(Third edition with additions) -/- This is a collection of short stories centering around the protagonist character, Kingfisher, originally written in Vietnamese by myself. -/- The book aims to introduce international readers to snippets of Vietnamese culture through the ordinary yet humorous life of the bird village. -/- The first 15 of these short stories were published in the Khoảng Lặng (Quiet Moment) column of the Vietnamese magazine Kinh Tế và Dự Báo (Economy and Forecast Review) from 2017 to 2019. (...) -/- However, this is the first time that the collection of all the Kingfisher stories has been published in its entirety, covering stories that have not been published elsewhere, including new stories written in 2023. -/- The stories of Kingfisher are full of humor and satire while also deep in social commentary. I hope that the book brings readers joy and some food for thought, for beyond satire is genuine contemplation of the humanistic values in our lives. -/- Hanoi, October 21, 2023 -/- Quan-Hoang Vuong -/- (Incld. Artworks by Bui Quang Khiem and Dam Thi Thu Ha). (shrink)

The protagonist of Edith Wharton’s 1904 short story “The Descent of Man” is both scien­tist and satirist. The target of his satire-“false interpreters” of evolutionary theory-allows Wharton to combine analysis of genre with inquiry into the cultural controversy Darwin’s ideas inspired. Anthropocentric anxieties explain popular preference for soothing “pseudo-science” over unsparing accounts of natural selection; they likewise explain widespread obtuseness to Professor Linyard’s ridicule of hazy illogic posing as science. Motivated more strongly by fitness interests than by allegiance to (...) scientific truth, however, the professor becomes complicit in widespread misreading of his own text. He thereby encourages the ignorance he intended to dispel, and Wharton highlights the ironies inherent in this self-sabotage. She insists that susceptibility to evolved adaptations is universal, moreover, and that it often impedes the discovery and promulgation of truth. (shrink)

The Sneetches by Theodor Geisel (otherwise known as Dr Seuss) is a satirical story that targets illicit discrimination. The book presents its parable about discrimination by depicting a society in which one group discriminates against another group because of an easily perceptible difference between them. The real irrationality of discrimination in both The Sneetches and real life is that it is based on the false claim that members of the discriminated‐against group are inferior to members of the discriminating (...) group. The book ends with all of the Sneetches playing with one another, paying no attention to the presence or absence of stars on their bellies. The lesson that children draw from The Sneetches is clear: Discriminating against people in a different social group is wrong. (shrink)

The narrative of the Death of Emperor Hundun 混沌, who finally perishes from the seventh hole that his two fellow Emperors have drilled into his formless body to do him the favor of supplying him with a face, famously concludes the seven Inner Chapters of the Zhuangzi 莊子.1 Perhaps the sudden demise of the story’s protagonist is meant to signal paradoxically to the reader that he or she, too, has, unwittingly, now come to an end and reached a stage (...) of no return. With the completion of the seventh chapter, seven deep holes have been drilled into one’s head and have transformed one irredeemably. Zhuangzi, too, may have repaid the kindness of those who took him home with equal kindness and deprived them of their... (shrink)

There are many people in organizations who have feelings of alienation; that is they feel they do not fit in, they get no meaning out of their work, they feel belittled or abused by their superiors or colleagues; they desire to break loose the masks they wear, or to find some sense of meaningfulness. In our paper, we demonstrate our assumption of alienation in the workplace by reviewing a collection of satirical and ironic organizational stories from police officers working (...) at a county sheriff’s department. Our argument is that if it seems that alienation might not be resolved through organizational change efforts and interventions, or might not be resolved through radical change of the economic conditions of modern industrial life, then alienation might be changed through the aggregation of individual projects from below. We discuss the possibility of resolving alienation at the workplace by using the legend of Percival as an analogy. (shrink)

Insights generated in the emerging field of evolutionary psychology offer a useful new framework for examining Edith Wharton's “Xingu.” The satiric wit energizing this well-known short story depends in large measure upon the obtuseness of its central characters, who embrace counterfactual estimations of their gifts and attainments: thwarting the operations of poetic justice in order to protect social reputation and self-image, they become objects of derision. Their behavior illustrates the workings of adaptive mechanisms for self-deception. Insofar as their comically (...) exaggerated commitment to false self-presentation illustrates universal features of evolved human nature, the target of Wharton's scorn is accordingly enlarged. Her narrative spotlights the psychological processes that sustain self-deception and scapegoating, raising serious questions concerning human claims to rational thought and ethical principle. (shrink)

The study deals with one of the most important episodes of the history of the twentieth century - the beginning of the Cold War. The focus is on the peculiarities of the formation of the image of the external enemy for the USSR on the pages of periodical media, namely, the political cartoon magazine "Perets". It is revealed that the main ideological adversaries of the Soviet apparatus of propaganda were the United States and Great Britain, the countries that formed the (...) basis of the anti-Hitler coalition. Due to the analysis of materials of the publication - political cartoons, short stories, satirical poems - the characteristic features of the image of these two states are revealed. It is proved that the images of the opposing countries were filed by the magazine "Perets'" in the form of three categories. The first block is the image of the American and English leaders, which began to appear massively in the journal in connection with the Fulton speech of Churchill and the implementation of the "Marshall Plan". The emphasis is placed on political cartoonists' tendency to compare the leaders of the United States and Great Britain with the leaders of Nazi Germany. The second unit features personalized images of the United States and the Britain. A characteristic feature of this group is the demonstration of the domination of American symbols over the British, which was to show the Soviet reader an American-dependent position of the United Kingdom and other Western European countries. The last block of images combines works that demonstrate the relations between "capitalist" countries. In order to create the desired effect on the reader, the Soviet propaganda machine emphasized the emergence of territorial or economic disputes between the United States and Britain, presenting this as a stage of aggravation of relations between "imperialist countries." All of these features in the images of external enemies were aimed at elevating patriotic sentiment among the Soviet society and confidence in the actions of the ruling Communist Party. (shrink)

Sāyaṇa-Mādhava closed his exposition of the Cārvāka philosophy in his Sarva-darśana-saṃgraha, Chap. 1 by quoting 11 and a half verses, the authorship of all of which was attributed to Bṛhaspati, the eponymous founder of materialism in India. One of these verses is presumably taken from the Viṣṇupurāṇa. However, it is not Bṛhaspati but some demons, deluded by a Jain and a Buddhist monk, who say this. Bṛhaspati does not appear at all in this Purāṇa. Variant versions of the same (...) class='Hi'>story are found in other Purāṇas but Bṛhaspti is not invariably present in all of them. The origin of the story may be traced back to the Maitrāyaṇīya Upaniṣad. Although Bṛhaspati plays a leading part in that story, the background is quite different. By comparing all the versions found in the Purāṇas and the subject matter of the epigrams attributed to Bṛhaspati the paper proposes to show that the Viṣṇupurāṇa story has nothing to do with the materialists, whether the Pre-Cārvākas or the Cārvākas; the Jains and the Buddhists are the target of attack. Sāyaṇa-mādhava, by placing these satirical epigrams either in their original or in altered forms, and attributing them to Bṛhaspati, has mixed up the views of all sorts of nāstikas, particularly the Jains and the Buddhists, with the Cārvākas and thereby succeeded in deceiving several generations of readers and misleading even the best of scholars. (shrink)

The following analysis consider one of the most recognized movies in the history of Cinema, “A Clockwork Orange”, identifying and examining the elements of the narration, which characterize it as a satire. However, this assertion lead to ask, which type of satire represent the Film. To structure these characterizations will be allude the Satire Theory of Friedrich Schiller, which works to delimitate not only the satirical elements of the story, but the mode the movie takes to become a (...) critic to the society. This will show how the Movie operate as a moralizing reflection, whose originality lies in the employment of the Satire to carry out this reflection. (shrink)

