Hannah Arendt calls “natality,” the fact that human beings enter the world through birth, the centralcategory of political thought. But how can she assert that being born conditions one to act freely if shealso seems to maintain that is through labor, not action, that human beings deal with biologicallyconditioned processes? Expanding on Arendt’s largely neglected footnote to Arnold Gehlen in TheHuman Condition, this paper will argue that the concept of natality precisely undoes any strict divisionbetween freedom and necessity because it (...) names the radical co-implication of biological and politicolinguisticbirths, the conditioned and the spontaneous. (shrink)

The current debate on “free agency” seems to highlight the romantic aspects of free agent and considers it a genuine response to changing economic conditions (e.g., high-unemployment rate, importance of knowledge in the labor market, the eclipse of organizational loyalty, and self pride). Little attention, if any, has been given to the religious root of the free agency concept and its persistent existence across history. In this paper, the current discourse on free agency and the conditions that have led to (...) its emergence are briefly discussed. The paper focuses on the theological perspectives of Judaism, Christianity, and Islam on the concept. Implications for management and business organizations are provided. (shrink)

En el pensamiento de H. Arendt, las lecturas sobre el totalitarismo de The Origins of Totalitarianism, pueden ser leídas en paralelo a sus lecturas sobre la sociedad de masas, de la labor y el consumo en The Human Condition. Nos interesa mostrar en este artículo que se trata de lecturas convergentes, que se encuentran ligadas en la evolución del pensamiento de la autora y conservan algunas notas temáticas comunes como la preocupación por: el aislamiento, la soledad, el desarraigo y el (...) proyecto de convertir a los seres humanos en seres superfluos. (shrink)

Our society gives certain rights and protections to those who are punished and incarcerated, deeming them a vulnerable group in need of additional protections because they are under state control. Despite these protections, prisoners are still susceptible to mistreatment and abuse. This paper delves into one area in which prisoners are particularly vulnerable—the use of prison labor to fight wildfires in the western United States. In this paper, I first broadly discuss prison labor, before going into the current ethical principles (...) and guidelines in the field of corrections that address the treatment of prisoners and prison labor. I argue that these principles and guidelines should be augmented to help those in corrections to make decisions about what is ethical; suggesting that how researchers evaluate proposed research projects could serve as a model for decision-making. I then introduce prison fire camps, considering whether they are ethical by research ethics principles, and suggesting how they can be changed to better reflect the values professed by our society. (shrink)

En el pensamiento de H. Arendt, las lecturas sobre el totalitarismo de The Origins of Totalitarianism, pueden ser leídas en paralelo a sus lecturas sobre la sociedad de masas, de la labor y el consumo en The Human Condition. Nos interesa mostrar en este artículo que se trata de lecturas convergentes, que se encuentran ligadas en la evolución del pensamiento de la autora y conservan algunas notas temáticas comunes como la preocupación por: el aislamiento, la soledad, el desarraigo y el (...) proyecto de convertir a los seres humanos en seres superfluos. (shrink)

So much of what we experience in neoliberal capitalism resembles the operation of the camp. How then can we understand the camp as a political technology of labour control recurrent in historical capitalism, and why would we want to? Driven by the perennial imperatives to govern and to accumulate, the camp as a modulation of social control allows us to explore the role of ‘meta-disciplinary’ technique in the ‘real subsumption of labour’. The aims here are (...) to question the sanguine expectations of a liberal pastorate that is inextricable from the needs of capital; to articulate the ‘techniques of domination’ experienced in the idiom of neoliberal capitalism; and to find inspiration for corresponding counter-conducts and ‘techniques of the self’. This article offers a kind of historical archaeology of ‘meta-disciplinary’ technique by resuscitating Solzhenitsyn’s The Gulag Archipelago, a surprisingly rich source of insight into the operations of the camp modulation and the counter-conducts it engenders. The analysis to follow works in the space between Marxian and Foucauldian political thought opened up by the new materialisms, and draws upon the recent works of Lordon, Lazzarato, Negri, inter alia, that are currently enriching critical theory. (shrink)

The distinction between what is commonly regarded as the routine of impoverishment and what is acknowledged and remarked upon as violence is increasingly being questioned in scholarship and public policy circles. Interrogating the distinction between routine and remarkable not only reveals the habits and relationships constituting everyday life as the site of violence, but also foregrounds questions of gender. Given that the everyday is shaped by a given community's norms regarding the gendered division of labour that produces and reproduces (...) the conditions of the everyday, in what ways is violence as well as its experience gendered? This article examines this question in the particular context of Palestinian camp refugees’ lived experience of forced displacement in Lebanon. It explores the ways in which the violence used against Palestinian camp refugees draws on norms regarding masculinity and femininity shared by the refugees as well as their Lebanese oppressors. It also examines the ways in which Palestinian camp refugees’ everyday experience of impoverishment as well as the acknowledged violence of forced displacement, subjection to Lebanese military intelligence control, and participation in the armed struggle for national liberation are constituted by and constitutive of unequal subject positions of gender, class and citizenship. (shrink)

Literary accounts of traumatic events can be more informative and insightful than personal testimonials. In particular, reference to works of literature can give us a more vivid sense of what it is like to receive a devastating diagnosis. In turn this can lead us to question some common assumptions about the nature of autonomy, particularly for patients in these circumstances. The literature of concentration camp and labour camp experiences can help us understand what it is like to (...) have one's life-plans altered utterly and unexpectedly. Contrary to common views of autonomy which have difficulty in characterising autonomous action when long-standing assumptions are suddenly lost, these examples show that autonomy is possible in these circumstances. We need a theory of autonomy which can deal with traumatic events and is useful in the clinical context. (shrink)

Born in Vyborg in 1884 by parents of German descent, Vasily (Wilhelm) Sesemann grew up and studied in St. Petersburg. A close friend of Viktor Zhirmunsky and Lev P. Karsavin, Sesemann taught from the early 1920s until his death in 1963 at the universities of Kaunas and Vilnius in Lithuania (interrupted only by his internment in a Siberian labor camp from 1950 to 1956). Botz-Bornstein's study takes up Sesemann's idea of experience as a dynamic, constantly self-reflective, ungraspable phenomenon that (...) cannot be objectified. Through various studies, the author shows how Sesemann develops an outstanding idea of experience by reflecting it against empathy, Erkenntnistheorie (theory of knowledge), Formalism, Neo-Kantianism, Freudian psychoanalysis, and Bergson's philosophy. Sesemann's thought establishes a link between Formalist thoughts about dynamics and a concept of Being reminiscent of Heidegger. The book contains also translations of two essays by Sesemann as well as of an essay by Karsavin. (shrink)

