Im März 2020 änderte sich das Leben für viele (nicht nur in Deutschland) radikal. Das Virus SARS-CoV-2, besser bekannt als „COVID-19-“ oder „Corona-Virus“, breitete sich als Verursacher einer zwischenzeitlich global virulenten Pandemie in unvermuteter Geschwindigkeit aus. Es verwundert nicht, dass viele in dieser unsicheren Zeit auf der Suche nach Orientierung nach scheinbar bekannten Mustern fahnden. Ein solches Muster glaubten offenbar einige, in Camus’ Roman "Die Pest" finden zu können, ein Roman, der – dem Titel nach – auch von einer Seuche (...) zu erzählen scheint. Befasst man sich mit dem Werk von Albert Camus, dem Philosophen und Literaturnobelpreisträger, kommt man schwerlich umhin, eines der Grundprobleme der Philosophie als einer akademischen Disziplin zu thematisieren, an der zweifelsohne ein öffentliches Interesse besteht, die sich aber in der Rolle des Um-Rat-Gefragten notorisch unwohl zu fühlen scheint. In diesem Beitrag werden die Thesen Albert Camus’ zur Relevanz der Kunst, zu deren Spannungsverhältnis zur akademischen Philosophie und zur Rolle beider in unserer krisengeschüttelten Gesellschaft untersucht. (shrink)

Over the last two decades, many philosophers have been increasingly inclined to consider science fiction films as philosophical exercises that center on the nature of human consciousness and existence. Albert Camus' philosophy of the absurd, however, has almost never been employed as a constructive perspective that can illumine unexplored aspects of these films. This is surprising, since science fiction films seem to be packed with visions and dialogues that echo the Sisyphean universe. Cosmos and Camus endeavors to set (...) foot on this uncharted terrain. Its first part aims to introduce the main components of Camus' absurdity in such a way that it can be easily applied to the analysis of the films later. Equipped with these Camusean essentials, it delves into an in-depth analysis of two first-encounter films (Contact and Arrival) and two AI films (A.I. and Her). These analyses yield more than an insightful reflection of the absurd contents in science-fiction film. Indeed, imaginative collisions with nonhumans seem to tell us a lot about the nature of the absurd in the human condition, as well as raising the question of whether absurdity is exclusively a human matter. Ultimately, the interpretation of the films illuminates the films themselves just as much as it illuminates, challenges, and expands Camus' concept of absurdity, thus contributing to our current understanding of what the absurd reality is and how we can either live with it or transcend it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Philosophy Can't Say About Literature:Stanley Cavell and EndgameBenjamin H. OgdenIn "Ending the Waiting Game," the philosopher of ordinary language Stanley Cavell attempts to say what Samuel Beckett's Endgame means by explaining what the characters in the play mean by what they say. Cavell attempts to do the very thing that the work says cannot be done, or mocks as foolish and misguided, or resists giving clues (...) to how it could ever be done: he tries to say just "how Beckett's objects mean at all, the original source of their conviction."1 This is not simply a reading tactic that Cavell thinks is well-suited to the difficult task of making sense of a difficult play. It is a demonstration of the theory of language (ordinary language philosophy) that Cavell defends and applies in his collection of essays Must We Mean What We Say?, of which "Ending the Waiting Game" is a chapter. Cavell's literary criticism is in the service of his philosophy. His work of criticism is in search of something that it must find (that is, something that it claims to have found even when it may not have); what it must find is a work of literature that demonstrates the utility and validity of ordinary language philosophy.If we are to take issue with Cavell for too strenuously transposing philosophy onto literature, then we must also know something of the philosophy he draws upon. Ordinary language philosophy traces its origins to Wittgenstein, and was popularized by J. L. Austin and Gilbert Ryle at Oxford in the 1940's. It is a branch of analytic philosophy that foregoes any attempt to create an "ideal philosophical language" of the sort Wittgenstein developed in his early Tractatus Logico-Philosophicus. Instead of seeing the abstractions and ambiguities of ordinary usage as something to be supplanted by a more logically rigorous system, ordinary language philosophers argue that debates over the meaning [End Page 126] of abstract terms come about precisely because words are removed from their ordinary context. For Cavell, the whole idea of an "ideal language" is absurd because, as anyone who has ever tried to learn a foreign language knows, every language has its own unique set of usages and idioms and unspoken rules. In order to speak a language properly, then, one cannot just know the dictionary or formal definitions of words (its "ideal" generative grammar), but must understand the "natural environment" in which phrases and words are logical or appropriate. Often these contexts (which determine the rules for "what we should say when" [p. 20]) invest words with meanings that you won't find in any dictionary, and cannot be catalogued in a grammatical or syntactical system.So, if one asks, "Did you dress that way voluntarily?" (p. 9), the word "voluntarily" takes on a meaning that is not included among its dictionary definitions (according to Cavell). Clearly, in asking whether you dress voluntarily one is not asking whether you have free-will to dress as you please, but is calling attention to the funny way you dress. In this case, successful communication is only possible if the one who is being questioned understands from context and the ordinary use of language precisely what is being asked. If he answers, "Of course I dressed voluntarily, I believe in free will," he will have misspoken, been incorrect. Clearly, he doesn't understand what the question must mean because the statement "MUST MEAN that my clothes are peculiar" (p. 9). For it to mean anything else would be a mistake and a misuse of language by the speaker, or a misunderstanding of language by the listener. To learn a language (which for Cavell means to become like a native speaker) is to learn the nature of the contingency between the explicit meaning of an expression and the occasion on which an expression is appropriate, and to be aware of what you must mean when you speak (what you cannot help but mean or imply by the language you use).What this means is that for Cavell reading literature becomes a process of readers "naturalizing ourselves to a new form of life, a new... (shrink)

Dem Absurden ins Auge sehen - das ist eine Herausforderung, die mit Entzweiung, Entfremdung und demzufolge mit großer Anspannung und Anstrengung einhergeht. In solchen Momenten entgleitet uns die Welt und wir stehen, so Albert Camus, vor der alles entscheidenden Frage: Selbstmord oder Freiheit. Der vorliegende Band verhandelt Bedrohungen und Gefahren ebenso wie Potenziale und Freiheiten des Absurden. Stimmen aus Philosophie, Erziehungswissenschaft, Literatur, Kunst, Medizin und Wirtschaftswissenschaft machen dabei deutlich: Das Absurde betrifft uns alle.

The subject of the study is the connection between the absurd and phenomenology.The texts of representatives of the absurdist trend in literature and philosophy (Camus, Kafka, Musil), as well as the works of academic philosophers of the phenomenological direction (Husserl, Sartre, Merleau-Ponty, Fink) are considered. The commonality of phenomenological interpretations of reality for some texts of the absurdist genre is proved. As a hypothesis, the existence of an epistemological dimension of meaning in the works of the (...) class='Hi'>absurd is put forward, interpreted by the author as a reception of the views of phenomenologists, problematized in the inconsistent reduction of phenomena. The methodological basis was the general scientific methods of analysis and synthesis, as well as the critical analysis of the text. The scientific novelty lies in the attempt to present phenomenology as a precursor of absurdism, connected with it through the sphere of axiology. The main contribution of the author is the actualization of the epistemological layer of such a multifaceted phenomenon as the absurd, namely, the elaboration of the hypothesis that in many works of absurdists, the metamorphoses of the characters' consciousness are in fact an inconsistent reduction consisting in explicit metamorphoses of the Ego, as well as violating subject-object relations but not actually bracketing the idea of the world. Many literary contemporaries of Husserl devote their thoughts to the problems of phenomenology to one degree or another, which makes the connection between absurd literature and the key theses of early phenomenology logical. (shrink)

In A Confession, a memoir of his philosophical midlife crisis, Tolstoy recounts falling into despair after coming to believe that his life, and for that matter all human life, is meaningless and absurd. Although Tolstoy's account of the origin and phenomenology of his crisis is widely regarded as illuminating, his response to the crisis, namely, embracing a religious tradition that he had previously dismissed as “irrational,” “incomprehensible,” and “mingled with falsehood” seems unpromising, at best. Nevertheless, I argue, Tolstoy's account (...) of his response makes a valuable contribution to contemporary thought about the meaning and absurdity of life. I begin by drawing on classic discussions in the philosophical literature, and on Tolstoy's memoir, in order to characterize the problem of meaning and the problem of the absurd, and to clarify the relation between these problems. I then draw on Tolstoy's account of his response to his crisis in order to characterize a form of faith in our deepest values. I argue that such faith supplies one important part of the story concerning how we might respond to the problem of the absurd — a part that has been overlooked by more recent discussions of these issues. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

