At times of crisis, existing institutional arrangements of societies are thrown into question. Crises that occur in multiple societies simultaneously present rare opportunities for comparative empirical analysis. Social theory can reveal the framing conditions of the responses to crises and the sources of variations between them. This paper compares the immediate responses of the Australian, UK and US governments to the global COVID-19 pandemic, particularly with regard to financing lockdowns, and points out significant differences between the three approaches. Drawing on (...) Polanyi’s method of institutional analysis, we compare the responses of these same national groups to an earlier crisis, the Japanese prisoner of war camps during the Second World War, to show similar patterns of integration recurring eight decades apart. This analysis shows that aspects of moral economies that are not usually apparent can become pronounced during crises, and points to the importance of enduring social imaginaries. (shrink)

This book presents a contextual study of the life and work of the Cambridge Platonist Ralph Cudworth (1617-1688). Focusing on the theological basis of Cudworth's ethical philosophy, this book unlocks the hitherto ignored political aspect to Cudworth's ethical philosophy. Through a detailed examination of Cudworth's published works - particularly his voluminous "True intellectual system of the Universe" -, his posthumously published writings, and his 'freewill' manuscripts Benjamin Carter argues that the ethical and political arguments in Cudworth's philosophy develop out (...) of Cudworth's Trinitarian theology. Carter traces the link between Cudworth's trinitarianism and his ethical and political ideas by placing Cudworth's work in the turbulent religious and intellectual context of seventeenth-century England, and the University of Cambridge in particular. (shrink)

Called “the most important critic of his time” by Hannah Arendt, Walter Benjamin has only become more influential over the years, as his work has assumed a crucial place in current debates over the interactions of art, culture, and meaning. A “natural and extraordinary talent for letter writing was one of the most captivating facets of his nature,” writes Gershom Scholem in his Foreword to this volume; and Benjamin's correspondence reveals the evolution of some of his most powerful (...) ideas, while also offering an intimate picture of Benjamin himself and the times in which he lived. Writing at length to Scholem and Theodor Adorno, and exchanging letters with Rainer Maria Rilke, Hannah Arendt, Max Brod, and Bertolt Brecht, Benjamin elaborates on his ideas about metaphor and language. He reflects on literary figures from Kafka to Karl Kraus, and expounds his personal attitudes toward such subjects as Marxism and French national character. Providing an indispensable tool for any scholar wrestling with Benjamin’s work, The Correspondence of Walter Benjamin, 1910–1940 is a revelatory look at the man behind much of the twentieth century’s most significant criticism. (shrink)

Granted that God may exist, how may God be defined in our time? Addressing this issue Benjamin Farley explores a variety of belief systems, Western and Eastern, religious and skeptical. Taking an approach that is both critical of religion as well as sympathetic, Farley refuses to shy away from hard questions or to dismiss constructive answers that speak to the human condition. He distinguishes human "intellectual ascent" towards God from humankind's "innate and inner sense" to know and relate to (...) the living God, demonstrating the efforts and rewards of both approaches in Christianity, as well as in Hinduism, Buddhism, Taoism, and Zen. Alongside these more obviously "religious" approaches, Farley reviews the methodologies and findings of today's greatest scientific minds, including skeptics such as Hawking, Dawkins, and Wilson, as well as their skeptical forerunners of the past. He argues that belief in God can no more ignore the scientific truth about the universe than science can dismiss the spiritual yearnings and hunger of humanity for purpose, meaning, and its inescapable sense of the presence of God. (shrink)

Sensation elicited by a skin stimulus was subjectively reported to feel stronger when followed by a stimulus to somatosensory cerebral cortex , even when C was delayed by up to 400 ms or more. This expands the potentiality for retroactive effects beyond that previously known as backward masking. It also demonstrates that the content of a sensory experience can be altered by another cerebral input introduced after the sensory signal arrives at the cortex. The long effective S-C intervals support the (...) thesis that a duration of cortical activity of up to 0.5 s is required before awareness of a sensory stimulus is developed. (shrink)

Résumé éditeur : This book tells two intertwined stories, centered on twentieth-century moral philosophers Elizabeth Anscombe, Mary Midgley, Philippa Foot, and Iris Murdoch. The first is the story of four friends who came up to Oxford together just before WWII. It is the story of their lives, loves, and intellectual preoccupations; it is a story about women trying to find a place in a man's world of academic philosophy. The second story is about these friends' shared philosophical project and their (...) unintentional creation of a school of thought that challenged the dominant way of doing ethics. That dominant school of thought envisioned the world as empty, value-free matter, on which humans impose meaning. This outlook treated statements such as “this is good” as mere expressions of feeling or preference, reflecting no objective standards. It emphasized human freedom and demanded an unflinching recognition of the value-free world. The four friends diagnosed this moral philosophy as an impoverishing intellectual fad. This style of thought, they believed, obscured the realities of human nature and left people without the resources to make difficult moral choices or to confront evil. As an alternative, the women proposed a naturalistic ethics, reviving a line of thought running through Plato, Aristotle, and Aquinas, and enriched by modern biologists like Jane Goodall and Charles Darwin. The women proposed that there are, in fact, moral truths, based in facts about the distinctive nature of the human animal and what that animal needs to thrive.". (shrink)