Overview * Part I: Introduction * Philip Appleman, Darwin: On Changing the Mind * Part II: Darwin’s Life * Ernst Mayr, Who Is Darwin? * Part III: Scientific Thought: Just before Darwin * Sir Gavin de Beer, Biology before the Beagle * Thomas Robert Malthus, An Essay on the Principle of Population * William Paley, Natural Theology * Jean Baptiste Pierre Antoine de Monet Lamarck, Zoological Philisophy * Charles Lyell, Principles of Geology * John Herschell, The Study of Natural Philosophy (...) * William Whewell, Astronomy and General Physics Considered with Reference to Natural Theology * Alfred Russel Wallace, On the Tendency of Varieties to Depart Indefinitely from the Original Type * Part IV: Selections from Darwin’s Work * The Voyage of the Beagle * o Chapter I. St. Jago-Cape de Verd Island o Chapter XVII. Galapagos Archipelago * On the Tendency of Species to Form Varieties; and On the Perpetuation of Varieties and Species by Natural Means of Selection * o I. Extract from an unpublished Work on Species, by C. Darwin, Esq.... o II.of Letter from C. Darwin, Esq., to Prof. Asa Gray, Boston, U.S., dated Down, September 5th, 1857 * An Historical Sketch of the Progress of Opinion on the Origin of Species, previously to the : Publication of This Work The Origin of Species * o Introduction o Chapter I. Variation under Domestication o Chapter II. Variation under Nature o Chapter III. Struggle for Existence o Chapter IV. Natural Selection o Chapter VI. Difficulties on Theory o Chapter IX. On the Imperfections of the Geological Record o Chapter XIII. Mutual Affinities of Organic Beings: Morphology: Embryology: Rudimentary Organs o Chapter XIV. Recapitulation and Conclusion * The Descent of Man * o Introduction o Chapter I. The Evidence of the Descent of Man from Some Lower Form o Chapter II. On the Manner of Development of Man from Some Lower Form o Chapter III. Comparison of the Mental Powers of Man and the Lower Animals o Chapter VI. On the Affinities and Genealogy of Man o Chapter VIII. Principles of Sexual Selection o Chapter XIX. Secondary Sexual Characters of Man o Chapter XX. Secondary Sexual Characters of Man-continued o Chapter XXI. General Summary and Conclusion * Part V: Darwin’s Influence on Science * THE VICTORIAN OPPOSITION TO DARWIN * o David L. Hull, Darwin and His Critics o Adam Sedgwick, Objections to Mr. Darwin’s Theory of the Origin of Species o Sir Richard Owen, Darwin on the Origin of Species o Fleeming Jenkin, Review of the Origin of Species * VICTORIAN SUPPORTERS OF DARWIN * o Joseph Dalton Hooker, Flora Tasmaniae o Thomas Henry Huxley, On the Relations of Man to the Lowe Animals o Charles Lyell, Principles of Geology o Alfred Russel Wallace, The Debt of Science to Darwin * DARWIN AND THE SHAPING OF MODERN SCIENCE * o Scientific Method in Evolution o National Academy of Sciences, Evolution and the Nature of Science o Richard Dawkins, Explaining the Very Improbable o Lewis Thomas, On the Uncertainty of Science o Noretta Koetge, Postmodernisms and the Problem of Scientific Literary o Richard Dawkins, Science and Sensibility o The Neo-Darwinian Synthesis o Peter Bowler, The Evolutionary Synthesis o The Human Genealogy o Adam Kuper, The Chosen Primate o Ian Tattersall, Out of Africa Again... and Again? o Stephen Jay Gould, The Human Difference o Punctuated Equilibrium o Stephen Jay Gould, [On Punctuated Equilibrium] o Niles Eldredge, The Great Stasis Debate o Rethinking Taxonomy o Kevin Padian, Darwin’s Views of Classification o David L. Hull, Cladistic Analysis o Kevin Padian and Luis M. Chiappe, Cladistics in Action: The Origin of Birds and Their Flight o Evolution as Observable Fact o James L. Gould and William T. Keeton with Carol Grant Gould, How Natural Selection Operates o Peter r. Grant, Natural Selection and Darwin’s Finches o John A. Endler, Natural Selection in the Wild * Part VI: Darwinian Patterns in Social Thought * COMPETITION AND COOPERATION * o Richard Hofstadter, The Vogue of Spencer o Andrew Carnegie, The Gospel of Wealth o Peter Kropotkin, Mutual Aid o Martin A. Nowak, Robert M. May, and Karl Sigmund, The Arithmetics of Mutual Help * NATURE AND NURTURE * o Edward O. Wilson, Sociobiology: The New Synthesis o Stephen Jay Gould, Biological Potentiality vs. Biological Determination o Barbara Ehrenreich and Janet McIntosh, The New Creationism: Biology under Attack * EVOLUTION AND GENDER * o Elizabeth Cady Stanton, The Woman’s Bible o Nancy Makepeace Tanner, On Becoming Human o Evelleen Richards, Darwin and the Descent of Woman o James Eli Adams, Woman Red in Tooth and Claw * EVOLUTION AND OTHER DISCIPLINES * o Edward O. Wilson, [On Consilience] o Randolph H. Nesse and George C. Williams, Evolution and the Origin of Disease o Steven Pinker, How the Mind Works o Steve Jones, The Set within the Skull * Part VII: Darwinian Influences in Philosophy and Ethics * John Dewey, The Influence of Darwin on Philosophy * Daniel C. Dennett, Darwin’s Dangerous Idea: Natural Selection as an Algorithmic Process * Michael Ruse Darwinian Epistemology * Thomas Henry Huxley, Evolution and Ethics * Julian Huxley, Evolutionary Ethics * Michael Ruse and Edward O. Wilson, The Evolution of Ethics * Frans de Waal, Good Natured: The Origin of Right and Wrong in Humans and Other Animals * Matt Ridley, The Origins of Virtue * Part VIII: Evolutionary Theory and Religious Theory * MAINSTREAM RELIGIOUS SUPPORT FOR EVOLUTION * o Pope John Paul II, Message to the Pontifical Academy of Sciences o Central Conference of American Rabbis, On Creationism in School Textbooks o United Presbyterian Church in the U.S.A., Evolution and Creationsim o The Lutheran World Federation, [Statement on Evolution] o The General Convention of the Episcopal Church, Resolution on Evolutionism and Creationism o Unitariuan Universalist Association, Resolution Opposing "Scientific Creationism" * FUNDAMENTALIST CREATIONISM * o Eugene C. Scott, Antievolution and Creationism in the United States o The Scopes Trial o Thomas McIver, Orthodox Jewish Creationists o Harun Yahya, [Islamic Creationism] o Seami Srila Prabhupada, [A Hare Krishna on Darwinian Evolution] o Institute for Creation Research, Tenets of Creationism o Henry M. Morris, Scientific Creationism o Thomas J. Wheeler, Review of Morris o Richard D. Sjolund and Betty McCollister, Evolution at the Grass Roots o Richard D. Sjolund, [Creationism versus Biotechnology] o Betty McCollister, [The Politics of Creationism] o Molleen Matsumara, What Do Christians Really Believe about Evolution? o National Center for Science Education, Seven Significant Court Decisions Regarding Evolution/Creation Issues * PERSONAL INCREDULITY AND ANTIEVOLUTIONISM * o Richard Dawkins, [The Argument from Personal Incredulity] o Phillip E. Johnson, Darwin on Trial o Eugenie C. Scott, Review of Johnson o Michael Behe, Darwin’s Black Box o Robert Dorit, Review of Behe o Michael Ruse, Darwin’s New Critics on Trial * SCIENTISTS’ OPPOSITION TO CREATIONISM * o American Association for the Advancement of Science, Forced Teaching of Creationist Beliefs in Public School Science Education o American Institute of Biological Sciences, Resolution Oposing Creationism in Science Courses o National Association of Biology Teachers, Statement on Teaching Evolution o National Academy of Sciences, Frequently Asked Questions about Evolution and the Nature of Science * FUNDAMENTALIST CREATIONISM AND THE VALUE OF SATIRE * o Michael Shermer, Genesis Revisted: A Scientific Creation Story o Philip Appleman, Darwin’s Ark * Part IX: Darwin and the Literary Mind * DARWIN’S LITERARY SENSIBILITY * o Charles Darwin, Autobiography o L. Robert Stevens, Darwin’s Humane Reading o George Levine, Darwin and Pain: Why Science Made Shakespeare Nauseating o Gillian Beer, Darwin’s Plots * DARWIN’S INFLUENCE ON LITERATURE * o Lionel Stevenson, Darwin among the Poets o George Levine, Darwin among the Novelists o Joseph Wood Krutch, The Tragic Fallacy o Herbert J. Muller, Modern Tragedy o Philip Appleman, Darwin-Sightings in Recent Literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Case against Rational Egoism in Dostoevsky’s Notes from Underground*James P. ScanlanWriting in his own voice, in letters, notebooks, and diaries, Fyodor Dostoevsky frequently attacked the philosophy of the Russian “nihilists,” as he typically called them—Nikolay Chernyshevsky, Dmitry Pisarev, and other representatives of the radical Russian intelligentsia in the third quarter of the nineteenth century. But because Dostoevsky also used fiction to argue against them, if we wish to (...) discern the full contours of his opposition, we must turn to his stories and novels; and there we face the problem of determining to what extent, if any, the statements of his narrators and characters express his own views.This problem is particularly challenging in regard to the radicals’ “Rational Egoism,” to use the label by which the Russian variant of the theory of enlightened egoism came to be known. 1 Dostoevsky’s most sustained and spirited attack on that aspect of “nihilist” philosophy is found in Part One of Notes from Underground (1864), but it is voiced by one of the darkest, least sympathetic of all his characters—the nameless narrator and protagonist known as the Underground Man. Was this repellent creature speaking for Dostoevsky? The Underground Man, moreover, can easily be viewed as a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials. Robert L. Jackson, in his groundbreaking study of 1958, describes the Underground Man’s thinking at one point as follows: “It is impossible to argue [End Page 549] with the rationalists: reason is on their side. All that remains is irrationally to negate reason.” 2 If those words were to be taken not simply as a moment in Jackson’s rich analysis but as a comprehensive description of the Underground Man’s attitude, it would be senseless to expect philosophically nuanced arguments from him. And we would have no grounds for thinking that Dostoevsky’s own treatment of Rational Egoism went beyond emotional rejection.Critics from Vasily Rozanov to Joseph Frank have debated the Underground Man’s stance toward Rational Egoism and its relation to Dostoevsky’s, with no sign yet of a definitive resolution. Frank’s recent treatment, presented in the third volume of his monumental literary biography of Dostoevsky, offers a helpful history of the dispute as well as his own finely elaborated interpretation of the Underground Man as an irrational opponent of Rational Egoism. 3 Frank reads Notes from Underground as satire, and he contends that the Underground Man is caught in an agonizing self-contradiction: intellectually, he accepts the basic premises of the Rational Egoists’ outlook, such as the denial of free will; but he finds that, “despite the convictions of his reason,” he cannot live with the amoral and dehumanizing implications of those premises, which strip human beings of moral responsibility. 4 From a rational point of view, of course, rejection of the implications should force the Underground Man to reject the premises as well (by the hoary logical law of modus tollendo tolens), and indeed he does at times passionately condemn them. But according to Frank, these condemnations simply show the depth of his predicament: his “intellectual acceptance” of Chernyshevsky’s determinism is conjoined with “simultaneous rejection of it with the entire intuitive-emotional level of personality identified with moral conscience,” causing him to respond irrationally in a multitude of instances. 5 Frank’s Underground Man, then, is an intellectual disciple but an emotional critic of Rational Egoism; and he is triply an irrationalist: his thinking is mired in self-contradiction, he acts irrationally as a result, and his opposition to Rational Egoism has not a rational but an “intuitive-emotional” basis.But where does this leave Dostoevsky? Must we conclude that he, too, is somehow suspended between acceptance and rejection of Rational Egoism and for that reason has created in Notes from Underground a Bakhtinian equilibrium in which neither position is clearly privileged? For Frank, certainly not. It follows from Frank’s analysis that Dostoevsky himself, unlike the Underground [End Page 550] Man, is a fully consistent opponent of Rational Egoism, for that theory is the target of the inverted irony at the core of his satire; “the... (shrink)

