretation—for example, for the epistemic role of will: "The will initially learns the limits that it must recognize only at the foot of the cogito... It is in the state of the cogito that the will learns what it means to be ineluctably inclined toward affirming a proposition, and what it is to be free" (256).What is the content of the intuited 'I exist'? Sarkar calls upon Robert Adams's notion of a "primitive thisness," entirely distinct from a substance's properties or "suchnesses," and upon David Lewis's thesis that besides knowing propositions a person can know a self-ascription of a property. Still, he makes no headway at all. True, the question is extraordinarily [End Page 490] difficult. It has not yielded appreciably to brilliant phenomenologists or brilliant students of direct reference and indexicality or, for that matter, me. The content of 'I' statements is a topic for another book, and no one I know of is writing it.In the book's centerpiece, Sarkar marshals a series of attacks on the cogito as argument. Sometimes they miss—more polemic overkill. Usually they hit home. Their cumulative effect is persuasive.Descartes says that "I think, therefore I exist" is the first principle of his philosophy (VI, 32; VIIIA, 7; V, 147: references are to the Adam and Tannery edition). But if the cogito were an argument, one of its premises would become his first principle.An argument requires movement of thought and that requires reliance on memory (X, 370 and 408), and in the cogito Descartes strips memory of its credentials (VII, 24, superseding the assurances of X, 368).An argument relies on logical principles, but Descartes suspects these and reasoning generally. In the First Meditation he calls into doubt the simplest mathematics; elsewhere he generalizes from mathematics to "self-evident principles" and to "all the arguments I had previously taken as demonstrative proofs" (VI, 32; IXB, 6; similar aspersions are cast in V, 137 and 139). (But see also Mark Olson, "Descartes' First Meditation: Mathematics and the Laws of Logic" JHP 26 [1988]: 407–438.)I'll add a wrinkle. Descartes's mouthpiece Eudoxus says you can use your own doubt to deduce facts that are even more certain than those commonly built upon the great principle that it is impossible that a thing should both exist and at the same time not exist (X, 522). The conclusion of any argument rests on such logical principles. If the cogito were an argument, its certainty could not exceed theirs. Descartes suggests here that it does.Sarkar also cites Descartes's denigrations of "logic," but these often pertain not to reasoning generally but to syllogistic logic. Thus Margaret Wilson took the cogito to be a nonsyllogistic argument. Still, Sarkar effectively deploys... (shrink)

As a rule, there is nothing in the words themselves to mark off metaphors from literal language. If a boundary could somehow be drawn, it would be in constant need of re‐adjustment as metaphors become entrenched, idiomatic, and finally literal, and literal phrases are put to figurative or hyperbolic, and then metaphorical uses. Further, there is no algorithmic recovery of the intended meaning of a metaphor from the meanings of its components, no function that takes literal meanings as its (...) arguments and has metaphorical meaning as its output. That is, metaphors are syntactically invisible, pragmatically unstable, and semantically under‐determined. Their creation, use, and interpretation are almost impenetrable mysteries. As if to spite semantic theorists, they are also linguistic commonplaces, present in every kind of discourse. The discourse of philosophy is no exception to this rule, availing itself of the various stylistic, heuristic, and explanatory roles metaphors can play. Philosophy also produces metaphors of another sort, metaphors that differ in important ways from the metaphors of art and literature, as well as the metaphors of the natural and social sciences. These “grand“ metaphors are lasting monuments to the triumphs of philosophical discourse, even as they are also testimony to the failures of philosophical theorizing. This is because philosophy’s grand metaphors were never intended that way. They are better read as structural hypotheses that have become metaphors only after failing as literal truths. Ironically, it is precisely as metaphors that these images are integrated into our ways of thinking. In the end, thought itself is re‐structured, and these failures as descriptive truths succeed in becoming “constitutive truths” of a new reality. (shrink)