How can cross-disciplinary speculative narratives give us insights and open new paths of research? Borrowing from a number of disciplines, from Anthropology to Psychology or Art history, I will draw a hypothetical blueprint of processes that possibly led to the creation of the Ainu people’s patterns, an indigenous tribe from north Japan. From some particular key points I will narrate a speculative tale giving us possible insights about those specific patterns, as well as about the questions encapsulated in the split (...) representation in the art of Asia and America, questions that were raised by various anthropologists, from Franz Boas to Claude Levi-Strauss. I will demonstrate that those pattern-making habits were inherent to human being as a species until very recently. What kind of unconscious purpose or meaning they could have had and what it could mean in terms of the evolution of consciousness. (shrink)

From Benjamin Hoff, the author of The Tao of Pooh and The Te of Piglet, which have sold millions of copies, comes a new translation of the Tao Te Ching. The original author (or authors, as Hoff makes the provocative claim that there may have been more than one) streamlined the folk religion of China down to its foundation and rebuilt it as a man-in-nature philosophy, incorporating his advanced spiritual, philosophical, social, and political ideas. Ever since its creation, the (...) Tao Te Ching has stood alone among the world's writings. There was nothing like it before it appeared, and there is still nothing like it now. Unlike a good deal of Chinese writing, old and new, the Tao Te Ching makes no reference to specific individuals or events, whether of the then-past or then-present. It is not historical, nor classical; its world is the world of now. Laboring over the ancient text for seven years, Hoff tackled this project by following the same principles he learned while employed by a master restorer of valuable but damaged antique objects: Thoroughly research the history of the object; remove all misguided, historically incorrect alterations and repairs; patch and fill where necessary; match the new work to the old so seamlessly that no one will detect a difference in treatment; honor the materials and its design; and honor the tradition that has formed around the object over the years. This unique interpretation of the Tao Te Ching shows what is possible when a translator truly partners themselves with someone of another time, another place, and another language. (shrink)

At the heart of the cinema of Werner Herzog lies the vision of discordant and chaoticnature – the vision of anti-nature. Throughout his work we can trace a constant fascinationwith the violence of nature and its indifference, or even hostility, to human desires andambitions. For example, in his early film Even Dwarfs Started Small we have therecurrent image of a crippled chicken continually pecked by its companions.2Here theviolence of nature provides a sly prelude to the anarchic carnival violence of the (...) dwarfs’revolt against their oppressive institution. This fascination is particularly evident in hisdocumentary filmmaking, although Herzog himself deconstructs this generic category. Inthe ‘Minnesota Declaration’ 3on ‘truth and fact in documentary cinema’ he radicallydistinguishes between ‘fact’, linked to norms and the limits of Cinéma Vérité, and ‘truth’ asecstatic illumination, which ‘can be reached only through fabrication and imagination andstylization’ 2002, 301). In particular he identifies nature as the site of thisecstatic illumination – in which we find ‘Lessons of Darkness’ – but only through the lack ofany ‘voice’ of nature. While Herzog constantly films nature he films it as hell or as utterlyalien. This is not a nature simply corrupted by humanity but a nature inherently ‘corrupt’ in itself; Herzog’s vision of nature is a kind of anti-vitalism, a horror at the promiscuous vitality of nature. (shrink)

Ezekiel 9 and 10 feature a supernatural figure described as a man “clothed in linen" (ּלָבֻשׁ בַּדִּים)” (Ezek. 9:2). This article identifies this and related expressions (including those in Daniel) as calques of Akkadian labiš kitê, used to describe certain classes of priests or perhaps as a term for a class of priests itself.

A definitive study of the great "philosopher of industrial science." Dr. Farrington pinpoints Bacon as the first man to grasp the revolutionary possibilities of man's increasing control over natural forces. The author sees Bacon's plan for the total reform of society by the application of science to production as the central theme of his life.