“It was a peculiarly beautiful book. its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. . . . Even with nothing written in it, it was a compromising possession. The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would (...) be punished by death, or at least by twenty-five years in a forced-labour camp.” The Party fears blank paper. On every street corner, you can find newspapers printed With propaganda but blank paper, now that’s nearly impossible to find. For nearly half a century no more notebooks were produced, no blank papers allowed to touch the hands of the masses. This restriction seems odd. Why is blank paper dangerous? What is treacherous about a nice leather-bound book With creamy pages? The very act of Writing on a blank paper is thoughtcrime and Winston knows it. The intriguing question for us is: What’s at stake in the potential of a blank page? There is political potential in a blank page, it could contain a subversive message that could be passed on to others, yet blank paper to Write on is much Weaker than owning a manual printing press hidden in a basement. If Winston Wanted to instigate rebellion against the Party, he Would not handwrite manifestos, he should print them somehow. There’s something else going on with Writing your thoughts in a notebook, and that is related to Newspeak. (shrink)

This chapter proposes that encountering the Other through the face can be conditioned by social and built technologies. In “The Name of a Dog, or Natural Rights,” Emmanuel Levinas relates his experience as a prisoner of war, held in a forced-labor camp in Nazi Germany. He contrasts being denied his humanity by other humans, “called free” (DF, 152), while being recognized as human—indeed as a friend—by a dog the prisoners named Bobby. The episode suggests that though the concept of (...) the face applies to humans, the face is not enough for facing, at least not in the setting of the camp. By contrast, the prisoners seem able to face and be faced by Bobby, even if Levinas remains inconclusive about whether the face applies to animals elsewhere. It follows that the face is operating less like a property, and more like a capacity, a mode as Levinas calls it. But what conditions encountering an Other in this mode? If the face is neither sufficient for facing, nor prior to it, then what conditions facing (or effacing)? I propose that social structures, techniques, architectures, professional roles, and so on matter in coming to face (or efface) the Other. I conclude this from analyzing human-animal encounters in a scientific space of exception: the animal lab. Building on empirical accounts of animal research, I propose that animal research is populated by what I call “technologies of effacement.” These include: (1) built architectures; (2) entering and exit procedures; (3) protective garments and equipment; (4) identification and labeling techniques; and (5) experimental protocols. These technologies serve other manifest ends, but they operate to condition encounters between humans and animals in the lab: they help block the face of humans and animals. (shrink)

An account of a mission to help the Warsaw insurgents by Home Army soldiers from Mińsk Mazowiecki, a small town near Warsaw, and from the county of Mińsk. The mission was called to a forced halt and disarmed by the Red Army, depriving the Warsaw insurgents of the help they needed so badly. Eventually, many of the participants of the mission were sent to the labor camps in the Soviet Union.

The author traces some forms of underground anti-Soviet activities of students of the Lviv Polytechnic Institute, currently the National University 'Lviv Politekhnika'. The rest of Lviv higher education establishments were also engaged in such activities. The research is based on scientific studies, recollections, archive materials and records of the Ukrainian Rebel Army, which cover the period of 1944-1953. The paper is timed to the bicentenary of the Lviv Politekhnika foundation and aims to demonstrate fortitude of Ukrainian spirit of young people (...) who sought after their independent Ukrainian state. A list of Politekhnika students is given, who displayed their bravery in individual anti-Soviet actions, as well as some underground independent student organizations and representatives of the national underground which considered youth development its priority since 1948 are indicated. Anti-Soviet activities of the student milieu included the making of politically focused leaflets and their distribution among city-folk and at higher education establishments. Despite a small time of underground activities because of frequent arrests, Lviv students continued their work up to 1953. All detected members of clandestine organizations were sentenced by the Military Tribunal of the Ministry for State Security to the terms of 10 - 25 years in correctional labor camps of the GULAG. Some of the released returned to their native land and managed to get across their viewpoint and motivation of their actions over the above period to new generations. (shrink)

Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help (...) us to come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful. (shrink)

The manuscript “Self-knowledge, self-consciousness and objectification” is the text of Sesemann’s manuscript collection, Vilnius University (F122-102). The manuscript in the notebook dates from the third quarter of 1954 (Krasnokamsk). The notes were made in ink, some in pencil. The text was written during Sesemann's stay in a labor camp in Taishet (Irkutsk region) in 1950-1955. Due to the limited volume of publications in the journal, only part of Sesemann's text is given.

“Natural” and “law” form a particular symbol pertaining to one mode of discovering the order of goodness, this mode invented by the classical Greek philosophers. They relied on a number of basic experiences and symbolic concepts: a) the nous (mind, reason); something divine in man participating in the mind of divinity; b) the distinction between “being” as the immanent order of “things” and “being” as the divine transcendence; c) the realization that man, possessing language and moral discernment, has an order (...) not merely as a “thing” but also as a participating partner of the transcendence. In modern times these concepts and underlying experiences have been lost. “Mind” and “rationality” to us mean the opposite of what they meant to the Greek philosophers. We have no longer a concept of “man” resembling theirs; the concept of “soul” has disappeared; all values are completely relativized. We cannot, therefore, bring back “natural law” simply by reading the classical texts. The awareness of the order of goodness must be regained, but we have to pay a price for that. It probably requires the kind of deeply shaking experiences that came to members of Soviet labor camps as described by Solzhenitsyn and his friends. It also would include jettisoning our Enlightenment concept of history. Short of such sacrifices we would do well to use the concept “natural law” reluctantly, if at all. (shrink)

Based on their fates, it is possible to categorise the Jewish population of Slovakia from 1938 to 1945 into four groups. The most extensive group were the prisoners in the Nazi concentration camps and labour camps in Slovakia. They were followed by “legal Jews”, hidden Jews, “Aryan” Jews, who used false “Aryan” documents in the mainstream society, and last but not least, fighters in partisan units or allied armies. This study analyzes the way of survival of the “Aryan Jews” (...) following the materials gained by oral history and information from professional literature and memoirs. I focused on preparation, way of obtaining false documents, life in the mainstream society, and hidden emotions when confronted with captured Jews. Although physically “nothing had happened” to most of them, the Aryan Jews were exposed to constant stress; psychological impacts of “the life in disguise” accompanied them a long time after liberation. (shrink)

