This chapter contains sections titled: Preparing the Boat to Sail Casting Off Some Existentialist Reflections Cruising The Social Dimensions of Sailing “Hard a' Lee” or Coming About Sailing Close‐Hauled Noticing the “Presence of the Absence” (Heavy Sailing Ahead) The Broad Reach Practical Wisdom Capsizing Human Experience Returning to the Pier Pleasure, Elegance, and Truth Final Tasks.

Nourishing the Inner Life of Clinicians and Humanitarians: The Ethical Turn in Psychoanalysis, demonstrates the demanding, clinical and humanitarian work that psychotherapists often undertake with fragile and devastated people, those degraded by violence and discrimination. In spite of this, Donna M. Orange argues that there is more to human nature than a relentlessly negative view. Drawing on psychoanalytic and philosophical resources, as well as stories from history and literature, she explores ethical narratives that ground hope in (...) class='Hi'>human goodness and shows how these voices, personal to each analyst, can become sources of courage, warning and support, of prophetic challenge and humility which can inform and guide their work. Over the course of a lifetime, the sources change, with new ones emerging into importance, others receding into the background. Donna Orange uses examples from ancient Rome, from twentieth century Europe, from South Africa, and from nineteenth century Russia. She shows how not only can their words and examples, like those of our personal mentors, inspire and warn us; but they also show us the daily discipline of spiritual self-care, although these examples rely heavily on the discipline of spiritual reading, other practitioners will find inspiration in music, visual arts, or elsewhere and replenish the resources regularly. Nourishing the Inner Life of Clinicians and Humanitarians will help psychoanalysts to develop a language with which to converse about ethics and the responsibility of the therapist/analyst. This is an exceptional contribution highly suitable for practitioners and students of psychoanalysis and psychotherapy. Donna M. Orange teaches, consults, and offers study groups for psychoanalysts and gestalt therapists. She seeks to integrate contemporary psychoanalysis with radically relational ethics. Recent books are _Thinking for Clinicians: Philosophical Resources for Contemporary Psychoanalysis and the Humanistic Psychotherapies _, and _The Suffering Stranger: Hermeneutics for Everyday Clinical Practice_, both from Routledge. (shrink)

While the concept of Bildung has acquired international currency in educational and philosophical studies, its moral implications have been obscured by existing educational accounts. I present the moral implications inherent in the term through specific reference to the early works of Wilhelm von Humboldt. In contrast to previous scholarships, where Humboldt’s theory of Bildung has been deployed for drawing on the account of the true end of the human being and the inner process of interaction between the self (...) and the world, I draw on Bildung as a moral conception of promoting a good life for others. To illustrate this conception, I (a) demonstrate the basic structure of Humboldt’s theory of Bildung by examining its four core components, (b) reconstruct Humboldt’s notion of virtue balanced state of various faculties as a moral ideal (c) consider Humboldt’s philosophical historiography to illustrate how Bildung can be mediated at individual and collective levels, and (d) present the concrete forms of the obligation to promote the good lives of others in his anthropological writings. (shrink)

Often a division of concepts can help us better understand unknown or seldom charted philosophical terrain: historically, the distinctions and differences between idealism and materialism have proven helpful, but with Quentin Meillassoux‟s concept of correlationism, the divisions between realism and anti realismwhich once seemed clean-cut are now harder to understand. Graham Harman has gone a step further than Meillassoux‟s initial definition of correlationism, by which “we mean the idea according to which we only ever have access to the correlation between (...) thinking and being, and never to either term considered apart from the other,”2claiming in lectures that those who have pledged fidelity to the realism banner after Meillassoux aren‟t realist enough.Instead, says Harman, we should demand that any philosophy which claims to be realist must grant that no entity is more real than any other, whether they be atoms, quarks, institutions, regimes, human beings, bonobos, dreams or distant galaxies. A robust realism must maintain therefore that the universe is composed of objects of all shapes, sizes and types. It is here that I wish to stage something of an intervention; it seems to me that we could rather create a new division to help us understand the contemporary situation facing philosophy based on how various philosophies view objects. I propose that we contrast those philosophies which see objects only working through exterior means with those which grant some level of autonomy to objects; in other words, we should compare those philosophies which grant only an outer life to objects withthose which also grant them an inner life. A robust realism must not only count objects as means of our causal ends , or billiard balls in an extended chain of causation . Rather, a full-blown realism must look to the inner lives of objectsto understand the cosmos and not simply satisfy itself with studying their effects.By making this distinction, we can see more clearly the relevance of a number offigures who have yet to be regarded with any seriousness by the emerging speculative realism movement, creating another metaphysical option besidesweak and strong correlationism, eliminative materialism or idealism, speculative materialism and object-oriented philosophy, as well as better understand thefuture of speculative metaphysics. (shrink)

A key to happiness lies in each person’s ability to know himself or herself. The consequences of going through life without self-knowledge are frequently self-obsession, false priorities, and unwarranted fears. This book explains the enlightening process of self-discovery and shows how it leads to self-sufficiency. The author offers guidance with inspiring true-life stories and practical advice that readers can apply to their own lives. Here is instruction on techniques for engaging in periods of solitude, with emphasis on making (...) such times enjoyable and spiritually enriching experiences. The author also discusses the relationships between solitude and human emotions, solitude and intelligence, methods of effective communication with others, and ways to create a state of mind that is based on self-sufficiency. Making solitude a source of spiritual enrichment entails creating a balance between the normal need for human relationships and the awareness of one’s self as an independent being. That balance invariably produces a sense of happiness and personal fulfillment. (shrink)

We are born of the nothingness incomprehensible to each of us individuals and find death in the midst of the limitlessness. I have absolutely no idea why I am living here and now. I don’t know why the world is the way it is. I have been thrust into existence and am coldly surrounded by the limitless space. When humans cannot fully grasp the foundations of existence, we become encumbered by the feeling known as “fear.” I was a young boy (...) when I acquired that fear of death. (....) -/- The place where young people encounter “death” is in manga. In the last issue of Devilman, the creature was the very image of death, a disembodied torso. In the background angels are dancing on the sea. Also, in the final episode of Joe of Tomorrow, death lies in a ring. (shrink)

This contribution proposes to reflect on a different way of considering the link be-tween temporality and nature, between aiôn and physis, in dialogue with the words and works of the Italian sculptor Giuseppe Penone. The basic idea is the following: we will not be able to essentially determine our cognitive and experien-tial relationship with nature, until we are able to know, experience and represent the time inscribed in being itself. The philosophical tradition has developed its conception of temporality mainly along (...) two lines: a “cosmic” line, of a physical, objective temporality, and a “phenomenological” one, of a temporality as an in-ternal articulation of human consciousness. Through the archaeological and conceptual excavation carried out by Penone, we will ask ourselves what it does mean to take care of the “subjective time of things”. (shrink)