Benjamin Fondane--who was born and educated in Romania, moved as an adult to Paris, lived for a time in Buenos Aires, where he was close to Victoria Ocampo, Jorge Luis Borges's friend and publisher, and died in Auschwitz--was an artist and thinker who found in every limit, in every border, "a torture and a spur." Poet, critic, man of the theater, movie director, Fondane was the most daring of the existentialists, a metaphysical anarchist, affirming individual against those great abstractions (...) that limit human freedom--the State, History, the Law, the Idea. Existential Monday is the first selection of his philosophical work to appear in English. Here Fondane, until now little-known except to specialists, emerges as one of the great French philosophers of the twentieth century. (shrink)

This paper is an attempt to take up the prompt in Derrida's work concerning the necessity for a deconstruction of anthropocentrism. Working through an example from Hegel's Philosophy of Right concerning animality, the paper takes up Derrida's project and connects it to the larger concern of what happens to the philosophical once it is no longer premised on the animal's exclusion but has to acknowledge the inclusion of an already present thus recalcitrant animality.

us, I go at once to the heart of the subject, taking my stand on these propositions: That the right to cooperate is as unquestionable as the right to compete; that the right to compete involves the right to refrain from competition; that co operation is often a method of competition, and that competition is always, in the larger view, a method of co operation; that each is a legitimate, orderly, non invasive exercise of the individual will under the social (...) law of equal liberty; and that any man or institution attempting to prohibit or restrict either, by legislative enactment or by any form of invasive force, is, in so far as such man or institution may fairly be judged by such attempt, an enemy of liberty, an enemy of progress, an enemy of society, and an enemy of the human race. (shrink)

