In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCE “CRUISING IN (...) THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITY” SEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printer’s year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymen “a good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnal’s Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. A CONTINUOUS ACT Nico Jenkins In Pierre Hadot’s extraordinary book, Philosophy as a Way of Life , the practices of philosophy—that is the exercise of what we can term pre-institionalized love of wisdom, what Philo of Alexandria described as a training towards wisdom—are described as, following the Stoics, “a continuous act, permanent and identical with life itself, which had to be renewed at each instant.” This renewal of thinking, this coming to be of being itself —meeting itself on its own ground, concerns the way philosophy is practiced, and more often, taught, or rather not taught. Hadot continues his thinking with a description of what happens to the structure of thought in the medieval ages as it becomes adopted—co-opted— by the university, and by extension, by the institution of the church. Philosophy becomes no longer a way of living, no longer a praxis as such but becomes a condition that is locked in a theoretical construct, one which was literally removed from life (and in life we read then love, wisdom, being etc, also the home, the market, the field, the street) and secured behind the high walls of the monastery (which were shortly replaced by the high walls of the Academy) where thinking unfortunately rests for the most part today. Hadot writes further that this dangerous movement of removal reduces thinking to a theoretical practice akin to the mythical Ouroborous; “education was thus no longer directed toward people who were to be educated with a view to becoming fully developed human beings, but to specialists, in order that they might learn how to train other specialists.” Thought then is trapped behind the walls of the academy, and with the exception of such thinkers as Spinoza, Descartes, and Liebnitz as well as others who think from an outside in, thought remains, in the form of Kant, Fichte, Hegel, a practice reduced or removed from life and restricted to what Schopenhauer will call “mere fencing in front of the mirror.” This is of course the tendency today and philosophy remains, for the most part, a discourse produced and thought inside the academy and disseminated, in seminated through university presses and of course the academic journal. It seems necessary to me that we have to have a place, a return, to a thinking which is closer to the Stoics, closer to the pre-Socratics, to a thinking which is a practice of becoming, a training to think, to live, to die. this is not south romantic than imperative . This thinking is one of a deep ir responsibility because it is not known, it is not figured out. It requires a risk and what Heidegger calls a leap (for there is no bridge to it). I call it irresponsible because for too long sanctioned thought has had as its premise the idea that thinking has a goal, a direction, a telos ; that it is not an activity but a process which gives a product; that the responsibility of thinking in turn demand an answer. In my mind, only freed from that goal can thinking, in contrast, bask in its own thinking, bask in a state in which the unknown can remain unknown, that mystery can rest as mystery. This is not to say that the world needs no answers, or to promote a Whitmanesque “leaning and loafing” as the only valid practice. It is only to say that for too long, thinking has been validated by the academy, by the answerable, by the already decided. To me, this requires—as an answer— the ir responsibility of thought, what Nancy calls, “a world for which all is not already done (played out, finished, enshrined in a destiny), nor entirely still to do (in the future for always future tomorrows).” This is a thinking not sanctified by the academy, made sacred by the church or the palace but rather it takes place on the périphérie , beyond the ring road, in alleyways behind the marketplace, in cafes stained with the syphilitic patina of irresponsible talk, of loose talk, the kind of talk made loose not only by the tankard and the goblet by the practice and training of attuned thinking. continent. was formed as a collective of thinkers coming out of the European Graduate School (also known as the University of Disaster) three years ago, in an effort to combat, or challenge, the dominant paradigm which isolates thinking from the street, from life, from where perhaps wisdom tends to emerge. We feel that not only is the university herself no longer the privileged site of where true thinking takes place—and where only official thought can take place—but that the very artificiality of the academy denies thinking—at times—authentic, thought. Our goal at continent. is to create a media agnostic publication which is rigorous in its intellectual underpinnings but which will remain permanently beyond and out of reach of the academy. Though many of us butter our bread with academic paychecks (maid!) we attempt to keep continent. as a refuge—and a refugee—from the University in ruins, from the University as a site of preformed and institutionalized pre-set dialogues. In concert with other publications-both cyber and print—as well as various blogs we are attempting to re-dialogize the dialogue of thinking. We are attempting both to speak to— as well as with and against —the university as a site of accreted knowledge. We have not been utterly successful and continue to attempt to define what that role of being perpetually beyond is (while still trying to maintain rigorous intellectual standards) but it is just that, a goal, which is perpetually opening, perpetually unanswered, perhaps even by design, perpetually unanswerable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS Men Astutely Trained: A History of the Jesuits in the American Cen· tury. By PETER McDONOUGH. New York: Free Press, 1992. xxi +616 pp. $24.95. Last summer in Paris, sitting at one of the sidewalk tables that line the Boulevard S. Germain, a young Jesuit priest just finishing his doc· toral studies narrated some of the horror stories associated these days with " the joh (...) class='Hi'>market." Having suffered through my own variation on that theme, I could only share with him the results of my own experi· ence. This novelty in the Jesuit stance provides Peter McDonough with a major theme in his narrative, for he describes the change in the So· ciety " from a rule-governed hierarchy to a role-driven network " (p. 459). He locates this transition in what he calls " the American century," roughly from 1900 to 1965. McDonough's study, an exciting and profitable read, traces the shift from Aquinas to the Age of Aquarius. Especially for an extern (i.e. a non-Jesuit), he has taken on a formidable challenge. Generally well received by the Jesuits, Men Astutely Trained tells how American Catholicism moved from an immigrant church to an upwardly mobile society. In the shifting loyalties, aggravated by the Second Vatican Council, Jesuits and their institutions felt the crunch. Since this innovation, loosely identified with " the democratization of culture," has precipitated the Society of Jesus "into the most serious crisis in its history " (p. xiv), McDonough must do a counterpoint he· tween the inner life and its external expressions. So the saga gains both breadth and depth. Without denigrating the accomplishment, at once earnest and literate, I want to take issue with the hook. As one of my colleagues taught me many years ago, we cannot stimulate discourse if everybody is con· tinually agreeing. First then, I want to comment on the flawed methodology. Next, I will say something about its thesis and conclude with a few reflections on "modernity." For Jesuits of my generation, the work of Malinowski proved normative. The anthropologist spent ten years among the natives who in· habited the Trobriand Islands in Melanesia. It apparently took that long for him to understand the stories and symbols, their myths and rituals. When he put his encyclopedia together, he could describe their institutions and social structures. In short, he worked from the inside out. McDonough, on the other hand, works from the outside in. In my 711 712 BOOK REVIEWS opinion, this represents a major failing in methodology. Two consequences flow from this deficiency. The author is never able to relate the works of the Society to the principal texts of the Society. The Spiritual Exercises, for example, does not rate even a mention. The Constitutions merits a fleeting reference on p. 160. St. Ignatius himself does not appear. Divorced as he is from the principal experience of Jesuits, our author cannot provide an adequate understanding for any of their priorities. This awareness makes his claim to present "the inside of the Society of Jesus" (p. 462) somewhat pretentious. Because he does not have the interior life in focus, many of the readings strike me as unnecessarily cluttered. He has yet to recognize the validity of John Stuart Mill's principle, "No man's synthesis can be greater than his analysis." While he has not left out three-fourths the data, perhaps he has neglected one-half. Secondly, he does not acknowledge Jesuits principally as churchmen. Instead, he makes us look like an acephalous torso. The church-con· nection reveals a major dimension to understanding the Society's coherence and institutions. It does not occur to the author that Jesuit priests are also bound to the universal discipline of the Church as found, for example, in the Codex Juris Canonici (1917). According to the Pio-Benedictine Code, all priests (and not just Jesuits) are expected to recite the breviary, to stay away from politics, and to avoid all "spectacles" including baseball games. Moreover, it is not entirely true to say that Jesuits acted independently of local bishops. Jesuits were able to establish their schools precisely because the local bishop invited them and encouraged the work. The ecclesial dimension becomes especially... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Found in Translation: “New People” in Twentieth-Century Chinese Science Fiction by Jing JiangYingying HuangJing Jiang. Found in Translation: “New People” in Twentieth-Century Chinese Science Fiction. New York: Columbia University Press, 2021. 144 pp. Paperback, ISBN 9780924304941.One of the Association of Asian Studies’ Asia Shorts series, Jing Jiang’s monograph is a delightful 130-page read including notes and a bibliography. It contributes new and cross-cultural perspectives to the Chinese (...) SF scholarship that has recently been invigorated by a plethora of translations into English, animated discussions at conference panels and themed lectures, and book-length studies such as Nathaniel Isaacson’s Celestial Empire: The Emergence of Chinese Science Fiction (2017), which focuses on China’s early twentieth century, and Hua Li’s Chinese Science Fiction during the Post-Mao Cultural Thaw (2021), which deals with works published between 1978 and 1981, to name just a couple. Jiang’s book covers both periods and the time in between with a purpose to investigate “how Chinese science fiction participates and intervenes in Chinese conceptualizations of the modern at critical junctures over the last century” (1), which Jiang achieves through comparative readings of texts brought into dialogue via translation. A shared theme of the texts studied is, as the book title suggests, the creation of a “new people,” either through edification or high-tech means such as bioengineering. Therefore, the interventions by science fiction that this study is concerned with are chiefly in debates about modern citizenry, subjectivity, and humanity in China’s twentieth century, when science fiction enjoyed its first two “booms.”This book has an introduction, four chapters, and an epilogue. The introduction offers a brief history of Chinese science fiction and announces the author’s intention to “situate Chinese science fiction within a dynamic model of world literature” (2). Jiang makes two crucial points: first, Chinese science fiction is a product of translation and transculturation, which [End Page 591] requires an intertextual and comparative study; second, contrary to its designation as a popular genre in the West, science fiction in China has been a form of elite literature and even a part of statist thinking. While this introduction may seem a bit long for a short book with “conciseness” as one of its marketing guidelines—the account of Lu Xun’s early life and turn to literature, for example, may be a little too elaborate for its purpose (10–12)—it lays a solid foundation for discussions about science fiction’s translingual dimensions and role in China’s nation-building discourse to develop through the chapters.The expansive first chapter, “Medicine for the Mind, Panacea for the Nation: How Did the Stories of Science and Fiction Become One?” is yet another historical survey, occasionally repeating points from the introduction, but this time of the background, genesis, and early growth of science fiction in China from the mid-nineteenth to the early twentieth century (i.e., the late Qing dynasty [1644–1911] and early Republican era [1912–49]). Jiang gives a detailed account of occurrences deemed important to the rise and confluence of fiction and science within China’s nation-building discourse, including literati intellectuals’ promotion of “new fiction” and the dissemination of scientific knowledge, highlighting the roles played by central figures like Liang Qichao, Lu Xun, and John Fryer. Jiang makes the illuminating observation that Fryer’s stipulation of a “new novel” for a fiction contest he organized in Shanghai in 1895 foreshadowed China’s literary realism and the vernacular movement (30), and her remarks about translation, Chinese science fiction’s inherent hybridity, and its mission to cure the nation well echo the book’s central argument about the genre’s interventions.A shorter chapter follows, entitled “Scientifically Formed or Reformed: Bioengineering and Other Fantasies about a New Species of National Subjects,” which examines early science fiction stories about manufacturing humanity and argues that these texts “gave rise to a literary vision that believed literally in the malleability or programmability of the soul” (39). During the first boom of Chinese science fiction in the 1900s, translations of and sequels to Western stories showcase the debate about science’s power of shaping the soul... (shrink)

With the publication of French Philosophy of the Sixties, Alain Renaut and Luc Ferry in 1985 launched their famous critique against canonical figures such as Foucault, Derrida, and Lacan, bringing under rigorous scrutiny the entire post-structuralist project that had dominated Western intellectual life for over two decades. Their goal was to defend the accomplishments of liberal democracy, particularly in terms of basic human rights, and to trace the reigning philosophers' distrust of liberalism to an "antihumanism" inherited mainly from Heidegger. In (...) The Era of the Individual, widely hailed as Renaut's magnum opus, the author explores the most salient feature of post-structuralism: the elimination of the human subject. At the root of this thinking lies the belief that humans cannot know or control their basic natures, a premise that led to Heidegger's distrust of an individualistic, capitalist modern society and that allied him briefly with Hitler's National Socialist Party. While acknowledging some of Heidegger's misgivings toward modernity as legitimate, Renaut argues that it is nevertheless wrong to equate modernity with the triumph of individualism. Here he distinguishes between individualism and subjectivity and, by offering a history of the two, powerfully redirects the course of current thinking away from potentially dangerous, reductionist views of humanity. Renaut argues that modern philosophy contains within itself two opposed ways of conceiving the human person. The first, which has its roots in Descartes and Kant, views human beings as subjects capable of arriving at universal moral judgments. The second, stemming from Leibniz, Hegel, and Nietzsche, presents human beings as independent individuals sharing nothing with others. In a careful recounting of this philosophical tradition, Renaut shows the resonances of these traditions in more recent philosophers such as Heidegger and in the social anthropology of Louis Dumont. Renaut's distinction between individualism and subjectivity has become an important issue for young thinkers dissatisfied with the intellectual tradition originating in Nietzsche and Heidegger. Moreover, his proclivity toward the Kantian tradition, combined with his insights into the shortcomings of modernity, will interest anyone concerned about today's shifting cultural attitudes toward liberalism. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

A twofold threat hangs over freedom of communication. In rich countries globalization is leading to standardization of thought via national and international bodies. In the cultural as well as the scientific field, especially the human sciences, diversity is needed for reasons of both survival and democracy. Efficiency and productivity imperatives are sacrificing human diversity for economically cost-effective goals. For instance, in the communication field the merging of publishing functions in all media is an obstacle to the free circulation of (...) ideas because it is channelled into the marketing and sales area. In the countries of the southern hemisphere the absence of media makes communication inaccessible for the majority of citizens. So the lack of ideas comes on top of other shortages of basic needs, health care, food, housing … The globalization of trade increases the illusion of a communication which is now accessible to all. But exclusion is increasing because people cannot access knowledge and culture. In fact, in the North as well as the South, the opportunity for everyone to communicate their thinking - their research, their cultural or artistic creations, to communicate a personal experience - is dwindling at the same time as technical progress appears in fact to offer us all the means to express ourselves and have a chance of being heard. The corollary of the creeping globalization of exchanges is that a growing proportion of our contemporaries are put in the position of silent receivers. Indeed the more powerful the media employed, the more those they address become voiceless and passive. Paradoxically, the explosion in communication technology is creating a greater gulf between the well-off and the underprivileged, confining the first in ‘single line of thought’ and excluding the second from any participation in the dialogue. There is no freedom of thought in a world where only one channel exists, even though it communicates that thought in infinitely varied ways. The consumerist consensus never expresses democratic aspirations, but the self-satisfied stupidity of their apathy. (shrink)