A small, insignificant-looking intellectual with absurdly long legs, Søren Kierkegaard (1813-1855) was a veritable Hans Christian Andersen caricature of a man. A strange combination of witty cosmopolite and melancholy introvert, he spent years writing under a series of fantastical pseudonyms, lavishing all the splendor of his magnificent mind on a seldom-appreciative world. He had a tragic love affair with a young girl, was dominated by an unforgettable Old Testament father, fought a sensational literary duel with a popular satiric magazine, and (...) died in the midst of a violent quarrel with the state church for which he had once studied theology. Yet this iconoclast produced a number of brilliant books that have profoundly influenced modern thought. In this classic biography, the celebrated Kierkegaard translator Walter Lowrie presents a charming and warmly appreciative introduction to the life and work of the great Danish writer. Lowrie tells the story of Kierkegaard's emotionally turbulent life with a keen sense of drama and an acute understanding of how his life shaped his thought. The result is a wonderfully informative and entertaining portrait of one of the most important thinkers of the past two centuries. This edition also includes Lowrie's wry essay "How Kierkegaard Got into English," which tells the improbable story of how Lowrie became one of Kierkegaard's principal English translators despite not learning Danish until he was in his 60s, as well as a new introduction by Kierkegaard scholar Alastair Hannay. (shrink)

This book offers a new description of the significance of Hesiod's 'myth of the races' for ancient Greek and Roman authors, showing how the most detailed responses to this story go far beyond nostalgia for a lost 'Golden' age or hope of its return. Through a series of close readings, it argues that key authors from Plato to Juvenal rewrite the story to reconstruct 'Hesiod' more broadly as predecessor in forming their own intellectual and rhetorical projects; disciplines such (...) as philosophy, didactic poetry and satire all engage in implicit questions about 'Hesiodic' teaching. The first chapter introduces key issues; the second re-evaluates the account in Hesiod's Works and Days. A major chapter outlines Plato's use of Hesiod through close study of the Protagoras, Republic and Statesman. Subsequent chapters focus on Aratus' Phaenomena and Ovid's Metamorphoses; the final chapter, on the Octavia attributed to Seneca and Juvenal's sixth Satire, broadens ideas of Hesiod's reception in Rome. (shrink)

The topic of this chapter, the early philosophical influence of Henri Bergson (1859-1941) on Simone de Beauvoir, may surprise those who remember Beauvoir’s reference to Bergson in her Memoirs of a Dutiful Daughter where she denies Bergson’s importance. She writes there of her interests in 1926: “I preferred literature to philosophy, and I would not have been at all pleased if someone had prophesized that I would become a kind of Bergson; I didn’t want to speak with that abstract voice (...) which, whenever I heard it, failed to move me.” But in this case, as in so many others, Beauvoir’s diaries present a very different picture. Her unpublished 1926 diary, written when Beauvoir was eighteen years old and beginning her study of philosophy, contains several pages of quotations from Bergson’s Time and Free Will: An Essay on the Immediate Data of Consciousness (1889), which Beauvoir describes, in an entry dated August 16, as “a great intellectual intoxication.” The entry continues: “whereas in reading other philosophers I have the impression of witnessing more or less logical constructions, here finally I am touching palpable reality and encountering life. Not only myself, but art, the truths suggested by poets, and everything that I studied this year is magnificently explained. Simply a call to intuition…. in short the method that I spontaneously apply when I want to know myself and the most difficult problems disappear. How many things [there are] in the 180 pages of Bergson’s The immediate givens of consciousness” Intriqued by this diary passage, I began analyzing Beauvoir’s early philosophy for evidence of Bergson’s influence, focusing on Bergson’s three most important texts: Time and FreeWill (1889), Matter and Memory: An Essay on the Relation of the Body to the Mind (1896), and Creative Evolution (1907). My analysis uncovered evidence of Bergson’s influence in several of Beauvoir’s important early texts, especially She Came to Stay, Beauvoir’s metaphysical novel written from 1937 to 1941, but also Beauvoir’s essays in existential ethics and The Second Sex (1949). Indeed Bergson now seems to me to be a key to understanding the roots of Beauvoir’s philosophy. In this paper, I will narrow my focus to Bergson’s philosophical methodology, and its influence on She Came to Stay, identifying three Bergsonian elements of Beauvoir’s philosophical methodology. First of all, Beauvoir takes seriously Bergson's criticism of intellectual understanding and accepts his implicit challenge to do philosophy through the novel. Secondly, Beauvoir shares with Bergson a methodological interest in exposing distortions in perception and thinking. Finally, they both rely on a methodological turn to immediate experience, which discloses our freedom. Beauvoir did not follow Bergson completely or uncritically. She did not follow him, for example, in the vitalist system building of Creative Evolution or the mysticism of his later work, Two Sources of Morality and Religion. In Beauvoir’s short story cycle, When Things of the Spirit Come First, written from 1935-37, which Beauvoir describes as “clarifying the genesis” of her later work, (QPS, viii) she satirizes her early intellectual passions, including Paul Claudel’s morality of feminine self-sacrifice, André Breton’s Surrealism, and Bergson's philosophy. Furthermore, Beauvoir’s early work, including She Came to Stay, focuses on an aspect of reality ignored by Bergson’s early work, i.e. the problem of the opposition of self and other. (shrink)

This study examines the potential of fake news to produce effects on social media engagement as well as the moderating role of education and government approval. We report on a 2x2x2 online experiment conducted in Romania (N=813), in which we manipulated the level of facticity of a news story, its valence, and intention to deceive. Results show that ideologically driven news with a negative valence (rather than fabricated news or other genres, such as satire and parody) have a greater (...) virality potential. However, neither the level of education nor government approval moderate this effect. Additionally, both positive and negative ideologically driven news stories enhance the probability that people will sign a document to support the government (i. e., potential for political engagement on social media). These latter effects are moderated by government approval: Lower levels of government approval lead to less support for the government on social media, as a consequence of fake news exposure. (shrink)

The Roman philosopher Boethius is best known for the _Consolation of Philosophy_, one of the most frequently cited texts in medieval literature. In the _Consolation_, an unnamed Boethius sits in prison awaiting execution when his muse Philosophy appears to him. Her offer to teach him who he truly is and to lead him to his heavenly home becomes a debate about how to come to terms with evil, freedom, and providence. The conventional reading of the _Consolation_ is that it is (...) a defense of pagan philosophy; nevertheless, many readers who accept this basic argument find that the ending is ambiguous and that Philosophy has not, finally, given the prisoner the comfort she had promised. In _The Prisoner's Philosophy_, Joel C. Relihan delivers a genuinely new reading of the _Consolation_. He argues that it is a Christian work dramatizing not the truths of philosophy as a whole, but the limits of pagan philosophy in particular. He views it as one of a number of literary experiments of late antiquity, taking its place alongside Augustine's _Confessions_ and _Soliloquies_ as a spiritual meditation, as an attempt by Boethius to speak objectively about the life of the mind and its relation to God. Relihan discerns three fundamental stories intertwined in the _Consolation_: an ironic retelling of Plato's _Crito,_ an adaptation of Lucian's _Jupiter Confutatus,_ and a sober reduction of _Job_ to a quiet dialogue in which the wounded innocent ultimately learns wisdom in silence. Relihan's claim that Boethius's text was written as a Menippean satire does not rest merely on identifying a mixture of disparate literary influences on the text, or on the combination of verse and prose or of fantasy and morality. More important, Relihan argues, Boethius deliberately dramatizes the act of writing about systematic knowledge in a way that calls into question the value of that knowledge. Philosophy's attempt to lead an exile to God's heaven is rejected; the exile comes to accept the value of the phenomenal world, and theology replaces philosophy to explain the place of human beings in the order of the world. Boethius Christianizes the genre of Menippean satire, and his _Consolation_ is a work about humility and prayer. _“Acknowledging that the _Consolation of Philosophy_ is ‘over-familiar and under-read,’ Joel Relihan puts to the side old bromides about the work and instead pays careful attention to the narrative Boethius constructs, grounding his readings in the contexts the work cultivates, especially its Menippean elements. The result is perhaps the first satisfying reading of the _Consolation_ to be produced, a satisfaction felt also in the ways Relihan mirrors Boethius himself in the thoroughness of his scholarship and the elegance of his exposition. No one who studies Boethius will be able to ignore this book.“ — Joseph Pucci, Brown University _ "Anyone who has been fascinated, intrigued, or perhaps puzzled by the meaning, structure, or argument of Boethius's _Consolation of Philosophy_ will find Joel Relihan's new book a welcome addition to the study of this core text of the early medieval world whose influence extends to the present time. Relihan's study is a tour de force that belongs in the library of all those who appreciate Boethius's depth and subtlety. Fortune's wheel has indeed turned in the favor of those who wish to explore with Relihan the intricacies and brilliance of the _Consolation_." —_Fr. John Fortin, O.S.B., Saint Anselm College _. (shrink)