This article focuses on the trajectory of life of the three generations of the Jankowski family in Siberia, Primorski Krai and Korea in the years 1863– 1945 in terms of their economic, cultural and scientific achievements. The founder of the Far Eastern branch of the family was Michał Jankowski. Exiled to Siberia for participation in the January Uprising of 1863, as a man of indefatigable energy and collaborator of Benedykt Dybowski, he undertook many initiatives, including hunting, wild ginseng collecting and (...) a gold mining administration. In 1880 he settled on the Sidiemi Peninsula near Vladivostok, where he established a farm specializing in horse breeding and ginseng gardening. In addition to farming, he conducted natural history and archaeological research and sent the acquired specimens and artifacts to Russian and European museums. The tradition of his father was continued in the second generation by Jerzy Mikhailovich Jankowski. Endowed with similar character and talent, he studied agriculture and husbandry in Texas and at the agricultural faculty of St. Louis University in Missouri. He expanded the farm to include commercial fishing and rice cultivation. The occupation of the Far East by the Red Army in 1922 forced the family to emigrate to Korea and Manchuria. The new family seat called Novina was built on the Ompo River near the town of Ch’ŏngjin, about 200 kilometers south along the Korean coastline from the mouth of the Tuman River. It was not only a modern farm with specialized animal husbandry and fruit farming, but was also a recreational, cultural, and spiritual enclave, with a school for children, a summer theater, an Orthodox church, and a resort for holidaymakers. The third and the most famous representative of the family was Walery Jurewicz Jankowski. In 1945, he joined the Soviet Army, where, due to his knowledge of Korean and Japanese, he served as an interpreter for the military intelligence at the headquarters of the 25th Army in P’yŏngyang. At the beginning of 1946, both Walery and his fathers were arrested and sent to the labor camps. The family was scattered around the world, from Australia to the North and Latin Americas and the farm was nationalized. The Jankowsky family achieved spectacular success in the Russian Far East and in Korea because they were able to apply the traditional Polish gentry ethos based on the extended structure of family and servants, which they were able to combine with a chivalrous fortitude and openness to hard life in the frontiers populated by various ethnic groups. (shrink)

This provocative book questions whether contemporary humanity can face death in any of the traditional ways, since the events of our century have created a new selfhood and a new death. Wyschogrod describes the “death event” and the “death world”; these refer to the Holocaust but also to the destructive bombings in World War II, and most importantly to the death-in-life of the Nazi and Stalinist concentration and labor camps. Her thesis is.

This provocative book questions whether contemporary humanity can face death in any of the traditional ways, since the events of our century have created a new selfhood and a new death. Wyschogrod describes the “death event” and the “death world”; these refer to the Holocaust but also to the destructive bombings in World War II, and most importantly to the death-in-life of the Nazi and Stalinist concentration and labor camps. Her thesis is.

Researchers commonly use long-term average production inequalities to characterize cross-cultural patterns in foraging divisions of labor, but little is known about how the strategies of individuals shape such inequalities. Here, we explore the factors that lead to daily variation in how much men produce relative to women among Martu, contemporary foragers of the Western Desert of Australia. We analyze variation in foraging decisions on temporary foraging camps and find that the percentage of total camp production provided by each gender (...) varies primarily as a function of men’s average bout successes with large, mobile prey. When men target large prey, either their success leads to a large proportional contribution to the daily harvest, or their failure results in no contribution. When both men and women target small reliable prey, production inequalities by gender are minimized. These results suggest that production inequalities among Martu emerge from stochastic variation in men’s foraging success on large prey measured against the backdrop of women’s consistent production of small, low-variance resources. (shrink)

Not only did André Gorz have a political conception of ecology that links it to history and social struggles, he also proposed a full-fledged ecological alternative at the service of individual autonomy. Though he may have appeared a traitor to his own camp on several occasions, it was always to remain faithful over the long run. His critique of the alienation of labor led him to look for an exit from salaried productivism in the forms of guaranteed income and (...) « cooperation circles » – perhaps as a prelude to the free interchange of the immaterial economy. (shrink)

Anthologie de textes, pour la plupart inédits en français, de la philosophe polonaise disparue fin 2010. Barbara Skarga, encore étudiante, s'engage dès 1939 dans l'AK, armée secrète polonaise pour combattre l'occupant allemand. Lors de l'entrée en Pologne de l'armée Rouge, en 1944, elle est arrêtée, comme la plupart de ses camarades. Elle a 25 ans, dont 5 dans la Résistance, en tant que chargée des communications de l'AK. Reconnue coupable de fascisme et de " haute trahison à la patrie soviétique (...) ", le nouvel occupant, elle est condamnée à 10 ans de Goulag et la relégation perpétuelle en URSS. Rentrée en Pologne en 1955, elle se consacrera au développement d'une philosophie de la liberté inaliénable malgré les pires contraintes. (shrink)

Since St. Thomas Aquinas was one of the first scholastics to analyze the idea of a “just price,” economists, economic historians and philosophers interested in the philosophical underpinnings of the market have focused on Aquinas’s writings. One group insists that Aquinas defined the just price as the payment needed to cover sellers’ labor and material costs. A second camp vehemently counters that Aquinas’s just price is simply the going market price. We argue that neither of these views is correct. (...) The Thomistic just price is the price that would be agreed to by a just person as part of an exchange. This “just person price” takes into account the well-being of the individual transactors and the good of the entire community. Such a price reduces neither to the cost-covering price nor to the market exchange price. A Thomistic concept of the just person price deserves to be reconsidered, especially because a Thomistic approach offers some useful ways to deal with issues quite differently from the popular neoclassical approach directed toward arriving at a socially optimal market price. (shrink)

Genocide as a part of nation or ethnic group extermination process is not a well-defined concept. Its meaning is understood intuitively. When law intervenes, the issue of defining the term comes back. Nevertheless, the Polish nation has been recognized as subjected to genocide activities during the Second World War by the Nazi Germany and Soviet Union. The paper focuses on the genocide against mainly one group of Poles that is to say foresters. The martyrologic evidence proves that foresters were an (...) occupation group which for a variety of reasons suffered most. The research carried out in this respect by the National Forests in Poland has revealed that over 20% of pre-war staff of the institution actually lost their lives. They were killed by the German and Soviet occupiers, as well as the Ukrainian Insurgent Army. In the eastern parts of Poland foresters and their families were deported and sent to various labour and extermination camps e.g. in Siberia. The aim of the paper is to present the scale of genocide with the main emphasis on genocide against foresters. The definition of genocide provided by Lemkin, who coined the term, is a starting point for the analysis. The main research methods included the analysis of pertinent literature and source materials as well as the semiotic analysis of genocide circumstances. The thesis put forward by the authors is that foresters due to their education, practical skills, professional experience and insight knowledge turned out to be the group especially vulnerable and subjected to extermination on purpose. (shrink)