This book is our century’s most comprehensive and wise treatment of nihilism in all of its guises, comparing favorably with Rosen, Cavell, and indeed with Spengler. Crosby argues that our culture is genuinely haunted by nihilism expressing itself in the fideism of fundamentalism as well as in the debilitating alienation from all orientation. This results from a one-sided development of Western culture. Unlike most writers on this topic, Crosby acknowledges many sources colluding to frame the culture of nihilism, including “the (...) death of God,” the objectification of nature, the meaninglessness of suffering in a mechanical universe, the ephemerality of time in a world where value does not accumulate, the arbitrariness of historicized reason, the reduction of value to will, and the alienation of the Cartesian ego. These sources are reviewed in the first two parts of the book with the result that the phenomenon of nihilism becomes understandable. In its third and fourth parts, Crosby provides a critical analysis of the religious and philosophical forces leading to nihilism by discussing authors from the early modern period through Dostoyevsky, Sartre, Russell, and Derrida. He shows that these forces are skewed and impoverished and should not be allowed to determine our situation. The comprehensive attention to detail and the multi-perspectival interpretation demonstrates as well as asserts the richness of the culture that puts nihilism in its place. Part Five, finally, rephrases the criticism of the sources of nihilism in positive ways. Part Four in particular is a tour de force of philosophical argument. Its richness of nuance, plurality of views examined, and adroitness of critical interpretation provide cumulatively a powerful, non-nihilistic reading of the philosophic tradition. The force of the argument derives from its comprehensive, cumulative character. Crosby distinguishes and relates five areas of nihilism: political, moral, epistemological, cosmic, and existential. Throughout the book, he illustrates and examines these as they are expressed in literature and art, in daily life and practical affairs, and in philosophy. The book is richly erudite in its marshalling of consciousness from so many domains. (shrink)

Adopting an interdisciplinary approach, encompassing philosophy, literature, politics and history, John Foley examines the full breadth of Camus' ideas to provide a comprehensive and rigorous study of his political and philosophical thought and a significant contribution to a range of debates current in Camus research. Foley argues that the coherence of Camus' thought can best be understood through a thorough understanding of the concepts of 'the absurd' and 'revolt' as well as the relation between them. This book (...) includes a detailed discussion of Camus' writings for the newspaper "Combat", a systematic analysis of Camus' discussion of the moral legitimacy of political violence and terrorism, a reassessment of the prevailing postcolonial critique of Camus' humanism, and a sustained analysis of Camus' most important and frequently neglected work, "L'Homme revolte". (shrink)

Purpose. The paper considered the explication of the concept of "Sinn des Lebens" within the framework of Western philosophy and psychology of the ХІХ-ХХІ centuries. On the basis of this, the role of this concept in contemporary theoretical discussions and psychological and psychotherapeutic practices is understood. Theoretical basis. The authors believe that understanding the concept of "Sinn des Lebens" is possible only based on the synthesis of modern analytical philosophy methods with the methodological guidelines of modern psychology, in (...) particular logotherapy. Originality. The authors have proved that the problem of "meaning of life" is not an "eternal problem" of philosophy, but arises only in the early nineteenth century as a reflection on European secularization and widespread individualistic values and becomes extremely relevant gaining different interpretations at the beginning of the twentieth century based on the crisis of the sensory values of modern man. Conclusions. The concept of "Sinn des Lebens" originated in the philosophy of the German Romantics and gained philosophical significance only in the works by Schopenhauer, Kierkegaard and Nietzsche. Russian philosophy and literature give priority to the meaning of life in ethical and anthropological studies, focusing on its religious intentions. Analytical philosophy and existentialism appear to be diametrically opposed to the life-purpose anthropological problems, but they attempt to solve this problem by understanding the absurdity of human existence and language from different angles of view. The most reasonable concept of meaning in psychology can be considered Frankl’s logotherapy, which, despite certain drawbacks, remains the most significant in modern Western psychology. Modern philosophical studies on the problems of the meaning of life, despite their prudent analyticity and systematic nature, have not found credible criteria and means of human life self-reflection yet and have further incentives to develop their methodological and philosophical considerations. However, the diversity of interpretations of the concept of "meaning of life" that exists in modern scientific literature needs further reflection. (shrink)

Filosofische studie over de mogelijkheid het moderne nihilisme-vraagstuk te overwinnen in een nieuwe metafysica.

Throughout his relatively short life, Albert Camus struggled with nihilism and the absurd nature of human existence. Indeed, many of his writings deal with the problem of nihilism and with the issues of suicide, murder, suffering, and mass death. Always serious in his writings yet never resorting to cynicism or despair, Camus advocated rebellion as a response to nihilism. The choice of rebellion as a response to the absurdity of human existence makes sense when one realizes that his life (...) spanned the two world wars, the horrors of the concentration camps, and the repression of innocent civilians all over the world, from South America to Algeria. Perhaps Camus’s tumultuous background helps to explain why his writings.. (shrink)

Short description: Part A : Philosophy, Literature, and Knowledge – Chapter I : Idealism and the Absolute – A. J. B. Hampton: “Herzen schlagen und doch bleibet die Rede zurück?” Philosophy, poetry, and Hölderlin’s development of language suffi cient to the Absolute – P. Sabot: L’absolu au miroir de la littérature. Versions de l’Hégélianisme’ chez Villiers de l’Isle Adam et chez Mallarmé – P. Gordon: Nietzsche’s Critique of the Kantian Absolute – Chapter II: Philosophy and Style (...) – J.-P. Larthomas: Le cas Kierkegaard (1813-1855) ou l’écriture comme dialectique de l’écoute – S. Hüsch: Style et signifi cation. Intériorité et communication indirecte chez Søren Kierkegaard – A. Milon: La question du style en philosophie: la grammaire non-style – C. Van Lerberghe: La question du style dans la phénoménologie asubjective de Jan Patocka – Chapter III: Poetry and Philosophy – J.-B. Dussert: Martin Heidegger en ses poèmes – C. de Roche: The poem and the monad: On the reception of Leibniz‘ monadology in Paul Celan’s poetics – M. de Jesus Cabral: Entre théâtre et philosophie : notes sur la poétique de Maurice Maeterlinck – Chapter IV : Literature, Philosophy, and (new) Mythology – A. Martinengo: La raison hors de soi. Herméneutique et mythe chez Paul Ricoeur – G. Boggio Marzet Tremoloso: Démythologisation comme acte mythopoïétique: le cas de Jason de Elisabeth Porquerol. – G. Coulter: Jean Baudrillard: The Literary / Poetic Philosopher – Chapter V : Literature and Ethics – J. Azoulai: L’Éthique de Spinoza dans Bouvard et Pécuchet: un vertige philosophique et littéraire – I. Vendrell: Can Literature be Moral Philosophy? A sceptical view on the Ethics of Literary Empathy – F. Picon: Envisager Todorov: Poétique, éthique et humanisme contemporain – Chapter VI : Philosophy and Textuality – E. Lecler: La littérature : la mort de la philosophie – J. A. Gosetti- Ferencei: Writing in Philosophy and the Literature and Philosophy of Writing (Plato, Mann, Blanchot) –W. Cristaudo: Bringing Back Character and Grammar: Freeing Literature from Excessive Reliance on Philosophy and Theory – C. Alfano: Parenthesising Cracks into the Ground of Philosophy: The Textuality of Stanley Cavell’s Philosophical Writing – Part B: Perspectives of a Dialogue between Philosophy and Literature: Philosophical Refl ections in Literary Creation – Chapter VII : Philosophical Dialogue and Literature – A. Baillot: Tieck et Solger, un dialogue philosophicolittéraire – V. Altachina: Le dialogue philosophique chez Diderot et chez Dostoïevski – Chapter XIII : Bergsonien Infl uences in Literature – C. Dewas: Bergson et Katzantzakis. Les limites du langage comme condition d’une métaphysique de la littérature – E. Pesenti Rossi: La philosophie à l’épreuve de la poésie : Bergson et Ungaretti – Chapter IX : Wittgenstein and Literature – G. Valdemarca: La revanche du sens commun : Wittgenstein, Musil et la chute de la certitude – A. Leaker: From the ‘numinous glow’ to ‘gut squalor’: Transcendence and the Ordinary in Wittgenstein and Don DeLillo’s Underworld – A. den Dulk: Wallace and Wittgenstein: Literature as Dialogue Concerning the Real World – Chapter X: Borges and Semprun: Writers and Philosophers – J.-F. Mattéi: Borges et la philosophie – T. Capmartin: Voyage au bout de la représentation dans Fictions: Quelques remarques ménardiennes sur Borges et le stoïcisme – V. Capdevielle- Hounieu: Jorge Semprún et l’hybridation du littéraire et du philosophique : pour une ‘fi ction essayistique’ – Chapter XI : Literary (Mis-) Readings of Philosophy – P. Lasarte: Misreadings of Arthur Schopenhauer in Sin Rumbo by Eugenio Cambaceres – S. Roldan: Qu’est-ce qui est fort comme la mort selon Maupassant? La détermination ultime d’Olivier Vertin vue sous l’angle de Schopenhauer – B. Nickel: L’infl uence de Ludwig Wittgenstein (1889–1951) sur la poésie concrète – Chapter XII: The Impact of Philosophy on 20th Century Literature and Poetry – B. Ertugrul: Walter Benjamin et Ingeborg Bachmann entre littérature et philosophie – J. Leclercq / M. Watthee-Delmotte: Michel Henry : pour un langage de la subjectivité. La pensée du roman Le Fils du roi – J. Hobus: “The happiness of the concentration camps”: Reading Imre Kertész’ Novel Fatelessness with Albert Camus’ Concept of the Absurd – S. Frogel: Man without God: Nietzsche, Kafka and Camus Der Herausgeber Sébastian Hüsch, Studium der Philosophie, Geschichte,. (shrink)