Long before Siri and ChatGPT uttered their first automated words, there was only one way to program synthetic speech: with paint and brush. During the transformative years between 1930 and 1960, artists, linguists, and engineers mixed sound and image in a way that combined artistic production with new technologies. What was known as “synthesis-by-art” grew into the rules that power computer speech today. This article concentrates on the emergence of rule-based speech synthesis at Haskins Laboratories in mid-twentieth-century America. An unexpected (...) outgrowth of their work with disabled Second World War veterans, members of the Haskins group had developed a new machine that converted visual patterns into sound: the Pattern Playback. Like holes in a player-piano roll, painted shapes were mechanically translated into distinct sounds. Early experiments at the laboratory promised “a new art form.” Researchers painted pictures of music and listened to geometric shapes. This work eventually grew into a psycholinguistic program committed to painting the shapes of speech. But these early aesthetic experiments had helped researchers cultivate a familiarity with paint, brush, and subjective bodily knowledge. This allowed them to intuitively develop a recipe for painting synthetic speech. In other words, their painting hands enacted knowledge long before they could articulate the complex rules that govern how phonemes interact. By the late 1950s, lab member Frances Ingemann successfully converted this “embodied knowing” into a machine-legible code that rigorously detailed how to paint synthetic speech. She had hoped that her rules might result in a reading machine for blind users that would automatically convert text into speech. Instead, her work was coopted by J. C. R. Licklider, who described Ingemann’s rulebook as “a digital code, suitable for use by computing machines.” While Licklider would use the work of Haskins Laboratories to spearhead his novel concept of man-computer symbiosis, he obscured the extent to which this digital code grew from the anomalous bodies of wounded war veterans and the subjective knowing of painting hands. Indeed, the forgotten history of early text-to-speech shows the indivisibility of interactive computing and digital codes from the material practices and embodied cognition from which they grew. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 64.4 (2003) 619-637 [Access article in PDF] Overcoming Gnosticism:Hans Jonas, Hans Blumenberg, and the Legitimacy of the Natural World Benjamin Lazier University of Chicago In 1984, about a decade before his own murder, the Romanian scholar of religion Ioan Culianu complained of a more widespread, if decidedly less grisly form of assault. 1 The gnostics, he declared in a moment of high (...) jocularity, had "taken hold of the whole world, and we were not aware of it. It is a mixed feeling of anxiety and admiration, since I cannot refrain myself from thinking that these alien body-snatchers have done a remarkable job indeed." 2Though offered in jest, Culianu's designation "alien body-snatchers" quite accurately sums up what has remained since 1934 the leading view of gnosticism as a delimited, identifiable phenomenon. In that year appeared the first monumental volume of Gnosis und spätantiker Geist (Gnosis and the Spirit of Late Antiquity) composed by the young Jewish philosopher Hans Jonas as a dissertation under Martin Heidegger and the theologian Rudolf Bultmann. Over the next sixty years Jonas returned again and again to the movement as he defined it. Above all, gnosticism had as its guiding principle the notion of das Fremde. The term includes in its linguistic domain not only "the alien," by which it is most usually translated, but its cognates as well: the strange, the foreign, the other, the unknown, the uncanny, and the like. This sense of alienation is wildly overdetermined in gnostic theology: man is alienated from himself, from a fully transcendent God, and most powerfully from the material, [End Page 619] sensuous universe in which he lives, created as it was by an evil, malicious demiurge. Such anti-cosmism could license both ascetic retreat from the world as well as an antinomian descent into the worldly abyss, with the intent to defeat it from within. The locution "body-snatcher" now acquires relevance, for gnostic theology made impossible any positive appraisal of the physical body, or of the physical world at all for that matter. As the political philosopher Leo Strauss put it in a letter to Jonas, gnosticism may well have been the most radical rebellion in Western history against the Greek notion of physis.In stylized terms Jonas's philosophical career represents what I would like to call gnosticism's "third overcoming." Such terms signal an allegiance to the work of the German philosopher Hans Blumenberg. But they signal a departure as well. In Legitimität der Neuzeit (Legitimacy of the Modern Age, 1966), Blumenberg undertook what must count among the most ambitious revisions of Western intellectual history ever ventured. Against a rash of attacks on the modern age as an ill-concealed, secularized derivative of an earlier Christian era, he stepped up in its defense. He linked the emergence of the modern age—defined preeminently by man's need for self-assertion, to act in the world—to a "second overcoming" of gnosticism at the end of the Middle Ages. The gnostic spirit he found revived by the nominalism and theological voluntarism of late-medieval scholastic theology, a loose confluence of thought centripetally bound by the black hole of the deus absconditus or hidden god. Whereas gnosticism's first overcoming was Augustine's work and but a partial success, its second, and for Blumenberg "final" overcoming was the work of an ethos of human self-assertion best instantiated by the scientific program of Francis Bacon.To argue for its third overcoming in the late 1920s and '30s is therefore to take leave of Blumenberg's account, if also to extend it. The condition for the possibility of this argument, of course, is that gnosticism had in fact returned. Gnosticism, or at the very least a host of phenomena going by the name and generally understood as such, did indeed return, and with a vengeance—on the occult scene, in philosophy, in theology of all persuasions, even in natural-scientific discourse. This period also witnessed the return of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Role of Malebranche in Ernest Renan's Philosophical Development BENJAMIN ROUNTREE RENANHASBEENCALLEDwith some justification the "Malebranche du dix-neuvi~me si~cle." 1 In his praise of the seventeenth-century philosopher, Renan was unconciously inclined to call attention to the similarities between himself and Malebranche by pointing out qualities which they were apt to share. A thinker as sinuous as Renan was bound to appreciate the power of subtle reasoning in such (...) a work as the admirable Recherche de la V~rit6. In a certain sense Renan is even the heir of a spirit to which Malebranche gave fresh impetus. Like Malebranche, he inveighed against pedants, dilettantes, and idolators of antiquity; he turned his back on tradition to favor modem thought over ancient, and placed his faith in a world governed by knowledge and reason in which progress and human perfectibility promise man happiness. In his basic optimism, in his belief that man is capable of knowing truth, in his somewhat pantheistic mysticism, Renan joins hands with Malebranche across the eighteenth century. How well did Renan know Malebranche? What did he think of him? Did his opinion of him undergo any evolution? To find the answers to these questions one must go back to about 1840, when Renan, a.t seventeen, began his study of Malebranche. By the time he was twenty, Renan, under the guidance of M. Gosselin, who little suspected how great a contribution Malebranche would make to Renan's decision to leave the Church, was reading the philosopher with enthusiastic regularity. Indeed, the Oratorian had become "l'objet perp6tuel" of his reflections, he tells us. The speculative terminology of the Entretiens sur la M6taphysique and the M6ditations chrgtiennes echoed through his class compositions and notebooks. His ideas on the general action of Providence in the universe were already similar to those of this philosopher, who, "illustre" and "saint," soon became for him a kind of spiritual hero, a hero whose exemplary intellectual zeal drew Renan instinctively ever more deeply into the contemplative life, into.the fervent and determined quest for "Truth." This "penseur hardi" was destined to excite Renan's own paradoxical mind as "le plus beau r~veur et le plus terrible logicien" ever to exist.~ 1L. L~vy-Bruhl, "La Religion de Renan," Journal de psychologie normale et pathologique (A~pril,1923), p. 344. Ernest Renan, Souvenirs d'en]ance et de ieunesse, in Les Oeuvres completes d'Ernest Renan (Paris: Calmann=L~vy, 1947), II, 843-846. All future references to Renan will be made from this edition unless otherwise specified. See also Lewis F. Mott, Ernest Renan (New York: D. Appleton, 1921), pp. 15-16; Jean Pommier, Renan (Paris: Perrin, 1923), p. 37; La Jeunesse clSricale d'Ernest Renan (Paris: Les Belles Lettres, 1933), p. 138; "Les Lectures de Renan au sSminaire,"La Revue d'histoire litt6raire de la France (1934), p. 93. [47] 48 HISTORY OF PHILOSOPHY For a moment Malebranche, like Pascal, even helped delay Renan's loss of faith. The attempt of a Christian to satisfy the intelligence through vigorous application of Cartesian rationalism to theology and science fascinated the young student in 1843 as he read the Conversations chr~tiennes and the Recherche de la Vdritd. He eagerly believed that reason leads one to knowledge of God, that the search for Truth is the search for God. Thus, equating the Diety to Truth and retaining his belief in a providence evident in immutable natural law, Renan continued to accept the Catholic dogma, the Bible and revealed truth in a "general sense," as he says in his Souvenirs. After Renan's first soul-shattering year of philosophy Malebranche still stood alongside Pascal and Bossuet as a model of piety, as a "grand esprit," a profound intelligence capable of remaining genuinely Christian, a powerful thinker "qui dit sa messe route sa vie." a He appeared as one solution to Renan's own growing spiritual problem, for Malebranche's example seemed a way of retaining intellectual independence without leaving the Church. Here was a priest, Renan thought, who, in a time of steadily increasing ecclesiastical authority, had been able to live "peacefully" even as a member of a religious congregation without... (shrink)