The apparent chasm between two camps in metaphysics, analytic metaphysics and scientific metaphysics, is well recognized. I argue that the relationship between them is not necessarily a rivalry; a division of labour that resembles the relationship between pure mathematics and science is possible. As a case study, I look into the metaphysical underdetermination argument for ontic structural realism, a well‐known position in scientific metaphysics, together with an argument for the position in analytic metaphysics known as ontological nihilism. I argue (...) that we can ascribe the same schema to both arguments, which indicates that analytic metaphysics can offer an abstract model that scientific metaphysics may find useful. (shrink)

Twenty years after the demise of apartheid, a typical South African city remains bifurcated. The mushrooming of squatter camps, mekhukhu, in our big cities, symptomises a history that defined the majority of South Africans as sojourners and vagabonds in their motherland. Destined to die in the rural reserves after the extraction of their labour and confined to 'locations' in-between the 'city' and the rural 'home', black experience in the post-1994 city continues to be a manifestation of a life disintegrated (...) from an integrated vision of ikhaya - household - and urban life in democratic South Africa. By critiquing the policies of the post-1994 government on urbanisation, the article argues that for inclusion in the city, the colonial and apartheid polis is not adequate redress to the black experience of urbanisation in South Africa. The quest for the transformation of a city in order for an integrated city in the post-1994 South Africa to be achieved is ostensibly the best starting point, this article argues. (shrink)

The war in just war theory Just war theory has an ancient pedigree. While the substantive norms and application of those norms have always been debated, the debate today is entirely polarized. So polarized, that there seems to be a ‘war’ raging in just war theory. On one side are representatives of Walzer’s conventional position and on the other side so-called revisionists as McMahan, Fabre, Rodin, and Frowe. This paper offers a critical analysis of that dichotomy. While most of the (...) debate is focused on the substantive level (the norms itself), I focus here on the conceptual level (terminology and character of the positions) and meta-level (the underlying theoretical premises). My aim is threefold: to assist readers in understanding contemporary contributions to just war theory; to facilitate a truce between both camps by highlighting respective strengths and weaknesses and by exposing a certain division of labor; and to suggest improvements for both positions. (shrink)