Journalism's trade magazines were established just as press members began debating the value of professionalism. These magazines had the potential to become important voices in the professionalizing debate because of their national distribution. This study reveals that although journalists remained divided over the value of professionalism, they valued Editor & Publisher more than The Journalist because Editor & Publisher took a leadership role on the professionalism debate, defining professionalism and explaining what standards and group norms were expected from (...) professional journalists. The Journalist' s downward circulation spiral appears largely linked to its inabilities to provide journalists with a commanding voice on professionalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:308 BOOK REVIEWS lronioally, the retrieval of patristic theology together with the ecumenical emphasis has blunted some of the more "traditional" (i.e., Tridentine) Catholic accents within what used to be the most distinctively Catholic of the systematic treatises-church and sacraments. For example, while Power asserts the Eucharist as a real presence and propitiatory sacrifice (Tridentine themes), he does not stress them, in order to make room for an understanding (...) of the Eucharist as active celebration and sacramental memorial (Catholic themes older than Trent which are ecumenical at the same time) ; he also does not underscore the Tridentine teaching about the sacramental character of Orders and thus does not accentuate the difference between clergy and laity. Again, instead of offering a Tridentine critique of Luther's singular understanding of the fides sacramenti, especially as it applies to the sacra· ment of penance (according to the early Luther's erstwhile debate partner, Cardinal Cajetan, Luther's view of the fides sacramenti was the only thesis of his which could not be reconciled with the Catholic faith and in effect amounted to the founding of a new church), Duffy attempts to integrate its positive aspects within a Roman Catholic sacramentology. Systematic Theology is a work permeated by Catholic themes, even if some of them would have been handled differently by other Catholic authors and though some of them are also shared by Protestant authors. The two volumes are a worthwhile and solid introduction to and summary of the present state of Catholic theology in North America, at least from the centrist-liberal perspective, and will serve their intended audience very well. Domimican House of Studies Oakland, California GREGORY RoccA, O.P. The Glory of the Lord: A Theological Aesthetics. Vol. V: The Realm of Metaphysics in the Modern Age. By HANS URS VoN BALTHASAR. Translated by Oliver Davies, Andrew Louth, Brian McNeil C.R.V., John Saward and Rowan Williams. Edited by Brian McNeil C.R.V. and John Riches. San Francisco: Ignatius Press, 1991. Pp. 666. This volume of the English translation of Hans Urs von Balthasar's masterpiece comprises the latter half of Herrlichkeit, Band III/I, Im Raum der Metaphysik, the first half having been published as The Glory of the Lord, Volume IV: The Realm of Metaphysics in Antiquity. The BOOK REVIEWS 309 reader must remember that von Balthasar intends to denote by " metaphysics " the entire cultural complexus of myth, philosophy and religion, whose theological interest for von Balthasar is that it is seen to be the humanist anticipation of Glory, a grace-driven quest for God. This usage is of course unfamiliar to most students of the subject, and is one which moreover carries with it the anti-systematic presuppositions already noted in reviews of earlier volumes of The Glory of the Lord:* Von Balthasar looks upon " the realm of metaphysics " as that historical space in which the quest for human transcendence discovers that its goal is actual only in the Form of Christ, the Glory of God. The quest that is metaphysics is of itself a merely human project, and as such, is an illustration of human indigence. It is worth observing that von Balthasar's discussion of metaphysics, running to a thousand dense pages in the first (1965) edition of Band III/I: Im Raum der Metaphysik, has been considered dispensable to the unity of the Herrlichkeit by the editors of the French and Italian translations, both of which editions omit Band IH/L The English translation of its second part, here under review, makes that omission understandable, for in the first place its contribution to the whole is largely ancillary, a matter of illustration, and in the second, it is a work extraordinarily demanding of the reader-and if one may judge from the profusion of floating prepositions and consequent ambiguities in the English text, all too demanding of the translators as well. The sheer time required adequately to appreciate the prodigious learning of this massive study, and the patience required to keep its line of argument clear, are such as to defeat its purpose for most prospective readers. It is a work which, even more than the other volumes of The Glory... (shrink)

This article investigates the media lives of a particular class taxonomy in the Swedish press from 1945 to 1976. Invented by the Central Bureau of Statistics in 1911, the ‘social group division’ system was abandoned in the early post-war period. Around the same time, however, it gained popularity in Swedish culture and political debate. While earlier research has noted that such bureaucratic class taxonomies – as in several other Western countries – conditioned how actors understood and created new (...) knowledge about the population, this process of wider circulation remains understudied. Using insights from literature on ‘the social life of methods’ and the history of knowledge, which underline that knowledge is transformed by and transforms the contexts it circulates in, I show that print media was an arena for circulating and producing new meaning around class taxonomies. Although editorials shunned the social group division for incorrectly representing Swedish society and creating artificial class boundaries, journalists used the taxonomy to explain social structures. Furthermore, by interviewing ‘typical’ members of the different social groups, journalists made the system relatable and personal for their readers. In this context, the social groups were imagined as cultural communities, sharing cultural behaviours and preferences. Lastly, I analyse usages of the social group division in letters to the editor, which reveal that people felt they were being classified and wanted to offer their views of society, using the taxonomy in ways the experts had not intended. This study thereby contributes to the history of social taxonomies and class languages in the post-war period. (shrink)

In a recently published paper, we argued that theories of cultural evolution can gain explanatory power by being more pluralistic. In his reply to it, Dennett agreed that more pluralism is needed. Our paper’s main point was to urge cultural evolutionists to get their hands dirty by describing the fine details of cultural products and by striving to offer detailed and, when explanatory, varied algorithms or mechanisms to account for them. While Dennett’s latest work on cultural evolution does marvelously well (...) on the first point, it has only whet our appetite on the second. Accordingly, the present paper aims to show what an evolutionary explanation of culture that takes the variety of cultural evolution mechanisms seriously would look like. We will focus on the cultural evolution of social epistemic mechanisms and we will propose that Darwinian algorithms should be complemented with a cultural analogue of the error reduction mechanism proposed to account for human cognition, with a particular emphasis on the necessity to build independencies between different sub-systems in charge of tracking states of the world. To illustrate our point, we will present how the evolution of the legal system as epistemic systems can be understood as a process of building increasingly better independencies and how various criticisms of the actual legal system calls for building even more of them. (shrink)

Language used to describe measles in the press has altered significantly over the last sixty years, a shift that reflects changing perceptions of the disease within the medical community as well as broader changes in public health discourse. California, one of the most populous U.S. states and seat of the 2015 measles outbreak originating at Disneyland, presents an opportunity for observing these changes. This article offers a longitudinal case study of five decades of measles news coverage by the Los (...) Angeles Times and the San Francisco Chronicle, which represented two of the largest news markets in California when the measles vaccine was released, in 1963, and during the 2015 outbreak. Measles reporting during this period displays patterns pointing to an active role for journalists in shaping public understanding of health and medical matters, especially as they recede from public memory, through the employment of available and circulating political and cultural frames. Moreover, journalistic frames in this period of reporting incorporated presentist descriptions of the disease, which imposed present values on the medical past, and which were constructed of decontextualized historical references that supported prevailing contemporary notions of the disease. Framing and the tendency toward presentism, in the context of shifting public health discourse, had the effect of communicating an increasingly severe sounding disease over time, and of shifting blame for that disease’s spread from nature to government to individuals. Journalistic framing and causal stories have much power to shape public understanding of medical matters as they recede from public memory. (shrink)

This paper traces back the sources of our present legal system and of market economy to Medieval Europe which itself benefited from Hellenistic and Roman legal culture and commercial practices. Roman provinces placed Rome in the wider Greek cultural and commercial world. If Aristotle was already transcending the narrow polis-based conceptions of his predecessors, after him Hellenistic Civilization saw the emergence of a new school of philosophy: Stoicism. The legal thought in the Latin West will hence be characterized (...) by Cicero’s writings and its Stoic sources. The Roman legal system was similar to the later northern European customary law and the English common law; Roman law was evolutionary and customary. The rise of Western individualism, whether it dates back to St. Augustine in the fifth century, or to the two Papal Revolutions of Gregory I (establishing the nuclear family as the core of individualism) and of Gregory VII, also played a crucial role in shaping the western legal tradition. The paper describes the main forces that led to this second (Gregorian) revolution. Monasticism is one of them. Benedictine monasticism plaid a leading role in the Peace of God Movement. Hence collective oath-taking by groups in the name of peace was essential in the founding of cities and in the formation of guilds. Europe’s economic resurgence in the Eleventh Century was on the basis of the creation of the rule of law by the Peace of God movement. This movement also allowed for Europe’s agricultural economy to progress. Indeed, the European Middle Ages is one of the major periods of technological innovation in the history of the world. The Gregorian Revolution itself was supported and financed by the Commercial Revolution: Italian bankers sustained Papal reformers against the Emperors. The independence of the Italian cities and provinces reveals one of the most important consequences of the Gregorian Revolution: the polycentricism of Western Europe. This Revolution also witnessed the first large number of political pamphlets in European history; the Gregorian clergy emphasizing a compact theory of government. Soon after, the order of Cistercians was founded (1098) and underwent spectacular growth during the next two centuries. The Cistercians accepted no rents or labor services from feudal donors but would take only full possession of land to do with it as they wished.These monasteries were the most economically effective units that had ever existed in Europe, and perhaps in the world, before that time. Finally, the Magna Carta (1215) that will be so influential on modern political thought can be seen as a direct consequence of the Gregorian Revolution. (shrink)

It is reported that medical students both in the U.S. and Poland have experience of interacting with pharmaceutical company representatives (pharma reps) during their school years. Studies have warned that the interaction typically initiated by the pharma reps’ general gift-giving eventually leads to the quid pro quo relationship between the pharma company and the future doctors, the result of which is that the doctors will prescribe their patients drugs in favor of the pharma company. Built upon the existing finding, this (...) research engages in analysis with three foci. The first is to compare attitudinal differences of the American and Polish medical students as they interact with pharma reps. Second, it investigates the role of the different economic and cultural elements (respectively in the U.S. and Poland) in the students’ attitudinal differences. Last, it suggests that the medical schools in both countries should have strict policies and effective education curriculum to help their students better prepare to interact ethically with pharma reps. Since there has been no direct comparative cultural analysis of this kind which is known in a published literature or report, the authors believe that the paper will serve as a catalyst for further research in the area. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:72 Reviews RUSSELL VERSUS THE HAPPINESS INDUSTRY Chad Trainer 1006 Davids Run Phoenixville, pa 19460, usa [email protected] Tim Phillips. Bertrand Russell’sThe Conquest of Happiness; a Modern-Day Interpretation of a Self-Help Classic. Oxford: Infinite Ideas, 2010. Pp. 118. 978-1906821 -27-2 (pb). us$11.95. German translation as Bertrand Russells Eroberung des Glücks in a “Business Classics” series (gabal Verlag, 2012). he popular writing Bertrand Russell undertook to make money has long roused (...) the indignation of those interested in his more technical specialized work, and his 1930 The Conquest of Happiness ranks among the more extreme examples of this pot-boiling genre. Ludwig Wittgenstein denounced Russell’s Conquest of Happiness as a “vomitive.” And the best ways of understanding Russell’s own assessments of his book are unclear, owing to the various sentiments his biographers report. According to Ronald Clark, he said: “… The Conquest of Happiness … I am not very proud of”;1 whereas Caroline Moorehead reports “he was later to say that, of all his books, he felt this had done the most good”.2 In his autobiography, Russell allows us how he wrote The Conquest of Happiness at a stage in his life “when I needed much self-command and much that I had learned by painful experience if I was to maintain any endurable level of happiness.”The emotional challenges to which he was subjected at the time he wrote the book “introduced an intolerable tension into every moment of daily life.” Beacon Hill School, which Russell had started with his second wife, Dora, in 1927, was in such dire straits financially by 1930 that Russell was compelled to resort to much popular writing and lecturing in order to remain solvent. In 1930, Dora gave birth to a daughter fathered by the American journalist Grif- fin Barry.This marked the beginning of the end to Russell’s marriage to Dora. Add to the foregoing Russell’s strained relations with Wittgenstein, when the ______ 1 The Life of Bertrand Russell, p. 448. 2 Bertrand Russell, p. 383. q= Reviews 73 former was asked to be one of the examiners for Wittgenstein’s phd at Cambridge. Although the phd was awarded and Wittgenstein secured a grant to conduct research at Trinity College, Cambridge for five years, Russell and Wittgenstein’s interaction at the time resulted in an end to their friendship. In general, however much control Russell may have had over matters at earlier points in his life, 1930 was a time he was largely at the mercy of unstable circumstances.The repose and leisure on which he had depended for his philosophic activity were not then available to him. Personal problems came to the fore and he was more prone to depression than usual. About The Conquest of Happiness, written primarily with the American market in mind, he remarked to the publisher Stanley Unwin: “I think they [Americans] mostly share Al Capone’s ideas of happiness, which are in a somewhat different vein from mine.”The book became a bestseller in America. Tim Phillips writes on business, technology, social change and innovation, and he has published more than a dozen expositions of other famous authors’ works. His book Bertrand Russell’s The Conquest of Happiness is a faithful tour through this Russell classic. Phillips provides a readable account of the original ’s lucid points. The treatment is certainly not pretentious or obfuscatory, as it abounds with examples of Russell’s points from contemporary pop culture. It features corroborating quotations from other authors and is salted with some results of modern surveys. Bertrand Russell’s The Conquest of Happiness has good reminders of the differences between the nature of Russell’s times and lifestyle and that of our own, the most notable being the absence during Russell’s day of a happiness industry. Nowadays, we are bombarded with “self-help” books “encouraging us to obsess about ourselves or manipulate others” (p. 9). Moreover, when Russell wrote The Conquest of Happiness, “the idea of an antidepressant pill was as likely as someone walking on the moon and the idea that people could ‘suffer from stress’ was thirty years into the future. For all... (shrink)

© The Author. Published by Oxford University Press on behalf of the Oxford Centre for Islamic Studies. All rights reserved. For Permissions, please email: [email protected] Fromherz has already written a very useful book on the Almohads, and he now attempts to set his work on their remarkable empire within a much wider setting, from the seventh century, when Islam reached the Maghreb, all the way to the fifteenth century, and in the entire western Mediterranean. His thesis is that we (...) should think of western Mediterranean civilization in the Middle Ages as a shared culture and experience, embracing the much-ignored history of what are now Morocco, Algeria and Tunisia alongside the study of Spanish, Italian and other histories, predominantly Christian. Close attention to the Christian shores of the western Mediterranean has, he avers, created a narrative of worlds apart: Christians on the northern flanks who had little in common... (shrink)