Pollok’s lengthy and extremely careful commentary of Kant’s Metaphysische Anfangsgründe der Naturwissenschaft is a dissertation defended at Marburg in 2000. It accompanies the Studienausgabe of Kant’s text that Pollok has provided as volume 508 of the Philosophische Bibliothek. The commentary embraces a threefold perspective. First, it accounts for the rationality of the author, that is, it accounts for the consistency and coherence of the work itself. However, Pollok is ready to go beyond the MAdN and consider other Kantian writings, whenever (...) this helps the understanding of the former. Three documents that are most interesting in this regard, namely, the Physik-Nachschrift Herder, the Berliner Physik-Nachschrift, and the Danziger Physik-Nachschrift are either actual lecture notes, or transcriptions of lecture notes, or copies of transcriptions of lecture notes. They require a careful critical assessment, especially when they point out discrepancies within the MAdN. In fact, says Pollok, the level of mathematical sophistication of these lecture notes is of such simplicity, that they could by no means be considered as representative of late eighteenth-century physics “in its proper form.” Second, the commentary accounts for all of Kant’s sources, from the textbooks he adopted for his courses to the works he read for his own research. Without doubt, says Pollok, Kant belongs to the group of those mathematical lay-people who were hardly able to master the details of, say, Newton’s determination of elliptic, parabolic, and hyperbolic orbits, Leibniz’s integration of mathematical formulas, or Euler’s mathematico-mechanical analysis of the movement of solid or fluid bodies. The basis of Kant’s reflections were rather the expositions of the corresponding results in natural sciences textbooks of his time, such as those by J. P. Eberhard, J. H. C. Erxleben, G. E. Hamberger, W. J. G. Karsten, A. G. Kästner, J. Keill, J. G. Krüger, J. H. Lambert, P. van Muschenbroek, J. J. Scheuchzer, J. A. von Segner, or C. Wolff. In sum, Kant was neither a Newtonian, nor a Leibnizian, nor an Eulerian: he rather found a stance of his own on the basis of his systematic interests. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nietzsche’s Case: Philosophy as/and LiteratureJeff MitchellNietzsche’s Case: Philosophy as/and Literature, by Bernd Magnus, Jean-Pierre Mileur and Stanley Stewart; 284 pp. New York: Routledge, Chapman & Hall, 1993, $16.95.In their “Pre(post)faces,” which open and conclude Nietzsche’s Case, the authors explain that the essay was primarily motivated by a problem they perceived in English-speaking Nietzsche criticism. Critical discussion of Nietzsche has suffered, they argue, from institutionalized “mutual shunning” which creates (...) a neat divide between literary and philosophical discourses. From within the safety of their professional keep, philosophers have generally adjudged literary treatments of Nietzsche’s writings negatively, assigning them a place on a scale ranging from “inaccurate” to “inept.” Viewed from the walls surrounding the literary stronghold, philosophical analyzes of Nietzsche have appeared naive and/or uninteresting. The authors assert that especially in the case of Nietzsche this turf mentality in the humanities has impoverished our cultural imagination, since he presents us with a sort of writing which defies mutually exclusive pigeon-holing as either philosophical or literary.Philosophy, the authors maintain, arises “out of the possibilities of idealization” (p. 138). Literary criticism, on the other hand, is “based on the possibilities of textualization” (p. 138). Philosophers studying Nietzsche tend to look for coherent meaning and, even more importantly, for logical rigor, whereas literary critics generally read “for novel new ideas, new insights, for fractures, fissures, and ambiguities in Nietzsche’s texts, for opportunities or connections missed” (p. 4). Nietzsche’s Case is an experiment in genre-mixing, [End Page 164] incorporating as it does all of these concerns into its critical perspective. The authors argue that Nietzsche’s work demands such criticism since his texts are informed by a conceptual rigor whose logic involves exploitation of the literary and rhetorical possibilities of the written word.The book’s project—undertaken, appropriately enough, by a philosopher (Magnus) and two literary theorists (Mileur and Stewart)—sets out to establish a new mode of criticism by carefully tracing the ways in which Nietzsche’s texts exceed traditional boundaries. The book’s extended argument aims at showing that Nietzsche’s transgression of hoary epistemic borders was directly motivated by his own genealogy of Western knowledge. “I, Plato, am the truth”—Nietzsche’s quip from the Twilight of the Idols ironically exposes the philosophical will to truth, and it is this claim to be primarily concerned with truth that the authors say can be seen “with only slight exaggeration,” as “the founding gesture of philosophy as it has been delivered over to us” (p. 4). They helpfully recall that part of Nietzsche’s genealogy which traces the origins of philosophy to religion and the priestly caste. Claims to the possession of knowledge were tied very early on to priestly strategies of asceticism and social domination, which cleverly highlighted the salvational nature of “true” knowledge as well as the discipline and self-renunciation required to attain it. On Nietzsche’s analysis, the dedication of philosophers to truth for truth’s sake and the supposedly disinterested character of their ideas and observations are the descendants of priestly asceticism.Magnus, Mileur and Stewart suggest that the philosophers’ assumption of a wholly objective and definitive access to truth was a pipedream, and that it helped seduce philosophers into a blindness vis-à-vis the interested and personal nature of their own theories, the textuality of their interpretations of world and humankind. If one grants this thesis, then the self-evident contemporary division between philosophy and literary criticism becomes, effectively, much less self-evident.The book’s originality and strength comes out best in the detailed analyses to which the authors’ new critical mode gives rise. In addition to displaying an impressive command of the enormous secondary literature on Nietzsche, the research team draws a series of novel and interesting comparisons between Nietzsche’s texts and texts from the English Renaissance and Romantic periods. Their emphasis on understanding the rhetorical aspects of Nietzsche’s writing—such as his continual use of hyperbole—should prove to be a genuine resource in interpreting his writings in the future. By pointing out and investigating the various rhetorical devices Nietzsche employs, they... (shrink)