Unlike Tocqueville's other writing, Recollections, which was never intended for publication, contained the internally contrary, multiple viewpoints characteristic of carnivalesque discourse. Its greater spontaneity may allow'us more easily to see some of the ways in which writing can undermine the intentions of the writer. In following the Recollections' treatment of the February revolution, the writing soberly sets out to embody the story of a deadly struggle between the bourgeoisie and the people over the issue of property but steadily veers (...) off in the direction first of irony, then satire, and finally carnival. Tocqueville's rhetorical ending shows him trying to turn his unruly text back into a cautionary tale of the moralistically ironic type. But the text keeps getting out of hand and dissolves moralism in a bath of satire and burlesque. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.3 (2000) 53-71 [Access article in PDF] Ghostly Politics Jann Matlock [Figures]The failure of the Second Republic, as we know well, thanks to Marx, was a matter of ghostly politics.1 Successful revolutions succeeded—claimed Marx—in "waking the dead" in order to glorify the new struggles. Unsuccessful revolutions parodied, as in 1848, the old ones. The Second Republic failed to find again "the spirit of revolution" ("den Geist der Revolution"); (...) instead, it made its "ghost walk about again" ["Der 18te Brumaire" 116].2The "conjurations of the dead" ("Totenbeschwörungen") [115] of the failed Second Republic—and of the Second Empire, which crowned its disastrous experiment—were nowhere more apparent than in the obsession that swept France in 1853 within months after Louis-Napoléon declared himself Emperor in the spectral shadow of his great-uncle, as contemporary Louis Figuier described:Suddenly—it was near the last days of April 1853—Paris woke up prey to the [Table-]turning epidemic, and the newspapers, which finally had to break the silence, informed us that [the epidemic] had simultaneously burst forth in Strasbourg, in Marseille, in Bordeaux, in Toulouse, and in all our other great population centers. For the public, it was, at first, only a simple amusement to which people everywhere surrendered themselves amidst great bursts of laughter. Pedestal tables [guéridons], [other kinds of] tables, hats, plates and washbasins—everything that was within reach—were called into service. Some people succeeded. Others—and these were the greater number—failed at the experiment; they accused the successful of deception [supercherie], and the successful, in their turn, accused the unsuccessful of failing to believe. "They turn; they donít turn": that summed up all the debates on this subject, and these were the only two terms through which, among the vulgar, the question of the tables was thrashed about. In our country, always quite frivolous about serious matters, though sometimes extreme in its credulousness and sometimes absurd in its skepticism, the tables were for the larger share of people only an amusement, only a way to kill time in society. Quarrels were frequent [End Page 53] on this subject. People denied. People confirmed. People laughed—when they were not losing their tempers.Nevertheless, the phenomenon soon appeared to make progress, and this was quite another story. Not only did the tables turn, but they spoke and wrote; they rose up and held themselves in the air without any strings—or at least without any visible ones. The tables gave consultations, discovered secrets buried in the most profound mystery, put the world of the living in communication with the world of the dead, and finally, behaved in such a way to let people believe they were haunted by spirits [hantées par des esprits]. [294-95] The Baron Du Potet, editor of the Journal du magnétisme, remarked in the summer of 1853 that "The tables are making one hell of a noise! —Enter into the porter's lodge, you'll see him make his table turn; go to the home of a judge, of a lawyer, of an archbishop even, and their tables are turning—after dinner, of course. It seems that they are even interrogating tables in palaces" [643]. Alexandre Erdan, author of an 1855 book on "the religious excentricities" of contemporary France, denounced the table turning as "a universal monomania" and declared it the "the characteristic event" of the year 1853, "that memorable period of universal mental estrangement" [71]. Daumier honored the trend in May and June 1853 with a series of a dozen caricatures called La Fluidomanie.3 Caricaturist Cham continued to ridicule its believers well into the year 1853 [Fig. 1].4 Louis Huart, author of a series of satirical articles in the opposition newspaper Le Charivari recounted a debate between two scholars on the subject: "Sir, are you for tables turning or for tables not turning," asked the first. The second replied, "It's all the same to me so long as the table is well served and it doesn't turn while I'm eating." Huart's conclusion, not dissimilar to that of most... (shrink)

The proliferation of work by autistic writers continues apace, defying a long and multidisciplinary tradition of constructing autistic people as lacking the capacity for narration. To study neurodivergent literature, then, is to witness the refusal of these exclusionary narrative conventions, and to register the ideological presuppositions that underpin pathologization. In this article, I engage with recent insights from Neurodiversity Studies (especially the work of Justine Egner, Erin Manning, Julia Miele Rodas, Nick Walker, and Remi Yergeau) to explore the connections between (...) narrative neuronormativity and other discourses of oppression, especially those that have generated racialized, gendered, and colonial narratives of desubjectification. Focusing on the neuroqueer movement – an emergent practice of disidentification that refuses the interpellations of neuronormativity, ableism, heteronormativity, and cisnormativity – I discuss the concept of allism, arguing that this satirical critique of pathologization harbors a deconstructive force that denaturalizes the dialectic of recognition. Neuroqueer work on allism reveals this dialectic to be the hegemonic form of relationality that marks neurodivergence as asocial and intersubjectively non-reciprocal in order to secure a non- autistic identity. The dialectic of recognition thus instrumentalizes neurodivergence to confer normalcy and neutrality upon subjects that meet its criteria. Pursuing the discursive context and theoretical implications of this critique, I provide a short genealogy of narrative neuronormativity, connecting the operation of the dialectic in the early novel to the clinical texts of child psychology. To demonstrate the neuroqueer subversion of this tradition, I then read An Unkindness of Ghosts, by Rivers Solomon, a text that stages a disidentification with storytelling. Aster, the novel’s protagonist, is neurodivergent as well as Black, enslaved, and gender non-conforming. As she struggles against an authoritarian regime, Aster also declines to comply with the rules that would allow her to narrate her own story. Aster’s neuroqueer refusal reveals a similarity between the construction of Blackness as an ontological foil for whiteness, and the construction of autism as a standard of disordered sociality that neuronorms can be measured against. In both cases, the colonizing term articulates its supremacy via a comparison with that which it denigrates, while disavowing this dependence at all costs, dependency being inimical to free subjectivity in the liberal humanism that has shaped these procedures. My reading of Unkindness suggests that the extant techniques of literary narratorship are political instruments that, unless repurposed, will continue to disseminate these dispossessive dialectics. (shrink)

A small, insignificant-looking intellectual with absurdly long legs, Søren Kierkegaard was a veritable Hans Christian Andersen caricature of a man. A strange combination of witty cosmopolite and melancholy introvert, he spent years writing under a series of fantastical pseudonyms, lavishing all the splendor of his magnificent mind on a seldom-appreciative world. He had a tragic love affair with a young girl, was dominated by an unforgettable Old Testament father, fought a sensational literary duel with a popular satiric magazine, and died (...) in the midst of a violent quarrel with the state church for which he had once studied theology. Yet this iconoclast produced a number of brilliant books that have profoundly influenced modern thought. In this classic biography, the celebrated Kierkegaard translator Walter Lowrie presents a charming and warmly appreciative introduction to the life and work of the great Danish writer. Lowrie tells the story of Kierkegaard's emotionally turbulent life with a keen sense of drama and an acute understanding of how his life shaped his thought. The result is a wonderfully informative and entertaining portrait of one of the most important thinkers of the past two centuries. This edition also includes Lowrie's wry essay "How Kierkegaard Got into English," which tells the improbable story of how Lowrie became one of Kierkegaard's principal English translators despite not learning Danish until he was in his 60s, as well as a new introduction by Kierkegaard scholar Alastair Hannay. (shrink)

Berkeley is best known for his immaterialism and the texts that extol it—the Principles of Human Knowledge and Three Dialogues Between Hylas and Philonous. He made his case by treatise, then by dialogue, and this tendency towards stylistic experimentation did not end there; this paper explores an early speculative fiction project that pursued his theological and philosophical agendas. Berkeley used satire to challenge his “freethinking” philosophical opponents in “The Pineal Gland” story published in The Guardian in 1713. Echoing the (...) grand tours Berkeley undertook in subsequent years, Part 1 offers a “gland tour” of some literary motivations, influences and legacies of these essays. Berkeley pursues heroic themes from Homer and Alexander Pope, while lampooning the philosophies of both Descartes and the freethinkers. Armed with the device of a magic snuff that transports him to the pineal glands of his adversaries, Berkeley's protagonist uses it “to distinguish the real from the professed sentiments of all persons of eminence in court, city, town, and country”. (Guardian, p. 187) Part 1 examines ‘The Pineal Gland’ in the context of Berkeley's broader philosophical legacy and the text's significant engagement with the literature of Homer and Pope, concluding that “The Pineal Gland” is an important but overlooked source in the history of early speculative fiction. Part 2 continues this analysis by exploring Berkeley's relationship with an expansive London literary circle, interrogating a line of influence beginning with the writing of Margaret Cavendish. In doing so, Part 2 also examines Berkeley's complex attitudes towards women. (shrink)