In this popular text, Joel Spring provocatively analyzes the ideas of traditional and non-traditional philosophers, from Plato to Paulo Freire, regarding the contribution of education to the creation of a democratic society. Each section focuses on an important theme: “Autocratic and Democratic Forms of Education;” “Dissenting Traditions in Education;” “The Politics of Culture;” “The Politics of Gender;” and “Education and Human Rights.” This edition features a special emphasis on human rights education. Spring advocates a legally binding right to an (...) education that includes an education in human rights. His argument is that until schools are required to fulfill a duty to protect human rights and teach others to protect human rights, government-operated schools will remain authoritarian rather than democratic institutions. Wheels in the Head: Educational Philosophies of Authority, Freedom, and Culture From Socrates to Human Rights, Second Edition , a critically original work, is widely used as a text for courses across the fields of philosophical, social, political, and historical foundations of education, and critical issues in education. Reflecting its global relevance, a Chinese translation was published by the University of Peking Press in 2005. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Works of George Santayana, volume IX, Winds of Doctrine: Studies in Contemporary Opinion ed. by Martin A. Coleman, David E. Spiech, and Faedra Lazar WeissKrzysztof (Chris) Piotr SkowrońskiEdited by Martin A. Coleman, David E. Spiech, and Faedra Lazar WeissThe Works of George Santayana, volume IX, Winds of Doctrine: Studies in Contemporary Opinion Cambridge, MA, and London, England: The MIT Press, 2023; 359 pp., incl.indexIt is not (...) merely a re-edition of Santayana’s book that is at stake here. This ninth volume of The MIT Critical Edition of The Works of George Santayana is a next step in showing us his vast output with extensive range, depth, and, most importantly, significant stimulation for our generation of scholars and non-scholars. Just to illustrate the scope of Santayana’s work: volume V of the present MIT Critical Edition, published in the years 2001–2008, consists of eight thick books with Santayana’s correspondence throughout seventy years of intellectual activity (around 3000 letters to roughly 350 recipients, William James, Josiah Royce, Bertrand Russell, Sidney Hook, Horace Kallen, B.A.G. Fuller, Hugo Münsterberg, among them), containing philosophical and cultural insights that substantially compliment the views he expressed in his published texts.The original idea of the MIT Critical Edition was to present the published and unpublished works, followed by an elaborate editorial apparatus. As we can read in the present volume, “The goal of the editors is to produce texts that accurately represent Santayana’s final intentions regarding his works while recording all evidence on which editorial decisions have been based” (p. 307). How complex and fascinating the whole project has been we can also learn from a recently published book by Herman Saatkamp, who edited the Santayana edition for twenty-six years (Charles Padrón and Chris Skowroński, eds., Herman J. Saatkamp Jr., A Life of Scholarship with George Santayana: [End Page 462] Essays and Reflections, Brill/Rodopi, 2021). As we can read in Saatkamp’s book (p. 139), the story goes back to 1976, when John Lachs, top Santayana expert, asked Saatkamp to write the National Endowment for the Humanities (NEH) and put forward a proposal for The Works of George Santayana. As the latest of its results today, we have the ninth volume just published, while future volumes are still being prepared for publication (twenty volumes are currently projected).More specific answers to questions: Do we need a critical edition to do this? Is it not enough just to publish the original volume anew? depend largely on the target audience. For those who are unfamiliar with Santayana, having in hand Volume IX shows that it is just a part, although an important part, of a much larger project, and Paul Forster’s lengthy introduction would be very helpful. Forster competently outlines Santayana’s work and life, and subsequently analyzes the book, chapter by chapter, so that we have a penetrating insight into its whole substance. Also, further down in the volume (pp. 303–306), we find a “Chronology of the Life and Work of George Santayana” that is informative to those unfamiliar with Santayana.I suspect that those audiences who are familiar with Santayana have been waiting for this volume impatiently. The original 1913 publication, by Charles Scribner’s Son (New York)—which itself was a collection of rather independent texts in the form of chapters—has been expanded with Santayana’s preface to the second edition, of 1926. Most importantly, however, the whole text (these two editions: 1913 and 1926) have been re-edited, revised, and corrected according to the criteria of a critical edition. Some terms, phrases, names, as well as other issues are explained extensively in a 140-page part entitled “Notes to the Text” (pp. 159–302). Some of these notes are instructive indeed, not only because they explain passages in the text, but also because they refer to other works by Santayana where he explains the issue at hand into more detail or from a different viewpoint. From these notes we learn much more about the ideas discussed and the figures to which Santayana refers in his reflections than we would by reading... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hegel's Value: Justice as the Living Good by Dean MoyarThimo HeisenbergDean Moyar. Hegel's Value: Justice as the Living Good. Oxford: Oxford University Press, 2021. Pp. 384. Hardback, $110.00.Hegel's Philosophy of Right is one of those texts that make it easy to miss the forest for the trees. On the argumentative journey from private property and punishment, via the "emptiness" of Kant's moral law to Hegel's vision of (...) a rational social order, it is easy to lose sight of the overall arch of Hegel's argument. Indeed, this kind of problem is confounded by an ever-growing literature on individual ideas and sections of the text (from Hegel's conception of agency to his argument for the market economy), which, while interesting and rewarding on their own, direct our attention to parts of his argument, rather than to the Philosophy of Right as a whole.Dean Moyar's new book is devoted to making us see the forest again—albeit while never leaving the trees out of sight. Indeed, to stretch the metaphor of forest and trees a little bit further, Moyar builds his ambitious endeavor on two new interpretative theses, which enable him to show us completely new paths through and clearings in the forest, bringing to light previously underappreciated aspects of the argument and adding refreshing new takes on the parts of Hegel's view that are already well known.The first of Moyar's two central theses concerns Hegel's methodology in his Philosophy of Right. Moyar maintains that the structure of the Philosophy of Right can be understood as a "teleologically inferentialist" account: the content of the norms of right is developed through use, where at each stage of the argument the content of those norms is refined by sublating previous failures of application. But while this Hegelian process is dynamic, relying on conflicts and their resolution, the process is—in contrast to some pragmatist forms of inferentialism—not open-ended: instead, or so Moyar convincingly argues, it leads to a point of inferential equilibrium as telos of the text (Hegel's vision of Ethical Life), in which some dynamism persists but further development of right is no longer necessary.This kind of interpretation, Moyar argues, has several advantages: it renders the methodology of the Philosophy of Right consistent with the method of Hegel's Logic, but it also provides us with a general template (which Moyar calls the "basic argument" [30 and passim]) on which to understand all the different transitions in the Philosophy of Right as structurally analogous, thereby showing Hegel to be both intertextually and intratextually consistent. Even more, using this basic argument as a template, Moyar puts himself in a position to generate interesting understandings of all the major and minor transitions in Hegel's text, focusing not merely on the most well-known (the transition from Morality to Ethical Life), but also on those that have traditionally received much less attention (such as the minor transition that leads from the contradiction between right [Recht] and welfare [Wohl] to the Good).The second of Moyar's two central theses concerns the importance of the concept of value to Hegel's project. Indeed, Moyar argues that even though the word 'value' (Wert) may not appear frequently in the published version of Hegel's lectures, the concept of value is at work everywhere in the text. Moyar, consequently, traces the presence of this concept throughout the Philosophy of Right, using it to understand many of the forbiddingly [End Page 327] difficult passages, from the dense section on the "Alienation of Property" early on in the part on Abstract Right, to Hegel's later views on the relationship between right and duty, his precarious theory of the "circulation of value" on the market, and finally his view of history at the end of the Philosophy of Right.In this way, Moyar extracts a rich interpretative bounty: he defends a heterodox reading of Hegel as a legal positivist, reconstructs a Hegelian doctrine of public reason, and argues against an "amoral" reading of Hegel's account of history. Most important, perhaps, is his interpretation of the relationship... (shrink)

Samizdat, the underground circulation of unofficial and forbidden literature in the Soviet Union, is an example of how censorship can backfire. Ideological restrictions produced walls of monotony in libraries and bookstores, propelling readers to search for more interesting fare. Sensitive texts on religion, philosophy, human rights, and current events, as well as literary works, passed from hand to hand clandestinely from around 1960 until censorship was abolished in the late 1980s. Von Zitzewitz's study is itself interesting fare, uncovering the workings (...) of samizdat as both a distribution network, comparable to that of print culture, and a social network that developed bonds between people who shared a defined purpose outside the public space. By no means did they all think of themselves as dissenters. For many people who lived ordinary Soviet lives, it was simply that “reading samizdat increased [their] individual feeling of freedom and represented a personal act of resistance.”One merit of this book is its point-by-point comparison of the samizdat distribution network to the print-culture production chain of author-publisher-printer-shipper-bookseller-reader. Samizdat had an analogous chain, in which a text made its way from author to reader through a network of people, each performing a specific function—procuring manuscripts, housing them, typing (or photographing) multiple copies, and delivering copies to readers. There were others who served as compilers, translators, collectors, and even editors and “librarians” (although accepting this designation requires abandoning the notion of a library as a stationary physical repository).Since all participants in the network strove to hide their traces from the prying eyes of the security police, samizdat researchers are hampered by a lack of records and evidence. To help fill the information gap, von Zitzewitz (in collaboration with Memorial's Gennadii Kuzovkin) designed a sixty-three-question survey targeting former samizdat participants and posted online in 2017. Tables display statistics (from the first 122 respondents) on demographics (respondents’ gender, place and decade of birth, and education level) as well as information on which authors, genres, and subject matter were most read. Other survey questions were designed to elicit recollections that help us understand what it felt like to participate in samizdat culture, whether as an author or reader, or in some aspect of acquisition or distribution. The many quotations from the survey responses bring to life the intensity of this activity. Receiving a sought-after text with an injunction to return it (or pass it on) the next day might mean reading all through the night to get through hundreds of pages. And while it is intuitive to think of samizdat as walled off from official culture, this study argues persuasively that they were intertwined. There were plenty of gray areas and fuzzy boundaries, too. One owner of samizdat books had several of them confiscated during a KGB search of his apartment, only to find them later for sale in a bookshop.Having begun as a clandestine, makeshift response to the institution of censorship, samizdat became more sophisticated over time, evolving into an institution itself. It arguably contributed to the perestroika reforms and became unnecessary when censorship was given the heave-ho. Subsequently, samizdat activists who had managed the covert production and circulation of entire journals published full accounts of their activity and the operation of their networks. Von Zitzewitz makes good use of these sources and shows admiration for the role these men played. She notes, though, that their detailed descriptions omit names of any of the typists who gave up their leisure hours and nightly sleep for the pleasure of hammering out multiple carbon copies of forbidden literature, usually for no pay. The word typist, given its lowly connotation in both Russian and English, is unfortunate. Typists were samizdat's printing press, and without their commitment and sacrifice the whole enterprise would have collapsed. Von Zitzewitz suggests that it may never have occurred to the samizdat heavyweights to acknowledge them by name. They were just... women. On the other hand, the menial typist designation had its upside. It seems to have resulted in a shorter prison sentence for at least one of them.Von Zitzewitz argues strenuously that samizdat was first and foremost a social network. If you wanted to get hold of, say, The Gulag Archipelago, you needed to know someone with the connections to help you get it. To call samizdat a social network is, of course, to wade into comparisons with today's online social media networks. Von Zitzewitz notes parallels, but she finds that the differences overwhelm the similarities. Samizdat was a social network, but one that depended on mutual trust. (shrink)

The Grolier Club of New York has been mounting exhibitions of books and prints since 1884, and many of them are recognized as landmark treatments of their subjects. Most of them have also been accompanied by published catalogs or related books. A recent instance was the exhibition, in the early months of 2021, drawn from Steven Lomazow's vast collection of American magazines, consisting of over eighty-three thousand separate issues from 1731 to the present. The substantial and profusely illustrated book that (...) has resulted is a welcome new survey of the subject, for it contains not only a record of the comprehensive exhibition but also fifteen essays written by Lomazow and seven other contributors (five chronological chapters, ten topical ones).The appearance of this book is an occasion for thinking about the status of magazines as research material. Although there is a considerable literature devoted to the history of magazines, they still do not always receive the attention they deserve. For example, author bibliographies generally give detailed physical descriptions of an author's books but simply list the magazine contributions. The illogic of this approach should be obvious, for magazines are printed matter, just as books are, and are thus subject to all the same complications. Two examples will illustrate how copies of supposedly identical issues can vary. In the nineteenth century, individual issues were often reprinted when the supply ran low, so that the publisher would be able to make up complete volumes for sale in a publisher's binding at the end of the year; these second printings were not labeled as such, but they could of course contain textual differences, both intentional and accidental. In the twentieth century, some American magazines had regional “editions” in which the text was shifted around in order to accommodate different advertising, keyed to local markets (the New Yorker is an example); as a result, page citations for a given contribution might not be the same in different copies (and cutting of text could also occur).The illogic of neglecting magazines has implications for biographical, as well as bibliographical and textual, study. There are many instances in which periodical publication was crucial for an author's career. It often provided an author's first public exposure and at any point in a career might have reached a larger audience than the books. Collectors, on whom preservation of the evidence initially depends, have been as guilty as bibliographers of slighting magazines. For instance, they have traditionally paid attention to anthologies that contain first book appearances of particular works (because they are “books”), without recognizing that issues of magazines are also anthologies (and frequently of more significance for promoting an author's reputation). Preservation relies also on institutional libraries to do their part; but (although “little magazines” now seem to be safe from further destruction) mainstream and mass-circulation magazines (both present and past) are continually being discarded by libraries in favor of digital reproductions. And reproductions are no more adequate as substitutes for the originals of magazines than they are for books, since they do not provide a basis for studying the unreproducible physical details that affect the reading experience and are essential for bibliographical research. Furthermore, since copies of a magazine issue can vary (just as copies of a book can), the number of copies that are preserved is a serious concern.These are among the considerations that make one glad to see Lomazow's book, for here is a collector who has focused on magazines for their own sake. Even though his book does not go into the matters I have raised, it can still serve to publicize the cause. One hopes that it, along with the wide attention his exhibition received, will stimulate appreciation of the importance of magazines in cultural history and the consequent need to collect and preserve them. (shrink)