This volume reveals the wisdom we can learn from sailing, a sport that pits human skills against the elements, tests the mettle and is a rich source of valuable lessons in life. Unravels the philosophical mysteries behind one of the oldest organized human activities Features contributions from philosophers and academics as well as from sailors themselves Enriches appreciation of the sport by probing its meaning and value Brings to life the many applications of philosophy to (...) sailing and the profound lessons it can teach us A thought-provoking read for sailors and philosophers alike. (shrink)

Pierre Hadot famously claimed that, between Antiquity and German Idealism, Western philosophy had lost its practical role of guiding the life of the practitioner. Scholars who challenged this view focused on two medieval models. This article argues that the overlooked work Colliget principiorum iuris naturalis, divini et humani philosophice doctrinalium by Heymericus de Campo postulates a third model. On the basis of St. Paul’s teaching about the “inner man,” Heymericus reconsiders the Aristotelian doctrines of abstraction and of being (...) as such in relation to the Neoplatonic model of intellectual progression and interior conversion. In a realist conceptual framework, he holds that only metaphysics reflects the true nature of the human being inasmuch as it presupposes a way of life that assumes both the interaction with and withdrawal from the sensible world. However, Heymericus’ theory is neither limited to nor conditioned by Christian principles, but by Peripatetic philosophy. (shrink)

This volume reveals the wisdom we can learn from sailing, a sport that pits human skills against the elements, tests the mettle and is a rich source of valuable lessons in life. Unravels the philosophical mysteries behind one of the oldest organized human activities Features contributions from philosophers and academics as well as from sailors themselves Enriches appreciation of the sport by probing its meaning and value Brings to life the many applications of philosophy to (...) sailing and the profound lessons it can teach us A thought-provoking read for sailors and philosophers alike. (shrink)

This volume reveals the wisdom we can learn from sailing, a sport that pits human skills against the elements, tests the mettle and is a rich source of valuable lessons in life. Unravels the philosophical mysteries behind one of the oldest organized human activities Features contributions from philosophers and academics as well as from sailors themselves Enriches appreciation of the sport by probing its meaning and value Brings to life the many applications of philosophy to (...) sailing and the profound lessons it can teach us A thought-provoking read for sailors and philosophers alike. (shrink)

The aim of this essay is to understand the relationship between knowledge and society and to reflect on the links between science and political decision making. The text evolved from a number of reflections the author made while president of the European Astronomical Society, president of the Swiss Academy of Sciences and vice-president of the European Academies Science Advisory Council (EASAC). The book starts by using astronomy as a showcase for what science brings to society in terms of intellectual enrichment, (...) of practical tools and of societal inputs. It then turns to looking generally at science as a human endeavour for which pleasure is a prime motivation and it describes the efforts made by researchers to rationalise their findings, thus making them universally acceptable. The author also describes the role of science in shaping our environment and discusses resulting responsibility of the scientists with respect to the evolution of the world. As part of an analysis of the relationship between science and policy the author describes the way in which scientists can (and must) bring knowledge in the political decision making process. The argument is closed with considerations on global governance, while the conclusion puts evidence based decision making processes in relation with the more emotional aspects of our behaviour. The readership of the book is intended to be all scientists involved in "science for policy" activities, as well as those who should become more active in this domain. This includes, but is not limited to, all members of science academies. Astronomers will find specific elements to help them think about their science. The intended readers of the book also include civil servants and policy makers who develop legislation and societal action in domains in which a solid knowledge base is important. The book should furthermore be of interest to citizens following public life and all those worried by the "post evidence" trends in policy. (shrink)

ABSTRACT:Stanley Cavell’s moral perfectionism places the task of cultivating richer self-understanding and self-expression at the center of corporate life. We show how his approach reframes business as an opportunity for moral soul-craft, achieved through the articulation of increasingly reflective inner life in organizational culture. Instead of norming constraints on business activity, perfectionism opens new possibilities for conducting commercial exchange as a form of conversation, leading to personal growth. This approach guides executives in designing businesses that foster genius (...) and channel creativity, while giving all stakeholders a meaningful voice within a culture of trust. We first give an account of Cavellian perfectionism. Then, we explain how this underrepresented strand of moral reflection challenges and enriches, but does not supplant, prevailing ethical theories—including other versions of perfectionism. We then demonstrate the salience of Cavellian perfectionism to business ethics through examples from marketing, human resources, and executive organizational design and development. (shrink)

This paper is an inspired address by the author to engage in a momentous battle for character and human values in life and worklife. The keynote of the author's exposition on values-centred manage ment is the concept of dharma. Here the Indian ideal of dharma is compared to and contrasted with the Western notion of integrity. While integrity is based on the human virtues of wholeness, goodness and having the courage and self-discipline to live by the (...) class='Hi'>inner truth, dharma gives a radically different orientation to any human endeavour by upholding the notions of spirit, rightness, and fearlessness. There is also a distinction between individual dharma and organizational dharma, which the author defines as the organization's inner law. In the concluding part of the paper, the author crystallizes the wisdom contained in the Bhagavad Gita and asserts that hidden away in our inner nature is the law, the writ of our life that enables us to transcend the purposelessness of pomp, power, property and pedigree towards a more meaningful human existence. (shrink)

The Inner Touch presents the archaeology of a single sense: the sense of being sentient. Aristotle was perhaps the first to define this faculty when in his treatise On the Soul he identified a sensory power, irreducible to the five senses, by which animals perceive that they are perceiving: the simple "sense," as he wrote, "that we are seeing and hearing." After him, thinkers returned, time and again, to define and redefine this curious sensation. The classical Greek and Roman (...) philosophers as well as the medieval Arabic, Hebrew, and Latin thinkers who followed them all investigated a power they called "the common sense," which one ancient author likened to "a kind of inner touch, by which we are able to grasp ourselves." Their many findings were not lost with the waning of the Middle Ages. From Montaigne and Francis Bacon to Locke, Leibniz, and Rousseau, from nineteenth-century psychiatry and neurology to Proust and Walter Benjamin, the writers and thinkers of the modern period have turned knowingly and unknowing to the terms of older traditions in exploring the perception that every sensitive being possesses of its life.The Inner Touch reconstructs and reconsiders the history of this perception. In twenty-five concise chapters that move freely among ancient, medieval, and modern cultures, Daniel Heller-Roazen investigates a set of exemplary phenomena that have played central roles in philosophical, literary, psychological, and medical accounts of the nature of animal existence. Here sensation and self-sensation, sleeping and waking, aesthetics and anesthetics, perception and apperception, animal nature and human nature, consciousness and unconsciousness, all acquire a new meaning.The Inner Touch proposes an original, elegant, and far-reaching philosophical inquiry into a problem that has never been more pressing: what it means to feel that one is alive.Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies. (shrink)