Pummer : 43–77, 2014) ingeniously wraps together issues from the personal identity literature with issues from the literature on desert. However, I wish to take issue with the main conclusion that he draws, namely, that we need to rethink the following principle: Desert.: When people culpably do very wrong or bad acts, they deserve punishment in the following sense: at least other things being equal they ought to be made worse off, simply in virtue of the fact that they culpably (...) did wrong—even if they have repented, are now virtuous, and punishing them would benefit no one. :43–77, 2014: 43–44) Pummer offers an argument that is intended to show that this principle, along with widely-held views about personal identity, entails an inconsistent triad of propositions. I agree. But I think Pummer's argument attacks a straw man. I believe that no-one holds Desert, at least as it is stated, and that once the principle is stated correctly it is easy to see that no inconsistent triad follows from it. So, Desert does not need rethinking. It just needs to be stated correctly. (shrink)

The essay begins with the estrangement of the great lyrical poetry from the public since the middle of the 19th century. It is conceived in terms of an historical change in the structure of human experiencing.That is first demonstrated in Bergson. The autor interprets „Matière et Mémoire“ as the attempt to vindicate through the category of memory the possibility of genuine, that is, tradition-forming experience as against the mode of experience in the industrial age. Proust has more closely determined Bergson's (...) notion of memory as involuntary memory. Accordingly he seeks to reconstruct the aesthetic form of the narrative. Its industrial counterparts are information and sensation. Through shocks they threaten memory which B., in referring to psycho-analytical theories, conceives in terms of „protection against stimuli“.Erlebnis becomes the antithesis of experience (Erfahrung). In Baudelaire’s lyrical poetry the Erlebnis of shock occupies the center. In his portrayal of the fenser, Baudelaire identifies himself with the one who parries the shocks. These shocks occur when the individual is confronted with the amorphous multitude of the metropolis. In one chapter the author describes this clash and the shape it takes in Baudelaire's poetry. The subsequent chapter presents an analysis of Poe's „Man of the Crowd44, the city crowd portrayal which provides the clue for Baudelaire's and which is contrasted with the Biedermeier picture of Hoffmann's „Cousin's Corner Window“.The shock as the dominant form of Erlebnis is shown as grounded in the reified process of production in capitalist society. The discontinuity of the elements of shock has its basis in the discontinuity of the automatized process of labor which no longer admits of any „experience“, „practice“. The experience of shock of the member of a crowd corresponds to the experience of the worker who operates a machine. The reflectory mechanism of the victim of Modern Times appears in Baudelaire's work in the pattern of the hazard game which at the same time is the radical counterpart of „experience“.In Baudelaire, time is dissociated. Its power is absorbed by rare, „significant“ days. In them Baudelaire, through the „correspondances“4 seeks to save and restore the lost experience. The power of anamnesis is posited against the „swarm of seconds“. But the consolation of anamnesis remains impotent. In the dissociated shock moments of time, — the „spieen“ —, and the anamnesis of the vie antérieure, — the „idéal“ —, Baudelaire holds in his hands the débris of genuine experience.B. subordinates the representations constitutive of „experience“, that is, those of involuntary mefiiory, to his notion of „aura“. To experience the aura of a phenomenon means to endow it with the faculty of raising the eyes. The decay of aura is the foremost subject of Baudelaire : he summons eyes who have lost the faculty of raising themselves. He has designated the price for which the sensation of the Modern can be bought : the destruction of aura in shock experience.L'analyse débute par la constatation d'une scission entre la grande poésie lyrique et le public — scission qui se serait produite dès le milieu du xix® siècle. Cette séparation est interprétée comme la conséquence d'une transformation dans la structure même de l'expérience humaine.Cela est d'abord expliqué par l’oeuvre de Bergson. La théorie de la mémoire telle qu'elle a été développée dans Matière et mémoire se rattache à un type d'expérience qui, au cours du xixe siècle, a subi des atteintes profondes. Bergson tend, grâce à la catégorie de la mémoire, de restaurer le concept d'une expérience authentique. Cette expérience authentique existe en fonction de la tradition et s'oppose ainsi aux modes habituelles d'expérience propres à l'époque de la grande industrie. Proust a défini la mémoire bergsonienne comme une mémoire involontaire ; en son nom il avait essayé de reconstruire la forme de la narration. Le rival de cette dernière s'appelle, à l'époque de la grande industrie, l'information. Elle développe, par le moyen des chocs, une mémoire qui, par Proust, a été opposée à la mémoire bergsonienne sous le nom d'une mémoire volontaire. Il est permis de considérer, conformément à Freud, la mémoire volontaire comme étroitement liée à une conscience perpétuellement aux aguets. Plus la conscience sera obligée à parer aux chocs, plus se développera la mémoire volontaire, et plus périclitera la mémoire involontaire. L'expérience éminemment moderne du choc sera la norme de la poésie baudelairienne. Par l'image de l’escrimeur, Baudelaire qui, en flânant, était habitué d’être coudoyé par les foules des rues, s’identifie à l’homme qui pare aux chocs.Le choc en tant que forme prépondérante de la sensation se trouve accentué par le processus objectivisé