continent. 2.1 (2012): 6–21. The French philosopher and novelist Tristan Garcia was born in Toulouse in 1981. This makes him rather young to have written such an imaginative work of systematic philosophy as Forme et objet , 1 the latest entry in the MétaphysiqueS series at Presses universitaires de France. But this reference to Garcia’s youthfulness is not a form of condescension: by publishing a complete system of philosophy in the grand style, he has already done what none of (...) us in the older generation of speculative realists has done so far. His book is sophisticated, erudite, rigorous, imaginatively rich, and abundant in worldly wisdom– despite the author’s conclusion that wisdom does not exist. The quality and scope of Forme et objet took few observers by surprise, since Garcia has been treated as an emerging philosopher to watch across half a decade of Parisian oral tradition. But Garcia was not just the subject of rumor, being already well known to the French public as a writer of fiction. His debut novel, La meilleure part des hommes , 2 was awarded the 2008 Prix de Flore 3 and has already appeared in English as Hate: A Romance . 4 His follow-up novel, Mémoires de la jungle , 5 made clever use of a chimpanzee narrator. Nor was Garcia only published as a novelist before last November: his philosophical study L’Image 6 had already appeared when the author was just twenty-six, a year before he was crowned by the muses at the historic Café de Flore. And then in 2011, just months before the appearance of Forme et objet , Garcia published a widely distributed work entitled Nous, animaux et humains , 7 with its focus on Jeremy Bentham’s ideas about animals. Given this prolific and versatile track record, an optimistic scenario might envisage the young Garcia as one of those combined literary/philosophical talents who appear intermittently in France across the centuries: Jean-Paul Sartre is merely the most famous recent case. While more time is needed to see how Garcia will channel his impressive mental energies, Forme et objet displays such breadth of insight that its author has a good chance to emerge as one of the leading philosophers of his generation. If we accept Aristotle’s dictum that the peak mental age is fifty-one, then to read Garcia’s massive book is to gain some idea of what European philosophy might look like in the futuristic-sounding 2030’s. The present article is confined to Forme et objet . At 486 pages, the work is obviously daunting in size. Indeed, it is even longer than it sounds, given that many of its early sections are printed in a smaller typeface to designate them as supplemental commentary to the main flow of the argument. But while the length of the book reportedly led to delays in French publication, and will probably slow the inevitable appearance of an English translation, the length of the book should not deter interested readers– much of it results from Garcia’s teacherly writing style. Whereas Quentin Meillassoux’s prose displays an arctic economy of means, Garcia’s style is reminiscent of the repeated lessons of oral classroom proceedings. Rarely is the reader given fewer than three or four chances to master an idea before the author moves on to the next. In practice, the style feels welcoming rather than long-winded. Otherwise, the structure of Forme et objet is surprisingly simple. There is a useful Introduction of less than twenty pages. Then comes Book I: Formally , running to approximately 135 pages. Here Garcia outlines the most basic features of a thing “no matter what it is,” or n’importe quoi , an everyday phrase that Garcia shapes into a technical term. This part of the book feels at times like a more amiable version of Hegel’s Science of Logic , a parallel emphasized further by the threefold articulation of its theme: 1. Thing; 2. Thing and World; 3. Being and Understanding. This is followed by the much longer Book II: Objectively , totaling more than 300 pages. It contains sixteen essay-like meditations on specific kinds of objects—including time, animals, humans, history, gender, and death. Here each chapter rolls smoothly into the next, making this second part of the book feel more like a different work of Hegel: The Phenomenology of Spirit . But these are merely analogies. Garcia is no Hegelian, even if the book contains a few dialectical flourishes that seem to reflect his early enthusiasm for the Frankfurt School. Forme et objet ends with a six-page Coda, followed by the usual page of acknowledgments. In what follows, I will briefly summarize each of these four parts of the book before ending with some more general remarks. Before doing so, it will be useful to situate Garcia biographically (as much as I am able) and philosophically. Though Toulouse is his native city, his formative years were spent largely in Algeria, where his family has deep roots. During our sole private conversation, Garcia mentioned that his parents are professors of literature. 8 As a student of philosopher Garcia flourished so early that many of his current ideas date to his teenaged years: “There are sentences in Forme et objet that I wrote when I was seventeen,” he said in response to a question on that cold night on the Canal St.-Martin. I recalled that remark when reading his brilliant account, late in the book, of the central role of adolescence in contemporary culture. While many prodigies blow through their formal academic training without serious obstruction, Garcia’s student memories are rich in tales of isolation and struggle, though equally rich in gratitude for a half-dozen or so exceptional teachers who provided the intellectual space he needed: Meillassoux and Alain Badiou are simply two of the most prominent figures on that list. Though there are many points of agreement between Garcia’s philosophical position and my own, he not only reached his position years before reading my work, 9 he arrived along a rather different path: not through phenomenology, but via the Frankfurt School, which may be one of the reasons for his profound fascination with aesthetics. Garcia’s cultural background is as broad as one could wish: he is no less informed about punk rock and European football leagues than about the spiritualist roots of Bergson’s philosophy. Curious about everything and contemptuous towards nothing, Garcia can be expected to write insightfully on dozens of topics in the years to come. Given that his philosophy is so personally tantalizing in its agreements and disagreements with my own, and given the great internal richness of Forme et objet itself, the present review is no better than a first effort at coming to terms with the challenges posed by this minstrel from the rising generation. This is especially intriguing for older Generation X’ers like me, since confrontation with the younger generation is one of the many themes treated insightfully in Garcia’s book. 1. Introduction Garcia begins in defense of a so-called “flat ontology,” in which all things are equally things. While Roy Bhaskar 10 used this term pejoratively to refer to anti-realist philosophies that flatten everything onto an epistemic plane of human access, Manuel DeLanda 11 (an admirer of Bhaskar) reversed it into the positive principle that all realities are equally realities. Similar notions can be found in the “absistence” of Alexius Meinong, 12 the “irreduction” of Bruno Latour, 13 and my own critique 14 of the undermining/overmining pair. Also noteworthy is Levi Bryant’s use of the term “flat ontology” throughout The Democracy of Objects 15 and his earlier essay “The Ontic Principle.” 16 But for Garcia, flatness is only one face of the cosmos, and one that he ultimately declares to be rather impoverished. Even so, he always remains an advocate of a flat ontology. Insofar as everything is equally something, no matter what it is ( n’importe qui ), everything is equally a thing, equally solitary in its relation with world. This is why his book abounds in those long lists of random, ontologically equivalent entities that Ian Bogost has playfully termed “Latour Litanies.” 17 The first litany in Garcia’s book runs as follows: “We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things.” (7) Yet Garcia is frankly dualistic; his flat ontology only lasts until page 159 and the end of Book I (entitled “Formally”), which deals entirely with things that are equally things. Thereafter Garcia turns his attention from things to objects, which are not flat in the least, but engage in hierarchical relations with one another. In agreement with both DeLanda and the speculative realists, Garcia proclaims that his book “proposes to put to the test a thought about things rather than a thought about our thought about things .” (8) Just as ducklings are “imprinted” (9) after hatching and treat the first creature they see as their mother, philosophers are imprinted by the idea with which they begin. Hence, philosophies that begin with human access will never truly find their way back to things. This makes Garcia rather suspicious of twentieth century philosophy, since “the twentieth century—to which in some way this work proposes to bid adieu—has been a period of theorizing modes of access to things rather than things...” (9) Among other possible benefits of the philosophy of things that Garcia proposes, it is fully able to account for thought as a special variant of things, while the reverse is not possible.(10) In Book I of Forme et objet , Garcia’s “things” are so flat, so de-determined, that he is forced to renounce some of the most basic features ascribed to things by most realists. As he tells us in his foreboding third footnote: “We will maintain that the solitude [of things] is less than unity, less than identity, and that it does not imply acceptance (any more than refusal) of the principle of non-contradiction.” (11) In a contemporary world cluttered with too many things, Garcia’s flat and formal plane provides us with some breathing room: “The formal plan of thought enables or re-enables us to cut short all accumulation—whether of knowing, experience, or action—by a simplicity, an impoverished surface...” (13) As Garcia says elsewhere in responding to a Deleuzian critic of the book, his starting point in flat ontology is designed to obstruct the claims of both analytic philosophy and Hegelianism: “Hence, this work seeks to protect each thing—real, imaginary, inconsistent, contradictory—both against Ockham’s Razor and against the Aufhebung or dialectical process.” 18 Yet contrary to the equalizing spirit of many flat ontologies, “we will add to our formal ontology of the equal, an objective ontology of the unequal.” (13) But initially, Garcia joins all flat ontologists in holding that everything is irreducible: “this irreducibility, which we will term the ‘chance’ of each thing... also marks the refusal of a positive thought that reduces things exclusively to natural things, or social things, or historical things, etc.” (15) This irreducible “chance” of a thing emerges as an important technical term in the book, always paired with its inverted brother, the “price to pay” ( prix à payer ). On pages 17-19, we find the only diagrams in the book. What they illustrate is that Garcia wishes to avoid two equally dangerous extremes. The first is the philosophy of substance, featuring the thing-in-itself as a mighty river fed by attributes as if by subordinate tributary streams. This model can be found in many of the classic thinkers of West and East alike. In it, “there is obviously a hierarchization between that which is dragged towards something other than itself, and this other which serves it as an ontological support while supporting its proper being.” (16) For Garcia, the second extreme worth avoiding is the philosophy of events: “One thus conceives trajectories of being, identified as events, facts, powers, intensities, or intentionality. These vectors of being come first, bearing and supporting being, displacing it, but without ever finding a stopping point, a buffer, an objective consistency.” (17) The first model gives us a thing too wrapped up in itself, too compact . This word “compact” (the French and the English are the same) is another technical term for Garcia. But if the “compact” model of things leads us to something more than things, the philosophy of events gives us less than things, by dissolving them into a play of vectors. Garcia’s alternative lies midway between these two extremes: Being enters the thing, being comes out of it. And a thing is nothing other than the difference between the enters and the being that comes out. Thus, the circuit of being is never halted. In the thing, there is never the thing-in-itself. And the thing is never in-itself, but outside of itself. Nonetheless, being is not eventally “pollinated” by vectors: it possesses an objecting halting-point... (19) This single idea is the key to Garcia’s book: the thing is neither a self-contained durable lump nor some sort of evental flux. Instead, the thing is the difference between its various components and its relations with its environment. Or stated differently: “the price to pay for this disposition is a circulation of being that systematically distinguishes two senses of things: that which is in the thing , and that in which the thing is , or that which encompasses it and that which it encompasses,” (19) translating comprendre here as “encompass.” 19 In a beautiful description of a piece of black slate, Garcia sums up the various minerals, qualities, and shapes that compose [ comprend ] it, and calls them “that which is in the thing,” (20) noting that this tells us nothing about “that in which [the slate] is”—namely, all the various situations in which the black slate can be found. Instead, the slate is the difference between these two: the most characteristic principle of Garcia’s philosophy. 2. Formally Book One of Forme et objet , “Formally,” is concerned with the formal equality of all things in a flat world. “Two questions mark the boundaries of reflection: of what is everything composed [ composé ], and: what do all things compose?” (27) Looking downward, we wish to know what everything is made of; looking upward, we want to know the ultimate result of the combination of all things. Here we must turn our attention to the thing n’importe quoi— no matter what it is. (30) Anything with finite qualities is obviously too specific to be relevant to global ontological questions. To an equal degree, something possessing all qualities (think of Whitehead’s God) 20 would not be n’importe quoi either, since it would still be too definite, even if incredibly vast. The same holds for contradictions, since these all differ from each other. The square circle, the non-white black white, and the non-city city are all too distinct to count as the thing no matter what it is. The n’importe quoi must be devoid of all specific qualities, including contradictory ones. In one of the more intriguing points in his book, so reminiscent of Meinong, Garcia proclaims that “the ‘no matter what it is’ is neither a reality nor an abstract construction, nor both of these at once; the ‘no matter what it is’ is simply the plane of equality of that which is real, that which is possible, that which is inexistent, that which is past, that which is impossible, that which is true, that which is false, that which is bad.”(39-40) Since everything has two faces, it would be a grievous mistake to focus on just one of them at the expense of the other, as physicalism or materialism do when reducing the world to minuscule physical underpinnings. For scientistic materialism, “it is either atoms, particles, or fields of force... which are the things.” (47-48) Moreover, “these more-than-things are accompanied by less-than-things: for example, ideas or facts of consciousness are determined by the state of matter and are not autonomous things, but manifestations reduced to secondary effects of material processes...” (48) On this point, Garcia’s position is in complete accord with my own critique of undermining and overmining. 21 Where we disagree is that Garcia is more deeply suspicious of the notion of substance, which I view as salvageable with a few needed changes, while Garcia sees this operation as hopeless: “A substance, in the history of philosophy, is the more-than-thing par excellence.” (51) Another agreement between our positions is visible when Garcia claims (correctly, in my opinion) “that it is vain to distinguish between things which are material and those which are not.” (52) Yet we also find an even more important disagreement, since for Garcia withdrawal cannot be the quality of a thing. Instead, the absence of a thing is simultaneous with it, embodied in all that is not it– the absence of the sculpture of a woman is to be found in the mold that appears at the same time as it, and thus withdrawal must be viewed as an “event” rather than as something pertaining to an object. For Garcia, nothing withdraws beyond access. Since we must distinguish between “that which is something” and “that which something is,” and since the former is identified with “no matter what it is is” and the latter with “ not no matter what it is,” we can say that “everything is thus a milieu, a fragile link between ‘no matter what it is’ and ‘ not no matter what it is.’” (62) And here we find Garcia’s critique of the thing-in-itself: “A thing is never defined en bloc . We can affirm that a thing is this or that, but that does not suffice. It is still necessary to state precisely that which is this thing .” (62) Stated differently, “something is not in itself : for that which is in the thing is not the thing, and that in which the thing is is not the thing.” (62) And here Garcia and I, facing the same evidence, draw opposite conclusions. For me, the fact that nothing can be identified with either its components or its concrete location means that the thing must be something in-itself distinct from both of these. Yet for Garcia, to be in-itself would mean to be identified with just one of these two extreme terms, and hence the thing can only be the difference between them. Garcia is equally suspicious of the classical tendency to view “unity” as a property of the thing, since in his eyes unity is too relational a property to belong to things. (65) While specific things are situated determinately with respect to other things, we are still speaking here about the thing no matter what it is, and this can be viewed only in terms of solitude, which all things share: a human being, a hand, or a chair or all equally things insofar as they are on their own , not insofar as they are one . (64) A thing is alone, and relates only to the one thing that is not another thing: world. In a striking parallel to my own argument for a partial revival of occasionalism, Garcia tells us that “the things communicate only by their solitude: it is because everything is equally on its own in the world that things can be together, enmeshed in one another.” (67) Alone in their solitude, things all relate to world, which serves as a mediator allowing them to become mixed up in one another. As we have seen, one reason that nothing can be in itself is because everything is in something else. For Garcia, “to be in something and to be something are equivalent.” (69) Stated more broadly, “being is thus the difference between the two aspects of each thing: that which is it, and that which it is.” (70) And even more vividly: “a thing is almost like a sack: there is that which one puts in the sack and that which remains outside the sack.” (70) But not quite like a sack, “since a thing is not a thin skin or film. Instead, a thing is comparable to a sack that is immaterial and without thickness: it is nothing other than the difference between that which is this thing and that which thing is, between content and container.” (71) Nothing can be in-itself because everything is two selves at once. For example, we cannot say that our self is defined by our consciousness: “Everything has a self because nothing is in itself. The self is not the quality of that which is related to itself (which is conscious, for example) or which thinks itself related to itself. Nonetheless, for an entity called ‘conscious’ to be related to itself, it is necessary that this very relation should be another thing than the self to which it is related.” (71) Consciousness cannot be the self, precisely because it is other than that of which it is conscious. Nothing is able to grasp itself. The self is “the function by which being and composition [ compréhension ] are mutually excluded...” (72) The self is “the point of shadow of everything that projects some light...” (72) The in-itself faces two opposite dangers: “For something to be in-itself is to be a self. Something which is a self flies out through one of its two sides... Stated differently, being in-itself is simply the possibility of a double failure.” (73) The in-itself can be termed compact : “There remains to us a means of thinking that which does not fully enter into the world, though without exiting from it. This means is what we call the compact.” (76) In a sense, the compact is the opposite of the world. For in the case of the world, everything enters it and it enters nothing; as for the compact, it enters the world (since it is something, after all) while nothing enters it. (77) The compact marks the presence of the impossible in the world. (78) It is not impossible, but possible only on the condition that it fails. (78) The time has come to speak of where a thing is located. “The sole condition of a thing is that of being in another thing than itself, and thus in another thing than something.” (78) A condition is “that which determines something, that which forms something, that in which something is.” (78) As for humans, “the condition of someone is his situation; my social condition is that which socially determines me, my place and my function...” (79) More generally, “to be conditioned is to find oneself reduced to that in which one is.” (79) Everything is conditioned, but nothing is reducible to this condition. To determine the condition of something is to determine in what it is. A thing is located in that which contradicts it, just as a statue exists in its mold, which is precisely that which it is not. Since the thing is finite and definite, its condition or form must be infinite and indefinite. That in which all things are is the world, which Garcia also terms “the whole.” (81) “To try to be in-itself is to attempt to remain outside the world. And indeed, to try to be in-itself is only a path of entry into the world.” (83) For Garcia, “the world is not the pre-existent container of the things it contains, a priori , nor the construction by the mind of a fictional ensemble of all things, a posteriori .” (85) Instead, the world is simultaneous with all things; the two always go together. The world cannot be a determinate world, such as the physical universe or mathematical space, since these are already too specific and limited. “Every determinate world, which is in fact a universe , is a ‘big thing’ [ grosse chose ]: it is a set, however vast, of composite things which itself embodies a thing.” (85) Every determinate world is really just a “big thing.” Stated differently, “it is nothing other than a balanced milieu between the things that compose it and the thing that it composes.” (85) We generally picture the world as a physical univer. (shrink)

The second volume in a trilogy advancing a systematic philosophical theology, this book explores the realities of human existence articulated by religion. Religion, writes Robert Cummings Neville, articulates existential predicaments and provides venues for ecstatic fulfillment. Like its companion volumes treating ultimacy and religion, Existence advances a systematic philosophical theology to address first-order questions found in the array of Axial Age religions. Issues arising in the major religious traditions are explored through a complex array of philosophical approaches. This second volume (...) shows religion to be the engagement of ultimate realities common to all human beings. Neville finds five problematics relative to ultimate boundary conditions of the human world: the contingency of existence, living under obligation, the quest for wholeness, engagement with others, and the meaning or value in life. Common to all human beings and hence “religion,” the engagement with realities is also historically and culturally bound, becoming simultaneously socially constructed “religions.” Readers will find Neville’s philosophical theology both bold and enlightening, running counter to dominant intellectual trends while richly informed by a long and fruitful engagement with theology, philosophy, and religion, East and West. Robert Cummings Neville is Professor of Philosophy, Religion, and Theology and Dean Emeritus of the School of Theology at Boston University. He is the author of many books, including Realism in Religion: A Pragmatist’s Perspective; Ritual and Deference: Extending Chinese Philosophy in a Comparative Context; and Ultimates: Philosophical Theology, Volume One, all published by SUNY Press. (shrink)