The well-known label of “theater of the absurd” is based on the Aristotelian logic of the nonincluded middle, the common interpretation being that of the chaotic and irrational character of the universe, human destiny, and language. However, we propose another view on the subject, relying on the discoveries of quantum physics, the main principles of transdisciplinarity, and the literary theory of the possible worlds. We applied these ideas to some of Eugene Ionesco’s fa-mousplays, concluding that absurd becomes an (...) irrelevant notion if analyzed in this perspective. (shrink)

[...] it would seem natural to assume that the disciplines of literary studies and linguistics should by rights converge regularly to exchange views as each pursues its own goals. Is such a convergence possible on the question of sense and nonsense? James W. Underhill (this volume) The contributors to the present volume have focused their attention on two sets of problems that are leitmotifs in all the articles gathered. Firstly, should literary semantics - the linguistic study of texts/discourses marked with (...) the feature of 'literariness' and 'poeticalness' - strive after an interpretation of all such texts at all costs? Are all literary texts interpretable? How do we cope with such troublesome linguistic phenomena as anomaly, deviance, and absurdity? Aren't we, by any chance, fascinated by nonsense? Do we try to make it at least partly meaningful? Is interpretability our default value? The introductory article by the renowned scholar Margaret H. Freeman is an important voice, indeed a manifesto of sorts of literary semanticists in this respect. Secondly, while trying to answer all these questions, well aware of the fact that literary semantics is a fuzzy branch of linguistic studies, we have attempted at exploring its borderline zone to see to what extent we have to draw from various theoretical sources. Literary semanticists have often proved that they are capable of arguing contrastively in the atmosphere of openness to such neighbouring fields as: discourse analysis, literary pragmatics and reader-response theories, narratology, literary semiotics and hermeneutics, translation studies and - very importantly - the philosophy of language. The authors contributing to this book, an international company of regularly cooperating linguists and literary scholars, strike a nice balance between the cognitive and the more traditionally or philosophically-oriented frameworks of study, being a vivid proof that cognitive and other "denominations" are perfectly capable of fruitful coexistence. The volume ends with a short presentation by RadosÅaw Nowakowski, already known to academic and artistic audiences in Europe as a creator and propagator of liberature - the art of unusual bookmaking, the art of the book liberated from our traditional preconceptions. We hope that our volume will be of interest to academics and students of literary theory and linguistics alike, especially those involved in literary semantics, stylistics and poetics. Naturally, the book is also addressed to members and sympathizers of IALS (International Association of Literary Semantics) and the readers of Journal of Literary Semantics, scattered across the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:167 THE HUME LITERATURE FOR 1982 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship: A Bibliographical Guide (Edinburgh University Press, 1978; £9.50), which also lists the main earlier writings on Hume. Publications of the years 1977 to 1981 were listed in Hume Studies in previous Novembers. What follows here will bring the record up to the (...) end of 1982. Readers are invited to inform me of any omissions, and to send me offprints of their own articles and reviews. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography, with addenda consisting of items omitted through ignorance in previous years. References to recently-appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQAmerican Philosophical Quarterly JHIJournal of the History of Ideas JHPJournal of the History of Philosophy JPJournal of Philosophy PASProceedings of the Aristotelian Society PBPhilosophical Books PQPhilosophical Quarterly PRPhilosophical Review RIPRevue Internationale de Philosophie RMReview of Metaphysics TLSTimes Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). 168 AIKEN, H. D. 'The Originality of Hume's Theory of Obligation', Phil. & Phenomenol. Res. 42, 374-83. BADIA CABRERA, M. A. 'Milagro, testimonio y verdad. El significado de la crítica de Hume', Dialogos (Puerto Rico) 17, 37-52. BAIER, A. 'Hume's Account of our Absurd Passions', JP_ 79, 643-51. [652] BARON, M. 'Hume's Noble Lie: An Account of his Artificial Virtues', Can. J. Phil. 12, 539-55. BERRY, CJ. Hume, Hegel and Human Nature, pt. 2 (55124 ). The Hague, etc. [Hume Studies 9 (1983) 200-3] BERRY, CJ. 'Hume on Rationality in History and Social Life', History & Theory 21, 234-47. BUNZL, M. 'Humean Counterfactuals', JHP 20, 171-7. CALLICOTT, J. B. 'Hume's Is/Ought Dichotomy and the Relation of Ecology to Leopold's Land Ethic', Environmental Ethics 4, 163-74. CAPALDI, N., KING, J. & LIVINGSTON, D. 'The Hume Literature of the 1970s', Philosophical Topics 12, no. 3, 167-92. COLWELL, G.G. 'On Defining Away the Miraculous', Philosophy 57, 327-37. DAVIES, B. An Introduction to the Philosophy of Religion, 52-9 and 108-18. Oxford. DEL BARCO COLLAZOS, J. L. 'Evidencia y verdad en la epistemologia de Hume', Anuario filosófico 15, 175-84. DEL BARCO COLLAZOS, J. L. 'La teoría de la impresión en Hume', Anuario filosofico 15, 85-112. DRAPER, T. 'Hume and Madison: The Secrets of Federalist Paper No. 10', Encounter 58, (Feb.) 34-47. FARR, J. 'Humean Explanations in the Moral Sciences', Inquiry 25, 57-80. FERN, R. L. 'Hume's Critique of Miracles: An Irrelevant Triumph', Relig. Studies 18, 337-54. FITZPATRICK, J. 'Lonergan and Hume [I-IV: various aspects]', New Blackfriars 63, 122-30, 219-28, 275-86, 364-72. 169 FLAGE, D.E. 'Relative Ideas Revisited: A Reply to Thomas', Hume Studies 8, 158-71. FLAGE, D.E. 'Hume's Dualism', Nous 16, 527-41. FLEW, A. 'Another Idea of Necessary Connection', Philosophy 57, 487-94. FLEW, A. '"Hume on Space and Geometry": One Reservation ', Hume Studies 8, 62-5. [66-9] FORBES, D. 'Natural Law and the Scottish Enlightenment', in R. H. Campbell & A. S. Skinner, The Origins and Nature of the Scottish Enlightenment, 186204. Edinburgh. FORCE, J. E. 'Hume and Johnson on Prophecy and Miracles: Historical Context', JH_I 43, 463-75. FRIEMAN, J. 'Boswell Confronts Hume: An Encounter with the Great Infidel', Free Inquiry 2, 22-5. GALGAN, G.J. The Logic of Modernity, 118-36 ('Hume: The Breakdown of Certitude'). New York S London. HALL, R. 'The Hume Literature for 1981', Hume Studies 8, 172-7. HALLER, R. Urteile und Ereignisse, 76-85 ('Humes Analyse'). Munich. HAUSMAN, A. 'It Ain't Necessity, So... (with Apologies to George Gershwin)', Hume Studies 8, 87-101. HILL, E. 'Hume and the Delightful Tragedy Problem', Philosophy 57, 319-26. HOERSTER, N. 'David Hume', in N. Hoerster, Klassiker des philosophischen Denkens, vol. 2, 7-46. Munich. JONES, G. E. 'Vindication, Hume and Induction', Can. J. Phil. 12, 119-29. JONES, P. 'Laughter', PAS... (shrink)

Ways of Being Free: Introduction -- War Is Everything's Father: History and Death as Causes of Existential Angst -- Introduction: Causes of Existential Angst -- Change and Changelessness in Midnight's Children -- The Road of Existential Struggle in The Famished Road -- History and the "Nervous Condition" in The English Patient -- Death as a Drive to Meaningful Existence in Midnight's Children -- Becoming Dead-to-the-World in The English Patient -- Ideological Re-appropriation through Death in The Famished Road -- Authenticity -- (...) Authenticity: Introduction -- From Self-Sufficiency to Inoperative Community in The English Patient -- Revolution Revisited in The Famished Road -- From Communalism to the Comic Absurd in Midnight's Children. (shrink)

Internationally, initial teacher education has experienced shifts towards competence and school-based programmatic reforms. As a result, literature on the role of teacher educators operating within the academy suggests a sense of doom as market-based and political distrust of the academy grows. For now, initial teacher education in Ireland is largely housed within the academy. However, several governing policies have recently been published which subtly seek to marginalise the role and practices of teacher educators. Drawing on Camus’ understanding of the (...) absurd as emerging from the interaction between the longing of human beings for clarity and the universe’s indifferent and silent reply, this paper sets out to investigate possible methods that teacher educators may select in responding to an awareness of the absurd. (shrink)

Marking a major new reassessment of Camus' writing, this book investigates the nature and philosophical origins of Camus' thinking on "authenticity" and "the absurd" as these motions are expressed in "The Myth of Sisyphus" and "The Outsider", showing these books to be the product not only of a literary figure, but of a genuine philosopher as well. Moreover, the author provides a complete English-language translation of Camus' "Metaphysique Chretienne et Neoplatonisme" and underlines the importance of this study for the (...) understanding of the early Camus. The book also contains analyses of the influence of St Augustine and Nietzsche on Camus. (shrink)