The article reconstructs the false foundations of Soviet designs imaginable urbanization detects starting social places concepts of "classical" days of building socialism. Projected into the future the idea of permanent revolution, the destruction of "bourgeois barbarism" and desire the establishment of legal order Bolsheviks led the workers to the approval of a new type of state and the formation of a new anthropological type of person. This type - "eternal revolutionary", "architect of the new world" had to live with a (...) single purpose - to extend the principles of proletarian justice to the axis of the world. The epicenter of the factory or the formation of the new man was an industrial city - industrial zone heroically-miltarism work. The main method of the formation of cities and the new man was a total mobilization, the image of the antagonistic enemy of mythic-Titanic goal, collectively practice of collective responsibility, temporal-topeni the control of the state-party bodies the army-camp architecture, etc. The Communists sought to build the city for centuries, people, nomos chose to build incubators "eternal revolutionaries", the barracks of the unknown soldier or barracks devotees of "Stakhanovite". In the draft party not only needs to become an industrial base for future victories over bourgeois barbarism, but also a gathering place loyal fighters for a revolutionary breakthrough - the construction of communism all over the world. Social city - misguided or sinister space, which is not provided for the life of a healthy society. It is the fruit of pure nomos, state coercion, that denied cultural and national experiences, socio-economic patterns, cravings human being the ruins of the Communist concepts of permanent revolution and militarism of labor. The experience of the Communist daydreaming inspires the statement that as an axiom of the relationship of nomos and fuses in urban space is the right man for happiness. A key measure of their dialectical interaction is the reliance on the security and preservation of the integrity of human nature, national heritage, the experience of past generations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSpatial, Environmental, and Ecocritical Approaches to Holocaust MemoryEmily-Rose Baker (bio), Michael Holden (bio), Diane Otosaka (bio), Sue Vice (bio), and Dominic Williams (bio)The successful implementation of genocide during the Holocaust depended on the spatial organisation of mass murder. From the concentrated ghettos and camps delimited by walls and barbed wire to the open fields and camouflaged forests where victims were shot en masse, Anne Kelly Knowles et al. argue, (...) specific locations, patterns of migration, deportation and evacuation, and other spatial elements such as scale, were all central to the Nazi regime's creation of a "comprehensive geography of oppression."1 This is hardly surprising given the biopolitical logics and colonial fantasies underpinning Lebensraum ('living space'), the territorial concept guiding the genocidal aims of the Third Reich, which designated zones of life as well as the inverse on the European continent. The Holocaust was also experienced spatially by its victims, who were forced to navigate new (and at times familiar) sites and landscapes as those of genocide, and whose testimonies in the aftermath of the event conjured these very places in detail.In recent years, the spaces of the Holocaust have been variously revisited, reconstructed, and reimagined within Holocaust studies scholarship. As a broader part of the 'spatial turn' in the humanities, Holocaust scholars have increasingly employed spatial perspectives of the event to deepen our understanding of the environments in which the Holocaust took place and the transformation of these spaces over time—particularly in the fields of history and social science.2 While drawing on diverse modes of spatialisation from interdisciplinary perspectives, contributions from these fields have tended to privilege methods we might describe as variously 'forensic,' including mapping, model-making, and investigations of material traces of the past.3 This work has resulted in many significant insights, not only into the [End Page 1] contexts and structures of Nazi genocide and the perpetrator imaginings of space, but also the experiences of victims and survivors.4Another significant body of work has attended to space and culture within Holocaust contexts. From early on in the postwar period, particular locations and buildings became identified with the Holocaust, such as the notorious entrance guard house at Auschwitz-Birkenau, which appears on countless book covers as well as within films and artworks. Engaging with spatial insights and methodologies from the perspective of cultural and memory studies, scholars have attested to the production and mnemonic significance of these and less well-known sites, as well as the symbolic spatial worlds and experiences to which they give rise. These include Paul Jaskot and Gavriel Rosenfeld, who have turned respectively to Holocaust and post-Holocaust architectures as commonly overlooked sites of history and memory. Drawing attention to the construction of Holocaust space, Jaskot shows how reading architecture 'as process' rather than static structures laden with symbolic meaning reveals unique histories of forced labor in which "the goals of the SS intersected with victims' experience."5 Rosenfeld demonstrates the ways in which spaces built in response to Nazi genocide after 1945 have been variously "imbued with Jewish significance" by their users and creators, resulting in the rise to prominence of Jewish-identified architects.6 Along similar lines, Michael Meng's work has explored the ways in which Jews and gentiles interact with ruined synagogues, cemeteries and Jewish districts as important remnants of pre-war Jewish life in the post-war period in German and Polish cities.7Studies such as those noted above have tended to focus on cities and public buildings, as well as state and civic policy. But as the spatial histories and geographies of the Holocaust have helped to show, extermination often took place in rural settings (mostly located in Central and Eastern Europe), such as the killing fields where Jews were shot en masse; the forests where victims hid and were hunted by Germans and local collaborators; or the open spaces of the dissolving Reich through which former concentration camp inmates were forced to march during the final year of the war—sites in which, owing to less contained spatial dynamics, violence played out differently.8These kinds of sites, which are sparsely documented and often simply thought of... (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 15-29 [Access article in PDF] Globality, Organization, Class Samuel Weber 1 Although one could hardly imagine a topic more far-ranging than "Theory, Globalization, and the Remains of the University," it can be argued that it does not range far enough. Or perhaps ranges too far. For the questions suggested by this concatenation of terms cannot be limited to the fate or future of "theory" in whatever (...) will remain of the "university" in a globalized world. And yet it is no doubt significant that "theory" leads the parade—significant but also perhaps part of the problem. For not just etymology links "theory" to notions such as detached contemplation, spectatorship, and appropriation through vision. The history and practice that have been associated with this term continue, even today, to be indebted to the dualist paradigm of an underlying subject—today reformulated as "agent" or "position"—confronting and comprehending an ob-ject. And yet, if we are still discussing "theory," here and today, it is by virtue of a series of texts that have persistently and powerfully questioned the subject-object paradigm that has dominated theoretical discourse at least since Descartes, and sought to elaborate alternatives to it. Those alternatives have almost always involved a reflection upon language as the medium of a practice that is no longer "theoretical" in the traditional sense, because it no longer works within the parameters of the subject-object model of cognition and truth. From Kierkegaard to Nietzsche, Benjamin, Heidegger, de Man, and Derrida, the subject-object model of cognition has been reinterpreted as an effect of the medium of language, a medium that articulates itself through the reading, writing, and repetition of texts, understood as concatenations of significance that both respond to and address an irreducible alterity.The "university" has always occupied an equivocal position with respect to this "linguistic" problematization of the subject-object model of cognition and truth: not only because "the university" as such has never existed—not at least as the singular universal implied by the definite article—but even more, because of the traditional claim of universities to serve as places where universally valid cognition is both transmitted and produced. In this sense, notions such as "the globalization of the university" simply continue the universalizing claims built into universities and promoted by them in order to justify their social existence and dependency.The very notion, or rather figure, implied in the notion of "globalization" tends to strengthen such universalism. Coming after the struggle between Communist and Capitalist camps in the Cold War, "Globalization" stresses that there is no place left on the "globe" where the capitalist system, its values, its power, and way of life can be contested. The "globe" is all there is, and despite its diversity, it is to have a single future, prolongation of the prevailing relation of forces. Globalization is thus the successor to the notion of "One World," itself a recent offshoot of the "universal history" that was the Enlightenment heir of the Christian eschatological narrative. [End Page 15]But the university has also been one of the few places in modern society where such universalizing and homogenizing tendencies have also been reflected, reworked, and criticized, if not resisted. Thus, if the names mentioned above have any credence at all in the English-speaking world, it is in large part by virtue of its universities, which have extended a certain hospitality to their writings. Like all hospitality, however, that of the universities has rarely been a neutral one. There, as elsewhere, writings are admitted as legitimate "objects" of study only under the double condition, first, of being linked to "proper names," and second, of being received and validated by existing disciplines. In short, writings are received for study in universities on the condition that they be certified as proper "theoretical objects" for "theoretical subjects" defined and validated through their appurtenance to the existing academic division of labor. This division of labor founds its disciplines in the subject-object model of cognition and of truth.This is why the hermeneutic and poststructuralist turn (back) to language as a signifying medium rather than... (shrink)

In contemporary sociology, there has been significant interest in the idea of mobility, the decline of the nation state, the rise of flexible citizenship, and the porous quality of political boundaries. There is much talk of medicine without borders and sociology without borders. These social developments are obviously linked to the processes of globalization, leading some to argue that we need a `sociology beyond society' in order to account for these flows and global networks. In this article, I propose an (...) alternative analysis. There are important developments involving the securitization of modern societies that create significant forms of immobility. One striking illustration is the increasing use of walls to quarantine or secure territories and communities against outsiders or to regulate the flow of migrants in Israel, in Europe and along the Mexican-US border. Modern societies are in particular characterized by a deep contradiction between the economic need for labour mobility and the state's political need to assert sovereignty. Gated societies, ghettoes, quarantine zones, prisons, camps and similar arrangements are in many respects pre-modern institutions of spatial regulation for political ends. Contemporary technical developments in biomedicine offer new opportunities for political control and spatial regulation in terms of forensic policing, bio-tattooing and bioprofiling. Globalization paradoxically produces significant forms of immobility for political regulation of persons alongside the mobility of goods and services. (shrink)