In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCE “CRUISING IN (...) THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITY” SEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printer’s year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymen “a good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnal’s Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. STAGE NOTES AND/AS/OR TRACK CHANGES: INTRODUCTORY REMARKS AND MAGICAL THINKING ON PRINTING: AN ELECTION AND A PROVOCATION Isaac Linder “Of course most people don’t think of editing/publishing as theatre but as something boring or parasitical (vis-à-vis a ‘source’ text), a textual backwater populated by people with glasses. But I think publishing a book today is theatre, socially networked theatre…. Facebook and Flickr are our era’s administered and generic version of sixties happenings!” — Tan Lin 1 ELECTING A MASCOT: THE BARNACLE GOOSE After pitching the idea for this panel with the editorial help of my continental cohorts I became fascinated with the image of the goose—dead and roasted as it may be—and its relationship to the space of the printing press. For a long while after proposing this gathering I was seriously under the sway of delusions of grandeur, imagining that we might roast a goose (or goosefu) and, preparing a meal as one prepares a text for publication, feast in something approaching a warm and well-nourished revelry. I should note, by way of introduction, that a substantial part of my undergraduate experience involved learning to typeset and work as a devil, as typesetters mischievously call it, in a letterpress studio. This accounts in part for my fascination and helps to explain the fact that, when I began to leaf around in medieval beastiaries in lieu of being able to procure a goose, I was almost immediately struck by a fantastic monster that I hereby elect to be the mascot for our so-called para-academic practice(s) the relatively famed, but no less fabulous for it, barnacle goose. The barnacle goose is a creature that first makes its way into 12th century manuscripts with Giraldus Cambrensis in 1186. Phenomenologically speaking the monster is a tree, a tree which, when approached closer is seen to be birthing geese budding from the buds that hang like ripe fruit from its branches. As the story goes these trees were found over water; the fledgling geese, once wrested from their pods would take off in flight or fall to their watery death, where they would be transformed into driftwood. In retrospect we presume the barnacle goose was posited as a consequence of the fact that geese born in more northern regions, migrating to Ireland and western Europe at large, were never seen to give birth. And I should note that this is far from the only other animal posited to be born from trees at around this time, my other favorite being medieval accounts of Moroccan tree-climbing goats. 2 In particular I’ve thrown up the mascot of the barnacle goose and singled it out from the quires of its beatiaries because its thoroughly hybrid origins lead us to name two very real creatures we can find point to in abundance; discrete materialities of the world cobbled together in textual fancy: on the one hand, the modern day barnacle goose , a common species of goose and, on the other, goose barnacles , a particular type of crustacean with incredible feathery tendrils and—I can't help but mention—one of the largest body mass to penis size ratios of all of the animals in the kingdom. Why is this bit of genital trivia relevant? Because they’re all hermaphroditic and in rare cases have been found to reproduce just with themselves—to inseminate themselves and give birth to their kin. So I think it must be stressed, as a symbol for what we’re really here to talk about, it's not a boy’s club thing so much as a very queer thing and, I contend, para - in every perfect sense of the word... Alongside the natural world, a monstrous imaginary concatenation; Alongside the hulls of so many institutional structures, funding sources and resources, Serresian parasites in all manner of mutualist, symbiotic, or properly parasitic positions; migratory and adrift; The tree, center stage in the 21st century adaptation of Waiting for Godot that is unraveling in ateliers across the world, is a barnacle goose birthing a flurry of miscegenous texts beyond medium and genre. PROVOCATION 1: CHAOSMOSIS “Genre is obsolete.” — Ray Brassier 3 And so, here I was getting carried away in daydreams about this generative and genealogical symbol under which to think all of the diverse projects we are all involved in as architects of the dressed word, (well dressed, bespoke, mansy, butch, careless, or roguishly punk attired as those words may be), when it also dawned on me, mid-flight here from Denver, that we are, even in lieu of being able to roast geese together, very much so literalizing what was never just the metaphor of the wayzgoose—a tradition, as you know, celebrated to mark the crepuscular turn into fall—as we are poised here, tomorrow being the first official day of fall on our calendars in the US marking the seasonal change from at which point it will no longer be possible to print without the aid of candlelight. A beautiful thought, that tipped into magical thinking on account of a little quick math I was able to do to come to the conclusion that we can all be delighted to know that as we proceed into the autumn with our printing projects always ahead of us and still to be set, we will tonight be bathed not only by the artificial candlelight of our screens, but also in part by photons raining down on us at 186,282 miles per second—photons from an aspect of 9 cyg, a stereoscopic binary deep within Cygnus, the swan but not-so-distant-relative of the goose, with a distance of 572 Light years away; photons that are raining down on us, will rain down on us all winter, have been raining down on us all year, and which had their origin in the combustion cores at a center of 9 cyg 572 years ago, in 1440, the year which we point to today as the common year in which, as we all know, Gutenberg is said to have brought the movable type to the western world, inaugurating an era that stretches farther into the past and future than McLuhan could justify; the proliferation of so much ambient text; insurrectionary coups on (and re-crystallizations of) genre—perceived amidst so much ambient light—enveloping this campus, just now. So, with that thought, and perhaps a new mascot, Nico Jenkins... NOTES “ Writing as Metadata Container, An Interview with Tan Lin ,” Chris Alexander, Kristen Gallagher, Danny Snelson, Gordon Tapper, Tan Lin, Jacket 2. January 20, 2012. To explore Lin’s notion of ambient textuality, plagiarism, and parallel, cross­platform publication in the 21st century, also see Lin’s sampled novel, “ The Patio and the Index ,” Triple Canopy 14, October 24, 2011, as well as the Edit event, organized at the Kelly Writers House at the University of Pennsylvania, April, 2010 . For a fascinating and fecund exploration of medieval plant­animal hybrids in relation to media ecology, see Whitney Trettien, “ Becoming Plant: Magnifying a Microhistory of Media Circuits in Nehemiah Grew’s Anatomy of Plants (1682) .” postmedieval 3.1 (2012):97. See also the crowd­review version of the essay. “ Genre Is Obsolete .” Compléments de Multitudes . 28 (2007). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 187-191 [Access article in PDF] Book Review Memory, Identity, Community: The Idea of Narrative in the Human Sciences Memory, Identity, Community: The Idea of Narrative in the Human Sciences. Ed. Lewis P. Hinchman and Sandra K. Hinchman. Albany: SUNY Press, 1997. Pp. 393. $59.50, cloth; $19.95, paperback. According to its editors, the point of this anthology of previously published essays is to "illustrate (...) the ways in which 'narrative' has been used as an organizing concept in the human sciences over the last few decades" (ix). They argue that a "paradigm shift" is occurring in the human sciences, "one that leads away from nomological models and toward a more humanistic language and approach, in which narratives are central." Accordingly, the collection features essays about narrative written by authors who represent fields as disparate as philosophy, history, sociology, anthropology, psychology, religion, law, gender studies, political science, speech communication, and environmental studies. The collection reprints a few essays that are well known within the humanities. For example, the Hinchmans include an excerpt from Alasdair MacIntyre's After Virtue (1981), as well as Gertrude Himmelfarb's often-reprinted attack on social history, entitled "History With the Politics Left Out."As their title indicates, the editors divide their collection into three sections entitled "Memory," "Identity," and "Community." Their rationale for this division is that memory serves humans as a narrative stream that makes sense of the otherwise inchoate data given by experience. The narrative structured by memory produces what the Hinchmans call identity. Identity in its turn is influenced by narratives that circulate in the communities in which an individual exists. This collection aims to demonstrate that narrative plays a fundamental role within all three of these conceptual categories. The Hinchmans put it this way: As historians, social scientists, or (for that matter) prophets and bards weave narratives of the second order--stories that connect the individual mind to the social world--they create artifacts that soon take on a life of their own. These stories, told and retold, furnish the stock from which individual life narratives can be constructed. In other words, the story of an individual life usually plays off of one or more historically and socially transmitted narratives, which serve as prototypes of the elaboration of personal identity. Narrative theory is thus always implicitly a theory of how communities are formed and maintained, and how individuals are drafted into available social roles. (xxii-xxiii) [End Page 187]Each of the three major sections contains one or two theoretical essays, as well as two or three more that consider ways in which the concepts of memory, identity, and community play out in specific disciplinary contexts. For example, the section on community is introduced with MacIntyre's meditation on the relation of narrated selves to communities. It contains a theoretical essay by Edward M. Bruner on the malleability of community narratives, entitled "Ethnography as Narrative," and Walter Fisher's "Narration, Reason, and Community." Philip Abbott examines the use of narrative in political theory in an essay entitled "Storytelling and Political Theory," while Jim Cheney demonstrates the fruitfulness of communal narrative to environmental rhetoric in "Postmodern Environmental Ethics: Ethics as Bioregional Narrative." (Cheney's is the most intriguing piece in the collection).The editors introduce each section of the collection with brief essays that raise interesting questions. For example, introducing the section called "Memory," they ask: "Is the past something that can be reconstructed, on the basis of memories, or can it only be constructed?" and "Is there such a thing as prereflective, prenarrative, unemplotted experience, or does all experience possess at least an implicit narrative structure?" (1-2). Two of the essays collected under this head, David Carr's "Narrative and Real World: An Argument for Continuity" and Stephen Crites's "The Narrative Quality of Experience," are theoretical attempts to answer these questions. Other essays in this section investigate the role played by memory and narrative in the construction of specific discourses. W. Lance Bennett examines the role played by storytelling in criminal trials, and Misia... (shrink)

The origin of paraconsistent logic is closely related with the argument, ‘from the assertion of two mutually contradictory statements any other statement can be deduced’; this can be referred to as ex contradictione sequitur quodlibet (ECSQ). Despite its medieval origin, only by the 1930s did it become the main reason for the unfeasibility of having contradictions in a deductive system. The purpose of this article is to study what happened earlier: from Principia Mathematica to that time, when it became well (...) established. The two main historical claims that I am going to advance are the following: (1) the first explicit use of ECSQ as the main argument for supporting the necessity of excluding any contradiction from deductive systems is to be found in the first edition of the book Grundzüge der Theoretischen Logik (Hilbert, D. and Ackermann, W. 1928. Grundzüge der Theoretischen Logik. Berlin: Julius Springer Verlag); (2) Łukasiewicz's position regarding the logical constraints against contradictions varies considerably from his studies on the principle of (non-) contradiction in Aristotle, published in 1910 and what is stated in his `authorized lectured notes' on mathematical logic that appeared in 1929. The two texts are: 1) a paper in German (Łukasiewicz, J. 1910. `Über den Satz des Widerspruchs bei Aristotles'. Bulletin International de l'Académie des sciences de Cracovie, Classe d'Histoire et de Philosophie, pp. 15–38) [English translation: Łukasiewicz, J. 1971. ‘On the principle of contradiction in Aristotle’, Review of Metaphysics, XXIV, 485–509]; and 2) a book in Polish. Łukasiewicz, J. 1910. O zasadzie sprzecznosci u Aristotelesa Studium krytyczne, Warsaw: Panstwowe Wydawnictwo Naukowe [German translation: Łukasiewicz, J. 1993. Über den Satz des Widerspruchs bei Aristotles. Hildesheim: Georg Olms Verlag]. The lecture notes were then published as a book (Łukasiewicz, J. 1958. Elementy Logiki Matematycznej. Warszawa: Panstwowe Wydawnictwo Naukowe [PWN] and then translated into English (Łukasiewicz, J. 1963. Elements of Mathematical Logic. Oxford, New York: Pergamon Press/the Macmillan Company). The second half of this article will concentrate on Łukasiewicz's position on ECSQ. This will lead me to propose that to regard him as a forerunner of paraconsistent logic by virtue of those early writings is accurate only if his book published in Polish is considered but not if the analysis is restricted to the paper originally published in German (as has been the case for the principal reconstructions of the history of paraconsistent logic). Furthermore, I will stress that in the 1929 book he presented one formalization of ECSQ as an axiom for sentential calculus and, also, he used ECSQ to defend the necessity of consistency, apparently independently of Hilbert and Ackermann's book. At the end, I will suggest that the aim of twentieth century usage of ECSQ was to change from the centuries-long philosophical discussion about contradictions to a more ‘technical’ one. But with paraconsistent logic viewed as a technical solution to this restriction, then, the philosophical problem revives but having now at one's disposal an improved understanding of it. Finally, Łukasiewicz's two different positions about ECSQ open an interesting question about the history of paraconsistent logic: do we have to attempt a consistent reconstruction of it, or are we prepared to admit inconsistencies within it? (shrink)

Re-reading Mary Wollstonecraft’s A Vindication of the Rights of Men (1790) in the context of the international politics after the start of the French Revolution in 1789 and before the rise of the Haitian Revolution in 1791 leads to three discoveries in the history of European ideas. First, her reply to Edmund Burke’s Reflections on the Revolution in France was advertised, discussed, and rumoured to be the work of a woman in London papers days earlier in November 1790 than previously (...) documented. Second, Wollstonecraft’s first known instances of public reception beyond Britain were in a major Jamaican newspaper from January to March 1791. Thirdly, and most notably, in February 1791, the Kingston Daily Advertiser published a lengthy excerpt from her Rights of Men that called for the abolition of slavery and the realization of justice for the poor and oppressed. Long before Hegel probably developed his master-slave dialectic in response to journalistic accounts of the independence of Haiti in 1804, there was Wollstonecraft’s actual reception in the international news in Jamaica, amid the spread of reports of the rise of slave unrest in the broader post-revolutionary Caribbean. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructive Criticism: The Human Sciences in the Age of TheoryWilliam BywaterConstructive Criticism: The Human Sciences in the Age of Theory, by Martin Kreiswirth and Thomas Carmichael; 223 pp. Toronto: University of Toronto Press, 1995, $45.00 cloth, $17.95 paper.This book contains twelve essays based on papers presented at “The Human Sciences in the Age of Theory” conference sponsored by the Center for the Study of Theory and Criticism (...) at the University of Western Ontario and held at the University in 1993. Versions of six of the essays are published elsewhere.In After Virtue Alasdair MacIntyre offers the choice of Nietzsche or Aristotle. Authors in these essays offer a far greater variety. For Christopher Norris it’s Nietzsche or (late) Foucault, for Tilottama Rajan its Nietzsche and Lacan or Hegel, for Martin Kreiswirth and Gary Wihl (in separate essays) its Nietzsche or narrative, and for L. M. Findlay its Nietzsche or Ricoeur and narrative. This range of options reveals the extent to which these authors are attempting to escape the cul-de-sac created by the skeptical and nihilistic dimensions of Nietzsche which appear in deconstruction and postmodernism. “Constructive criticism” is an apt title for these essays. As a group they struggle to offer a way of understanding the complexities involved in resisting dominating discourses, while not giving in to despair or skepticism or nihilism.Diane Elam observes that “the age of theory begins when theories fail, when no single theoretical discourse is possible any longer.” The variety of alternatives to Nietzsche listed above is one manifestation of the truth of Elam’s claim. A second is the fact that none of these authors proposes wholesale adoption of the thinker who is being contrasted with Nietzsche. Each is selecting certain specific dimensions of the thinker’s position to be used to maintain contact with the complexity which they sense in the world around them.A third and more profound recognition is that these authors are not proposing their choices in the same spirit as MacIntyre [End Page 268] proposed his. The meaning of “either/or” is shifting. MacIntyre’s opposition between Nietzsche and Aristotle opposes two systems the latter of which represents a way to keep safe from the danger of moral chaos contained in the former. MacIntyre’s either/or contains this sense of opposition which is also a sense of salvation, of protection from having to grapple with things that are confusing, messy, dangerous. In the age of theory when theoretical discourse becomes impossible we can no longer be protected. “Either/or” shifts polarity. It no longer means my position will trump yours: it now means “either closed theoretical discourse or complexity and multiplicity.” The authors in Constructive Criticism choose complexity and multiplicity because to choose closed theoretical discourse is to choose insensitivity to all sorts of injustice.Heterogeneity is the watchword of all the authors in this volume and many of them see narrative as the mode of access to multiplicity. Kreiswirth argues that the meaningfulness of narrative depends on overdetermination and “complex accumulations and conjunctions of desire.” Little narratives, not master ones, are best able to show complexity. Findlay urges the use of metaphor to keep us in a place between the center and the margin. Wihl uses Rorty, Kundera and Nussbaum to underline “the moral significance of detailed, richly descriptive vocabularies” in contrast to the ascetic language of philosophy which does not permit the irony required for “perspicuity in the areas of ethical conflict and competing social agendas.” However, Victor Li is not at all happy about Rorty (or Habermas) both of whom, in criticizing others, appeal to “modernity’s own totalizing view of itself” instead of possessing, as they should, a sense of “the complex cultural logic of the in-between, of cultural hybridity and exchange.”However, there are two authors who—happily, I must say—make it clear that they do not want to throw theory out with the bath water. They are willing, it seems, to take the risk of both preserving what they do (theory) and maintaining a sense of the complexity of competing social agendas, overdetermination and cultural “hybridity.” John Fekete advocates both “utopia (radical... (shrink)