et capitaliste du travail. La discontinuité des moments de choc trouve sa cause dans la discontinuité d’un travail devenu automatique, n’admettant plus l’expérience traditionnelle qui présidait au travail artisanal. Au choc éprouvé par celui qui flâne dans la foule correspond une expérience inédite : celle de l’ouvrier devant la machine.Le réflexe mécanisé de l’homme livré au monde moderne se traduit chez Baudelaire dans l’attitude du joueur. Pour l’homme qui s’est adonné au jeu, l’expérience du choc se présente en ce qu’elle a de plus essentiel* c’est-à-dire comme une façon d’éprouver le temps. Le spleenétique qui ne peut se dégager de la fascination exercée par le déroulement du temps vide est le frère jumeau du joueur. En face du Spleen, l’oeuvre baudelairienne évoque l’Idéal. L’Idéal, c’est la mémoire involontaire, initiatrice aux * correspondances ». Dépositaire des images d’une vie antérieure, l’Idéal serait le consolateur suprême s’il n’était tenu en échec par la « beauté moderne » qui est essentiellement spleenétique. Les souvenirs plus ou moins distincts dont est imprégnée chaque image qui surgit du fond de la mémoire involontaire peuvent être considérés comme son « aura ». Se saisir de l’aura d’une chose veut dire : l’investir du pouvoir de lever le regard. La déchéance de l’aura a des causes historiques dont l’invention de la photographie est comme un abrégé. Cette déchéance constitue le thème le plus personnel de Baudelaire. C’est elle qui donne la clé de ses poésies érotiques. Le poète invoque des yeux qui ont perdu le pouvoir du regard. Ainsi se trouve fixé le prix de la beauté et de l’expérience moderne : la destruction de l’aura par la sensation du choc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Francis Bacon: The Theological Foundations of Valerius TerminusBenjamin MilnerFrancis Bacon’s Great Instauration for learning and the sciences, formally launched with the publication of Novum Organum (1620), may fairly be said to have commenced fifteen years earlier with the publication of The Proficience and Advancement of Learning, Divine and Human (1605), which, revised and translated into Latin as De Dignitate et Augmentis Scientiarum (1623), became an integral part of the (...) Instauration. A few years earlier, however, Bacon made an attempt to formulate his philosophy of nature, or science, in a work which he evidently planned to publish but never did—Valerius Terminus: Of the Interpretation of Nature with the Annotations of Hermes Stella (1603?). 1 Fragmentary as it is, this work contains the ingredients of Bacon’s natural philosophy, although they are not in all respects identical with those of the later works which superseded it. The most distinctive feature of Valerius, however, is its disclosure of Bacon’s original interest in setting his program for the advancement of science on a theological footing. 2 What the nature of that foundation is, why Bacon thought it necessary, and why it was abandoned are questions that, as I shall try to show, are principally answered by an analysis of two earlier works, the Meditationes Sacrae (1597), the unpublished Confession of Faith (1602?), and Valerius Terminus itself.Bacon’s first published work actually comprises three different texts: one on rhetoric, Colors of Good and Evil; a collection of Essays; and Meditationes Sacrae. Of these, Meditationes fared most poorly in subsequent years. It was never translated into English by Bacon himself and was soon severed from the [End Page 245] Essays (VII, 229). Rarely commented upon, it has apparently been dismissed as having any significance for our understanding of Bacon’s thought, but a second look will show that this is not the case.There are twelve meditations, each of which has a biblical text, and the homilies that follow reflect biblical teaching. They have quite a range: “the works of God and the works of man,” “the miracles of our savior,” “the exaltation of charity,” “of earthly hope,” “of hypocrites,” “of heresies,” “the church and the scriptures”; but it is clear that two themes—Charity and Heresy—subsume the rest.Charity is not merely a thought or feeling but the actual performance of good works, the demand for which—in the life of the believer—is total: unless your work is God’s work “thou shalt work in pain and distress, and thou shalt look back upon thy work with disgust and reproach” (VII, 243). Three successive meditations deal explicitly with hypocrisy in religion, but Bacon brings each of these under the rubric of good works, deriding those who are ostentatious in the celebration and observation of ritual detail and cultic practice but who ignore the commandment to love their neighbor. The works of Jesus furnish the best model: all his miracles, Bacon keenly observes, “were for the benefit of the human body, his doctrine for the benefit of the human soul” (VII, 244). The religion espoused is one of good works, and Bacon invokes here, as elsewhere, the well-known definition of James (Jas.I.27): “pure religion and undefiled before God and the Father is this, to visit the orphans and widows in their affliction” (VII, 249).“Heresy” is the subject of the second group of meditations, but in these Bacon intends not so much to condemn or to exhort as to lay down theological positions. The text of the first, “Of Atheism,” is taken from Psalms 14.1: “the fool hath said in his heart, There is no God.” But this is not what the fool has thought, Bacon insists, only what he has said. “That is, it is not so much that he feels it inwardly as that he wishes to believe it.” Strive as he may to do so, however, “there remains in him that sparkle of original light (igniculus luminis primi) whereby we acknowledge a divinity, to extinguish which utterly, and pluck the instinct (stimulum) out of his heart, he strives in vain.” It is not “out of his natural sense and judgment” that... (shrink)