Philosophers concerned with the character of scientific disputes tend to divide into two camps. On the one side there are those who hold that scientists can always settle their differences by appealing to shared assumptions; on the other side there are those who maintain that in many cases scientists must resort to (nonrational ) persuasion to establish their views. The trouble is that for all their strong points both approaches labour under enormous difficulties. Scientific disagreement is often much deeper (...) than the first conception allows while persuasion, propaganda and the like are far less prevalent than the second one requires. On examining scientific practice is becomes clear that philosophers on both sides err in supposing that scientists can resolve their differences in a purely scientific fashion just to the extent that they can single out one of their views on the basis of assumptions that they hold in common. For one thing scientists make progress even though they rarely employ the strategy of reversion to neutral territory. And for another the strategy of reversion to neutral territory is at odds with the important methodological requirement that all relevant information be taken into account. Instead of thinking of scientists as resolving their differences by reviewing their respective positions in the light of their shared assumptions, we should think of them as fashioning positions on which they can agree, as arguing to shared conclusions rather than from shared premises. The relevant picture is one of scientists gradually narrowing the distance that separates them, of their converging on a mutually acceptable viewpoint. Far from being prerequisites for scientists' resolving their disputes, shared assumptions are what result from their managing to resolve them. How scientists who disagree deeply make progress is thus much less of a problem than is usually supposed. What determines whether scientists' conclusions constitute advances is not wether they were obtained by the expedient of reversion to neutral territory but whether each of the available options was fully ventilated. When scientists take into account all the relevant considerations (including those introduced into the discussion by their opponents and those that they can reasonably be expected to know), the question of whether they can be said to have made progress no longer arises. More generally, we misconstrue the manner in which scientists resolve their differences because we allow ourselves to be guided by our philosophical preconceptions about scientific knowledge and we devote insufficient attention to what happens in practice. Instead of exploring how scientists reason to mutually acceptable conclusions, we wrongly assume that they cannot but proceed by reverting to neutral territory. What is needed is not a general account of consensus formation but rather a fresh look at the multitude of ways in which scientists make progress by dint of argument and debate. Considered as a phenomenon in its own right scientific disagreement poses no special problem; it is puzzling only when it is considered within the framework of traditional epistemology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Gray ZonePatrick HenryThe Question of Jewish complicity during the Holocaust remains nuanced and troubling even if recent research has altered some earlier entrenched assumptions regarding its nature and extent. Hannah Arendt, for example, who saw the complicity of the Jewish Councils in the ghettos as part of the general "moral collapse" of the time, remarked famously that:Wherever Jews lived, there were recognized Jewish leaders, and this leadership, almost (...) without exception, cooperated in one way or another for one reason or another, with the Nazis. The whole truth was that if the Jewish people had really been unorganized and leaderless, there would have been chaos and plenty of misery but the total number of victims would hardly have been between four and a half and six million people.1Thirty-eight years later, however, in Rethinking the Holocaust, Yehuda Bauer points out that not only were the Jewish Councils "in many of the Polish and Lithuanian ghettos... not asked for and did not deliver lists of Jews," but also "many of the Soviet territories had no Judenräte and the destruction was even more efficient there than in Poland." Finally, as Bauer also reports, in many smaller places, the Judenräte refused to cooperate in any way whatsoever.2The Judenräte or Jewish Councils were Nazi-established executive committees throughout Occupied Europe at once fully responsible for the implementation of Nazi directives and in charge of the administration, labor, finances, cultural and health services, food supply, and policing of the Jewish community or ghetto. These councils were set up to force the Jews to do the work of the Nazis and to keep the Jews at odds with one another as the implementation of Nazi directives progressively and [End Page 150] inevitably undercut the councils' ability to provide for the basic physical needs of the Jewish community. How these councils acted under the pressure of deportation orders differed from ghetto to ghetto. For his part, although he speaks mainly about complicity in the camps, Primo Levi identifies a "gray zone" in the ghettos and the camps where some of the "privileged oppressed" became oppressors themselves, thereby blurring any simple all-encompassing distinction between victim and executioner.3IIn her "Postscript" to Eichmann in Jerusalem, Arendt notes that in Israel in 1963 "the Jewish Establishment" was "bitterly divided on this issue" of the Jewish Councils.4 As the accounts of contemporaries attest, this division was already apparent in the Warsaw Ghetto more than twenty years earlier. There, Adam Czerniaków, a highly cultured 60 year-old Polish speaking Jewish engineer, neither a rabbi nor a believer, was the head of the 24 member Warsaw Jewish Council. He had many staunch supporters but others, particularly those involved in resistance movements, distrusted him and accused him of collaboration with the Nazis. In July 1942, he swallowed cyanide rather than sign the order to round up and deport all Jews, including children, from the ghetto.Emmanuel Ringelblum, whose extraordinary journal records events in Warsaw chronologically and meticulously from January 1940 to December 1942, notes that some considered Czerniaków "a martyr... honestly fulfilling his duty... an idol... [whose] word is command." Ringelblum himself, however, deemed him "incompetent" and "weak": "The suicide of Czerniaków—too late, a sign of weakness—should have called for resistance—a weak man."5 Janusz Korczak, on the other hand, who ran an orphanage in the ghetto for 200 children, was far more sympathetic toward Czerniaków, one of his close friends who also had a passionate interest in children's welfare. Korczak, whose diary, unlike Ringelblum's, is inward and abstract, does not speak openly about the Jewish Council. But Korczak was horrified by the death of children in the ghetto. Like Czerniaków, Korczak carried cyanide, but he chose not to take it. Unwilling to abandon his orphans and convinced of their individual dignity, he wanted to prepare them for their inevitable demise. To this end, just three weeks before they were all deported, Korczak had the children perform Tagore's The Post Office in the hope that they might thereby welcome death and not be afraid of it.6 Korczak's... (shrink)

What happens when an entire group of human beings is excluded from the definition of humanity? How is the power of language used to distort reality? What happens when a comprehensive economic plan is based on theft, brainwashing, slave labor, and murder? These and other philosophical questions about the Holocaust are contemplated in Contemporary Portraits of Auschwitz. In 1988, a group of philosophers who had survived the Holocaust, or had known people at the Auschwitz death camp, decided to found (...) an organization that would examine the philosophical implications of Shoah: the Society for the Philosophic Study of Genocide and the Holocaust. Noting that the history and the personal horror stories had been told and retold, SPSGH's founders Sander Lee, Berel Lang, and Alan Rosenberg argued that too little study had been so far devoted to the philosophy of Hitler's final solution and other genocides. Auschwitz problematized the Enlightenment concept of humanity, and other concepts. The perfection of state-sponsored and -administered mass death issued in new forms of language, moral indifference, and forgetting. Philosophy often even fails to mention the Holocaust in discussions of National Socialism. And the disaster of Auschwitz has been largely neutralized by the normalization of a "ruined" language. This volume includes essays in several areas: Witnesses and Testimonies; Morality and Ethics; Art and Poetry; History and Memory; and The Crisis of Representation. Contributors are Karyn Ball, Eve Bannet, Debra Bergoffen, James Bernauer, Klaus Dorner, Jennifer N. Fink, Roger Fjellstrom, Ruth Liberman, Burkhard Liebsch, Alan Milchman, Raj Sampath, Paul Sars, Hans Seigfried, Thomas W. Simon, Dan Stone, Peter Strasser, Frans van Peperstratten, Erik M. Vogt, Andrew Weinstein, and others. (shrink)