For philosophers familiar with the traditional interpretation of Simone de Beauvoir as a literary writer and philosophical follower of Jean-Paul Sartre, Beauvoir’s 1926-27 student diary is a revelation. Inviting an exploration of Beauvoir’s early philosophy foreclosed by the traditional interpretation, the student diary reveals Beauvoir’s early dedication to becoming a philosopher and her early formulation of philosophical problems and positions usually attributed to Sartre’s influence, such as the central problem of “the opposition of self and other,” years before she (...) first met Sartre in 1929.… Reading the student diary within a larger historical context, we discover that it reflects Beauvoir’s experience as one of the first generation of French women to gain full access to the academic world of philosophy, an experience that problematizes her identity as a woman. The diary shows Beauvoir struggling to accommodate herself to the male world of philosophy while striving to make philosophy her own. For Beauvoir this means following Henri Bergson in rejecting a philosophy that engages only the abstract intelligence. Defining her own unique literary philosophical methodology, Beauvoir vows to create a philosophy that is able, like literature, to encompass emotion as well as reason. This creative process begins in her diary where Beauvoir describes the concrete realities of her own lived experience. Searching for a sense of self in the “nothingness of everything human,” Beauvoir grapples with the existential problem of despair and the temptations of bad faith. Celebrating her newly found freedom and academic achievements, Beauvoir still struggles with the masochistic asceticism of her Catholic upbringing and longs for love, fearing a solitary future bereft of the comforts of woman’s traditional role. Beauvoir’s student diary thus allows us to trace the development of her early philosophy within the context of her life, while providing as well an intimate view of an academic world in transformation…. When the diary opens, with an entry dated August 6, 1926 Beauvoir is grappling with a central problem of her early life and philosophy, the conflicting moral obligations to self and others. Recounting a pilgrimage to Lourdes with an aunt, Beauvoir recalls feeling “ashamed” when faced with the physical suffering of the invalids: “[O]nly a life which was a complete gift of oneself, a total self-abnegation seemed possible to me.” But then, anticipating her critique of self-abnegation in The Second Sex, Beauvoir rejects it, describing the “absolute gift” as “moral suicide.” She vows, instead, to achieve an “equilibrium” between the duty to self and the duty to others. In the August 12, 1926 diary entry, Beauvoir frames the problem in metaphysical terms, referring to one part of herself “made to be given away,” and another “made to be kept and cultivated.” Later, in the November 5, 1926 entry, Beauvoir returns to the problem, writing that she split her “existence into two parts”: one part “for myself” and the other part “for others,” that is “the bonds that unite me with all beings.” Beauvoir’s 1926 description of existence “for myself” and “for others” lays the ground for her later philosophical work on the problem of the Other, as in her 1943 metaphysical novel, She Came to Stay, where the main female protagonist struggles to reclaim an existence for herself instead of existing solely for others, and in The Second Sex (1949) where Beauvoir argues that women are forced to assume themselves not as they exist for themselves but solely as they exist for men, thus as the absolute Other. During the course of the 1926 diary, Beauvoir’s efforts to reconcile these two “parts” of her existence are complicated by various influences, including her reading of Henri Bergson, the leading French philosopher of the early twentieth century. Beauvoir quotes at length in her 1926 diary from Bergson’s Essay on the immediate data of consciousness, which she describes, on August 16, as “a great intellectual rapture.” This diary entry may surprise those who remember the reference to Bergson in Beauvoir’s Memoirs: “I would not have been at all pleased if someone had prophesized that I would become a kind of Bergson; I didn’t want to speak with that abstract voice which, whenever I heard it, failed to move me” (MJFR 288). In this case as in so many others, Beauvoir’s diaries present a very different picture. In the August 16 diary entry, Beauvoir is critical of Bergson’s “impersonal” philosophical voice. But she lauds his methodological “appeal to intuition," which brings philosophy in contact with the « palpable reality » of life, as more characteristic of literature than philosophy. Beauvoir quotes Bergson’s celebration of the « bold novelist » able to tear aside « the cleverly woven web of our conventional self, » and reveal the « fundamental absurdity » of impressions underneath. « Nobody has better than he … defined the art of the modern novelist » Beauvoir writes, suggesting Bergson’s influence on Beauvoir’s developing literary philosophical method. Beauvoir writes, in the August 16 entry, that she is “thrilled” by Bergson’s “analysis of the two aspects of the self,” the authentic inner self and the external social self. For Bergson, unlike Beauvoir who is concerned with serving others as well as the self, our responsibility is wholly to the self and its freedom, which we discover only by breaking through the superficial “crust” of the social self. If his ethic of individual freedom complicated Beauvoir’s search for an ethical “equilibrium,” Bergson’s methodological turn to intuition and rejection of philosophy’s sole reliance on reason might have appealed to a young women trying to enter the male world of philosophy and make it her own…. (shrink)

One often hears a version of the following: “A poem is never finished, just abandoned.” I have always found this proposition irksome. The fact that Paul Valéry seems to be the source of it, in something like the above form, makes me feel a certain trepidation in writing this. But I do find myself thinking, when I hear people say that their poems are never finished, only abandoned: why don’t you just finish them? I want a poem to be finished. (...) But is this the same as demanding it be perfect? This article is resolutely opposed to perfection, whether it comes in poetry or any other art. I start by citing a passage from Kant, as a way of offering an initial sketch of that opposition. I then turn to two brief... (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy (...) which has followed, has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Although existentialism and evolutionary biology might appear to be polar opposites, with the former denying a role for “human nature” and the latter emphasizing it, there are some unrecognized parallels. One in particular is that both disciplines assume that human life is not inherently meaningful, such that any attribution of meaning must arise from human actions. The present article traces some of this intellectual correspondence in the realm of literature.

"Iago's 'I am not what I am' epitomises how Shakespeare's work is rich in philosophy, from issues of deception and moral deviance to those concerning the complex nature of the self, the notions of being and identity, and the possibility or impossibility of self-knowledge and knowledge of others. The Routledge Companion to Shakespeare and Philosophy examines the following important topics: - What roles can be played in an approach to Shakespeare by drawing on philosophical frameworks and the work (...) of philosophers? - What can philosophical theories of meaning and communication show about the dynamics of Shakespearean interactions, and vice versa? - How are notions such as political and social obligation, justice, equality, love, agency, and the ethics of interpersonal relationships demonstrated in Shakespeare's works? - What do the plays and poems invite us to say about the nature of knowledge, belief, doubt, deception and epistemic responsibility? - How can the ways in which Shakespeare's characters behave illuminate existential issues concerning meaning, absurdity, death and nothingness? - What might Shakespeare's characters and their actions show about the nature of the self, the mind, and the identity of individuals? - How can Shakespeare's works inform philosophical approaches to notions such as beauty, humour, horror and tragedy? - How do Shakespeare's works illuminate philosophical questions about the nature of fiction, the attitudes and expectations involved in engagement with theatre, and the role of acting and actors in creating representations? The Routledge Companion to Shakespeare and Philosophy is essential reading for students and researchers in aesthetics, philosophy of literature and philosophy of theatre"--. (shrink)