In Part 1, we explored how Berkeley drew from Homeric literature and used literary techniques such as satire to challenge his “freethinking” philosophical opponents in “The Pineal Gland” story published in The Guardian in 1713. Echoing the grand tours Berkeley undertook in subsequent years, Part 1 and 2 both present a “gland tour” of some motivations, influences and legacies of Berkeley's text. In particular, Part 2, explores a line of literary influence beginning with Margaret Cavendish and extending through Gabriel (...) Daniel, Berkeley and Alexander Pope. In doing so, we present anticipations of features of Berkeley's story in the writings of Margaret Cavendish amid a discussion of Berkeley's complex attitudes towards women. The paper also argues that Berkeley's story represents an underappreciated yet significant milestone in the history of speculative fiction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Religious Epistemology Through Schillebeeckx and Tibetan Buddhism by Jason VonWachenfeldtRobert MagliolaRELIGIOUS EPISTEMOLOGY THROUGH SCHILLEBEECKX AND TIBETAN BUDDHISM. By Jason VonWachenfeldt. T&T Clark: London, 2021. 240 pp.In his "Introduction," Jason VonWachenfeldt explains the "crisis of authority" experienced by many religious believers, and then commits his book (hereinafter RET) to a "dialogic negotiation" offering middle ways between religious tradition and postmodernity. The "dialogic negotiation" is between the brilliant but controversial (...) Catholic theologian, Edward Schillebeeckx (1914–2009), and the brilliant but controversial Tibetan monk (then ex-monk), Gendun Chopel (1903–1951). They both deconstruct the epistemologies of their respective traditions, but insist on the orthodoxy of their "middle ways."VonWachenfeldt opts for Aaron Stalnaker's methodology of "bridge concepts" (topics enabling interfaith comparison) and the comparison of two "historically situated" individuals (13). He names "religious epistemology" as RET's "bridge-concept," and to further facilitate comparison, three epistemological "categories" are posited: "perspectivalism, hermeneutics, and apophaticism" (64). Schillebeeckx's "phenomenological Thomism" constitutes his perspectivalist first phase, and holds that revelation includes both a "concrete-existential" and non-conceptual "implicit intuition" of the divine reality (32). There is an antinomy between the individual's act of abstraction and the "implicit intuition" of the "reality of God in Godself" (33).Chopel's negative way is more extreme. Chopel is a Madhyamakin but rejects Prāsaṅgika-Madhyamaka's version which affirms the "conventional validity" of the mundane. For Chopel, all formations lack even conventional validity but "common [End Page 404] beings" falsely affirm them (35). The few "noble ones" (the enlightened) are those aware of pure emptiness (understood as "absence," not "openness"). Schillebeeckx's second phase affirms that one is embedded in ongoing history and cannot escape mundane finitude. God must be seen as "mystery" active within it (45). Chopel's second phase extends the notion that an unbridgeable chasm exists between the conventional and the ultimate but that the Buddha can manipulate the mundane so the leap to enlightenment can occur (49). Schillebeeckx's third phase practices a "negative realist metaphysic": The individual encounters the "really real" external to oneself only by way of "glimpses negative in nature" (58). Chopel's apophaticism describes ultimate reality in terms of a "nonaffirming negative" (63).Next, RET treats the role of religious community in knowledge formation (67). For Schillebeeckx, our "non-divine finitude is precisely the place where the infinite and the finite come most closely into contact" (90). The later Schillebeeckx retains loyalty to the institutional Church but because of the finitude of language and human nature he deems it necessarily subject to critique (92). Chopel practices a "pious skepticism" (97), and increasingly satirizes institutional monasticism (circa 1934, he disrobes). Addressing the role of historical founders of religions, Schillebeeckx maintains that theology should shift from an unsalvageable truth lost in the past to the more eschatological language of "the [always] Coming One" (123). Jesus's epistemological authority does not reside in his ability "to supply answers" as much as it is to open up individuals to "a future reality in the making" (148). Honorific titles such as "Savior" or "Christ" as such are not serviceable. Jesus's story is an exemplar of how to construct meaning in our lives by the "praxis" of helping the suffering. Chopel likewise demythologizes Sakyamuni Buddha (151), but—unlike Schillebeeckx—insists he does so endogenously. For example, he enters the definitive/provisional (nītārtha/neyārtha) debate, but argues that all the teachings of Śākyamuni are both—they are definitive for those whom they help toward emptiness and merely provisional for all others (157, 158).RET's chapter 5 addresses the authority of personal experience in the apophatic knowledge of ultimate reality. How is it possible for "true knowledge" to be "primarily experiential in nature as distinct from being conceptually or linguistically based?" (163). Schillebeeckx holds that our very experience of human finitude brings us negatively in contact with the "unknown ultimate reality itself" (169). He maintains that the apparent lack of ontological contact between beings and ultimate reality (God) is "one-sided," persisting only from the side of our finitude and not from the side of ultimate reality: Though humans can never directly... (shrink)

In his deliciously funny book, Medicare Meets Mephistopheles, Professor David Hyman argues that Medicare corrupts our most base impulses. It urges us, for example, to grab for more than our fair share of benefits while offering providers “the prospect of staggering amounts of money – even as…actuaries were promising Congress that the Medicare program would be easily affordable.” Modeled on C.S. Lewis’ The Screwtape Letters, Professor Hyman's satirical examination of Medicare takes the form of a memo to Satan from (...) an underling demon in the Department of Illness and Satanic Services, reporting on the success of Satan's diabolical plot to corrupt humanity. Sprinkled with political cartoons, absurd stories of Medicare's over-the-top fraud enforcement efforts, and a historical account of Medicare's genesis, Medicare Meets Mephistopheles gives us a well-researched and easy-to-read primer on the biggest pot of gold in medicine. (shrink)

In his deliciously funny book, Medicare Meets Mephistopheles, Professor David Hyman argues that Medicare corrupts our most base impulses. It urges us, for example, to grab for more than our fair share of benefits while offering providers “the prospect of staggering amounts of money – even as…actuaries were promising Congress that the Medicare program would be easily affordable.” Modeled on C.S. Lewis’ The Screwtape Letters, Professor Hyman's satirical examination of Medicare takes the form of a memo to Satan from (...) an underling demon in the Department of Illness and Satanic Services, reporting on the success of Satan's diabolical plot to corrupt humanity. Sprinkled with political cartoons, absurd stories of Medicare's over-the-top fraud enforcement efforts, and a historical account of Medicare's genesis, Medicare Meets Mephistopheles gives us a well-researched and easy-to-read primer on the biggest pot of gold in medicine. (shrink)

In his deliciously funny book, Medicare Meets Mephistopheles, Professor David Hyman argues that Medicare corrupts our most base impulses. It urges us, for example, to grab for more than our fair share of benefits while offering providers “the prospect of staggering amounts of money – even as…actuaries were promising Congress that the Medicare program would be easily affordable.” Modeled on C.S. Lewis’ The Screwtape Letters, Professor Hyman's satirical examination of Medicare takes the form of a memo to Satan from (...) an underling demon in the Department of Illness and Satanic Services, reporting on the success of Satan's diabolical plot to corrupt humanity. Sprinkled with political cartoons, absurd stories of Medicare's over-the-top fraud enforcement efforts, and a historical account of Medicare's genesis, Medicare Meets Mephistopheles gives us a well-researched and easy-to-read primer on the biggest pot of gold in medicine. (shrink)

This volume contains two unusual and appealing satirical works by the well-known European philosopher Kolakowski. The first, _Tales from the Kingdom of Lailonia_, is set in a fictional land. Each story illustrates some aspect of human inability to come to terms with imperfection, infinitude, history, and nature. The second, _The Key to Heaven_, is a collection of seventeen biblical tales from the Old Testament told in such a way that the story and the moral play off each (...) other to illustrate political, moral, or existential foibles and follies. (shrink)

The New Comedy as an art form is descended both from the Old Comedy and from fifth-century Tragedy. It is a middle style of the sort that Diderot called le genre sérieux. On the one side it made an expurgation of the Old Comedy by dropping the gross elements of the primitive ritual έσεωςκμος which still survived in Aristophanes, the phallic dress, the ευρομός in language, and the reckless personal satire, while it kept and emphasized the final Gamos, or union (...) of lovers, and developed a more elaborate plot. On the other side it reformed Tragedy by getting rid of the supernatural stories and the stiff conventions. To quote some words of my own written in 1912, it ‘introduced all the simplifications and improvements which seem to a modern’—I meant a modern philistine—‘so obviously desirable. It developed an easy colloquial language, a flexible and unexacting metre. It left the Chorus quite outside the play, a kind of entr'acte, not worth writing down. It frankly abandoned religious ritual’—please observe that statement, which I now wish to correct—‘and heroic saga. It drew its material from the adventures and emotions of contemporary middle class life, and boldly invented its own plots.’ Menander in particular was considered in antiquity to have held a mirror up to life; a verse by Aristophanes of Byzantium asks. (shrink)