Although research to date has helped in important ways to shed light on the penetration of Burke’s Enquiry into the German-language area, a comprehensive treatment of this reception as a process distinguished not only by changes over time, but also characterized by regional variations, remains lacking. Based on the lectures on aesthetics by August Gottlieb Meißner at Prague University in the late eighteenth and early nineteenth centuries, the paper seeks to illuminate this underexposed regional aspect. The first phase of the (...) reception of the Enquiry took place especially in Berlin immediately after its publication in London in 1757. The second phase can be located mainly in the northern maritime centres of German culture, particularly Königsberg, Riga, Hamburg as well as Copenhagen. Christian Garve’s translation, published anonymously by Hartknoch in Riga in 1773, and Kant’s Critique of Judgement constitute two peaks of north-German interest in Burke’s Enquiry. The intense reception of the Critique of Judgement within German aesthetics around and after 1800 subsequently led to the polemic with the British author becoming a part of Idealist interpretations for the next few decades. Outlining the three centres of the German reception of Burke’s Enquiry begs the question which of them should be connected with Meißner’s remarks concerning Burke’s ideas. Leipzig is presented as another important German-language centre disseminating knowledge of Burke’s Enquiry, especially in the first half of the Seventies, moreover the decisive intermediary for the penetration of the Enquiry into the south-German Roman Catholic areas, Prague in particular. (shrink)

Over the past 50 years, rock music has been the prime mover of an emergent national recording industry in Australia. In this study, which has two parts, we survey record labels, recording techniques and forms, and the music that was bought and sold. Part One narrates the emergence of modern record production, the rise of rock music, and the development of a local recording industry in Australia between 1945 and 1970. Part Two (to be published in Thesis Eleven 110) recounts (...) the rise and fall of Australian local, regional and national rock music cultures and the ebb and flow of independent labels and their labyrinthine relations to the transatlantic centre of the world-system of the rock music industry. In particular, we focus on four aspects: technological change, infrastructure, business logistics/markets, and musical production/repertoire. Since the digital revolution started eating away firstly and most conspicuously at the recording industry, the 50 years from 1945 to 1995 can now more clearly be seen as the rise and fall of rock music and its major technological form, the vinyl record. This is why we call it ‘the vinyl age’. This story has not been told in full previously, and this two-part article is a first step to bridge this gap in the historical and cultural sociology of popular music. (shrink)

This contribution raises the question whether journalism at its beginnings was indeed a profession only for men, as much of the research literature suggests. However, the assumption of a “gendered profession” may also be due to gendered research patterns that produce and reproduce a gendered academic discourse on journalism. The study presented here puts these questions to test and investigates the cultural, social and work-related position of female writers in German-speaking countries at the end of the 19th century. (...) The data is based on a complete census collected between 1896 and 1898. In a second step, the occupation and opus of female writers who worked for periodicals will be analyzed along established concepts of journalism in order to illustrate how women are systematically excluded by dominant concepts of what journalism is and journalists actually do. (shrink)

This article reviews the contribution of media institutions to modernity and its wider institutional arrangements. It will consider how this relationship has normally been conceived, even mythified, and then, in its second half, review how the institutions that we now call ‘media’ are, potentially, disrupting, even deranging, modernity’s arrangements in profound ways. The article will suggest that, under conditions of increased complexity and radically transformed market competition, the changing set of institutions we call ‘media’ demand a major reinterpretation of (...) how modernity ‘works’ through institutional concentration. The first main section reviews in schematic terms the role which media institutions (the press, radio, television, film, but also infrastructural media such as the telegraph) played in the institutional development of modernity from the late 18th century, stabilising the circulation of information and contributing to the freedom associated with modernity, but in the course of this installing a ‘myth of the mediated centre’. The second section will review how this traditional settlement between media and modernity is now being deranged. This goes beyond the globalization of modernity and the complexification of culture landscapes through media and time-space compression. It is a matter, more fundamentally, of a change in the conditions under which media institutions exist and are able to ‘centralize’ communications flows. Today, communications are becoming centralised less through the production and circulation of elaborate media contents at/from global/national centres throughout the social domain (funded through audience-based advertising or state subsidy) and more through the stimulation to/from everywhere of symbolic interactions within a global information space (the internet, and its related apparatus) funded by the collection and sale of data ‘exhaust’ generated by those interactions. The result, paradoxically, is likely to be an increasing destabilisation of many traditional institutions of modernity, and the normalisation of unfreedom through continuous surveillance, undermining the legitimacy of institutional arrangements on which modernity has conventionally relied. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How We Write Plagues JAMES UDEN One advantage of writing about historical pandemics is that they have already occurred. From where I sit, as I listen to the loudspeaker on the council truck telling me to stay indoors, it is impossible to know what direction the covid-19 crisis will take. Certainly, aspects of the virus’s social impact have mirrored the trajectory of previous pandemics. Back in February, people in (...) France began circulating the phrase Je ne suis pas un virus, protesting acts of violence against Asian communities and resisting the well-documented tendency for societies to target ethnic minorities as scapegoats for epidemic disease. The President’s labeling of covid-19 as the “Chinese virus” aroused similar protest in the United States.1 At an armed rally at the state house in Lansing, MI, armed protesters demanded the reopening of businesses despite public health advice to the contrary, an act that raised familiar questions about the freedom of the individual versus the health of the collective in times of health crisis. Here in Boston, anti-lockdown protesters assembled at the Massachusetts State House on May 4, chanting “no more dictatorship”—language congenial to Boston’s history of colonial rebellion, though not especially fitting to the crisis at hand. Just one day earlier, a banner had flown over the buildings of Manhattan with the words CAPITALISM IS THE PANDEMIC. Whether the virus will redistribute power and become, in Walter Scheidel’s words, a “great leveler,” remains to be seen.2 arion 28.1 spring/summer 2020 Hunter H. Gardner, Pestilence and the Body Politic in Latin Literature. Oxford: Oxford University Press, 2019. x + 303 pages. $90.00. Brian Walters, The Deaths of the Republic: Imagery of the Body Politic in Ciceronian Rome, 2020. xv + 158 pages. $80.00. 132 how we write plagues Given that we have frequently been reminded that we are facing a pandemic of historic proportions, it is natural that people have turned to history for perspective. Daniel Defoe’s journalistic account of plague in London in 1665, A Journal of the Plague Year (1722), has catapulted to an unlikely relevance, promoted on the publisher’s website as the “surprise ‘must-read’ for people facing the covid-19 epidemic.” Thucydides ’ description of Athens’s experience of the plague in 430 bc has made news in The Economist, The Washington Post and The Guardian. Historical accounts of plagues are regularly being called upon to offer advice to the present. Yet not all plagues are alike. Historians have rightly protested about parallels being made between covid-19 and the aids crisis, since the current emergency response contrasts damningly with the Reagan government’s protracted silence and willful ignorance throughout the 1980s.3 One problem is the word “plague” itself, a term too suggestive of sin to represent the devastating impartiality of viral disease. “Plagues,” Susan Sontag wrote in aids and its Metaphors (1988), are “inflicted, not just endured.” She argued that the term imposed additional burdens on patients, who were portrayed as suffering some punishment, and could not simply be ill.4 To speak of “plagues” in the plural also suggests a common experience across time, a regular and shared event. Literary accounts of the plague do indeed share many common tropes. Yet there are important differences in the way communities have responded to outbreaks in different eras, and significant divergences in the meaning of disease. Accounts of plagues understandably arouse interest during a pandemic, but they are apt to mislead us, because the plagues so often look the same. One unshakable constant is the analogy between the body and the state, the “body politic.” As has long been recognized, the symbol surfaces across many, unrelated world cultures.5 In seeking to explain a unity composed of many parts, human beings have tended to look to the most immediate parallel— themselves. Although it has been invoked famously to justify James Uden 133 hierarchies within the state (Livy, Shakespeare, Hobbes), the image seems to resonate most intuitively when it conceptualizes danger, when the “health” of the state is threatened by “infection” or “disease.” In 2009, psychologists asked sixty -nine undergraduates at the University of Arizona to read a popular... (shrink)

Purpose This study investigates the incidence of ethical violations in the Ghanaian press which has become topical in the wake of misinformation in a charged political atmosphere. Public interest institutions have questioned the unprofessional conduct of journalists covering election campaigns in recent years. This study content analysed political stories from two leading Ghanaian newspapers (Daily Graphic and Daily Guide) to determine the nature and extent of ethical violations, and to examine the level of prominence accorded to political news stories (...) by the two dailies. Design/methodology/approach This paper relied on qualitative content analysis for data gathering and analysis. A total of 387 political news items published between 1 October and 30 November 2020, were analysed. Findings This study found infractions of various nature to Article 1 of the Ghana Journalists Association (GJA) codes of ethics, chief among which is the deliberate publications of news stories without cross-checking facts. Other infractions to Articles 17, 11, 6 and 5 of the GJA codes of ethics were observed. Political news coverage favours the governing New Patriotic Party (NPP) and the main opposition National Democratic Congress (NDC) than any other parties, with the two parties (NPP-NDC) given greater prominence and salience by the Ghanaian press. Originality/value The research makes a modest contribution to the growing concern of journalism ethics in an increasing ecology of fake news. (shrink)

With a category system drawn from the ethical elements listed in the American Society of Newspaper Editors' (ASNE) Canons of Journalism, this analysis examines Editor & Publisher's discussion and debate of the problems of journalism on its editorial page in the more than 20 years leading up to ASNE's adoption in 1923 of the first nationwide code of ethics for the newspaper industry. This study confirmed the presumption that the code was a culmination of an ongoing and historical (...) conversation about the normative standards of journalism in the newspaper industry's primary trade journal. It showed that Editor & Publisher raised every one of the ethical issues and problems of journalism outlined in the Canons, to include responsibility of the press, truthfulness and accuracy, partisanship, independence, freedom of the press, propaganda, and sensationalism. (shrink)

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

I love books for many things, but I despise them for introducing a physical limit to the free circulation of knowledge (compared to the Internet). At least, that's what I had always thought. continent. is an online journal aiming at, among other things, breaking with the established paradigms of how academic work has to be published in order to be respected among relevant peers. I'm the engineer behind the current version of continent. , making it work and keeping it running (...) since began in 2010. We provide an online platform for knowledge to circulate, beyond the limitations of institutional attachment or distribution of physical volumes. And regardless of not having a physical publication ourselves, and being a trans-national endeavour with core members spread across three continents, we had the honour to join the Publish Or Be Damned fair and conference of Northern European independent book publishers at Index Art Foundation in Stockholm, Sweden. The place was bursting with exceptional volumes made by some of the most interesting publishers in the European north. The encounter changed the way I think about such books: these editions are designed, engineered and crafted to a level of sophistication that they begin to hold more than just their informational value printed. They convey and communicate a form of tactile knowledge and pleasure, and this completely changed my perspective on the matter. Because continent. had not materialised yet and only appeared in the form of social events (such as those in Basel, Boston, New York, or Zürich), we could not offer any such tactile pleasures to those visiting our booth. Given this, my solution was to turn continent. 's participation into a spectacle of simulation. With so many important figures of the independent publishing world present, we staged a series of imaginary book-launch moments for the camera. Presenting a first quasi-materialisation of continent. in the form of a book, or rather, the hypothetical extrapolation of our red square shape from our logo into a red 30x30 cm slate. Thanks to all those that participated. Your presences allowed continent. to visualise what it would be like if we had a book, and had been published within the honorable circle of these fine publishers. Soon the day will come where this will become reality. Thanks to all who joined the fun and didn't mind me showing these to the rest of the world. I'll publish them here, for them not to perish, even if I shall be damned. Ida Marie Hede Bertelsen ( Pork Salad Press ) Abdul Dube ( sideprojects ) René Sørensen ( sideprojects ) Anders ( OEI Editör ) Brett Bloom ( Half Letter Press ) Anni Puolakkaby ( OK Do ) Kit Hammonds, Kate Phillimore, Louise O'Hare ( Publish and Be Damned ) Ingvar Högni ( Útúrdúr ) Fredrik Ehlin, Andjeas Ejksson, Oscar Mangione ( Geist Magazine ) Klara Källström, Thobias Fäldt ( B-B-B Books ) Laura Hatfield ( Witnas editors ) Chris Johnsen ( WITNAS editors ) Matthew Rana ( Witnas editors ) Ola Ståhl & Carl Lindh ( In Edit Mode Press ) Staffan Lundgren ( Axl Books ) Tuuka Kaila ( NAPA Books ) Vebjørn Guttormsgaard Møllberg + Ingrid Forlang ( Kuk et Parfyme ) Diana Baldon, Joanna Nowotny and Egle Kulbokaite ( Index Foundation ). (shrink)

With the expansion of multinational corporations, the alarming upsurge in widely publicized and notable corporate scandals involving MNCs in emerging markets has begun to draw both academic and managerial attention to look beyond home market practices to the pressing concern of CSR in emerging markets. Previous studies on CSR have focused primarily on Western markets, reserving limited discussions in addressing the issue of MNC attitudes and CSR practices in their emerging host markets abroad. Despite this incongruity in academic response (...) to CSR in emerging markets, managers of multinational companies continue to face mounting and most often conflicting pressures to weigh among multiple strategic CSR responses in emerging markets. Such a task is often further complicated by the complexity of varying business norms and standards, regulatory environments, and stakeholder demands for CSR across national boundaries. With such a challenge in mind, I attempt to examine the explanatory factors in leading MNCs, otherwise recognized for accountability and integrity in their home markets, to employ inconsistent or negligent practices under CSR pressure in Chinese emerging economy. Preliminary findings reveal that discrepancies exist in how MNCs perform in CSR in home countries versus in host countries. While MNCs do have much to improve, the institutional environment in the emerging market, including the legal framework and the ethical culture, also needs to be improved by the host country governments, the industry associations, and local firms. Meanwhile, media interest and journalists, NGOs, third party monitors, industry stakeholders as well as consumer advocacy groups can raise the visibility of MNC’s contradictory practices between their origin nations and countries with emerging economies and offer the pressures and incentives for MNCs to amend their ethical shortcomings. This article also suggests implications for both theory and practice. (shrink)