Results from studies on gender differences in emotion recognition vary, depending on the types of emotion and the sensory modalities used for stimulus presentation. This makes comparability between different studies problematic. This study investigated emotion recognition of healthy participants (N = 84; 40 males; ages 20 to 70 years), using dynamic stimuli, displayed by two genders in three different sensory modalities (auditory, visual, audio-visual) and five emotional categories. The participants were asked to categorise the stimuli on the basis of their (...) nonverbal emotional content (happy, alluring, neutral, angry, and disgusted). Hit rates and category selection biases were analysed. Women were found to be more accurate in recognition of emotional prosody. This effect was partially mediated by hearing loss for the frequency of 8,000 Hz. Moreover, there was a gender-specific selection bias for alluring stimuli: Men, as compared to women, chose “alluring” more often when a stimulus was presented by a woman as compared to a man. (shrink)

This study treats the writings of Fuchs as an example of recent materialistic historiography. Critical appreciation of his work involves critical appreciation of the whole concept of cultural history which prevailed in Socialist popular science in the last decade of the nineteenth century. The influence of dialectical materialism was slight, that of positivism greater. An excursus attempts to show how, with technical progress, the work of philosophers and scholars was impaired by this positivism even in the middle of the century. (...) The way in which Fuchs, writing from a Socialist position, attacked the bourgeois art history of a man like Wölfflin is described, but without neglecting his kinship to great bourgeois scholars like Brandes and Bastian. His biological conception of art is then analyzed in its historical conditions, and its close relationship to the intuitive methods of the collector demonstrated. As a collector Fuchs was rooted in the French tradition, but he brought to it the strict morality of German historiography. The Jacobin element in his historical writing is traced back to Schlosser. It appears that Fuchs could not entirely avoid collisions between his Jacobin morality and the materialist conception of history. His work displays a similar tension between that theory of history and his sexual ethics. On the other hand, he was able to throw much light on creative art from the study of sex. His most brilliant theoretical work is in his studies of Daumier. Daumier was also one of his chief subjects as a collector. The study closes with Fuchs’s role in the history of art collecting.Ce travail porte sur les écrits de Fuchs, considérés comme exemple de la méthode matérialiste contemporaine.Le jugement critique porté sur l’oeuvre de Fuchs se confond avec un jugement critique sur la notion d’histoire de la culture, qui dominait alors la science populaire d’inspiration socialiste. L’influence du matérialisme dialectique sur celle-ci était limitée ; Finfluence du positivisme était d’autant plus grande. Une disgression essaie de montrer, comment déjà au milieu du xixe siècle, ce positivisme avait nui aux réflexions des philosophes et des savants sur le progrès technique. On indique comment Fuchs, d’un point de vue socialiste, s’oppose à l’histoire de l’art bourgeois d’un Wölfflin, sans méconnaître la parenté entre Fuchs et de grands savants bourgeois comme Brandes et Bastian. On précise ensuite les conditions historiques dans lesquelles Fuchs a développé son interprétation biologique de l’art ; la méthode intuitive qui correspond à la tendance spontanée du collectionneur, se révèle étroitement liée à cette interprétation. Le collectionneur Fuchs se rattache à la tradition française, à laquelle se joint le moralisme rigide qui vient de l’historiographie allemande. On remonte jusqu’à Schlosser pour expliquer les origines du jacobinisme qui apparaît dans les récits historiques de Fuchs. On aperçoit que celui-ci n’a pu éviter complètement les conflits entre jacobinisme moraliste et matérialisme historique. De même, son mode de considération historique n’est pas toujours en accord avec son éthique sexuelle. Par ailleurs, il apporte à la science des connaissances importantes sur le rôle de la sexualité dans la création artistique. Les études sur Daumier sont sans doute l’oeuvre la plus haute du théoricien Fuchs. Daumier a été également pour le collectionneur Fuchs un des thèmes les plus significatifs.La fin de l’article éclaire le rôle de Fuchs dans l’histoire des collections artistiques. (shrink)