This article brings together the Sartrean concept of bad faith and Edward Upward's novel, Journey to the Border , first published in 1938. The aim is to provide an overtly political reading that challenges the surreal obscurity of Upward's psychological narrative, while at the same time showing the continuing relevance of Sartre's understanding of the psychological tensions and existential dilemmas of the modern condition. Upward's novel has been the focus of much critical debate as to the meaning of the (...) class='Hi'>story - the descent of the main character towards madness in the context of the 1930s threat of fascism and war - as well as the generic characterisation of the text in terms of satire, fable, fantasy or political parable. The article argues in contrast a more unequivocally ideological reading of the series of existential choices, both personal and political, of the main character as a struggle for individual freedom and authenticity through a radical commitment to socialism and responsibility for the Other. (shrink)

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

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

The content of a work of literature, Walter Benjamin reminds us in “The Author as Producer,” is inextricably bound up with its form. Hence, it is hardly astounding that much critical attention has been focused on the proper generic classification of Harriet E. Wilson’s Our Nig . This task, though, has not been easy. Henry Louis Gates, rediscoverer and earliest critic of Our Nig, for example, goes to great length discussing parallels between Wilson’s work and Nina Baym’s ‘overplot’ of the (...) ‘women’s novel,’ before settling on reading it as a new form of distinctly African-American lit- erature that combines “conventions of the sentimental novel with certain key conventions of the slave narratives” . Elizabeth Ammons, by contrast, places Our Nig squarely in the feminist tradition of the sentimental novel and argues that “the ideal of mother love explicit in Uncle Tom’s Cabin operates implicitly in Our Nig.” 4 2 3 Contesting Ammons’ claim, Eric Gardner asserts that Our Nig is not a ‘novel of abolition’ but “a novel about Northern racial issues, a young black woman’s bildungsroman, and, as such, is far from Uncle Tom’s Cabin.” 5 Echoing some of Gardner’s points, Elizabeth Breau contends that Our Nig “is actually satiric” and therefore gives an overly “bleak picture of northern antebellum society.” Foregrounding neither Bildung nor “ironic inversions” but the “politics of rage at work in Wilson’s tale,” Julia Stern argues that Our Nig “used the sentimental form to mask a gothic message.” 7 Rejecting Gates’ attempt to posit Our Nig as “a significant beginning of an African-American literary mode, a distinctive first in a century of firsts,” John Ernest wants to read Wilson’s work as a traditional “blend of autobiography and fiction,” hoping to ‘re-place’ it “within the racial, gender, and economic matrix of secular history.” R.J. Ellis, while accepting Gates’ assessment that Our Nig “draw[s] on the genres of sentimental fiction and abolitionist slave narrative,” stresses the ways in which the ‘hybrid’ work “fractures generic boundaries” in order to provide a “full retrieval of Frado’s pain, her experience of body politics.” Lastly, offering a reading that links Our Nig to the Puritan tradition, Elizabeth West argues that Our Nig “manipulates well-known trappings of the conversion narrative” by telling “the story of the heroine’s failed initiation into the community of earthly saints.”. (shrink)

Toward the end of the eighteenth century, the scholar and wit Ji Xiaolan published five collections of anecdotes and discourses on the interaction between the mundane and the spirit worlds, incorporating earthly life stories and happenings. Containing Ji's thoughts and others' experiences, these tales concern peasants, servants, merchants, governors, and ministers; take place throughout the Qing empire; and recount comedy and tragedy, cruelty and kindness, corruption and integrity, and erudition and ignorance. Some stories use ghosts to satirize men and manners; (...) others straightforwardly examine beliefs and practices. Altogether, they draw a portrait of the time unmatched in scope and variety. Selections are organized thematically and include a contextualizing preface. An introduction appraises Ji's own career and the atmosphere in which he lived. (shrink)

Philoxenus of Cythera's dithyramb, Cyclops or Galatea, was a poem famous in antiquity as the source for the story of Polyphemus' love for the sea-nymph Galatea. The exact date of composition is uncertain, but the poem must pre-date 388 B.C., when it was parodied by Aristophanes in the parodos of Plutus , and probably, as we shall see below, post-dates 406, the point at which Dionysius I became tyrant of Syracuse . The Aristophanic parody of the work may well (...) point to a recent performance in Athens, perhaps the first, and it is hard to identify any more significant reason for mentioning the poem. Previous accounts of the poem have concentrated on two main points, its supposed satirical purpose, and the possibly dramatic nature of its performance, but there has been no attempt to consider these two points in relation to each other, or to assess in detail the value of the source-material. I argue that although there is some evidence to support the satirical reading of the poem, the main value of this tradition is that it reveals Philoxenus' comic treatment of his subject, and that while the Galatea motif has previously been considered the essential element in this comic treatment, it was probably a small part of the plot, perhaps only briefly alluded to. Finally I provide reasons for doubting the prevalent view that the performance included dramatic elements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Treatise of the Three Impostors and the Problem of Enlightenment: A New Translation of the Traité des trois Imposteurs by Abraham AndersonJan W. WojcikAbraham Anderson. The Treatise of the Three Impostors and the Problem of Enlightenment: A New Translation of the Traité des trois Imposteurs. Lanham, MD: Rowman & Littlefield Publishers, 1997. Pp. xiv + 165. Cloth, $52.50. Paper, $21.95.This work results from a seminar, organized by (...) Richard H. Popkin, sponsored by the Foundation for Intellectual History, and held in Leiden in 1990, in which various [End Page 368] aspects of the history and significance of the Traité de trois Imposteurs were studied. As the title of the work indicates, it contains an English translation of the Traité. It also contains three short essays of commentary (the second of which is a modified version of Anderson’s contribution to the volume of essays which resulted from the Leiden seminar, Heterodoxy, Spinozism and Free Thought in Early Eighteenth Century Europe: Studies on the Traité des trois Imposteurs, edited by S. Berti, F. Charles-Daubert, and R. H. Popkin). There is a select bibliography, but no index.The Treatise consists of a critique of revelation (which is exposed as a fiction of the imagination), along with a discussion of the ways in which claims to revelation made by crafty politicians have enslaved humankind. It also includes scurrilous stories about three of the main alleged impostors: Moses, Jesus, and Mohammed, as well as a more philosophical discussion of God, the soul, and demons.The translation is of Pierre Rétat’s 1973 edition of the 1777 edition of the Traité. This edition was chosen out of a number of virtually identical editions because it is accompanied by three very brief documents related to the Treatise (“Sentiments Concerning the Treatise of the Three Impostors: Extract of a Letter or Dissertation of Mr. de La Monnoye on this Subject,” a “Response to the Dissertation of Mr. de La Monnoye,” and a “Copy of Article IX of the Second Part of the First Volume of the Mémoires de Littérature”). Anderson’s reasons for selecting this edition are sound. The accompanying documents are of interest in their own right; in addition, they are the focus of Anderson’s essays of commentary and are (as he claims) necessary for a proper understanding of the significance of the Treatise. Although earlier English translations exist (1844, reprinted 1846, reprinted 1904) they are either not readily available or are not reliable in that the manuscript original is not readily identifiable. Hence Anderson’s translation is a welcome addition to the literature for those (both specialists and nonspecialists) whose circumstances do not permit a study of the 1777 French edition.The first two essays of commentary concern political issues, as indicated by their inclusion in “Part I: The Politics of the Traité des trois Imposteurs.” In the first, entitled “On a Section of Prosper Marchand’s Private Catalogue,” Anderson refutes the claim made by Margaret C. Jacob in The Radical Enlightenment that a section of Prosper Marchand’s library catalogue shows that Marchand considered the Traité to be in the tradition of Protestant radicalism and republicanism. After a careful analysis of the works listed in this section of the catalogue, Anderson concludes that (with one exception) the books in this section constitute a bibliography of works that “either exemplify the uses of literary study for the defense of orthodoxy or belong to a literary tradition of the cynical study of those uses, or consist in a parody and public exposure of that cynical study” (81). In the second essay, “Sallengre, La Monnoye, and the Traité des trois Imposteurs,” Anderson argues that rather than being a work of radical propaganda, the Traité was part of a satirical campaign against the “conformist libertine intelligentia” (x) of Louis XIV—those who believed that the fact of imposture ought not become public knowledge because they believed that religion ought to serve to enforce the rights of monarchy.“Part 2: Philosophy in the Traité des trois Imposteurs” consists of a single essay, “Descartes the Impostor, Bayle, and the Hidden Origins of Enlightenment.” Here, Anderson explores puzzling aspects of the... (shrink)

Among the composers with whom Wojciech Młynarski collaborated – a brilliant songwriter and penetrating satirist, librettist and translator, as well as a talented singer – was a completely unique artist, often referred to as the “Polish Gershwin” – Jerzy Wasowski. As a result of their nearly twenty years of cooperation, interrupted by Wasowski’s death in 1984, about thirty songs were created, most often being cabaret-satirical works or in the form of “sung columns”. Among the achievements of the Młynarski-Wasowski company (...) there are many “small masterpieces”, which are examples of masterly connections between words and music. The works they wrote together in the last period of their cooperation have been remembered in a special way by Młynarski. These songs were written at a special moment in the history of the People’s Republic of Poland – during the “Solidarity” carnival and during the martial law period. Moreover, the story of their proprietary company closed. The works they wrote last – in 1982 and 1983 – were described by Młynarski as “interesting songs”. During the martial law period, Młynarski decided to suspend public appearances – joining the artists who, in protest, decided to boycott the state media. He only took care of writing lyrics for new songs. At that time, he addressed the proposal to compose music mainly to Wasowski, who, like him, believed that one should continue to write, but – for now – “in the drawer”. Eight works were written then, six of which – Ballada o szachiście, Jestem piłeczką pingpongową, Po Krakowskim w noc majową, W miejskim teatrzyku lalek, Róbmy swoje, Ballada o dwóch koniach – had a satirical and journalistic character and entered Młynarski’s repertoire when he resumed his performances. Whereas the other two songs – Mam złe lata i dobre dni oraz Gram o wszystko – were lyrical-reflective pieces with female texts, and became their performers a few years later: Hanna Banaszak and Ewa Bem. This article analyzes one of these songs – Ballada o szachiście – aimed at explaining – in an elementary way – why Młynarski used the word “interesting” to refer to the songs written with Wasowski during the martial law period. This term is primarily intended to denote a work whose words and music were written in order to “give food for thought” to the audience. (shrink)