Functionalist identity theorists argue that if physical states of the central nervous system have the same function as pain, pains should be identified with those physical states. Many objections have been raised against this position. My aim in this paper is to defend it against opponents who argue that it leads to an absurd result: the ascription of pains to things which cannot reasonably be thought to be capable of suffering, or of having any conscious states. In doing this, (...) I will outline a version of the functionalist position which I think is plausible. It departs in several respects from versions commonly found in the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crisis of Meaning in Sartor Resartus—Thomas Carlyle's Pioneering Work in Articulating and Addressing the Existential ConfrontationFrank Martelawhat i call an "existential confrontation" is the encounter with the possibility that human life is absurd: created for no purpose and devoid of any lasting value or meaning. It is "the hour of terror at the world's vast meaningless grinding" that William James (Will to Believe 173) examines, described by Todd (...) May (xi) as "the confrontation of our need for meaning with the unwillingness of the Universe to yield it to us." This confrontation with the existential void and the potential absurdity of human existence is often not just an intellectual dilemma, but felt as a deep personal crisis accompanied by melancholia, angst, nausea, or even suicidal thoughts. Young William James confessed in a letter to a friend that "all last winter" he "was on the continual verge of suicide" (quoted in Gunnarsson), writing later that "too much questioning" leads "to the edge of the slope" wherein lies "nightmare or suicidal view of life" (James, "Is Life Worth Living?" 6). Similarly, Leo Tolstoy (54) reports how his inability to identify a lasting meaning of life drove him to a "state of lunacy" where "the best I could do was to hang myself."Despite a few earlier allusions—most famously the Book of Ecclesiastes proclaiming that "all is vanity and a striving after wind," and Shakespeare's Macbeth lamenting that life is "a tale told by an idiot … signifying nothing"—the existential confrontation is predominantly a modern phenomenon (Martela, A Wonderful Life). The modern history of descriptions of existential confrontations start at the turn of the nineteenth century, and includes Søren Kierkegaard's Sickness Unto Death, Leo Tolstoy's A Confession, Fyodor Dostoevsky's Notes from Underground, Camus's Outsider, Sartre's Nausea, and T. S.Eliot's The Waste Land.There are many responses that the confrontation with the existential void has generated. Sartre embraced the lack of values imposed from outside and [End Page 80] emphasized human freedom. Human beings are "cast into this world … condemned to be free" without any "luminous realm of values" providing "justification or excuse," as Sartre famously summarized in "Existentialism Is a Humanism" (29). Other responses range from Søren Kierkegaard's leap of faith and William James's will to believe to Albert Camus's happiness from absurdity.While some of the responses end up finding a new way of connecting with God and faith, and others are explicitly atheistic, embracing the "death of God," a common thread in most responses is an acknowledgment of the situatedness of human experience and an emphasis placed on human subjectivity and the opportunity to live one's life more authentically. While existentialism, broadly conceived, is often seen as the central philosophical tradition dealing with the existential void, the confrontation was very much alive in the United States as well, visible in both literature and philosophy. As already alluded, William James had an existential confrontation in his youth, writing about the topic in "Is Life Worth Living" and other essays in Will to Believe. There has also been much back-and-forth between Europe and the United States around these themes, with the influences crossing the Atlantic on many occasions. For example, William James cites Thomas Carlyle in Will to Believe, while Sartre cites William James in Nausea, when discussing themes related to the existential confrontation. Similarly, Emerson inspired Nietzsche who inspired Josiah Royce. Typically, the histories tracing the early encounters with the existential confrontation acknowledge Friedrich Nietzsche, Søren Kierkegaard, and Fyodor Dostoevsky as key nineteenth-century predecessors to Existentialism, as all faced directly the question of the meaning of life and the dreadful possibility that life might not have any meaning or value to it.However, there is a key author usually not mentioned in these histories, despite the fact that he played a pivotal role in introducing existentialist themes to the English-speaking audience, coining the phrase "meaning of life" in the English language. Thus, in writing the prehistory of Existentialism, we need to examine Thomas Carlyle and his Sartor Resartus, which has been described by literary historians as "one of... (shrink)

Analyzes principal forces that determined the direction of Camus' thought on ethics and political values.

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

In the sixties I attempted to comprehend the Zen paradox: 1,400 years of handing down a tradition through absurd statements. I had to construct a theory of the absurd. It led me to the conclusion that not only connections among words could be absurd ; connections among objects themselves could also be absurd. God hung on the cross seemed an absurdity. The Apostle Paul acutely felt this absurdity, and later Tertullian felt it even more acutely. A (...) thousand years later, for Aquinas, the sense of absurdity had subsided, and the diminution of God to the "perspective of the slave" became a postulate of scholastic reason. In all transitional periods, when the "world is out of joint," a palpably absurd situation arises, and grotesque, absurd literature is created. François Villon became popular in Russia in the twentieth century, not very long before Kafka; the poem written for the contest in Blois engraved itself in my memory. The poem is rational in its own way, i.e., it describes well the realities of life itself. (shrink)

This study contends that folly is of fundamental importance to the implicit philosophical vision of Shakespeare’s drama. The discourse of folly’s wordplay, jubilant ironies, and vertiginous paradoxes furnish Shakespeare with a way of understanding that lays bare the hypocrisies and absurdities of the serious world. Like Erasmus, More, and Montaigne before him, Shakespeare employs folly as a mode of understanding that does not arrogantly insist upon the veracity of its own claims – a fool’s truth, after all, is spoken by (...) a fool. Yet, as this study demonstrates, Shakespearean folly is not the sole preserve of professional jesters and garrulous clowns, for it is also apparent on a thematic, conceptual, and formal level in virtually all of his plays. Examining canonical histories, comedies, and tragedies, this study is the first to either contextualize Shakespearean folly within European humanist thought, or to argue that Shakespeare’s philosophy of folly is part of a subterranean strand of Western philosophy, which itself reflects upon the folly of the wise. This strand runs from the philosopher-fool Socrates through to Montaigne and on to Nietzsche, but finds its most sustained expression in the Critical Theory of the mid to late twentieth-century, when the self-destructive potential latent in rationality became an historical reality. This book makes a substantial contribution to the fields of Shakespeare, Renaissance humanism, Critical Theory, and Literature and Philosophy. It illustrates, moreover, how rediscovering the philosophical potential of folly may enable us to resist the growing dominance of instrumental thought in the cultural sphere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hugh Bredin I. A. RICHARDS AND THE PHILOSOPHY OF PRACTICAL CRITICISM IN much of the English-speaking world, an essential component of literary studies is the exercise known as "practical criticism." The name, and to some extent the practice, originated in a book by I. A. Richards, Practical Criticism, 1 in which he described an experiment conducted by him at Cambridge and elsewhere. In the experiment, undergraduate students of (...) English were given a number of unfamiliar poems, whose authorship was not revealed, and were asked to read and to submit written comments upon them. The result, in the words of one account, "was horrifying. Magazine poetasters were extravagandy praised, Donne, Hopkins, and Christina Rossetti firmly damned; every felicity was ridiculed, and every absurdity praised, by large minorities and even majorities."2 Richards himself did not respond to his discoveries in quite such a marked fashion as this, but he did betray the concern of someone in whom a longheld fear had been confirmed. He suggested that members of the Royal Society of Literature would have fared no better, and argued in general that an ability to read successfully — that is, with correct understanding and appropriate sensuous and emotive response — was rare and intermittent in even the most highly educated products of our schools and universities. He discerned a worsening of language performance compared with a few generations earlier, and advocated, as a corrective measure, widespread study of the theory of interpretation, and widespread training in the techniques thereof. This project he initiated himself in a subsequent work, Interpretation in Teaching.3 Richards's recommendations have not been adopted in general education practice, but they have been extremely influential in the pedagogy of literature; and it is generally said about other writers, such as Leavis, 26 Hugh Bredin27 Empson, and Brooks, that they have reinforced this influence. Practical criticism, as a teaching device, means the close and attentive reading of literary texts, usually poetry, usually by a small group, under the guidance of a tutor. As an examination method, it means the kind of test originally undergone by Richards's undergraduates. The end result ofthe practice — a result which, presumably, may or may not occur in the examination hall — is alleged to be "an opening up of the poem for what it can really be for us: a unique and fascinating experience, carefully wrought by its maker, and fully available only to those with the patience, as well as the sensibility, to recreate."* Practical Criticism is a most interesting work. The variety and divergence of views on the poems used for the experiment reveal unexpected and musty corners of the human spirit. Richards's diagnosis of the factors which may lead to errors in judgment and understanding is acute. His proposals for remedial action win our approval. What is puzzling, however, is that the result of the experiment should be a cause of surprise or dismay to anyone. What other result could there have been? Richards himselfremarked that "the precise conditions ofthis test are not duplicated in our everyday commerce with literature," and upon "the difficulty of judging verse without a hint as to its provenance."5 Yet he makes no concession to the fact that these conditions, with their attendant difficulty, must bear primary responsibility for the failings displayed by his students. His conviction was that the conditions helped to reveal defects in reading, and not, as seems more likely, that they helped to produce them. Any written text requires a context if it is to be fully understood. This is of course true of spoken language as well; and the extra complexity of poetry makes it especially susceptible to misinterpretation and misjudgment if taken in isolation. The first thing that any competent teacher will do with a poem is to provide a context — a period, a chronology, a social, political, religious, and intellectual background, a body of similar and contrasting works, works by the same and by related authors, linguistic and stylistic conventions, the relevant conceptions ofart and literature and their role in the world — all of this, and more. He will take it for granted that, as the student grows more deeply familiar with context, a context which... (shrink)

On Being and Becoming offers a new approach to existentialist philosophy and literature, as responding to competing demands for universal truth and the defense of the irreducible singularity of the individual. On Being and Becoming traces the heterogeneity of existentialist thinking beyond the popular wartime philosophers of the Parisian Left Bank, demonstrating their critical dependence on sources from the nineteenth century and their complements in modernist works across the European continent and beyond. While quintessentially modern, existentialism inherits ideas (...) of the past and anticipates challenges of the present. Despite its individualism, existentialist attention to the human self is related to conceptions of world, others, the earth, and the more encompassing concept of being. The predominance of ideas of authenticity, individuality, and self-determination makes any existentialist manifesto self-contradictory, while existentialist thinkers above all wanted to make their philosophy relevant to concrete human existence as it is lived. Prevailing models of existential authenticity life tend to overlook the rich diversity of its prospects, which, as this volume shows, involve not only anxiety, absurdity, awareness of death and of the loss of religious reassurances, but also hope, the striving for happiness, and a sense of the transcendent—all of these grounded our human capacity to create meaning. In spite of the diversity of existentialism, all of its thinkers recognize the self as becoming, and recognize the courage and creativity human individuality demands. On Being and Becoming elaborates pragmatic and philosophical relevance of existentialism for being human in the contemporary world. (shrink)

Frank Kermode is one of our most distinguished and beloved critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows (...) how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas. (shrink)