'Practices without foundations' is, in genesis and in effect, a discussion of the following quotation , which serves therefore as an epigraph to it: ;Nelson Goodman's discussion of the 'new riddle of induction' ... deserves comparison with Wittgenstein's work. Indeed ... the basic strategy of Goodman's treatment of the 'new riddle' is strikingly close to Wittgenstein's sceptical arguments .... Although our paradigm of Wittgenstein's problem was formulated for a mathematical problem it ... is completely general and can be applied to (...) any rule or word. In particular, if it were formulated for the language of color impressions, as Wittgenstein himself suggests, Goodman's 'grue', or something similar, would play the role of 'quus'. But the problem would not be Goodman's about induction--"Why not predict that grass, which has been grue in the past will be grue in the future?"--but Wittgenstein's about meaning: "Who is to say that in the past I didn't mean grue by 'green', so that now I should call the sky, not the grass, 'green'?" vskip9pt ;This fascinating remark of Kripke's suggests a project, that of charting out both the interpretive and philosophic points of connection and disconnection between Wittgenstein, Goodman and Kripke. That project is this dissertation. ;My work severely tests Kripke's remark. For I argue that Kripke not only misreads Wittgenstein, but also mistakes the extremity of the 'scepticism' of his version of Wittgenstein for the priority of the philosophical puzzle that Goodman has bequeathed to us. ;To reach this conclusion, I show that Kripke's Wittgenstein's 'meaning-scepticism' is unanswerable if statable, but actually unstatable; and that, under certain interpretations, the same is true of putative scepticisms derivable from Goodman's text. The upshot is that the sceptical reading of most twentieth century philosophy must be displaced in favour of 'post-scepticism' and 'philosophical ethnography'. The latter concepts, sketched toward the end of the dissertation, are perhaps its telos. (shrink)

In this book, Stephen Read sets out to rescue logic from its undeserved reputation as an inflexible, dogmatic discipline by demonstrating that its technicalities and processes are founded on assumptions which are themselves amenable to philosophical investigation. He examines the fundamental principles of consequence, logical truth and correct inference within the context of logic, and shows that the principles by which we delineate consequences are themselves not guaranteed free from error. Central to the notion of truth is the beguiling issue (...) of paradox. Its philosophical value, Read shows, lies in exposing the invalid assumption on which the paradox is built. Thinking About Logic also discusses logical puzzles which introduce questions relating to language, the world, and their relationship. (shrink)

Inferentialism claims that expressions are meaningful by virtue of rules governing their use. In particular, logical expressions are autonomous if given meaning by their introduction-rules, rules specifying the grounds for assertion of propositions containing them. If the elimination-rules do no more, and no less, than is justified by the introduction-rules, the rules satisfy what Prawitz, following Lorenzen, called an inversion principle. This connection between rules leads to a general form of elimination-rule, and when the rules have this form, they may (...) be said to exhibit “general-elimination” harmony. Ge-harmony ensures that the meaning of a logical expression is clearly visible in its I-rule, and that the I- and E-rules are coherent, in encapsulating the same meaning. However, it does not ensure that the resulting logical system is normalizable, nor that it satisfies the conservative extension property, nor that it is consistent. Thus harmony should not be identified with any of these notions. (shrink)

There exists a common view that for theories related by a ‘duality’, dual models typically may be taken ab initio to represent the same physical state of affairs, i.e. to correspond to the same possible world. We question this view, by drawing a parallel with the distinction between ‘interpretational’ and ‘motivational’ approaches to symmetries.

I discuss the debate between dynamical versus geometrical approaches to spacetime theories, in the context of both special and general relativity, arguing that the debate takes a substantially different form in the two cases; different versions of the geometrical approach—only some of which are viable—should be distinguished; in general relativity, there is no difference between the most viable version of the geometrical approach and the dynamical approach. In addition, I demonstrate that what have previously been dubbed two ‘miracles’ of general (...) relativity admit of no resolution from within general relativity, on either the dynamical or ‘qualified’ geometrical approaches, modulo some possible hints that the second ‘miracle’ may be resolved by appeal to recent results regarding the ‘geodesic principle’ in GR. (shrink)

The logician's central concern is with the validity of argument. A logical theory ought, therefore, to provide a general criterion of validity. This book sets out to find such a criterion, and to describe the philosophical basis and the formal theory of a logic in which the premises of a valid argument are relevant to its conclusion. The notion of relevance required for this theory is obtained by an analysis of the grounds for asserting a formula in a proof.

Does the gravitational field described in general relativity possess genuine stress-energy? We answer this question in the affirmative, in a weak sense applicable in a certain class of frames of a certain class of models of the theory, and arguably also in a strong sense, applicable in all frames of all models of the theory. In addition, we argue that one can be a realist about gravitational stress-energy in general relativity even if one is a relationist about spacetime ontology. In (...) each case, our reasoning rests upon a functionalist approach to the definition of physical quantities. (shrink)

Re-reads Marx in light of the contemporary critical interrogation of subjectivity.

We construct a notion of teleparallelization for Newton-Cartan theory, and show that the teleparallel equivalent of this theory is Newtonian gravity; furthermore, we show that this result is consistent with teleparallelization in general relativity, and can be obtained by null-reducing the teleparallel equivalent of a five-dimensional gravitational wave solution. This work thus strengthens substantially the connections between four theories: Newton-Cartan theory, Newtonian gravitation theory, general relativity, and teleparallel gravity.