"Both superb and essential... Succi, with clarity and wit, takes us from quarks and Boltzmann to soft matter - precisely the frontier of physics and life." Stuart Kauffman, MacArthur Fellow, Fellow of the Royal Society of Canada, Gold Medal Accademia Lincea We live in a world of utmost complexity, outside and within us. There are thousand of billions of billions of stars out there in the Universe, a hundred times more molecules in a glass of water, and another hundred (...) times more in our body, all working in sync to keep us alive and well. At face value, such numbers spell certain doom for our ability to make any sense at all of the world around and within us. And yet, they don't. Why, and how - this book endeavours to provide an answer to these questions with specific reference to a selected window of the physics-biology interface. The story unfolds over four main Parts. Part I provides an introduction to the main organizational principles which govern the functioning of complex systems in general, such as nonlinearity, nonlocality and ultra-dimensions. Part II deals with thermodynamics, the science of change, starting with its historical foundations laid down in the 19th century, and then moving on to its modern and still open developments in connection with biology and cosmology. Part III deals with the main character of this book, free energy, and the wondrous scenarios opened up by its merger with the modern tools of statistical physics. It also describes the basic facts about soft matter, the state of matter most relevant to biological organisms. Finally, Part IV discusses the connection between time and complexity, and its profound implications on the human condition, i.e. the one-sided nature of time and the awareness of human mortality. It concludes with a few personal considerations about the special place of emotions and humility in science. (shrink)

This paper presents the results of the authors’ study of the philosophical heritage of the Ancient Chinese philosopher Pan Maoming, who played an essential role in the development of spiritual culture, as well as Philosophy and Science of Ancient Southern China. The authors carried out historiographical research of currently available ancient and modern sources, which contain data on the life and philosophical ideas of Pan Maoming; reconstructed the Pan Maoming’s intellectual biography; revealed the main features of his worldview. The (...) authors reconstructed the social, cultural, and philosophical context of the historical epoch in which Pan Maoming’s philosophical and scientific views arose and developed; clarified the philosopher’s historical role in the development of local culture in the Southern region of Ancient China.The article contains the author’s description and interpretation of the main philosophical ideas of Pan Maoming, the main amid which the authors consider the ethical concept of “peace and emptiness,” the concept of “clumsiness”; the idea of “monasticism for the happiness of the people.” The authors compared Pan Maoming’s philosophical ideas with Lao-tzu’s philosophical doctrine and came to the conclusion that Pan Maoming formed his own unique and original elaboration of Taoist philosophy, significantly developed its linguistic apparatus and worldview. The authors paid particular attention to the description and analysis of Pan Maoming’s cosmological views, which include the doctrine of “Inner alchemy”, the doctrine of “chaos, order and causality.” The authors concluded that Pan Maoming’s cosmological ideas significantly developed a way of understanding the Universe, the relationship between “inert” and “living” matter, the “world of nature” and the “world of human” in the Taoist philosophical culture. The authors also presented and substantiated their point of view that some philosophical and cosmological ideas of Pan Maoming have not only of historical value but can also be used for developing and enriching the local spiritual culture of Guangdong Province in the form of ethical and educational practices, as well as practices of strengthening cultural unity and identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS The Incarnation of God: An Introduction to Hegel's Theological Thought as Prolegomena to a Future Christology. By HANS Kii'NG. Translated by J. R. Stephenson. New York: Crossroad, 1987. Pp. 601. $37.50 (cloth bound). This is an imposing book (first German edition, 1970), not only in length, but in breadth of presentation. Kiing, in the introduction, outlines the philosophical, theological and cultural milieus out of which Hegel's theology (...) and philosophy emerged. In the next 400 pages (seven chapters), Kiing thoroughly articulates the historical development of Hegel's theological and philosophical thought as expressed in his successive writings, specifically examining and evaluating the christological elements. Kiing's final chapter interprets Hegel's Christology in light of recent biblical historical/critical methodology, by way of a prolegomenon to a future Christology. The book concludes with five integral historical/theological excursus which take up specific questions that arise out of this Hegelian enterprise, for example: "Does God suffer?," "The Dialectic of the Attributes of God," "Immutability of God?". In the preface to this English edition, Kiing states that the purpose of this work is to "provide theologians with an introduction to Hegel's theological and christological thought.... [It will be] a many-leveled 'invitation' into Hegel's life and 'thought, with particular reference to his religious world, and then into his theology and Christology " (p. ix). "Moreover,.this book is an introduction to Hegel's thought by way of 'prolegomena to a future Christology '. In ·these pages we endeavour to return... a provisional reply that will take us some way in the right direction" (p. x). Why did Kiing look to Hegel for the clue to a future Christology? His thesis is that "the biblical message concerning a God who is by no means separated from the world but rather operates within it, and who is by no means stuck immovable and immutable in an unhistorical and suprahistorical realm but rather performs living acts in hi&tory can be better understood [along the lines of Hegelian thought] than in terms of the metaphysics of either classical Greece or the middle ages" (p. xii). Any student of historical or philosophical theology/christology will be captivated by Kiing's treatment of.the development of Hegel's ilhought. Undoubtedly he has mastered Hegel's life, writings and 698 694 BOOK REVIEWS thought, and presents these in a clear, complete and engaging manner. Kiing notes that Hegel, beginning with his student days at Tiihingen, was influenced by three strong cultural and intellectual currents: the Enlightenment as it specifically culminated in the thought of Kant, the French Revolution, and the rise of the Romantic movement. Kiing shows that, while the young Hegel was acquainted with the Bible, and even,though he already displayed an interest in the role of religion (folk religion) as formative of society, nowhere was he "seized in a lively and inward fashion by the Christian faith, by the figure of Christ himself" (p. 54). To rthe contrary, Hegel's early experience of Christianity was lifeless and joyless. During his subsequent time in Bern, Hegel's evaluation of Jesus un· derwent a transformation. Hegel became fascinated with Greek religion, not because it was true, but because it embodied the culture and spirit of the people. Developing this train of thought, he stated that "The supreme end of man is morality, and his religious bent is pre· eminent among his aptitudes for promoting that end" (p. 69). In light of this, Hegel considered Jesus,to lack the humane and universal scope of Socrates, who was " the paradigm of a free, good and humane Hellenism and of harmony with nature, world and state " (p. 63). Jesus' teaching was too much an authoritarian imposition upon people rarther than, like Socrates', a nurturing of their inner spirit and life. Shordy, as reflected in his Life of Jesus, Hegel's view of Jesus was to change. Now he was placed above Socrates, not because he was acknowledged to be the eternal Son of God, nor because he reconciled mankind to God by his death on the cross, but rather because he per· sonified the divine ideal of virtue that is so necessary for social order. " Whart is... (shrink)