A Mathematical Review by John Corcoran, SUNY/Buffalo -/- Macbeth, Danielle Diagrammatic reasoning in Frege's Begriffsschrift. Synthese 186 (2012), no. 1, 289–314. ABSTRACT This review begins with two quotations from the paper: its abstract and the first paragraph of the conclusion. The point of the quotations is to make clear by the “give-them-enough-rope” strategy how murky, incompetent, and badly written the paper is. I know I am asking a lot, but I have to ask you to read the quoted passages—aloud if (...) possible. Don’t miss the silly attempt to recycle Kant’s quip “Concepts without intuitions are empty; intuitions without concepts are blind”. What the paper was aiming at includes the absurdity: “Proofs without definitions are empty; definitions without proofs are, if not blind, then dumb.” But the author even bollixed this. The editor didn’t even notice. The copy-editor missed it. And the author’s proof-reading did not catch it. In order not to torment you I will quote the sentence as it appears: “In a slogan: proofs without definitions are empty, merely the aimless manipulation of signs according to rules; and definitions without proofs are, if no blind, then dumb.”[sic] The rest of my review discusses the paper’s astounding misattribution to contemporary logicians of the information-theoretic approach. This approach was cruelly trashed by Quine in his 1970 Philosophy of Logic, and thereafter ignored by every text I know of. The paper under review attributes generally to modern philosophers and logicians views that were never espoused by any of the prominent logicians—such as Hilbert, Gödel, Tarski, Church, and Quine—apparently in an attempt to distance them from Frege: the focus of the article. On page 310 we find the following paragraph. “In our logics it is assumed that inference potential is given by truth-conditions. Hence, we think, deduction can be nothing more than a matter of making explicit information that is already contained in one’s premises. If the deduction is valid then the information contained in the conclusion must be contained already in the premises; if that information is not contained already in the premises […], then the argument cannot be valid.” Although the paper is meticulous in citing supporting literature for less questionable points, no references are given for this. In fact, the view that deduction is the making explicit of information that is only implicit in premises has not been espoused by any standard symbolic logic books. It has only recently been articulated by a small number of philosophical logicians from a younger generation, for example, in the prize-winning essay by J. Sagüillo, Methodological practice and complementary concepts of logical consequence: Tarski’s model-theoretic consequence and Corcoran’s information-theoretic consequence, History and Philosophy of Logic, 30 (2009), pp. 21–48. The paper omits definitions of key terms including ‘ampliative’, ‘explicatory’, ‘inference potential’, ‘truth-condition’, and ‘information’. The definition of prime number on page 292 is as follows: “To say that a number is prime is to say that it is not divisible without remainder by another number”. This would make one be the only prime number. The paper being reviewed had the benefit of two anonymous referees who contributed “very helpful comments on an earlier draft”. Could these anonymous referees have read the paper? -/- J. Corcoran, U of Buffalo, SUNY -/- PS By the way, if anyone has a paper that has been turned down by other journals, any journal that would publish something like this might be worth trying. (shrink)

Ours is an age full of desires but impoverished in its understanding of where those desires lead—an age that claims mastery over the world but also claims to find the world as a whole absurd or unintelligible. In The Vision of the Soul, James Matthew Wilson seeks to conserve the great insights of the western tradition by giving us a new account of them responsive to modern discontents. The western— or Christian Platonist—tradition, he argues, tells us that man is (...) an intellectual animal, born to pursue the good, to know the true, and to contemplate all things in beauty. Wilson begins by reconceiving the intellectual conservatism born of Edmund Burke’s jeremiad against the French Revolution as an effort to preserve the West’s vision of man and the cosmos as ordered by and to beauty. After defining the achievement of that vision and its tradition, Wilson offers an extended study of the nature of beauty and the role of the fine arts in shaping a culture but above all in opening the human intellect to the perception of the form of reality. Through close studies of Theodor W. Adorno and Jacques Maritain, he recovers the classical vision of beauty as a revelation of truth and being. Finally, he revisits the ancient distinction between reason and story-telling, between mythos and logos, in order to rejoin the two. Story-telling is foundational to the forms of the fine arts, but it is no less foundational to human reason. Human life in turn constitutes a specific kind of form—a story form. The ancient conception of human life as a pilgrimage to beauty itself is one that we can fully embrace only if we see the essential correlation between reason and story and the essential convertibility of truth, goodness and beauty in beauty. By turns a study in fundamental ontology, aesthetics, and political philosophy, Wilson’s book invites its readers to a renewal of the West’s intellectual tradition. (shrink)

ABSTRACT: People have inferred that our lives are absurd from the supposed fact that nothing we do will matter in a million years. In this article, I critically discuss this argument for absurdity. After explaining how two refutations in the literature fail to undermine the best version of the argument, I produce several considerations that together do take much of the force out of the argument. I conclude by suggesting that these considerations not only refute this argument for (...) absurdity, but also constitute a motivation to be moral.RÉSUMÉ: On a pu déduire que nos vies sont absurdes en supposant que rien de ce que nous faisons n’aura d’importance dans un million d’années. Dans cet article, j’évalue cet argument en faveur de l’absurdité. Après avoir expliqué comment deux réfutations formulées dans la littérature sur le sujet sont impuissants à contrecarrer la meilleure version de cet argument, je formule plusieurs considérations qui concourrent à réduire de beaucoup la force de cet argument. Je conclus en suggérant que ces considérations non seulement réfutent l’argument en faveur de l’absurdité, mais aussi justifient l’agir moral. (shrink)

ABSTRACT: People have inferred that our lives are absurd from the supposed fact that nothing we do will matter in a million years. In this article, I critically discuss this argument for absurdity. After explaining how two refutations in the literature fail to undermine the best version of the argument, I produce several considerations that together do take much of the force out of the argument. I conclude by suggesting that these considerations not only refute this argument for (...) absurdity, but also constitute a motivation to be moral.RÉSUMÉ: On a pu déduire que nos vies sont absurdes en supposant que rien de ce que nous faisons n’aura d’importance dans un million d’années. Dans cet article, j’évalue cet argument en faveur de l’absurdité. Après avoir expliqué comment deux réfutations formulées dans la littérature sur le sujet sont impuissants à contrecarrer la meilleure version de cet argument, je formule plusieurs considérations qui concourrent à réduire de beaucoup la force de cet argument. Je conclus en suggérant que ces considérations non seulement réfutent l’argument en faveur de l’absurdité, mais aussi justifient l’agir moral. (shrink)

This research looks into absurdity focusing on its etymology as well as its relationship with the concepts "sense" and "meaning", looks into the concepts of "context" and "decontextualization" so as to understand the nature of absurd decontextualization. Considering the different meanings of absurdity in literature, philosophy and humour, this research is also meant to provide a breakdown of the architecture of nonsense.

The post-Holocaust suicide of a concentration camp survivor is particularly unsettling. One thinks, for instance, of Cliff Stern's devastated response to Professor Louis Levy's death in Woody Allen's movie Crimes and Misdemeanors. Loosely based on Primo Levi, Allen's professor provides in short documentary clips an astute analysis of the contradictions of a loving God in the Old Testament and stoically counsels embracing life despite the indifference and occasional cruelty of the universe. Having experienced, understood, and accepted the absurdity and injustice (...) of life, Levy, one might think, would rage to the bitter end against the dying of the light. But for no apparent reason, he kills himself. Cliff's response... (shrink)

A Unified Treatment of Moore's Paradox is the culmination of a decades-long engagement with Moore's paradox by the world's leading authority on the subject, the late John Williams. The book offers a comprehensive account of Moore's paradox in thought and speech, both in its comissive and omissive forms. Williams argues that Moorean absurdity comes in degrees, and shows that contrary to one tradition in the literature on Moore's Paradox, we cannot explain Moorean absurdity in speech in terms of Moorean (...) absurdity in thought, but must account for each form of absurdity in its own terms. Williams also explores the extent to which Moore's paradox may arise for attitudes other than belief, such as desire. Written with Williams' trademark clarity and wit, the book is packed with arguments bearing on a wide range of topics in epistemology, the philosophy of language, and the philosophy of mind. (shrink)