In the December 2015 Issue of the Police Journal Sam Poyser and Rebecca Milne addressed the subject of miscarriages of justice. Cold case investigations can address some of these wrongs. The salient points for attention are those just before his sudden death: Milligan was appointed Private Secretary to Jonathan Aitken, the then Minister of Arms in the Conservative government in 1994. The known facts are as follows: 1. Stephen David Wyatt Milligan was found deceased on Tuesday 8th February 1994 at (...) his Chiswick, West London house where he lived alone. His body was found by his secretary Vera Taggart who was told by Julie Kirkbride where a spare key to his London house was kept and who decided to go to his house that day because he was not answering his telephone. Police said he had made one last telephone call on Saturday evening at 9.00pm. 2. Stephen David Wyatt Milligan had been the elected Member of Parliament (‘MP’) for Eastleigh in Hampshire since 1992. 3. The important topics this MP was addressing in 1994 at the time of his death included: (i) rail privatization plans and the impact through job losses on communities, especially his own constituency of Eastleigh; (ii) arms dealings with Saudi Arabia, especially with his previous intelligence gathered as an economics journalist for esteemed publications; (iii) the UK military industry; (iv) homosexuality among senior government Ministers, as revealed by British footballer Fasanu; (v) personal relationship and planned marriage to his fiancée (Julie Kirkbride) who at the time was a political journalist. 4. Stephen Milligan was also appointed as Parliamentary Private Secretary to Jonathan Aitken, Arms Minister and this position must have required that he came ‘up to speed’ on international arms trade and indeed its relation to bribery and corruption across jurisdictions. Milligan’s experience and knowledge as a former high-level political and economics journalist must have been of huge benefit to government minister Jonathan Aitken who was later imprisoned for perjury. 5. Regarding Stephen Milligan’s death in 1994, the Guardian newspaper in their immediate obituary said that ‘The death of one of the government's most outspoken and loyal supporters will pose a stiff electoral test for the Tories to surmount. He was on the left of the Tory party - he had even had a brief flirtation with the SDP when it was formed - and was a noted Euro-enthusiast… the death of one of the government's most outspoken and loyal supporters will pose a stiff electoral test for the Tories to surmount. Regarding Stephen Milligan’s sudden and unexpected death in 1994, MP David Willetts (Conservative, Havant) said in March 2015, in his address in the House of Commons. ‘…The inevitable ups and downs and triumphs and disasters of politics are among the great features of this place. There are colleagues in all parts of the House who are tolerant and understanding. There are friendships that keep the downs as well as the ups of politics in perspective. Having entered the House in 1992, I think particularly of two good friends, Judith Chaplin and Stephen Milligan, who both died within two years of being elected; that loss stayed with me for a long time...’ 6. On 28 February 2000, in the House of Commons, at Column 106, Mr Mike Hancock (Portsmouth) said, on the deaths of Michael Colvin and of Stephen Milligan MP: ‘I knew Michael Colvin for nearly 30 years, from when he was first elected to Hampshire county council. During my time as leader of that council, he and the late former Member of Parliament for Eastleigh, Stephen Milligan, were usually the only Members of Parliament who readily supported the council when necessary. Michael Colvin supported many ventures in the county of Hampshire. He will be missed here, in his constituency, and in Europe, and I stress that Hampshire has lost a staunch supporter. I am sure that the county will at some stage want to record its regret at his death and its deepest appreciation of the part that he played in its life....’ -/- Mike Hancock had, like Stephen Milligan, served on the Select Committee on Defence. It is interesting that he mentioned Stephen Milligan’s support as MP for Eastleigh when Milligan had only been so appointed a couple of years before his sudden death, as compared to 30 years of support from Mike Colvin. 7. Mr Andrew Robathan (for Blaby) said in the House of Commons Hansard Debates on 27 January1997, (Column 62) (on the registering of sex offenders): ‘I remember the death of my honourable friend Stephen Milligan, who represented Eastleigh. The press reports of the time stated that each Metropolitan police station had a police officer in the pay of newspapers. I do not know whether that is true, but I am aware that the police are not renowned for being entirely secure with their information…’ This statement is mischievous and it has been demonstrated time and time again, as being untrue, especially during the recent press inquiry leading to the four-volume Leveson Report, published in November 2012, into phone hacking and the ethics and culture of the UK media, pursuant to section 26 of the Inquiries Act 2005, and ordered by the House of Commons to be printed on 29 November 2012, ISBN: 9780102981063, by the Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery Office. In Volume 4 of the 2012 Leveson Report, chapter 4 concluded on the Press Complaints Commission (‘PCC’) and its effectiveness and revealed that the PCC does not initiate its own investigations other than those ‘needed to head off criticism of the press or self-regulation- or to accept complaints from third parties across the board and on a transparent basis… and the report states that ‘the resources of the police are limited’ in terms of being able to fully inspect the Press and media reports. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Pretexts of Authority: The Rhetoric of Authorship in the Renaissance PrefaceSteven RendallPretexts of Authority: The Rhetoric of Authorship in the Renaissance Preface, by Kevin Dunn; xii & 198 pp. Stanford: Stanford University Press, 1994, $32.50.This study is of broader interest than its title might suggest; it engages many of the current issues in literary and cultural studies, and does so with exceptional intelligence. Drawing on Jürgen Habermas’s (...) notion of “the public sphere” and recent research on the history of private life, Dunn focuses on prefatory rhetoric in order to study the ways in which writers of the sixteenth and seventeenth centuries struggled to establish their authority, to define themselves as authors and to regulate their relations with their readers. As they challenged collapsing medieval models of authority, Dunn argues, Renaissance writers had to invent different strategies of self-presentation and discursive legitimation, developing in the process the Renaissance conception of authorship, and eventually a new model of intellectual activity in the service of the public good. [End Page 181]The first part of the book discusses Luther’s effort to ground an oppositional discourse in a personal narrative of suffering and redemption, and Milton’s later recognition of himself as a “member incorporate” of a (Puritan) body for which he can speak as a representative; these represent two termini of the development of Protestant prefatory rhetoric. The second part traces a parallel development in “scientific” writers (Descartes, Bacon, Hobbes, Locke, Sprat), moving from the Cartesian effort to ground science in a personal narrative of discovery to Bacon’s institutionalization of science and Hobbes’s theory of representation based on “common sense.”These chapters offer many insights that deserve close attention. However, since I lack space here to discuss each of them in detail, I will mention only a few points that suggest the wider implications of Dunn’s study. First: he is alive to the role of the body in prefatory rhetoric, as a “private” proof of spiritual authority (in Paul), as a flawed textual corpus (in Luther), and as a model of the body politic (in Hobbes and others). Second: he challenges—correctly, in my view—Foucault’s famous claim about the role of “penal appropriation” in the development of the modern conception of the author, arguing that “texts, books, and discourses begin to need authors at the moment when their transgression itself seeks institutionalization. In other words, it is when the subversive discourse finds itself on the brink of empowerment, of articulating something more than a negative critique of reigning orthodoxies, that the authority of the author becomes necessary” (p. 10). Third: he describes the conflict in Renaissance authors between self-authorization and the desire to prevent readers from following their example—that is, they strive both to open up and to shut off a discursive potential—and offers a subtle account of the persistence of this desire, in the form of the claim to authorial ownership, in writers fully involved in the literary marketplace. Fourth: most of the authors examined here are not traditionally regarded as “literary”; Dunn is casting a broader net, including theological, philosophical, political, and scientific writing, and this is, of course, very much in the spirit of the times—both of our own, and that of the writers discussed. For as Dunn observes, the modern notion of “literature” arises sometime around the end of the Period with which he is concerned in this book—and, perhaps, as a result of the development he describes in it. He argues that “with science having secured its discursive boundaries through the complementary myths of objectivity and public utility, literature became the new site for working out the completing claims of public and private. It is at such a site that literature begins to emerge as an independent category, a place crucial for cultural and political negotiations” (p. 16). As Dunn shows, this is reflected in the way late seventeenth-century French and English prefaces abandon advocacy for critical judgment, handing down sentences based on publicly accepted, secular norms.This fine, illuminating, readable book makes a stimulating contribution to our understanding of the history of cultural authority.Steven RendallUniversity... (shrink)

Armed with a theory of representation, or with answers to the two questions, What is a representation? and What is it to represent?, we might imagine ourselves approaching a putative representation and asking of it, Is it a representation?, and then, on the assumption that the answer is yes, going on to ask of it, What does it represent? Now, the answers that such questions receive might be called the applied answers of the theory that we are armed with. It (...) is in terms of this notion—that of the applied answers of a theory—that we may introduce the second way of classifying theories of representation. Theories of representation might be classified according to the degree of dependence or independence between the applied answers they provide in the case of any given representation. Richard Wollheim is Grote Professor of the Philosophy of Mind and Logic in the University of London and the author of F. H. Bradley, Socialism and Culture, Art and its Objects, Sigmund Freud, On Art and the Mind, and the novel, A Family Romance. He is currently working on a book dealing with pictorial style. In somewhat different form this paper was originally presented at the Annual Conference of the Developmental Section of the British Psychological Society, Surrey, 1976. The proceedings of that conference are published as The Child's Representation of the World, Plenum Press, 1977. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Photo-credit to Chicago Sun-Times and James Mescall. 4 "The town is beastly and the weather was vile": Bertrand Russell in Chicago, 1938-1939 Visiting Chicago in 1867, Lord Amberley offered his wife an appreciation of the city: "The country around Chicago is flat and ugly; the town itself has good buildings but has a rough unfinished appearance which does not contribute to its attractions."l While Bertrand Russell is known to (...) have accepted and developed particular aspects of his father's thought, it is more likely that his own visits to Chicago, rather than this nineteenth -century appraisal, brought him to the opinion that "the town is beastly and the weather was vile."z One might suppose Russell's longest stay reaffirmed his image of the city suggested in a 1922 article expressing fear of "a slow destruction of the civilization of China" through which "the big towns will become like Chicago."3 Here, Russell appears to have envisioned this city as an amorphous collection of streets and structures manifesting the least desirable values of American capitalism. In his Autobiography a single paragraph is devoted to his 1938-1939 experience of "the bleak hideousness of Chicago" (II, p. 332). Yet there was far more to Russell's six-month sojourn than the little he chose to recall in print. One-half year is a significant period in anyone's life, even for a man who lived ninety-seven (and a half) years. This article, then, presents an account of Russell's coming to and departure from Chicago and his diverse activities while a professor at the University of Chicago. The need to secure some permanent academic position was strongly felt by Russell in the mid-1930s. His ~aertrand and Patricia Russell, The Amberley Papers (London: Allen and Unwin, 1966), p. 57. zThe Autobiography of Bertrand Russell (Boston: Atlantic-Little, Brown, 1968), II, p. 332. 3"How Washington Can Help China", New Republic, 4 Jan. 1922, p. 154. / 5 second marriage had ended and a third was beginn~ng; ~ar­ ticipation in the Beacon Hill experimen~ w~s behlnd hlmj and journalistic writing, though ~ contlnulng so~rce of income, was ceasing to be attractlve: No~ a d~slre to return to philosophical work, recurrlng fl~anclal troubles, and the fear of another, far m~r~ destr~ctlve.European~ar all contributed toward his declslon to lnvestlgate Amerlcan possibilities. My feelings are threefold: (a) I' have a lot of ideas in,my head that I long to work at and believe important (b) I am faced with such poverty that I may be unable to give a proper education to the child that is coming (c) That Europe is no place for children with the imminent risk of war--particularly England, which is ' 4 likely to suffer most in the next war. At first, with the help of his American publisher, Warder Norton, Russell approached Princeton University hoping for a research post "on the foundations of mathematics and philosophy" (letter to Norton, 13 Jan. 1937). But no prospect materialized, and he requested Norton to inquire at universities such as Columbia and Harvard. Finally in the spring of 1937 Russell received a letter from Professor Scott Buchanan who then represented the University of Chicago's Committee on the Liberal Arts (COTLA). Buchanan offered a place on COTLA with only minor teaching duties. Writing to Norton that this "seems a very agreeable job", Russell nevertheless suggested the post "may be reactionary and the sort of thing my radical friends would think I ought not to be connected with. '" it is a committee concerned with a conservative reform of education." But the invitation promised adequate time for independent research, and Russell, quite characteristically, concluded "my wish is to accept, but not if doing so would be wicked" (letter of 30 Apr. 1937). However, Buchanan, having soon thereafter left the University of Chicago for a Maryland college, corresponded no further with Russell. The COTLA job offer was officially withdrawn. Only in January 1938 did Russell again hear from a University of Chicago spokesman. Aware that Russell had been somewhat brusquely treated, Professor Richard P. McKeon of the Department of Philosophy now wrote "in the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 605-606 [Access article in PDF] Ben Rogers. A. J. Ayer: A Life. New York: Grove Press, 1999. Pp. ix + 402. Cloth, $30.00. A. J. Ayer (1910-89) had the misfortune, for a philosopher, to write his most influential book, Language, Truth, and Logic, when he was in his twenties, even though he continued to publish into his seventies, and to (...) have his nonphilosophical life overwhelm his philosophical one. Almost everyone now knows the story of how he saved Naomi Campbell by going a round with Mike Tyson. Ben Rogers nicely intertwines the facts of Ayer's day-to-day life—which is not to say "quotidian," given Ayer's ego and libido—with his philosophical peregrinations.Although Ayer picked up logical positivism in Vienna when attending sessions of the Vienna Circle, he had accepted the main lines of an empiricism and positivism earlier and on his own. For twentieth-century British philosophy, Language, Truth, and Logic was both a philosophical Declaration of Independence (from metaphysics) and the Constitution for a new philosophy. Unfortunately, its founding principle, the principle of verifiability, was irremediably flawed, notwithstanding Ayer's best efforts, notably in the Preface to the second edition of 1946. Logical positivism in Britain lasted for only about a decade (1935-46). In fact, it may have been less. Language, Truth, and Logic was published in 1936, and Ayer "went off to war" in 1940, to speak loosely. (He spent a significant part of it in a Mediterranean villa, a Park Avenue apartment, "a palatial home" in Paris lent him by Guy de Rothschild, and in the best restaurants with friendly women.) No major British philosopher was championing Logical Positivism between 1940 and 1945. When Ayer returned to Oxford in 1945, he discovered that "the [philosophical] climate had changed; before the conflict he had been the leader of the avant-garde; now the brighter students and the young dons looked on logical positivism as old hat. He had mysteriously passed "from being a young Turk to being, at the age of thirty-five, to almost an elder statesman, without ever having known the plenitude of office'" (198). During the late 1940's, Ayer wrote mostly for London literary and arts magazines. The profession of philosophy disappointed him, and later, he found it difficult to keep up "in logic and the philosophy of maths and sciences" (262).Logical positivism had a longer life in North America, to which several of its members emigrated. But its influence was felt much longer in both places, primarily for its emphasis on three things: empiricism, empiricism, empiricism.Ayer continued to publish philosophy until the mid-1980s. Given the demise of logical positivism, he was something of a dinosaur, albeit a Tyrannosaurus Rex. There was no one else quite like him, and yet he could not be ignored. He was a formidable critic of whatever most other British philosophers were doing. In addition to his obvious intellectual brilliance, he was an excellent writer and expositor. After 1970, most of his books are potboilers, skillful in execution, but of no lasting merit, for example, Russell and Moore (1971), Russell (1972), Hume (1980), and Wittgenstein (1985). Ayer told Stephen Spender that "Russell's History of Western Philosophy... had made its author a fortune and he hoped his [Philosophy in the Twentieth Century (1981)] would do the same" (326). [End Page 605] He accepted a L 30,000. advance for a book about Thomas Paine, about whom he knew virtually nothing, and then did his research: "I mugged up just enough information from some American scholar, whose name I forget, an essay of Michael Foot and, principally, Moncure Conway" (342).As prominent as Ayer was in British culture—writing for the Spectator and Horizon, giving commentary on soccer, appearing on television, and championing liberal causes—he was something of a philosophical outsider. He had more affinity for the Cambridge philosophers, Moore, Russell, and the early Wittgenstein, than for his Oxford colleagues; the heart of his career was spent at the University of London, before... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Laying Medicine Open: Innovative Interaction Between Medicine and the HumanitiesLaurence B. McCullough and Warren Thomas ReichThe past three decades have witnessed the emergence and remarkable success of the fields of bioethics and medical humanities. The intellectual landscape of medicine and that of the humanities have been remarkably altered in the process. Twenty-five to 30 years ago in the United States there existed but a few courses in what came (...) to be called “bioethics” in departments of philosophy, religious studies, and theology in colleges and universities, a handful of programs of teaching in medical schools such as the University of Texas Medical Branch at Galveston and Pennsylvania State University School of Medicine at Hershey, and but one independent research center (the Hastings Center) and one university-based research center (the Kennedy Institute of Ethics at Georgetown University). Articles on bioethics began to appear in the peer-reviewed medical, nursing, and humanities literature and some books were published. There was only one journal in bioethics, The Hastings Center Report (which consolidated two previously separate journals from the Hastings Center). Graduate programs in bioethics and medical humanities in colleges and universities and fellowship training in bioethics and medical humanities in medical schools did not exist. Very little existed in colleges, universities, and medical schools in other countries. Now, of course, everything is different.Teachers, scholars, and students of bioethics and medical humanities should not take these remarkable changes for granted, for they represent a sustained and innovative interaction between medicine and the humanities. We have chosen the metaphor of “laying medicine open” to characterize the history of bioethics and medical humanities of the past three decades. This surgical metaphor was used in eighteenth-century Britain by a number of writers who wanted to make medical science and practice more accessible to the sick and to the lay public more generally (Lawrence 1975). We use the metaphor to characterize the efforts of teachers and [End Page 1] scholars over the past three decades and more to make the value-laden dimensions of biomedical science and practice and of health care policy more accessible to patients and to the lay public more generally. The result of this laying open of medicine has gone a long way toward bringing closer together the two cultures of science and the humanities that had, as C. P. Snow famously described, become significantly isolated from each otherAlbert Jonsen (1998) has recently contributed the first book-length history of what he calls the “birth” of bioethics, adding to the work of other scholars such as Warren Reich (1994; 1995) and Robert Baker (1993) and, before them, Corrado Viafora (1990) and David Rothman (1991). The articles in this issue of the Kennedy Institute of Ethics Journal make additional contributions to the developing understanding of the history of the past thirty years of interaction between medicine and the humanities.Laurence McCullough provides an historical context for the three accounts of the recent laying open of medicine that follow. McCullough examines two times in the history of medicine when it has been laid open to accountability (in addition to its being laid open to and by bioethics and medical humanities). The first laying open occurred in the work of the eighteenth-century Scottish physician and philosopher John Gregory, who set out to create a profession of medicine in a true moral sense of a fiduciary profession by making medicine accountable for its scientific and moral quality. The second occurred in the late twentieth century in which the managed practice of medicine in general, and managed care in particular, have begun to lay medicine open to accountability for its scientific and moral quality, as well as its cost and, at least in the public sector, its accessibility. McCullough argues that, just as Gregory responded to the ethical challenges of medicine laid open more than two centuries ago, bioethics should respond to the ethical challenges in the current laying open of medicine.Warren Reich provides an account of André Hellegers, whose premature death left an enormous gap in the field that will never be filled. Reich claims that Hellegers was engaged substantially in much more than the laying open of medicine: he... (shrink)