Think of a secret that you're keeping from others. It shouldn't take long; behavioral scientist Michael Slepian finds that on average, we are keeping as many as thirteen secrets at any given time. His research involving more than 50,000 participants from around the globe shows that the most common secrets include: lies we've told, addiction or mental health challenges, a hidden relationship, financial struggles, and more. Our secrets can weigh heavily upon us. Yet the burden of secrecy, Slepian argues, rarely (...) stems from the work it takes to keep a secret hidden. Rather, secrets are something we must "carry" because we do so alone, without the support of others. Whether we are motivated to protect our reputation, a relationship, or a loved one's feelings, or are pursuing some personal or professional goal, one thing is clear: holding back some part of our inner world is often lonely and isolating. But it doesn't have to be. Filled with fresh insight into one of the most universal-yet least understood-aspects of human behavior, The Secret Life of Secrets sheds a fascinating new light on questions like: At what age do children develop the cognitive capacity for secrecy? Do all secrets come with the same mental load? How can we reconcile our secrets with the human desire to relate, connect, and be known? When should we confess our secrets? Who makes for the ideal confidant? And can certain types of secrets actually enhance our well-being? (shrink)

Dupré argues that at the center of the cultural crisis of our time is an objectivist attitude, an attitude which results in thinking of human existence using models appropriate to objects with the result that transcendence is lost and man is thought of as a thing to be manipulated. However, a mere retreat into subjectivity is not the answer to this crisis. What is needed is reflection on the subject itself in order to give it a content of its (...) own, and Dupré suggests that a key to this kind of reflection is given in the work of Husserl and Heidegger. It is within the temporality and historicity of the being of man that man discovers his transcending of objectivist states and an openness to the divine, understood as other than an ultimate object separated from the self and opposed to it. Dupré’s brief and provocative book is primarily a series of reflections on the inner life of human existence, guided by critical reflection on the Judaeo-Christian tradition, in which he believes the inner transcendence of the self to have been articulated. It is the passive open character of man to which Dupré invites our particular attention, not the objectifying manipulating character, which is reflected prominently in our technological age. (shrink)

What is happiness? Does life have a meaning? If so, is that meaning available in an ordinary life? The philosopher Zena Hitz confronted these questions head-on when she spent several years living in a Christian religious community. Religious life -- the communal life chosen by monks, nuns, friars, and hermits -- has been a part of global Christianity since earliest times, but many of us struggle to understand what could drive a person to renounce wealth, sex, (...) children, and ambition to live a life of prayer and sacrifice. Hitz's lively and accessible book explores questions about faith, sacrifice, asceticism and happiness through philosophy, stories, and examples from religious life. Drawing on personal experience as well as film, literature, history, biography, and theology, it demystifies an important element of contemporary culture, and provides a picture of human flourishing and happiness which challenges and enriches modern-day life. (shrink)

This paper presents the results of the authors’ study of the philosophical heritage of the Ancient Chinese philosopher Pan Maoming, who played an essential role in the development of spiritual culture, as well as Philosophy and Science of Ancient Southern China. The authors carried out historiographical research of currently available ancient and modern sources, which contain data on the life and philosophical ideas of Pan Maoming; reconstructed the Pan Maoming’s intellectual biography; revealed the main features of his worldview. The (...) authors reconstructed the social, cultural, and philosophical context of the historical epoch in which Pan Maoming’s philosophical and scientific views arose and developed; clarified the philosopher’s historical role in the development of local culture in the Southern region of Ancient China.The article contains the author’s description and interpretation of the main philosophical ideas of Pan Maoming, the main amid which the authors consider the ethical concept of “peace and emptiness,” the concept of “clumsiness”; the idea of “monasticism for the happiness of the people.” The authors compared Pan Maoming’s philosophical ideas with Lao-tzu’s philosophical doctrine and came to the conclusion that Pan Maoming formed his own unique and original elaboration of Taoist philosophy, significantly developed its linguistic apparatus and worldview. The authors paid particular attention to the description and analysis of Pan Maoming’s cosmological views, which include the doctrine of “Inner alchemy”, the doctrine of “chaos, order and causality.” The authors concluded that Pan Maoming’s cosmological ideas significantly developed a way of understanding the Universe, the relationship between “inert” and “living” matter, the “world of nature” and the “world of human” in the Taoist philosophical culture. The authors also presented and substantiated their point of view that some philosophical and cosmological ideas of Pan Maoming have not only of historical value but can also be used for developing and enriching the local spiritual culture of Guangdong Province in the form of ethical and educational practices, as well as practices of strengthening cultural unity and identity. (shrink)

A textbook of formal logic which uses a semantical method to present logic to the student as an integral part of life and philosophy--in this case, moderate realism. The authors greatly enrich the traditional treatment of signs, terms, propositions, syllogisms and inductive arguments with discussions of recent developments in logic.--J. J. C.

This chapter contains sections titled: A Phenomenology of Moral Presence at Sea Tragic Comedy (or Comic Tragedy): The Paradox of Sailing.

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

The question of the ethical life is arguably one of the most compelling, and urgent, questions of our time. As Peter Singer, among others, has pointed out, almost 10 million children die each year due to poverty, some of whom would not die if the amount of aid that we now offer increases significantly. As Singer has also pointed out, the exploitation of human beings and other animals is a major ethical and practical concern. There can be little (...) reasonable doubt that pain and suffering abound, in the world today, due to many causes such as poverty, disease, environmental degradation and destruction and anthropocentrism among others, just as there can be little reasonable doubt that some of the pain and suffering is preventable. So, what does it mean to live ethically today? Does it mean taking the point of view of the universe, as Sidgwick put it, memorably, rather than a narrow anthropocentric or speciesist view? Does it mean living in accordance with duties or obligations, or in light of recognised virtues, or with the minimisation of pain and suffering primarily in mind? Does it entail a consideration of the interests of other species and a rejection of the principle of the sanctity of human life? Does it mean not eating animals when other healthy alternatives are available, especially when those animals have been treated in ways that are inconsistent with their interests, whatever they may be? Does it mean taking active steps to reduce poverty on our part on a day to day basis? Is ethics exhausted in some sense today? And if we could reach some consensus on these questions, what difference would the ethical life make? Some argue that speciesism and the exploitation of human beings and other animals might diminish; that pain and suffering, especially gratuitous pain and suffering, would decrease, or at the very least, not increase; or that we will become more aware of the limitations of things such as "the traditional ethic of the sanctity of life", as Singer calls it. Some argue that the ethical life is closely related to a life of relationships, reflection and deliberation, all of which deepen our understanding and enrich us personally. Others argue that the ethical life is closely related to our search for a meaningful life - that the ethical life can help us to find meaning in a world in which "meaning", defined broadly, can seem elusive, enigmatic or unsubstantial. These and related issues and questions are explored in this collection, which illustrates the relevance, vitality and dynamism of ethics today. (shrink)