The article deals the activities of social and political organizations of pro-Russian direction on the Crimea peninsula. The author defines that under the banner of maintaining relations with compatriots and the preservation of social and cultural traditions, was carried out targeted information campaign on the formation of anti-Ukrainian sentiment among the youth. Events on the Crimean peninsula, unfortunately, belong to insufficiently studied issues of recent history of Ukraine. Ukrainian historical opinion have demonstrated passivity on this issue and no sound labor (...) opposed promotional products of famous Russian historians and historical schools. Starting from the first day of the independence of Ukraine our "eastern neighbor" carried out targeted information pressing supported by numerous pro-Russian social organizations, which the peninsula has always been rich in. Types of propaganda rhetoric, methods and forms of action changed according to the political and military significance of events that took place. Рro-Russian social organizations have organized different initiatives to involve youth organizations. For example, there is the observance of the military patriotic youth camp Donuzlav anti NATO. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dostoevsky and Schiller:National Renewal Through Aesthetic EducationSusan McReynoldsDostoevsky's novels pivot upon scenes of spiritual transformation, moments of revelation that resolve dilemmas for which no logical solution can be found. Raskolnikov, for example, analyzes his crime from philosophical and sociological angles until he almost dies; he is saved by his dream of the plague and by the image of Sonia's face. When insight and progress come to Dostoevsky's fictional characters, (...) they come as dream, memory, and rapture before images of beauty and suffering. The choice between spiritual and logical solutions confronting Dostoevsky's characters is also a choice between Russia and the West. The rationalism and corollary doctrine of egoism that drives characters like Svidrigailov, Stavrogin, and Ivan Karamazov to madness and death are clearly associated in Dostoevsky's novels with Western philosophy. The ability to surrender to the beneficial power of images is associated with characters like Dmitry Karamazov, who is able to accept the primacy of spiritual truth—the truth of his need for expiation—over the fact of his legal innocence of his father's murder. The breadth of spirit that renders Dmitry receptive to the truth revealed in his dream image of the suffering child is clearly identified in The Brothers Karamazov as a distinctively Russian national trait.The contrast between reason, death, and the West, on the one hand, and receptiveness to imagistic truth, salvation, and Russia, on the other, [End Page 353] drives the plots of Dostoevsky's novels. This familiar feature of Dostoevsky's art is first articulated in texts unfamiliar to most readers; the historical essays of the early 1860s that were among his first published works after his return from exile. In 1849, Dostoevsky was arrested as a member of the Petrashevsky Circle, an association dedicated to disseminating the tenets of Western socialism in Russia. For his participation in the Circle, Dostoevsky was initially condemned to death; the sentence was commuted to four years of hard labor in Siberian prison camp, to be followed by an indefinite period of military service in Siberian exile.When Dostoevsky returned to St. Petersburg and public life in 1860, he and his older brother Mikhail launched the journal Time. Mikhail served as editor. Dostoevsky would publish The Insulted and Injured and Notes from the House of the Dead in its pages, in addition to numerous essays dedicated to contemporary literature and events. The essays on Russia and Europe published in Time were a creative workshop in which some basic features of his later novels—most notably the contrast between Western positivism and Russian spirituality, conceived as the capacity to embrace imagistic revelations of the truth—were first developed. The pressure of Dostoevsky's developing artistic craft is clearly apparent in these non-fictional texts from the early 1860s, which narrate modern Russian and European history as a story structured by a dual plot of death and redemption.Before Dostoevsky wrote novels structured around the contrast between characters like Dmitry and Ivan Karamazov, he wrote essays structured around the contrast between Russia and Western nations like France and England. Before Crime and Punishment portrayed Raskolnikov's resurrection as the surrender to images offering glimpses of something that eludes rational analysis, Dostoevsky's essays in Time predicted national renewal for Russia through her embrace of the truths conveyed by the images of fine art. Some essays in Time compose a plot of national rebirth through the effects of artistic images for Russia, but others admonish readers with what Dostoevsky believed would be the terrible consequences of positivism for the West. Winter Notes on Summer Impressions, published in Time in 1863, casts France and England as mortally ill victims of a materialist worldview that can only grasp the challenges of modernity as scientific and political problems. The spiritual solutions that will be revealed to Russia through images of beauty, Dostoevsky warns, will elude nations ensnared in rational approaches to their problems. [End Page 354]Throughout his post-exile life, Dostoevsky believed that political improvement results from changes in the moral condition of individuals, inner changes that are catalyzed by images, not reached through rational deliberation. In 1861, he writes of the Imperial edict... (shrink)

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

Literature of an autobiographical character acquires a special significance in the world of the bloody tragic events of the 20th century, i.e. the Holocaust, the Second World War, the realities of the Nazi and Soviet totalitarianisms, death camps, and forced labour. Those are the recollections of experienced trauma which shatters identity, and of existential experiences of a borderline nature, of which Shalamov, a witness to the epoch, felt an obligation to talk. An anthropological analysis of Varlam Shalamov’s short story (...) titled Artificial Limbs, Etc. enables one to grasp the role of memory and autobiographical testimony as a kind of cultural and literary antidote to silence and memory distorted by the Soviet totalitarianism. The author of Kolyma Tales offered a faithful description of a world outside the‘human’ world, one which was almost impossible to describe due to its inherent moral void, level of violence, and fear of the authorities who made people forget about the crimes, victims, and oppressors. (shrink)

Child Law starts with the question "Who is the Child?" In direct contrast to the CRC, which calls for putting the interests of the child first in all policies dealing with children, it appears that the interests of others are the major consideration de facto. In law, children's right to protection is severely limited by the presence of a maximum age limit, with no consideration of the starting point: current and ongoing scientific research has demonstrated the effects of this non-consideration (...) in a number of abnormalities and diseases, not only in children, but in adults and the elderly. The WHO has published a number of studies to that effect, and the 2012 Report on Endocrine Disruptors more than confirms this claim. This and other scientific insights that have largely been ignored show the flaws and inadequacies of the legal regimes intended to protect children, in a number of areas, from the basic public health to the right to normal development; child labor law conventions; in conflict situations; as a result of climate and other events; children as illegal migrants; and as inmates in prison camps. (shrink)