The article defects priority idiological and centenary positions of the Ukrainian society in the 19th century. The acceptance of consciousness and self-relevant is characterized by a comprehensive analysis. The aim and the tasks: вy working out ethical and philosophical literature, to justify the establishment of dignity of personality in the conditions of domestic cultural and socio-political selfdetermination of the late twentieth century.Research methods are the main methods of research are historical, structuralfunctional, systemic and comparative. To solve specific research tasks also (...) used the principles of systemicity, objectivity, ascension from abstract to concrete, etcEmphades of a new state in ethical and phylosophic keys, analyzes the values of Ukrainians, slogans, native ideas are analyzed. Research results: Scientifically illustrated embodies of the national self-release of the Ukrainian society: Selfrelease of the Naziological State Ukraine: Sovereignty of Ukraine (1985-1991 gg.); Nassional State Formation of Ukraine in the conditions of socio-purity and socioeconomic neoperedelenost (1992-1996 gg.); Creation of oligarchata as a diverse manifestation of a democratic regime in Ukraine (1996-2004 gg.); Polarization of the Farility (2005-2014 gg.); Thick ethape, which is purely formally defined as "post-revolutionary". The author exemplary aspects of the social realities of the reorganization, and the presentation of honor and dignity of the license. Discussion. It is condemned that for the self-release of the national state, the slide of restructuring of steel, the significant income from the public discourse of the topics of repressions, reversed to the families of the species of culture, science, public expressions, popularization of the creativity of the dyspasses and diaspree Figur. Conclusion. In such a way, the protest in the second half of the 1980s is Pastepeno Gladenna, which has received the introduction of privacy in its own participants.Many were re-enriched, rising from the laurel of the prison establishment, the inside of the country, and in the finishing of the bobs for Naziovnoye venereal, the rule of law and market economy. The dignity of a person on the day of restructuring, in the whole, was disturbed from the ancestors of the historical objects of the maintenance of the specialty – Ego Simbiosis with such categories, as freedom, will be, independence. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

Based on a survey of editors, publishers and staff members of 300 newspapers, this work documents the ethical confusion in the American press in the wake of the Watergate scandal and the Pentagon Papers controversy. It provides an analytical and historical framework to show how the press reached this point and argues for an ethical audit to give publications an independent check on their moral condition.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 605-606 [Access article in PDF] Ben Rogers. A. J. Ayer: A Life. New York: Grove Press, 1999. Pp. ix + 402. Cloth, $30.00. A. J. Ayer (1910-89) had the misfortune, for a philosopher, to write his most influential book, Language, Truth, and Logic, when he was in his twenties, even though he continued to publish into his seventies, and to (...) have his nonphilosophical life overwhelm his philosophical one. Almost everyone now knows the story of how he saved Naomi Campbell by going a round with Mike Tyson. Ben Rogers nicely intertwines the facts of Ayer's day-to-day life—which is not to say "quotidian," given Ayer's ego and libido—with his philosophical peregrinations.Although Ayer picked up logical positivism in Vienna when attending sessions of the Vienna Circle, he had accepted the main lines of an empiricism and positivism earlier and on his own. For twentieth-century British philosophy, Language, Truth, and Logic was both a philosophical Declaration of Independence (from metaphysics) and the Constitution for a new philosophy. Unfortunately, its founding principle, the principle of verifiability, was irremediably flawed, notwithstanding Ayer's best efforts, notably in the Preface to the second edition of 1946. Logical positivism in Britain lasted for only about a decade (1935-46). In fact, it may have been less. Language, Truth, and Logic was published in 1936, and Ayer "went off to war" in 1940, to speak loosely. (He spent a significant part of it in a Mediterranean villa, a Park Avenue apartment, "a palatial home" in Paris lent him by Guy de Rothschild, and in the best restaurants with friendly women.) No major British philosopher was championing Logical Positivism between 1940 and 1945. When Ayer returned to Oxford in 1945, he discovered that "the [philosophical] climate had changed; before the conflict he had been the leader of the avant-garde; now the brighter students and the young dons looked on logical positivism as old hat. He had mysteriously passed "from being a young Turk to being, at the age of thirty-five, to almost an elder statesman, without ever having known the plenitude of office'" (198). During the late 1940's, Ayer wrote mostly for London literary and arts magazines. The profession of philosophy disappointed him, and later, he found it difficult to keep up "in logic and the philosophy of maths and sciences" (262).Logical positivism had a longer life in North America, to which several of its members emigrated. But its influence was felt much longer in both places, primarily for its emphasis on three things: empiricism, empiricism, empiricism.Ayer continued to publish philosophy until the mid-1980s. Given the demise of logical positivism, he was something of a dinosaur, albeit a Tyrannosaurus Rex. There was no one else quite like him, and yet he could not be ignored. He was a formidable critic of whatever most other British philosophers were doing. In addition to his obvious intellectual brilliance, he was an excellent writer and expositor. After 1970, most of his books are potboilers, skillful in execution, but of no lasting merit, for example, Russell and Moore (1971), Russell (1972), Hume (1980), and Wittgenstein (1985). Ayer told Stephen Spender that "Russell's History of Western Philosophy... had made its author a fortune and he hoped his [Philosophy in the Twentieth Century (1981)] would do the same" (326). [End Page 605] He accepted a L 30,000. advance for a book about Thomas Paine, about whom he knew virtually nothing, and then did his research: "I mugged up just enough information from some American scholar, whose name I forget, an essay of Michael Foot and, principally, Moncure Conway" (342).As prominent as Ayer was in British culture—writing for the Spectator and Horizon, giving commentary on soccer, appearing on television, and championing liberal causes—he was something of a philosophical outsider. He had more affinity for the Cambridge philosophers, Moore, Russell, and the early Wittgenstein, than for his Oxford colleagues; the heart of his career was spent at the University of London, before... (shrink)

Purpose The purpose of this study is to investigate Libyan journalists’ perspectives regarding the media laws Articles 37,132, 38 and 46, which address media freedom in the new Libyan Constitution of 2017. Design/methodology/approach Focus group discussions were done with 35 Libyan journalists, 12 of them from the Constitution Committee, while 23 of them reported the update of the constitution in the Libyan Parliament. Findings The results of the study indicated that there were media laws articles that did not conform to (...) the international laws and United Nations treaties, which the Libyan Parliament committee approved. Another finding from the journalists was the Constitution should provide and guarantee press freedom, while media laws articles approved to put a paragraph about “censorship” in the press and media as a tool to silence government opposition. In addition, journalists indicated future constitution should redraft Article 38 to conform with Article 19 of the “International Covenant on Civil and Political Rights,” to support the “principles of freedom of expression and information” without control. Moreover, Article 46 needs to be changed and linked to the “provisions of international law on the right of information access” to improve the access and dissemination of information in the media. Practical implications Redrafting the constitution articles in the future can be summarised as follows: First, the Libyan Constitution should provide and guarantee press freedom without any censorship and include clear articles to protect journalists in conflict zones. Second, Articles 37,132 and 38, about “freedom of information and publication,” need to be redrafted to link with Article 19 of the “International Covenant on Civil and Political Rights,” to support the principles of freedom of expression and information, and the use of this right must not be subject to prior control. Third, Article 46 needs to be changed and linked to the provisions of “International law on the Right of Access to Information” to improve access and dissemination of information in the media to protect confidentiality sources. The most important articles should be implemented because after the Arab Spring revolutions, there was a transitional period in societies and a change in the constitutions of Tunisia and Egypt. They developed legal articles about media freedom so that Libya resembles other Arab countries. From that point, the journalists recommended that all information should be protected from government interference to ensure transparency, combat corruption and protect independent journalists. These articles will open the way to add more development articles to media freedom rules in the Journalists’ Syndicate. Fourth, there are also various types of threats encountered by journalists in their work. In pursuit of their right and freedom of expression, they recommended that Libya must establish an independent self-regulatory media that are free from political and economic influence. Fifth, journalists need licenses for them to work through the syndicate. The new syndicate should play an active role to safeguard the rights of journalists, activists and media entities to carry out their work and end the self-censorship. Sixth, the constitution should also add articles to end the impunity and change the articles in the penal code. Overall, the journalists covering the conflict and war are encountering threats, violence and imprisonment. As a result, Libyan journalists must seek new legislation to defend independent journalism and freedom of expression in their deeply divided country. In addition, they need to have a strong central authority to defend journalists and journalism in wartime, where journalists are regularly threatened, abducted and sometimes killed. Also, the Libyan Journalists Syndicate should stress the importance of the media’s self-regulation to guarantee their rights to freedom of expression, grant their readers’ respect and minimise government’s interference. Finally, they need to develop new laws to grant media freedom from regulations and restrictions, as well as defend and promote democracy, the citizens’ right to be informed, as well as their right to discuss and disseminate information. There is also the need to implement articles in the constitution, articles about the protection of political speech, which would be specific enough to differentiate between what is legally permitted and what may be ethically offensive. Originality/value This study will help the new Libyan parliament after the legislative elections on 24 December 2021 to amend the media laws articles in the constitution. (shrink)

The rise of Canadian national identity in the 1960s contributed to a flourishing small press movement across the country. One of the most impressive, long-standing and influential presses of this era was Coach House Press, located near the University of Toronto. Book design, creative forms of editing, collaborative and community-oriented work all became a focus of idealism in the Coach House context, as its founders borrowed from earlier international models, but relied, too, on the Canadian moment to devise (...) new ways to disseminate and create literary culture. More recently, a similar idealistic model in publishing and press work has appeared in Nova Scotia at Kentville’s Gaspereau Press. Gaspereau’s founders, like those at Coach House, have searched for an alternative plan and method- through an in-house dedication to the craft of design and bookmaking- that is unlike that applied by mainstream publishers. One could argue that the two outfits represent a counter-tradition in Canadian cultural life, a dedication to artisanal work, as well as to forms of collaborative editing and design. With the publishing and bookselling industry under great pressure in Canada from shifts in technology and government support, counter-traditional models like Gaspereau Press present the possibility of unique forms of cultural output and marketing. Behind such efforts we recognize philosophies and notions of cultural community that run counter to major trends. This paper examines the history of both presses, specific publications, and the impact of such work on the broader Canadian literary scene. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 575 Geneviève Pagé Gender at the Crossing: Ideological Travelings of US and French Thought in Montreal Feminism This article recounts a story about Montreal feminism using the narrative thread of its conceptual language. It is a story of language as a political choice that guides our actions, but also language as a political issue, a barrier, a tool (...) that structures our thinking and that reflects and reproduces relations of power in knowledge production and dissemination. Gender is the central character in this story—its role representing the way US, French, and Quebec theoretical traditions are deeply in dialogue with each other; yet this dialogue is arbitrary and filled with long silences. In reviewing the dialogue, this article identifies a few elements that play a significant role in favoring or impeding the traveling of ideas and concepts, focusing, in the case of Quebec, on how part of the feminist movement, comprised of radical or “revolutionary” feminists, engages with and constructs theory. The article begins by briefly tracing the evolving meanings of gender in the United States from the 1920s to the twenty-first century. Then, turning to France, a second section identifies elements limiting the traveling of US understandings of gender in French feminist theory, especially the predominance of specific traditions of thought, namely existentialism and Marxism, leading to different ways of thinking about oppression, patriarchy, sexism, and the idea of womanhood. In a third section, I shift the focus to Quebec, particularly Francophone Montreal, to survey its feminist thought, political traditions, and 576 Geneviève Pagé translation. Its history, its people, and its geographic location put it at the convergence of US and French influences, but with a distinct added local imperative: the struggle for national liberation. The specific ways in which Quebec nationalism has foregrounded power and politics around language has had a major impact on how Quebec feminists have negotiated relations with their southern feminist neighbors. In this sense, Quebec feminism presents an excellent case study of language operating as an axis of power. Furthermore, in the context of globalization and resistances to globalizing processes, Montreal provides a perfect example by which to highlight both transnational influences and local specificities. Montreal, as a classic example of Mary Louise Pratt’s cultural and linguistic “contact zone”—the space where communities of practices interact—is a city in which one can clearly identify “the intellectual and linguistic points of contact between cultures, and make visible the political pressure that activates them.”1 I treat translations that occur in this context as the process of connecting and communicating between communities. As queer theorist Juana María Rodríguez has noted in another context, “the process of translation involves more than merely translating languages; it involves translating cultures, values, and institutions of power.”2 Similarly, translation here involves an exchange between symbolic and semiotic structures of both the original and the new communities. Zooming out of Montreal, I then address the politics of translation on a more global scale, pointing out the particular ways the production and dissemination of knowledge is especially beholden to market relations. All these reflections help us understand the traveling of ideas, concepts, and ideologies across linguistic barriers. I conclude that it is in the interest of feminists to pay particular attention to what knowledge is produced from different standpoints and in different languages and what it can teach us. 1. Mary Louise Pratt, “Arts of the Contact Zone,” Profession (1991): 34; Sherry Simon, Gender in Translation: Cultural Identity and the Politics of Transmission (New York: Routledge, 1996), 36. 2. Juana María Rodríguez, Queer Latinidad: Identity Practices, Discursive Spaces (New York: NYU Press, 2003), 19. Geneviève Pagé  577 Gender in the United States It is among US feminists that the conceptualization of the gender/sex dichotomy first developed. However, gender—the word—ironically comes to English from the French genre and shares with that word its derivation from the Latin genus, meaning “kind,” “sort,” or “type.” The derivation is most visible in the borrowing in English of the French genre, for example, in literary forms such as fiction or poetry. Similarly, both the English... (shrink)