This is the first biography of the last and greatest British idealist philosopher, R. G. Collingwood, a man who both thought and lived at full pitch. Best known today for his philosophies of history and art, Collingwood was also a historian, archaeologist, sailor, artist, and musician. A figure of enormous energy and ambition, he took as his subject nothing less than the whole of human endeavor, and he lived in the same way, seeking to experience the complete range of (...) human passion. In this vivid and swiftly paced narrative, Fred Inglis tells the dramatic story of a remarkable life, from Collingwood's happy Lakeland childhood to his successes at Oxford, his archaeological digs as a renowned authority on Roman Britain, his solo sailing adventures in the English Channel, his long struggle with illness, and his sometimes turbulent romantic life. In a manner unheard of today, Collingwood attempted to gather all aspects of human thought into a single theory of practical experience, and he wrote sweeping accounts of history, art, science, politics, metaphysics, and archaeology, as well as a highly regarded autobiography. Above all, he dedicated his life to arguing that history--not science--is the only source of moral and political wisdom and self-knowledge. Linking the intellectual and personal sides of Collingwood's life, and providing a rich history of his milieu, History Man also assesses Collingwood's influence on generations of scholars after his death and the renewed recognition of his importance and interest today. (shrink)

Late in his life, Hans-Georg Gadamer was asked to explain what the universal aspect of hermeneutics consisted in, and he replied, enigmatically, “in the _verbum interius_.” Gadamer devoted a pivotal section of his magnum opus, _Truth and Method_, to this Augustinian concept, and subsequently pointed to it as a kind of passkey to his thought. It remains, however, both in its origins and its interpretations, a mysterious concept. From out of its layered history, it remains a provocation to thought, (...) expressing something about the relation of language and understanding that has yet to be fully worked out. The scholastic idea of a word that is fully formed in the mind but not articulated served Augustine as an analogy for the procession of the Trinity, and served Thomas Aquinas as an analogy for the procession between divine ideas and human thought. Gadamer turned the analogy on its head by using the verbum interius to explain the obscure relation between language and human understanding. His learned interpretation of the idea of the inner word through Neoplatonism, Lutheranism, idealism, and historicism may seem nearly as complex as the medieval source texts he consulted and construed in his exegesis, but the profoundity of his insights are unquestioned. In unpacking Gadamer's interpretive feat, John Arthos provides an overview of the philosophy of the logos out of which the _verbum interius_ emerged. He summarizes the development of the _verbum _in ancient and medieval doctrine, traces its path through German thought, and explains its relevance to modern hermeneutic theory. His work unfolds in two parts, as an expansive intellectual history and as a close analysis and commentary on source texts on the inner word, from Augustine to Gadamer. As such, this book serves as an indispensable guide and reference for hermeneutics and the intellectual traditions out of which it arose, as well as an original theoretical statement in its own right. “Consummately researched, lucidly written, and persuasively argued throughout, __The Inner Word_ _succeeds brilliantly in bringing to light this neglected but pivotal matter in Gadamer’s work. Arthos is learned in the best ‘humanist’ way, for he succeeds in creating something new of his own that will speak eloquently to all of us.” —_Walter Jost, University of Virginia_ “Gadamer suggests that the Christian idea of incarnation is a key to his hermeneutics, but does not explain his position in a detailed or systematic manner. Arthos brings his considerable knowledge of hermeneutics and rhetoric to bear on Gadamer's insight, recounting the rich intellectual history to which Gadamer gestures, and providing an extended and detailed exegesis of this pivotal point in the third part of _Truth and Method_. Gadamer's account of 'linguisticality,' Arthos explains, can best be understood through his use of a complex metaphor—the ‘inner word.’ Arthos matches his erudition with clear and clean prose, and his account exemplifies, rather than just describes, Gadamer's hermeneutical philosophy. Any scholar interested in Gadamer's philosophy should have this book on his or her shelf.” —_Francis J. Mootz III, William S. Boyd Professor of Law, William S. Boyd School of Law_ “Arthos's strength lies for me in his careful reading of the sources. He effectively commands the literature on the subject. This work shows in a sophisticated way the legacy of trinitarian theology for philosophical hermeneutics. The very complex task of illuminating the phenomenon of the _verbum interius _and indicating its centrality for philosophical hermeneutics is accomplished by John Arthos with great sensitivity to the subject matter.” —_Andrzej Wiercinski, The International Institute for Hermeneutics_. (shrink)

Conventional ethics of how humans should eat often ignore that human life is itself a form of organic activity. Using Henri Bergson’s notions of intellect and intuition, this chapter brings a wider perspective of the human organism to the ethical question of how humans appropriate life for nutriment. The intellect’s tendency to instrumentalize living things as though they were inert seems to subtend the moral failures evident in practices such as industrial animal agriculture. Using the case (...) study of Temple Grandin’s sympathetic cattle technologies, this chapter moves beyond animal welfare concerns to ground food ethics on the phenomenal character of food that is obscured by human activities of fabrication. (shrink)

The chapter presents Bergson’s conception of philosophy as a way of life, as a thinking that seeks to make contact with the creativity of life as a whole. This endeavor to alter our vision of the world, and ultimately, our action and sense of being in the world, seeks to operate a “conversion of attention.” For Bergson, such a conversion is tied in with what he calls the “true empiricism” that allows us to experience and think change as (...) that which makes up living reality as a whole. Bergson conceptualizes this move beyond the human in terms of sympathy, a term employed both descriptively, to develop the notion of a sympathetic whole of life in which philosophy as a way of life resituates the self, and prescriptively, as urging us to overcome our estrangement from “the ocean of life” to which we owe our existence. This effort of sympathy takes the form of a spiritual exercise. Not limited to mere contemplation of the world, it transforms the manner in which we perceive the reality of duration and thus opens the path for a different way of living. (shrink)

The political history of the twentieth century can be viewed as the history of democracy’s struggle against its external enemies: fascism and communism. This struggle ended with the fall of the Berlin Wall and the collapse of the Soviet regime. Some people think that democracy now faces new enemies: Islamic fundamentalism, religious extremism and international terrorism and that this is the struggle that will define our times. Todorov disagrees: the biggest threat to democracy today is democracy itself. Its enemies are (...) within: what the ancient Greeks called 'hubris'. Todorov argues that certain democratic values have been distorted and pushed to an extreme that serves the interests of dominant states and powerful individuals. In the name of ‘democracy’ and ‘human rights’, the United States and some European countries have embarked on a crusade to enlighten some foreign populations through the use of force. Yet this mission to ‘help’ others has led to Abu Ghraib and Guantanamo, to large-scale destruction and loss of life and to a moral crisis of growing proportions. The defence of freedom, if unlimited, can lead to the tyranny of individuals. Drawing on recent history as well as his own experience of growing up in a totalitarian regime, Todorov returns to examples borrowed from the Western canon: from a dispute between Augustine and Pelagius to the fierce debates among Enlightenment thinkers to explore the origin of these perversions of democracy. He argues compellingly that the real democratic ideal is to be found in the delicate, ever-changing balance between competing principles, popular sovereignty, freedom and progress. When one of these elements breaks free and turns into an over-riding principle, it becomes dangerous: populism, ultra-liberalism and messianism, the inner enemies of democracy. (shrink)