Like Leo Strauss and Karl Popper, most readers take it that one cannot have a political reading of the Republic at all, except by interest in Plato’s attitude toward the proposals developed by Socrates and his interlocutors. But this is not true. I do not mean that it is a good idea to cultivate apathy concerning Plato’s attitudes to sexual equality, private property, food, war, and so on. I mean that there is this possibility mentioned by Stanley Rosen, that “Plato (...) speaks in the story he tells, not in the arguments he assigns to his dramatis personae.”1 That possibility, more usually deployed against Popper, might also worry Strauss. For it is not obvious that treating Socrates as Plato’s satirical voice is any.. (shrink)

lecture 1. The world of the Greco-Roman moralists -- lecture 2. How empire changed philosophy -- lecture 3. The great schools and their battles -- lecture 4. Dominant themes and metaphors -- lecture 5. The ideal philosopher, a composite portrait -- lecture 6. The charlatan, philosophy betrayed -- lecture 7. Philosophy satirized, the comic Lucian -- lecture 8. Cicero, the philosopher as politician -- lecture 9. Seneca, philosopher as court advisor -- lecture 10. Good Roman advice, Cicero and Seneca -- (...) lecture 11. Musonius Rufus, the Roman Socrates -- lecture 12. Dio Chrysostom, the wandering rhetorician -- lecture 13. Dio Chrysostom, preaching peace and piety -- lecture 14. Epictetus, philosopher as school teacher -- lecture 15. Epictetus, the stoic path to virtue -- lecture 16. Epictetus, the messenger of Zeus -- lecture 17. Marcus Aurelius, meditations of the king -- lecture 18. Jews thinking like Greeks -- lecture 19. Philo, Judaism as Greek philosophy -- lecture 20. Plutarch, biography as moral instruction -- lecture 21. Plutarch and philosophical religion -- lecture 22. Plutarch on virtue and educating children -- lecture 23. Plutarch, envy, anger, and talking too much -- lecture 24. The missing page in philosophy's story. (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

Humor, as a source of fun, provides panacea from stress. There are writers whowrite humorous stories, but few use humor as a literary device. Alejandro Roces isone of the few, but no literary critical evaluation is made about his fiction because heis more popular as Filipino journalist. Thus, this study, entitled “Humor in AlejandroRoces’ Short Fiction”, aims to ignite aesthetic stimulation by critical analysis toassess its literary merits. His fiction, “We Filipinos Are Mild Drinkers,” “Of Cocksand Hens,” “Of Cocks and (...) Kings,” “Of Cocks and Battle Cocks,” and “Of Cocksand Super Cocks”, as qualitative research work, leans on formalistic and mimeticapproaches to Literature. Consequently, the key findings illustrate how humordevelops an uncommon conflict of an inveterate gambler-protagonist because insteadof feeling burdensome of his struggle, readers experience relief and release of tension.Moreover, some collective satirized peculiar Filipinism include English speechaffectations, gambler’s inveteracy, Hispanic cultural attitudes and traditionalism.Hence, Roces’ characterizations and themes inherently reveal humor that satirizespeculiar Filipinism. For deeper aesthetic stimulation, this study should be comparedand contrasted with the fiction of local and foreign humorists. Keywords: Literature and Communication, humor, inveteracy and satirized peculiarFilipinism, fiction, content analysis, Philippines. (shrink)

The critical studies on Dostoevsky’s ‘The Dream of a Ridiculous Man’ have never diverged to a very great extent from the two interpretative lines developed many years ago by Mikhail Bakhtin and Nikolai Berdyaev, which concern, on the one hand, the Menippean satirical structure of this short story and, on the other, its general motif of ‘utopia vs. anti-utopia.’ Although these two views are unquestionably enlightening, mainly because they reflect Dostoevsky’s poetics from the 1870s, they still do not (...) seem to have fully considered the central problem the ridiculous man raises throughout his monologue. This problem concerns the main character’s fundamental quest for truth. This article offers a reading of Dostoevsky’s story, with a new interpretation of it that does not exclude but, in fact, extends Bakhtin’s and Berdyaev’s views. While the purpose of the Menippean satire is, as Bakhtin suggested, to test an idea, in ‘The Dream of a Ridiculous Man’ Dostoevsky examines three different ideas of ‘truth’ each of which correspond to the protagonist’s various stages of awareness that occur in the three main parts of the narrative: before, during, and after the dream. These ideas are: a nihilistic solipsism of a higher consciousness; the natural perfection of a pantheistic universe; and the primacy of life over thought. The result of this analysis leads to the philosophical problem of ‘difference,’ understood as a ‘transcendent difference’ à la Fichte, which offers a new insight into Dostoevsky’s ‘higher realism.’. (shrink)

The misleading and propagandistic tendencies in American news reporting have been a part of public discussion from its earliest days as a republic (Innis, 2007;Sheppard, 2007). “Fake news” is hardly new (McKernon, 1925), and the term has been applied to a variety of distinct phenomenon ranging from satire to news, which one may find disagreeable (Jankowski, 2018;Tandoc et al., 2018). However, this problem has become increasingly acute in recent years with the Macquarie Dictionary declaring “fake news” the word of the (...) year in 2016 (Lavoipierre, 2017). The international recognition of fake news as a problem (Pomerantsev and Weiss, 2014;Applebaum and Lucas, 2016) has led to a number of initiatives to mitigate perceived causes, with varying levels of success (Flanagin and Metzger, 2014;Horne and Adali, 2017;Sample et al., 2018). The inability to create a holistic solution continues to stymie researchers and vested parties. A significant contributor to the problem is the interdisciplinary nature of digital deception. While technology enables the rapid and wide dissemination of digitally deceptive data, the design and consumption of data rely on a mixture of psychology, sociology, political science, economics, linguistics, marketing, and fine arts. The authors for this effort discuss deception’s history, both old and new, from an interdisciplinary viewpoint and then proceed to discuss how various disciplines contribute to aiding in the detection and countering of fake news narratives. A discussion of various fake news types (printed, staged events, altered photographs, and deep fakes) ensues with the various technologies being used to identify these; the shortcomings of those technologies and finally the insights offered by the other disciplines can be incorporated to improve outcomes. A three-point evaluation model that focuses on contextual data evaluation, pattern spread, and archival analysis of both the author and publication archives is introduced. While the model put forth cannot determine fact from fiction, the ability to measure distance from fact across various domains provides a starting point for evaluating the veracity of a new story. (shrink)

This article provides a discussion of the limits of both narrative and culture based on a close textual analysis of the short story, “People Like That Are the Only People Here: Canonical Babbling in Peed Onk,” by Lorrie Moore. In this story, a mother describes her experiences on a pediatric oncology ward when her infant son develops Wilms' tumor. The authors examine how the story satirically portrays the spurious claims of language, story, and culture to protect (...) us from an unjust universe and then exposes their false promises. The various personal, professional, and genre-specific narratives we use to create order and coherence from the terror of serious illness are ultimately ineffective. Similarly, the superficially comforting culture of the hospital ward cares more about creating the illusion of control than it does about the suffering of sick children. Language and culture cannot make sense of human anguish, the article concludes, yet they are all we have to hold back the chaos. Mystery and uncertainty, as part of the human condition, must become part of our stories and part of our culture. (shrink)