Sophists’ apologia. -/- Sophists were the first paid teachers ever. These ancient Greek enlighteners taught wisdom. Protagoras, Antiphon, Prodicus, Hippias, Lykophron are most famous ones. Sophists views and concerns made a unified encyclopedic system aimed at teaching common wisdom, virtue, management and public speaking. Of the contemporary “enlighters”, Deil Carnegy’s educational work seems to be the most similar to sophism. Sophists were the first intellectuals – their trade was to sell knowledge. They introduced a new type of teacher-student relationship – (...) the mutually beneficial communication on equal terms. They taught pupils how to think independently and how to persuade others, which was inseparably connected with the rise of democracy in the most advanced Greek polices. Sophists were the first to proclaim that all people are naturally equal. They put forward the idea of natural rights and social contract, working out the fundamentals of the present-day law. In addition, they developed the basics of philology, psychology, logic, and gave a scientific explanation to the origins of religions. They embodied definite positive ideals of their epoch. Sophistry flourished in the second half of the Vth through he first third of the IVth centuries B. C. The period coincides with the heyday of the entire Greek history – the so called Greek Miracle epoch. Sophists expressed some present-day concepts of Ancient Greek ideology and mentality, characteristic of its Golden Age times. The Ancient Athens of the times of Periclus were similar to the Florence of Renaissance as to the type of social structure. That is why (?) the art of eloquence (public speaking) was highly respected in Florence. The two cities had a lot of features of the present-day capitalist society, which was due to their role as the main centres of industry of their “worlds-economies”. During the subsequent Hellenic period, the Old Order was restored, based on the feudal rent recipients’ rule. The degradation of society resulted in the decline of sophistry. Sophistry represents the highest point in the evolution of Greek philosophy. It is also the most prominent school as to the novelty of its ideas. That was owing to the common propensity for innovation typical of Periclus’ Golden Age, which in its turn resulted from the establishment of the individualistic and rationalistic thinking similar to present-day mentality. Among other aspects, close attention was paid to ethnic issues; some humanistic ideas such as Master and Servant ethics and Enlightment as the primary condition of man’s freedom, received scientific grounding. The genre of philosophical dialogue was developed, as well as the rationalistic scientific gnoceology, aimed at consistently opposing any religion. Dialectics, the most outstanding achievement of the Antiquity, was also worked out by the sophists. Zeno of Helleas was one of the sophists. Democrites’ ideas were, too, quite close to dialectics. Socrates’ contemporaries regarded him ironically, as shown, for example, in the Aristophanes’ comedy “Clouds”. Nevertheless, this scholar can still be referred to as a sophist, although of somewhat weird personality. Socrates’ popularity, which came later, should be attributed to the fact that he was the first philosopher ever to have been sentenced and executed by law, rather than to any valuable scientific contributions. Sophistry as such, rather than Socrates, marks the line between pre-Socratic and post- Socratic schools. Plato, with the exception of his latest works, is considered to belong to the same philosophical school. Specifically, there are valid reasons to believe that he was paid fees by his disciples. In Plato’s Dialogues, all points of view will be proven and then disproved, so that an integral philosophical system is hard to observe. Plato’s “Idealism” is but one of the many possible theories. His ideal philosophy is a high-minded argument of wise men. As late as towards the end of his life, Plato betrayed the ideals of sophistry, turning into the world’s first proponent of totalitarianism. Sophistry is Greek classical literature. Later on, philosophy, as well as the entire Greek civilization, started to fall into decline. Over 500 subsequent years, Hellenistic-Roman scholars never came up with anything novel. The entire process of antique philosophical evolution can be subdivided into the following six stages: Phoenician (IX–VIIth centuries B. C.), archaic (VIth – the first half of IVth century B. C., classic (the epoch of sophistry: the second half of the Vth through the first decades of the IIIrd centuries B. C.), late antique (middle of the IIIrd – first decades of the VI th centuries B.C.) The fact that early in the VIth century B. C. sophistry was rejected in Athens, has a lot to do with the consequences of their defeat in Peloponnesian war, a social catastrophe. Ever since, the prevalent part of the criticism of sophistry is a criticism of sophists’ immoral ways of life and personalities, rather than the essentials of their philosophy. For instance, Aristotle’s criticism primarily concerns their pragmatism and tendency to make a profit out of teaching. However, Aristotle himself taught his disciples along similar lines, showing them how to “be able to prove both opposites”. It was Aristotle who summed up sophists’ century-long elaborations. The traditional modern interpretation of sophists as shown in Plato’s dialogues appears to be groundless. The truth of the matter is that Plato regards sophists as more serious philosophers than Socrates was. It becomes especially clear in the dialogue titled “Protagoras”, which shows the latter as gaining an undoubted victory over Socrates. Generally speaking, Plato’s works never regard sophists as weak or worthless opponents. A common opinion as to the essence of sophists’, in particular, Protagoras’s philosophy, has hitherto not been worked out. Many researchers renounce the very existence of any specific philosophical position in sophistry. The term “relativism” itself now has a bad name. However, it should be borne in mind that Protagoras doctrine emerged as a result of an attempt to get out of the ontological dead-end to which the entire Greek natural philosophy had come. To this purpose, he employed Anaxagoras’s idea about everything comprising everything, whereupon he built his physical-ontological theory, and Zeno of Helleas’s concept that all objects are such and different at the same time in the same respect. According to Protagoras’s philosophy, every object does not only seem, but is different from every other object, including human beings. Therefore, every person is his or her own measure of all other entities. The objective reality is the Ego’s relations with the outer world. Every object’s essence is defined through its interaction with ourselves. Nothing remains stagnant – every existence already contains non-existence, and vice-versa. However, the relativity of being is not to be regarded as absolute. That means, that relatively stable and therefore relatively cognizable entities do exist, among them the words we say. Doubt is not considered absolute by relativists either, which differentiates them from skeptics and agnostics. They dare to believe. Uncertainty is Godly – here, Protagoras becomes very close to the concept of apathetic theology. Gorgius shared Protagoras’s views and tried to prove them applying the same method as Zeno applied when upholding Parmenidis’s philosophy. He argued that if one accepts the opposite point of view and agrees that nothing can exist and not exist at the same time, one is bound to come to an the absurd conclusion that nothing is cognizable and nothing exists. To prove that there is a universal contradiction within the Existence itself, Protagoras and his followers in their turn put forward a number of special logical arguments, called rules of contraries, or sophisms. The most well-known of them is the Euathle’s sophism, which proves that an object can be such and different at the same time in the same respect. Generally speaking, all relationships of any entity are extraneous. The idea that all entities, including concepts, exist and do not exist at the same time, was also accepted by Plato. It should be stressed, that Plato’s philosophy as a whole is relativists’ greatest achievement. In his dispute against relativism, Aristotle put forward the main concepts of his ontology: the existence falls into the existence in possibility and the existence in reality, or substance and accidence – the ever changing “sublunary” world and the stable world of divine heavenly bodies. This division made his system self-contradictory to the point of absurd. Aristotle quite realized, that the direct disproof of relativism is hardly possible, which fact makes his criticism a mere tautology. It is very indicative in this respect that materialists, idealists and even skeptical agnostics applied the same arguments do disprove relativism. That demonstrates that the inner contradiction between any forms of “absolutism” and relativism is the most fundamental philosophical problem. Relativist ideas were repeatedly renewed throughout history, provided the social conditions were favourable. In variations, the concepts were advanced by Tzuan Tsi and ancient Chinese sophists, apostle Paul, Nicolas of Cusa, Galileo, Rene Descartes, G. Berkley, D. Hume, Ch. S. Pierce, E. Mach, A. Bogdanov, F. de Saussure, N. Bore, P. Feuerabend, U. Quain and others. However, no consistent relativist ontological system was developed after Protagoras. Meanwhile, a valid relativist theory could provide a clue to a fuller and more adequate general physical concept of the world, and to a deeper understanding of quantum mechanics. -/- Relativism as an ontological system of beliefs. -/- The relativist principle of relativity of all that exists is fundamental for the entire system of philosophy. Absolutely everything exists, but, at the same time, no existence is absolute. Anything is possible, but those entities only exist for us with which we interact this way or another, i. e., reality is interaction, “I interact – hence, I exist”. However, an overly close relationship between entities leads to non-existence – in other words, there is a certain existential optimum. For all of us, information, or perceptible heterogeneities, is real. Each of us is the center of a definite system of interactions with the world. If God is an endless Possibility, then the World is but the man’s dialogue with God. However, the ties that bind us with the world are of some definite kind, which predetermines our reality. The principle of relativity constrains itself, as any relativity is relative. On the one hand, that calls forth the Evil – caused by our own weakness. On the other hand, it makes our world relatively stable and cognizable. Generally speaking, the world is what we are. Everybody has an own Universe, but since people are fairly similar, our universes can be regarded as one Universe with common laws and regulations. It is possible for us to change the degree of objects’ existence in relation to ourselves and one another. It is equally important, though, to remain ourselves (keep following our “warrior’s path”). Since everything exists and no existence is absolute, the process of cognition should involve a criticism of everything but never a complete rebuttal of anything. The criterion of verity for any theory then is in its capacity to build itself upon a bigger number of diverse statements than in any other theory. Theoretically, all philosophies should ideally be complementary. The question of what in fact happened is meaningless unless we specify the “we”, the “where” and the “when”. The past can only exist as part of the present. When we change, our past undergoes corresponding qualitative objective changes, all of which are irreversible. The contemporary physics regards all objects of the Universe as existing for one another, which results in absurd conclusions. In fact, only what we interact with, exists. The so called “speed of light in vacuum” c is the maximum speed of direct interaction and direct exchange of signals. Specifically, at the oncoming speed c with a significant blue parallax the gamma-quantum is unable to interact with the matter. When this speed is reached, the gravitational mass of objects in relation to one another becomes equal to zero (imaginary), whereas their inertial mass equals infinity. Further acceleration will bring us into an entirely different Universe. That means that the Universe is an open system, which fact destroys all present-day cosmological models. Anything is possible in this world. Our reality is magic. Every bit of space contains a potentially limitless number of bits of other, however virtual, universes, as well as an infinite number of particles, which are still virtual for us (as postulated by quantum mechanics). In other words, there exists an infinity of different realities. With all the above in mind, the different levels of entities’ existence, in particular, of Life and Reason, should be taken into consideration. For example, to which extent a live system exists in relation to the inanimate forms of being is very indefinite, as what life is has to be determined by living creatures. An even greater compass of levels of existence can be brought about through interaction – that is the core idea of Godel’s theorem. As a result, the range of forms of existence tends towards infinity – the evolution of matter through super-intelligence will bring us up to God’s heights. A more generalized mathematical model of the physical world, including a universal operator of the co-existence of objects, can be developed based on the above considerations. The bonds between objects become weaker owing to 1) a high speed, 2) acceleration, 3) rotation, 4) strong gravity, 5) strong fields of other kinds, 6) the difference of levels of existence , 7) phase shifts. Yet, there always is an existential optimum. Such mathematical model is to operate certain non-transitive algebras. Relativist ontology assumes that the notion of “temperature” is relative, thus making it possible to ignore the Second Law of Thermodynamics. In its turn, that will allow for phase shifts. A perpetual motion machine of the second type will become a reality. Rotation could presumably be used to increase inertial and decrease gravitational mass, slowing down the time. An experimental research could shed light on the mentioned effects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 269-283 [Access article in PDF] To Live a Riddle:The Case of the Binding of Isaac Galia Patt-Shamir MOST OF US BELIEVE we know what a riddle is. Usually it is an obscurity, or a set of obscurities, for which—we assume—an answer can be given, even if one is not yet known. Most of us, moreover, believe we know what a solution to (...) a riddle is; in most cases it is a well-defined explanation of the obscurities inherent in the riddle. But what if these obscurities cannot be defined well inherently? In this case, it may be called "a living riddle." Most of us probably have never given a thought to what a living riddle is, and to what would amount to a response. In this article, I attempt to understand the biblical story of the binding of Isaac (the Akedah), as a riddle of a special type, a riddle whose "solution" is one's life.An underlying assumption here is that obscurities and paradoxical expressions in religious texts reflect real conflicts in life. No one can completely understand a foreign form of life; and moreover, in each form of life the most crucial ideas are couched only in subtle cues. The idea of a living riddle opens a channel between texts and practice; an ability to see the riddle expresses understanding for the form of life it represents.The article opens with a philosophical exposition, followed by a literary illustration regarding the role of riddle in a religious context. In the second part, we offer a methodology, mainly as an implication of the later Wittgenstein's texts; in this part, we will focus on the senses of life as a riddle. The third part focuses on life as the response to the riddle. By applying this method to the biblical story of the Akedah, we will refer to Kierkegaard's Fear and Trembling. In the fourth part, Kierkegaard and Wittgenstein are interwoven to highlight the absurd. [End Page 269] This article ends with a counter-example to the futile attempt to reason with the Akedah, as presented in Kafka's short story "Abraham." I Let us start in reading two passages from Wittgenstein's Culture and Value. Christianity is not a doctrine, not, I mean, a theory about... but a description of something that actually takes place in human life. (p. 28) But in that case why is the scripture so unclear? If we want to warn someone of a terrible danger, do we go about it by telling him a riddle whose solution will be the warning? But who is to say that the scripture is really unclear? Isn't it possible that it was essential in this case to 'tell a riddle'? (p. 31) 1Wittgenstein stresses that first and foremost, the particular case of Christianity refers to a system of practices. In his words Christianity is not a theory about something; it is human life itself. Religious belief can, and has to be, expressed in riddles: telling a riddle is essential for understanding. According to the present view, a riddle is a question in which the answer is inherent. The riddle itself is a hint toward its solution. If, by analogy, a careful detective discovers a clue and shows that it is inherent in the puzzle, we get closer to unraveling the whole.Religion is presented as a riddle of a special kind. Its "solution" is not found in theoretical terms; rather, it is a commitment; "a living riddle." When one takes up this riddle as one's life, one commits every move in life as an expression of the riddle. Even without living it, an ability to see the riddle and its response is an ability for "seeing every problem from a religious point of view," despite seeing oneself as "not a religious person" (as Wittgenstein testifies of himself). 2 The ability to see that it is a living riddle, allows an "outsider" to recognize a certain point about the believer's life not... (shrink)