The political history of the twentieth century can be viewed as the history of democracy’s struggle against its external enemies: fascism and communism. This struggle ended with the fall of the Berlin Wall and the collapse of the Soviet regime. Some people think that democracy now faces new enemies: Islamic fundamentalism, religious extremism and international terrorism and that this is the struggle that will define our times. Todorov disagrees: the biggest threat to democracy today is democracy itself. Its enemies are (...) within: what the ancient Greeks called 'hubris'. Todorov argues that certain democratic values have been distorted and pushed to an extreme that serves the interests of dominant states and powerful individuals. In the name of ‘democracy’ and ‘human rights’, the United States and some European countries have embarked on a crusade to enlighten some foreign populations through the use of force. Yet this mission to ‘help’ others has led to Abu Ghraib and Guantanamo, to large-scale destruction and loss of life and to a moral crisis of growing proportions. The defence of freedom, if unlimited, can lead to the tyranny of individuals. Drawing on recent history as well as his own experience of growing up in a totalitarian regime, Todorov returns to examples borrowed from the Western canon: from a dispute between Augustine and Pelagius to the fierce debates among Enlightenment thinkers to explore the origin of these perversions of democracy. He argues compellingly that the real democratic ideal is to be found in the delicate, ever-changing balance between competing principles, popular sovereignty, freedom and progress. When one of these elements breaks free and turns into an over-riding principle, it becomes dangerous: populism, ultra-liberalism and messianism, the inner enemies of democracy. (shrink)

The Church at all times of human existence occupied an important place in the life of society. Under modern conditions, people often feel unprotected, uncertain, and therefore forced to seek support and faith in their happy future. One way of creating a sense of inner peace for a believer is to communicate with God, and the Church acts as an intermediary in this process. Therefore, in our opinion, the Church, as a social institution, is to a large (...) extent responsible for the cultivation of those values ​​which it preaches and which consciously and subconsciously assimilates the citizens. Therefore, we believe that the Church should not be alienated from the problems of society, but, on the contrary, its activities should be oriented towards its modernization and, above all, in the spiritual aspect. For the Ukrainian society in its spiritual life Christian faith was and remains the leading one. In this article, we aim to justify the role of the Christian Churches in shaping the sense of responsibility of our believers. (shrink)

Free will can be understood as a novel form of action control that evolved to meet the escalating demands of human social life, including moral action and pursuit of enlightened self-interest in a cultural context. That understanding is conducive to scientific research, which is reviewed here in support of four hypotheses. First, laypersons tend to believe in free will. Second, that belief has behavioral consequences, including increases in socially and culturally desirable acts. Third, laypersons can reliably distinguish free (...) actions from less free ones. Fourth, actions judged as free emerge from a distinctive set of inner processes, all of which share a common psychological and physiological signature. These inner processes include self-control, rational choice, planning, and initiative. (shrink)

After receiving a copy of Metaphysics as a Guide to Morals, Murdoch’s friend Brian Medlin writes back: ‘So far I think I disagree with what you say in “Wittgenstein and the Inner Life,” but I’ll have to make sure that I’ve understood you aright before I launch into a complaint.’ Here, I reconstruct Murdoch’s reading of Wittgenstein and show its ambivalence. While Murdoch acknowledges Wittgenstein’s aim to dissolve illusionary ideas about the inner, she also thinks he presents (...) substantial theses threatening the reality of inner life. Murdoch’s misreading of Wittgenstein as a constructive philosopher may be what worries Medlin, and it also prevents Murdoch from seeing Wittgenstein as an ally in the endeavour to demonstrate the morally transformative potential of our inner lives. (shrink)

That the problem of the way of life has become a current issue should be linked primarily to two circumstances: the fact that socialist society has attained maturity, and the development of the modern revolution in science and technology. Viewing the category of people's way of life as an objective system of their human daily life activity makes it possible, in the first place, by pursuing the objective logic of the functioning of the entity, to picture (...) the individual and the social group in all the diversity of their life manifestations, i.e., in truly rounded form. Secondly, it makes it possible to significantly enrich theoretical judgments by means of concrete analysis of the actual conditions and forms of people's social conduct. A person's way of life may be defined most succinctly as the system of concrete conditions and forms of his ties to society. (shrink)

The concept of the soul, one of the greatest 'inventions' of Greek philosophy, which crossed the whole history of the Western civilisation, was defined in its fundamental philosophical features by Plato. Developing the numerous issues naturally linked to this concept, Plato's thought does not only focus on metaphysical and religious themes, but also to all issues related to spirituality and the human psyche, including their ethical consequences. Therefore, the concept of soul opens the door to an endless process involving (...) the analysis of a subject's interiority. It is not by chance, that this Platonic theme recurs in many texts and even represents the backbone of whole dialogues. In this collection, some of the most important contemporary Platonic scholars looked at these complex philosophical issues from innovative perspectives, especially with regard to texts that previously were either underestimated or largely ignored. This perspective gives the reader a chance to evaluate the hermeneutic power of different approaches and interpretations of Plato's texts, revaluating as well the richness of Plato's contribution to questions that have been received and developed in contemporary philosophical reflections. (shrink)

In this paper I will examine the embodied dimension of emotions, and of inner life more generally, according to Wittgenstein’s anti-subjectivistic account of expression. First of all, I will explore Wittgenstein’s critique of a Cartesian disembodied account of the inner life, and the related argument against the existence of a private language. Secondly, I will describe the constitution of inner life as the acquisition of embodied ways of expressing oneself and of responding to others (...) within a shared context, against the background of an inherited weave of cultural expressive practices. Here, I will analyze Wittgenstein’s embodied account of expression, the ‘modified concept of sensing’ and ‘seeing’ which is involved in seeing the emotions of others as their expressions, and consequently Wittgenstein’s critique of an epistemological account concerning our ‘knowledge’ of others’ minds. Finally, with reference to Cavell’s and Mulhall’s readings, I will reflect on the figure of the ‘aspect-blind’, one who ‘just knows’ the emotion of others but cannot acknowledge it, and accordingly is not able to see it as the embodied expression of the other’s inner life. In this way, I wish to argue that Wittgenstein not only calls into question a disembodied account of the inner life from a theoretical point of view, but also shows the ethical consequences of a disembodied account of self through the figure of the aspect-blind. (shrink)