Originally published in the avant-garde Jugendstil journal Jugend between 1901 and 1902, this selection of six of Simmel’s short experimental pieces illustrates themes of this special section while also showing him playing with unconventional genres of philosophical and sociological writing. The comical sketch ‘Beyond Beauty’ anticipates issues Simmel treats more systematically in his essays on the philosophy of art; the poem ‘Only a Bridge’ is concerned with themes of social separation and psychic connection discussed in his sociological treatises; and four (...) pieces collectively titled ‘Snapshots sub specie aeternitatis’ present stories or anecdotes in the form of satirical commentaries: ‘“Money Alone Doesn’t Bring Happiness”’, a conversation about the psychology of money; ‘The Maker of Lies’ and ‘Relativity’, two Faustian fables on the power of truth and knowledge; and ‘La Duse’, a lyrical appreciation of the famous Italian actress reflecting on how the soul’s movements are expressed through bodily gestures. As in Simmel’s later writings, these allegorical fragments attempt to recover ideal or even absolute values from the fleeting forms and fugitive experiences of modern life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Warn Me If I Approach the Melody” HELAINE L. SMITH In the 1950s on Saturday night TV, Sid Caesar performed comic sketches for a full hour. In one sketch Carl Reiner played Edward R. Murrow interviewing Caesar as the jazz musician Progress Hornsby. At a certain point Murrow asks Hornsby, “To what do you attribute your band’s great success?” and Hornsby answers, “Well, we have special equipment that warns (...) us if we get anywhere near the melody.” And so it must be with Nancy Worman and all those classicists who approach classics and literature as she does—special equipment to warn them whenever they get anywhere near a responsible reading of the text.* Her argument, cast in sentences whose words, like the amphisbaena, turn back on themselves or are unrecognizable as spoken or written English, boils down to (1) Greek men were colonialists and imperialists; (2) Greek tragedy celebrated men of this sort; (3) there arose, quite to the surprise and possibly to the consternation of its authors, women in their plays who were strong and violent rebels against the oppressive social order; (4) Virginia Woolf, whose feminism is not quite as pure as we’d like it, is not so bad after all because, if you look closely, pulling out the odd word here and there, decontextualizing it, inserting its decontextualized meaning elsewhere and mistranslating any Greek phrase that stands in your way, you discover—voila!—that she held views of Greece and Greek tragedy identical to those of radical feminism and shaped her novels, stories, and essays to reflect that view. Worman’s feminist audience, as familiar as it must be with feminist reception theory, would appear, from the unusual number of play summaries, elementary descriptions of the arion 28.1 spring/summer 2020 *Nancy Worman, Virginia Woolf’s Greek Tragedy. London and New York: Bloomsbury Academic, 2019. xii + 152 pages. $102.00. 150 “warn me if i approach the melody” origin and structure of Greek drama, and serious mistranslations in her book, to be unfamiliar with ancient drama, with basic Greek, and perhaps with Virginia Woolf as well. Her book has from such scholars received copious praise. But for those who begin less thematically burdened and who, as a colleague of mine liked to say, “worship at the altar of the text,” Worman’s methods turn scholarly inquiry on its head, not because of what they conclude, but because her conclusions are reached the same way the Queen of Hearts insisted trials be conducted: verdict first, evidence afterwards. Nor does Worman’s text have any discernible structure. Material within chapters bears fleeting connection to chapter titles and subheads. Points appear, vanish, and reappear, like the Cheshire cat, suggesting prior academic papers, here combined. This overall disorganization weakens the book, as does the non-linear quality of individual points. The organization of this review, therefore, is not thematic but chronological : it addresses those works of Woolf’s to which Worman gives attention, and presents them by date of publication. A Room of One’s Own appears nowhere in Worman’s text, and To the Lighthouse receives only minimal attention. Medea is nowhere mentioned in the favored categories of proto-feminist and fierce woman. While The Trojan Women and The Birds would both have served Worman well in arguing that Greek theatre reflected Athenian imperialism, they too make no appearance in her text. Instead, she casts Sophocles’ Electra and Antigone as fierce women and their plays, together with the Agamemnon, as emblematic of Athenian aggression and patriarchy. And so, in the forced nature of Worman’s translations and in the reductiveness of her assessment of Woolf, we see the consequences of a determination to bend texts to serve popular theories. “a dialogue upon mount pentelicus” (1906) woolf’s views of Greece reveal the complexity of great writing. Woolf frequently satirizes classicists who take their Helaine L. Smith 151 learning to be a sign of natural excellence, those for whom knowledge of Greek is simply a marker of position and rank. But for those who love such things for their own sake, or come to love them, as the tourists eventually do in “A Dialogue upon Mount Pentelicus,” she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:META-ONTOLOGY AND META-FICTION by Denis E. B. Pollard Peter van inwagen's attempt to explain the nature of fiction makes use of Quine's program in meta-ontology.1 This program comprises four basic theses: (i) that being is the same as existence, (ii) that being is univocal, (iii) that this univocal sense is best captured, for the purposes of formalization, by die existential quantifier, and (iv) that deciding what to believe about (...) what there is comes to a decision about what theories we should accept. As the aim of formalization is explicitness, then theories should be rendered into canonicalese and their commitments identified through those sentences which are prefaced with the existential quantifier. For Inwagen, as for his mentor Quine, acceptance of theory expressed in this canonical form entails acceptance of the ontology expressed in those quantified sentences. Bringing these considerations to bear on fiction, Inwagen asks, "What are theories about fiction?" and replies that they are "theories that treat stories as having an internal structure" (p. 72). The upshot of this is that such theories contain sentences which, when formally rendered, revead commitments to fictional objects. It is further claimed that such sentences can be vehicles of objective truth. Thus Inwagen finds he cannot wholeheartedly dismiss Sarah Gamp as a nonentity. In this respect, his view contrasts with two contemporary accounts, the "reductivist" one which denies Sarah Gamp's existence and her possession of any properties whatever, and the more recent "Meinongian" view which would agree that Sarah Gamp does not exist, but would nonetheless strenuously maintain that she is a nurse, fat, old, and decidedly the worse for drink. Inwagen's Sarah is neither ofthese: pace both these positions, she exists all right, but with properties such as being a theoretical entity of criticism, being a satiric villainess, not being a woman, and not being fond of gin. Inwagen's attempt to steer what seems to be a middle course has yielded, if anything, a more counterintuitive result than either ofthe other views. What is die explanation for this? 244 Denis E. B. Pollard245 To begin with, it is important to note a distinction, which Inwagen himself accepts, between two kinds of sentences. Let us take the following elementary examples: (1) "Sarah Gamp is a nurse," and (2) "Sarah Gamp is a character in a nineteenth-century novel." With specimens like (1), Inwagen sides with the reductivist: such sentences asefalse, and are not about anything. But it is with examples like (2) that ontology becomes a real issue, since sentences of this kind belong to literary theory. Neither authors nor critics who make use of sentences of the first kind are committed to the existence of fictional entities. So far, so good. But what is it that compels such commitment in the second case? Inwagen is sceptical about reductivist analyses which seek to paraphrase such sentences in order to remove any "misleading" implications. Such paraphrases he would regard as at best "messy," and more seriously, unlikely to preserve intuitive meaning without appearing to say that there are fictional characters. Unfortunately, he brushes this aside as a "narrow technical issue" at the very point where rather more argument is needed. However, on the issue of preservation of intuitive meaning, it might well be argued that his contention is somewhat question-begging, suggesting a rather literal reading of (2) above as a straightforward predication superficially akin to (3) "McEnroe is a seeded player in this year's Wimbledon tournament." So by a strange alchemy, the expression "Sarah Gamp" in (2) is accorded a referential status denied to it in (1). It is at this point that the notion of"theoretical entity" is introduced to supply the need for a referent dictated by the Quinean program. Inwagen's Sarah Gamp, in this theoretical disguise, can now literally satisfy predicates like "... is a character in a nineteenth-century novel," but not predicates like "... is a nurse." The parallel being exploited here is that with scientific theory. An ideal gas can satisfy Boyle's Law, but cannot literally be ignited, put into containers, or have an offensive smell. But there is more than a suspicion of equivocation over the term... (shrink)

Between 1648 and 1652, Cyrano de Bergerac wrote a small satirical work entitled The Other World, a fictional account of his imaginary epic voyage to the Moon.* The story not only describes “The States and Empires of the Moon,” (its subtitle in the original edition), it provides a critical view of his own civilization as well. The narrator's position in his depiction of the radically different, “other” entity allows him to maintain opinions which, however whimsical, still include elements (...) of social and philosophical examination. In the early stages of world migration, Europe was beginning to see the Other as a place for the expression, if not the transposition, of its ancient dreams; Cyrano, however, takes a different approach. He looks at ways the Other might be used to gain perspective on the Self. Looking down at Earth from above, he proclaims: “People, I declare that this moon is not a moon, but a world, and that world over there is not a world, but a moon.”. (shrink)

It seems that a Greek romance named Chaereas and Callirhoe—if it was in fact written about A.D. 50—might be the oldest extant romantic novel.1 Chaucer's Troilus, Chretien's Erec, Apuleius' Metamorphoses, and for all l know Homer's Odyssey have already blushed under this dubious accolade; and I do not mean to celebrate an old Greek book by thrusting an English genre-label upon it. But nothing quite like Callirhoe survives from an earlier period of western literature; and following our inclination to comprehend (...) such a phenomenon by fitting it into familiar categories we would call it a Greek romance because it is written in Greek, a novel because it is an extensive prose fiction of ordinary moral life that conforms to a recognizable canon of realism, and a romance because its admirable protagonists suffer the most serious threats to their lives and values but survive them all. Its author, a certain Chariton of Aphrodisia, a small city in the province of Caria in Asia Minor, places his book about Callirhoe in the Hellenistic genre of the erotikon pathematon—a story of erotic suffering. This is an accurate label and perhaps a bold one, as erotic pathemata were thought to be more suitable for epic or elegiac verse than for prose. In any case, I am not here concerned to argue that Callirhoe is the precursor of such entities as the novel, nor to speculate about its cultural origins, nor to point out its obvious likenesses to later narratives. I do want to discuss the habits of narrative art Chariton exploits in his book, and to explore a few of the ways he makes erotic suffering pleasurable for his readers—us, and the leisured, literate members of the bourgeois households that had for centuries flourished in the great Hellenic cities of the eastern Mediterranean basin. · 1. I accept the date accepted by Ben E. Perry, The Ancient Romances , p. 350. The standard edition is W.E. Blake's , whose translation I use throughout. Chariton's work did not see print until 1750, so it did not enjoy the vogue enjoyed by other Greek romances in the Renaissance. Arthur Heiserman is the author of several articles, short stories, and Skelton and Satire. 'Aphrodisian Chastity" will appear as a chapter in his forthcoming book, Romance in Antiquity: Essays and Discussions about the Beginnings of Prose Fiction in the West. (shrink)