"Initium ut esset, creatus est homo": Iris Murdoch on Authority and Creativity In 1970 the British novelist and philosopher Iris Murdoch published both her thirteenth novel, A Fairly Honourable Defeat, and her best known work of philosophy, The Sovereignty of Good. Given the proximity of these publication dates, it does not surprise that there are many points of comparison between these two works. The novel features, for instance, a character writing a work of moral philosophy not unlike Murdoch's (...) own The Sovereignty of Good, while another character exemplifies her moral philosophy in his life.This article proposes a reading of the novel as a critical commentary on the philosophical work, focusing on the tension between creation and authority. While Murdoch considers humans to be first and foremost creative, she is at the same time wary of the misleading nature of any act of creation. For Murdoch, any creator and any creation—a beautiful picture as well as a watertight theory—may transmit a certain authority, and that authority may get in the way of acknowledging reality. It thus hinders the moral life, which for Murdoch should be thought of as a life of attention—to reality and ultimately to the Good—rather than a series of wilful creations and actions.A Fairly Honourable Defeat queries the possibility and danger of creation, through different characters as well as through images of cleanliness and messiness. Thus, the character whose book of moral philosophy is challenged and who is found wanting when putting his ideas to practice, likes ‘to get things clear’. Another character, whose interferences create the novel's drama, has a self-confessed ‘passion for cleanliness and order’. The saint of the story, in contrast, does not interfere unless by necessity, and resides in one of the filthiest kitchens in the history of literature. Yet, none of the main characters exemplifies a solution to the tension between creation and authority found in Murdoch's philosophy. An indication of a solution is found in a minor character, and in his creations of outrageous bunches of flowers, unusual meals, and absurd interiors. Yet, its location in a subplot suggests that this solution is not in any way final. It is concluded that any final solution should not be expected, not in the least because of the pervasive nature of the tension between creation and authority, which goes well beyond Murdoch's own authorship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ancient Quarrel Revisited:Literary Theory and the Return to EthicsJoseph G. KronickThe modern quarrel between theory and practice, like the ancient one between philosophy and poetry, is at once a practical one—at its heart is the question how we should live—and a pedagogical one—who or what is the proper teacher of virtue? Today, the quarrel is between theory and literature rather than between philosophy and poetry, (...) a change that has not been beneficial. The modern complaint against the abstractions of theory reflects a diminution in the quality of the argument. For the ancient Greeks, to ask about the virtuous life was to inquire into what it is to be human, for aretê, which is typically translated as "virtue," but is understood to mean "excellence" or "goodness," meant acting in accordance with what it is to be fully human. 1 The notion that "real issues," as one prominent theorist argues, belong to the realm of action and epistemological and ontological questions to the abstract realm of theory is a simplification of the more serious question of the relation of particulars to universals. It reverses the Platonic and Aristotelian hierarchy that makes thinking the highest form of activity. But something else is going on in this call to action: in denigrating thinking as abstract, it elevates doxa, opinion, in its place. Under the regime of doxa, two things occur: philosophy and poetry are looked upon as useless because utility becomes the criteria for measuring value, and singularity is looked upon with disdain, if it is, indeed, acknowledged at all, because to the extent the world as it appears is common to us all, doxa is not distinct or individual but uniform or the same. Philosophy and poetry share not only the stigma of being deemed useless, but they are dismissed as odd, singular, not common.This essay is concerned with the status of the singular in philosophy [End Page 436] and poetry. The ancient quarrel has not been settled, which may indeed be a good thing because the quarrel keeps alive the question, who is to speak for that which cannot be spoken of, the singular? Silence may be the appropriate response, yet to preserve the experience of that which resists language is the task of philosophy and poetry, hence the quarrel. A long tradition has it that the philosopher seeks universals, while the poet offers particular images of virtue, but at the heart of this argument over ethics is the question of how to account for the singular or unique. To do so, I turn to Socrates, whose singularity remains unaccounted for to this day.Socrates may be said to embody the very problem of the relation between philosophy and literature, for he left us no writings and exists for us primarily through the writings of Plato. Yet there is widespread acceptance of Plato's portrait of him, particularly as to Socrates' method, the elenchus, and his principle of the priority of definitions. However, Socrates' insistence upon the priority of definition is not an example of the philosopher elevating theory over experience but a practical issue involving the care of the self. Furthermore, in ancient Greece, moral and philosophical questions concerning the soul were as much the provenance of poetry as they were of philosophy. The search for truth is a practical matter concerning the conduct of life, but the Platonic philosopher wishes to give a rational account, or logos, that would link conduct to knowledge, whereas the poet's examples are bound to their representations. Nevertheless, to presume that Socrates was seeking a definition of virtue on the grounds that possession of the definition would translate into a good life is an absurdity, for he could never have sought after the knowledge of virtue if his mode of life depended upon the definition rather than on his character. 2The error is to accuse Socrates of placing abstract knowledge before virtuous conduct. When Socrates asks for a definition of the beautiful, for instance, he does not reject the answer, "the beautiful is a beautiful woman," because it confuses a particular with a universal (when compared to the beauty of the gods, the woman is... (shrink)