The Human Genome Project is regarded by many as one of the major scientific achievements in recent science history, a large-scale endeavour that is changing the way in which biomedical research is done and expected, moreover, to yield considerable benefit for society. Thus, since the completion of the human genome sequencing effort, a debate has emerged over the question whether this effort merits to be awarded a Nobel Prize and if so, who should be the one to receive (...) it, as no more than three individuals can be selected. In this article, the HGP is taken as a case study to consider the ethical question to what extent it is still possible, in an era of big science, of large-scale consortia and global team work, to acknowledge and reward individual contributions to important breakthroughs in biomedical fields. Is it still viable to single out individuals for their decisive contributions in order to reward them in a fair and convincing way? Whereas the concept of the Nobel prize as such seems to reflect an archetypical view of scientists as solitary researchers who, at a certain point in their careers, make their one decisive discovery, this vision has proven to be problematic from the very outset. Already during the first decade of the Nobel era, Ivan Pavlov was denied the Prize several times before finally receiving it, on the basis of the argument that he had been active as a research manager rather than as a researcher himself. The question then is whether, in the case of the HGP, a research effort that involved the contributions of hundreds or even thousands of researchers worldwide, it is still possible to “individualise” the Prize? The “HGP Nobel Prize problem” is regarded as an exemplary issue in current research ethics, highlighting a number of quandaries and trends involved in contemporary life science research practices more broadly. (shrink)

The chapter presents Bergson’s conception of philosophy as a way of life, as a thinking that seeks to make contact with the creativity of life as a whole. This endeavor to alter our vision of the world, and ultimately, our action and sense of being in the world, seeks to operate a “conversion of attention.” For Bergson, such a conversion is tied in with what he calls the “true empiricism” that allows us to experience and think change as (...) that which makes up living reality as a whole. Bergson conceptualizes this move beyond the human in terms of sympathy, a term employed both descriptively, to develop the notion of a sympathetic whole of life in which philosophy as a way of life resituates the self, and prescriptively, as urging us to overcome our estrangement from “the ocean of life” to which we owe our existence. This effort of sympathy takes the form of a spiritual exercise. Not limited to mere contemplation of the world, it transforms the manner in which we perceive the reality of duration and thus opens the path for a different way of living. (shrink)

Abstract Democracy is a fundamental right linked to the realization of a person’s worthy life project regarding its corresponding fulfillment of Human Rights. Along with the procedures to form political majorities, it is mandatory to incorporate the substantial part as a means and end for the normative content of Human Dignity to be carried out allowing it to: i) freely choose a project of valued life with purpose and autonomy ii) to have material and intangible means (...) to function in society; and iii) to live free from harm and fear in order to achieve human flourishing. The integral democracy is a means and an end to materialize individual happiness and the common good as long as everyone has concrete opportunities to unfold its inherent human dignity capacities within the trademark of the democratic constitutional State. Assuming this, integral democracy is the fundamental right of Fundamental Rights. (shrink)

Homo sapiens is a mammal of the order Primates. What most distinguishes primates from other mammals is their ability to cerebrate. Cerebration developed fastest among the Anthropoidea primates , and subsequently the hominids . The increase in brain mass only by Homo sapiens—and only over the past 10,000 years—possess superior Darwinian fitness: for the preceding 30 million years primates had played a rather marginal role in the world’s biological system.Homo sapiens’ success as the creator of developed civilization was possible only (...) thanks to his special adaptation capabilities, shaped by natural selection at the dawn of his existence.Primates first appeared in the Oligocene about 30 million years ago, and the first two-legged anthropoid, Australopithecus, about 6.5–5.7 million years ago. The transition from Australopithecus to the species we call Homo was in many ways an evolutionary milestone. Australopithecus was exclusively herbivorous and formed neither organized communities nor settlements. His successor, Homo erectus, on the other hand, possessed heretofore unknown skills like hunting and gathering, which considerably influenced both his lifestyle and his diet—he increasingly ate meat from cadavers or animals he had killed himself. Fossil remains of Homo erectus dating back two million years have been unearthed throughout Africa, China, Indonesia, Pakistan, the Middle East, and Europe.Homo sapiens derives from the rather small Homo erectus population in East Africa and has been the earth’s only hominid for a relatively short time about 10,000 years ago before he still shared his world with Neanderthal man and the diminutive Homo floresiensis.Despite racial differences there is surprisingly little variation in the human genome. We are all 99 percent genetically alike, moreover genome variations do not correlate to skin color.Homo sapiens’ hunter-gatherer lifestyle led him to seek solutions which today find application only in human communities. In time his biological capabilities were enriched by the skill of speech, this in turn helping to develop creativity, self-awareness, a sense of dignity, and group, ethnic and national loyalty, eventually leading to the emergence of religion as a path to life’s fundamental truths and an antidote to the everpresent fear of death.The Neolithic Revolution began about 10,000 years ago. Several thousand years later the evolution of farming and breeding led to the emergence of the first civilizations. The transition from hunting and gathering to agriculture changed radically not only economic and social structures but, as speech developed, helped form civilizations and cultures.Over the past 2000 years humanity has changed the global environment but has itself remained unchanged in heritability. The awareness that despite all racial, ethnic, cultural, or linguistic differences we belong to an exceptionally homogeneous species, can be an inspiration for humanity to strive towards a universal civilization in which all these differences could be contained. (shrink)