In science, models are used in many different ways: to test empirical hypotheses, to help in theory formation, to visualize data, and so on. Scientists construct and study the behavior of models, and compare this to observed behavior of a target system. We propose that for this to be possible models must carry information about their targets. When models are viewed as information carrying entities, this property can be used as a foundation for a representational theory of models. This account (...) presents a way of avoiding the need to refer to modelers’ intentions (or their mental states) as constitutive of the semantics of scientific representations. Moreover, an information theory based account of scientific representations can provide a naturalistic account of models which can deal the problems of asymmetry, relevance and circularity that afflict currently popular proposals based on user intentions. From the information semantic perspective, models as scientific representations can be considered a special case of a larger problem of naturalistic representation. In this paper we will look at what we think is the most promising avenue of developing this information theoretic account of representational models. Traditionally, there has been a strong tendency towards a clear-cut division of labor between philosophers of science and philosophers of mind. We believe that there are some important philosophical insights about representation that are relevant for both camps. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:258 Feminist Studies 47, no. 2. © 2021 by Feminist Studies, Inc. Mei-Hua Chen and Hong-zen Wang Flexible Intimacies in the Global Intimate Economy: Evidence from Taiwan’s Cross-Border Marriages When Lin Ping was interviewed by the first author of this article at a detention center in the southern city of Tainan, Taiwan, in September 2006, she was forty-three. At that time, she had been married to a Taiwanese man (...) for five years and had successfully obtained a permit for employment at a factory, earning NT$27,000 a month for working ten hours a day. However, before having obtained the work permit, Lin managed to find jobs in informal sectors as a cleaner, a care worker, and a stall vendor’s helper, earning NT$15,000 a month. By the time of our interview, Lin had gone to work at a brothel because she could not put up with her husband anymore. Lin’s husband is twenty years older than she is and, as she described their relationship, the huge age gap makes communication between the couple difficult. They fought often and fiercely. During those fights, Lin’s husband would threaten to divorce her and to not renew her application for residency, which would result in her immediate deportation to China. This did happen once when Lin’s husband refused to renew her work permit. As a result, Lin overstayed her visa and lost her job at the factory. Being thus unemployed, Lin had to dip into her savings and risked going into debt. Her dire financial situation caused her anxiety. Losing the regular income provided by her factory job meant not only having nothing to live on but also being unable to send money back home to China. Given that her marriage failed to provide her the work permit she needed, Lin wanted to leave her husband Mei-Hua Chen and Hong-zen Wang 259 and “go out” for her own good. When asked what she thinks of the stigma attached to commercial sex, Lin replied, “I need to be able to feed myself first. But if you don’t have a work permit and a job, it [sex work] is the only way out. So, I thought I would do it.” She continued: “Once I had the money, I would be able to run a small business such as a noodle stall or selling steam dumplings.” Lin Ping’s stories serve to sketch out the interconnectedness between cross-border sex work and cross-border marriage. As her experiences show, cross-border sex work and marriage tend to overlap in certain spheres; however, they are more often than not conceptualized as two separate institutions. Both are grouped under already dichotomized migratory categories such as marriage migrants and economic migrants, real marriage and fake marriage, legal workers and workers without permits, and legal and illegal migrants, etc. Such dichotomization downplays the fact that many marriage migrants, like economic migrants, invest great economic interests in cross-border marriages; it also downplays the fact that migrant sex workers might also be involved in having intimate relationships with someone. Apart from the entanglement of monetary exchange and intimacy, cross-border marriage and cross-border sex work are also parts of a global intimate economy in which the Global North appropriates southern women’s reproductive and intimate labor. Seen in this light, it becomes urgent to theorize how women from the South manage to survive in the global intimate economy by shifting between cross-border marriage and cross-border sex work in the North. Admittedly, such a Global North-and-South framework fits awkwardly when it comes to understanding Taiwan’s situation because economic development is the sole barometer used to define the North and the South, and economically, Taiwan should be in the North camp. Politically, however, due to the majority of nations not recognizing its sovereignty, Taiwan is much more peripheral than most southern countries, let alone China. Therefore, compared to countries in Southeast Asia, Taiwan is economically North but politically South. This semi-peripheral position in the North-South framework, in our view, makes Taiwan a unique case to theorize the global intimate economy. As a tactic... (shrink)

The analysis is based on some moral experiences taking place during a terrorist attack on the Norwegian Labor Party’s youth camp on the island of Utøya July 22, 2011, where 69 young people were killed and several seriously injured. After the attack many of the survivors told stories of how strangers spontaneous had helped and cared for each other. In the midst of the horror there occurred sudden “moments of goodness” or “points of light” that revealed hope for the (...) persons involved, as well as for the society. The article examines these spontaneous moral practices in light of moral educational theory, as well as discusses the terrorists own way of thinking and acting. The spontaneous practices point toward another basis for a moral approach then a cognitive development tradition. The importance of community is underlined, as well as an interpersonal dimension. In the last section the fostering of moral and ethical thinking and acting is discussed in light of general education and the three functions of education proposed by Biesta. It is suggested that moral education could contribute something to all of the three dimensions but based on the experiences from Utøya, there will be a particular emphasis on the subjectification function of education. (shrink)

In debates about the nature of scientific explanation, one theme repeatedly arises: that explanation is about providing understanding. However, the concept of understanding has only recently been explored in any depth, and this paper attempts to introduce a useful concept of understanding to that literature and explore it. Understanding is a higher level cognition, the recognition of connections between various pieces of knowledge. This conception can be brought to bear on the conceptual issues that have thus far been unclear in (...) the literature. Though this notion of understanding is broad, explaining various concepts of explanation, it is robust enough to underwrite an objective and useful notion of explanation. (shrink)

This paper turns to Hannah Arendt’s brief, poignant remarks about the advent of a biotechnological revolution as a starting point for a renewed reflection on her concept of natality. By expanding on Arendt's significant, but often overlooked, reference to the work of the German anthropologist Arnold Gehlen, it will be argued that that natality is a concept that subverts any rigid opposition between zoe and bios, biological birth and politico-linguistic birth. Consequently, it will be shown that Jürgen Habermas and Michael (...) Sandel are mistaken to appeal to the concept of natality in their arguments against genetic enhancement. (shrink)