In Theory of Games, Braithwaite shows that mathematical theory of games can be used to shed light upon such notions as prudence and justice in situations involving human choices and co-operation between individuals. In his work on the Nature of Religious Belief he argues that just as a moral assertion is an expression of an intention to act in accordance with certain policy, so a religious assertion must be understood as a declaration of adherence to a system of moral (...) principles governing 'inner life' as well as external behaviour. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Inner Citadel. The Meditations of Marcus AureliusJames KerPierre Hadot. The Inner Citadel. The Meditations of Marcus Aurelius. Translated by Michael Chase. Cambridge: Harvard University Press, 1998. Pp. xii + 351. Cloth, $45.00Marcus Aurelius has sometimes been viewed as a Stoic "half-way to Platonism," so overawed by the brevity of human life within the infinite procession of eternity that he "almost lost faith in (...) his own existence" (J. M. Rist). Hadot's book, however, in this excellent English translation (first published as La Citadelle Intérieure: Introduction aux "Pensées" de Marc Aurèle, Paris, 1992), argues not only that the Meditations are thoroughly Stoic in their doctrine, but that to call Marcus a Platonist (or a pessimist) is to misinterpret the techniques by which he seeks to live a Stoic life. For Hadot it is the teachings of the philosopher-slave Epictetus that explain the Meditations, and the bulk of the book is concerned with demonstrating that Marcus's writings are spiritual exercises by which the author seeks to instill in himself three basic Epictetan disciplines corresponding to the tripartite Stoic system of logic, physics, and ethics. Readers of Hadot's other works will already recognize his concern with the ancient conception of philosophy as a way of life [3]. This study aims to show how Marcus's self-therapy relates to specific elements of Stoic doctrine and to redefine our understanding of the Meditations as a literary work.The book begins by tracing Marcus's initiation into the philosophic life, with special emphasis on the role of statesman-philosopher Junius Rusticus, who introduced Marcus to the writings of his influential teacher, Epictetus. In Chapter Two Hadot approaches the text which we refer to as the Meditations and argues that they are better referred to as Marcus's "personal notes" (hypomnêmata): their characteristic features (discontinuity, repetition, self-address, and refined literary form) are due to their being the product of day-by-day exercises in which Marcus, focussed upon the definitiveness of the present moment, strove to keep the essential rules of life ever present in his mind. Marcus's constant repetition of familiar doctrine indicates that for him "the [End Page 116] essential thing was not to invent or to compose, but to influence himself and produce an effect upon himself" (244).Hadot is at pains in Chapter Three, however, to reveal that these exercises derive from the "highly rigorous conceptual system" which he calls "the true key to the Meditations," namely, a set of three dogmas that require (a) the regulation of judgment to assent only to what is objectively true; (b) the restriction of the desires to that which is in accordance with universal Nature and Destiny; and (c) the disciplining of one's impulse toward action to be just and altruistic, in agreement with one's human nature. According to Hadot, this systematic distinction between the disciplines of judgement, desire, and impulse, and the three dogmas on which they depend, is "a doctrine which is peculiar to Epictetus and which is not found in Stoicism prior to him" (70). Marcus, then, in organizing his spiritual exercises around these three disciplines, "was working with pre-existing materials" (52). Thus Chapter Five is dedicated entirely to explaining how the practical disciplines of judgment, desire, and impulse to action, which Hadot argues correspond respectively to logic, physics, and ethics, operate within "the Stoicism of Epictetus."There is a certain apparent tension generated by Hadot's argument concerning the Stoicism of Epictetus. Although he depicts him as a distinctive innovator, Hadot also states that Epictetus does not change the system of Zeno and Chrysippus but simply adds "color and tonality" (73)—a statement that allows him to classify both Epictetus and Marcus as authentic Stoics but thereby risks undermining his argument about Epictetus's distinctiveness. This real ambiguity could be explained by reference to the emphasis on originality in Stoicism, in which the embodiment of philosophy in each new Stoic establishes him as an independent authority. (As Seneca says to Lucilius, "Zeno said this. But what do you say?" Epistulae Morales 33.7.) Indeed Hadot illustrates how didactic procedures in particular were... (shrink)

With its roots in clinical and educational psychology, school psychology is an ever-changing field that encompasses a diversity of topics. The Oxford Handbook of School Psychology synthesizes the most vital and relevant literature in all of these areas, producing a state-of-the-art, authoritative resource for practitioners, researchers, and parents.Comprising chapters authored by the leading figures in school psychology, The Oxford Handbook of School Psychology focuses on the significant issues, new developments, and scientific findings that continue to change the practical landscape. The (...) handbook's focuses include:allegiance to the reciprocal relationship between science and practice to promote problem-solving and enrichment modelsservice delivery designed to improve competencies of all studentsthe relationship between general cognitive ability and important life outcomesthe development of viable and enduring educational, family, and community systems to support studentsincreasing student diversity and the necessity of increased sensitivity to the influences of social, cultural, political, and legislative variables of schoolingoutlining tenable reasons why, since the end of World War II, children from kindergarten through the secondary grades have generally not been the recipients of a superior or efficient educational systemall relevant legislation, including the No Child Left Behind Act, and the ongoing question of who or what is responsible for the inadequate academic preparation of inner-city childrenbuilding a cumulative knowledge base to better facilitate students' academic, social, and personal competencies including the promotion of positive mental health and subjective well-beingThe scholarship compiled here is a must-read for practitioners, students, and faculty, and an ideal resource for parents seeking a scientific approach to the efficacy of school psychology practices. In both breadth and depth, this handbook promises to serve as the benchmark reference work for years to come. (shrink)

In joining a discussion of the subject, object, method, and other specifications of culturology, one should first define one's view of the correlation between culture and history, culturological and historical knowledge, the purposiveness of history as a social movement, and its certainty as a science. From the point of view of positivist philosophy and the social science based on it, history a priori lacks any teleology, goal-orientation, or inner meaning and is simply the sum of the collective life (...) of people. I would even risk defining the historical process as a dynamics of people's realization of the collective forms of their life activity and an accumulation of justified models of the corresponding social experience. In that case, historical knowledge can be defined as a special way of describing and systematizing the most socially significant processes and results of people's realization of their sociality, that is, technologies of collective existence. I draw attention to the fact that what we are talking about, first of all, is the way we-the interested people-have chosen to describe past events we had systematized in some way or another on some suitable basis. In itself, history is not a living entity and cannot have any independent goals, meanings, intentions, or other manifestations of free will, which are characteristic of a freely acting human individual. (shrink)

In the worlds of philosophy, linguistics, and communications theory, a view has developed which understands conscious experience as experience which is 'reflected' back upon itself through language. This indicates that the consciousness we experience is possible only because we have culturally invented language and subsequently evolved to accommodate it. This accords with the conclusions of Daniel Dennett (1991), but the 'hermeneutic objection' would go further and deny that the objective sciences themselves have escaped the hermeneutic circle. -/- The consciousness we (...) humans experience is developed only within the context of crossing the 'symbolic threshold' (Percy 1975; Deacon 1997) and one of the earliest and most important symbols we acquire is that of the self, or 'the subject of experience'. It is only when we achieve self-awareness that the world, as such, comes to exist for us as an object (which contains categories and sub-categories of objects). Any consciousness imputed to prelinguistic stages of development is based on projection and guesswork, since we can know nothing directly of it. It can be said that any experience which does not separate an inner subject from an outer world is probably a continuum of sensation in which environmental stimulus and instinctive response are experienced as a unity; it may be 'lived experience' but it is experience 'lived' non-consciously. -/- Speech requires assertion and by learning to speak we find ourselves asserting, in essence, our selves into the world. The narrative form of language allows us to develop life stories, self-knowledge, and, most important, narrative memory coincident with narrative time. All this is made possible with the intersubjective 'net' of language which allows us to know ourselves by first identifying with the viewpoint of others; and, later, such allows us to identify with other minds as we anticipate their reception our communication. These three, assertion, narrative, and intersubjectivity are the essence of what language is and are the keystones that make culture possible outside of nature. (shrink)

Abstract:Schelling’s early philosophy and his ground breaking dynamism sought to present what was beneath the surface of nature, in order to reveal the ideal interiority of nature’s real power, which for Schelling, was teeming with intensities, and forces displaying the unique inner life of the natural world. This paper’s thesis, is an attempt to revive Schelling’s early philosophy and Naturphilosophie, in the hopes of reconfiguring the modern conceptual gaze that has turned the natural world into a lifeless, empty, (...) system. With our current climate crisis on the horizon, a return to Schelling’s philosophy is an urgent endeavor and a call to philosophical arms in order to re-create a new relationship between modern humanity and nature, which ultimately seeks to grasps the organic world as not only productive, but also creative and alive. (shrink)