Ancient and medieval dialecticians: the lengthening shadow of Plato.--Traveller on the royal way: Martin Luther on simul justus et peccator.--Musician in the concert of God's joy: Jacob Boehme on ground and unground.--Prodigy between finite and infinite: Pascal's dialectic of grandeur and misery.--Thinker of the thoughts of God: Hegel and the dialectic of movement.--Venturer at the brinks: Kierkegaard and the dialectic of the suffering self.--Walker on the narrow ridge: Karl Barth and the dialectic of the human and divine.--Bridge-builder beyond the boundaries: (...) Tillich's dialectic of estrangement and reconciliation.--Wanderer in the forest: Heidegger on the being of beings.--Man suspended in mid-air: Rudolph Bultmann on the believer as free for the future.--Struggler under the twofold verdict of God: Werner Elert and the dialectic of law and gospel.--Epilog.--Selected bibliography (p. 159). (shrink)

Mr. Galanas, an eighty‐six‐year‐old man, intentionally shot himself in the chest and abdomen. Surprisingly, the bullet damaged only his distal pancreas and part of his colon, requiring a diverting colostomy to prevent leakage of bowel fluids into his abdomen. After being admitted, he lies intubated in the intensive care unit awaiting surgery to repair his colon. He is responsive but does not demonstrate clear decision‐making capacity. He grudgingly accepts pain medications but refuses antibiotics and antidepressants. He has a living will (...) that gives his wife durable power of attorney and also explicitly states a desire to refuse all medical interventions if he is permanently unconscious or in an end‐stage condition. Mrs. Galanas reports frequent conversations in which her husband said he would not want to be sustained on life support. She also says that he often mentioned he would not want an ostomy bag—a likely, albeit temporary, outcome of the proposed surgery. His physicians are nervous about withholding medical interventions when Mr. Galanas's injury is the result of a suicide attempt and his prognosis is good. Should the care team surgically repair his injured colon, regardless of the patient's capacity, his advance directive, and his wife's statement that he would not want surgery or other life‐sustaining treatment? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Comic RomanceBenjamin La FargeIOn the surface, it would seem that nothing could be more different from comedy than romance. Comedy deflates, romance inflates. Comedy is realistic, romance fantastical. Comedy reduces, romance elevates. Comedy is democratic, romance heroic. Yet there are underlying similarities. Both involve a conflict between destructive and restorative impulses. In both, appearances are typically mistaken for reality, and both end happily. Above all, both are governed by (...) a structure of illogical logic that generates laughter in one and fantasy in the other.The generic differences between comedy and romance are crucial to a proper understanding of their functions. Comedy celebrates the renewal of life, the relation of man to woman and of man to man, in a spirit of tolerant acceptance, while romance celebrates a narcissistic dream of the self. If the former is best enjoyed in a crowded theater, the latter is usually enjoyed in solitude. Romance is a fiction of wish fulfillment. Since wishful thinking is generally understood as childish, romance is often regarded as a poor cousin among literary genres, haughtily dismissed by highbrows who associate it with the infantile pleasures of their childhood reading and with lowbrow fiction in general. This is precisely why so many sophisticated readers are reluctant to grant science fiction and other forms of fantasy any enduring literary value. In their view the pleasures of such works can not be taken seriously.Yet those childhood pleasures have a lasting appeal that lingers in the mind of every adult. There must be few grown readers who do not harbor a special fondness for the first heroes and heroines they encountered in their favorite childhood stories. Many of those heroes possess [End Page 18] some magical power; and when they place that power in the service of justice, especially the justice of revenge, their appeal is irresistible. I have seen grown men, armed and dressed for battle, avidly reading Superman comics. What stirred them, as it stirred many educated men and women in their childhood, was the spectacle of an omnipotent hero fighting to overcome the wrongs of this world.Even if our sentimental memory of these heroic figures is nothing more than nostalgia for irrecoverable pleasures, their initial impact may be seen as having a formative influence on a child's expectations, as many commentators have thought. In either case, they are all descended from a venerable tradition of literary figures. Superman himself is a direct descendant of Sherlock Holmes, who comes from a long line of English heroes going back to Robin Hood and Merlin, each of whom is involved in righting some injustice. Ultimately, all of them are descended from Odysseus, who reclaimed his rightful kingdom, after an absence of twenty years, by murdering his wife's suitors.Romance, like comedy, is a conflict between destructive and restorative impulses, and these impulses are embodied in the characters that inhabit this dream fiction.1 Like comic characters, the characters of romance evoke in us the same responses of wish and fear, and like comedy itself romance builds toward a catharsis of those two emotions. To achieve that catharsis, romance requires our "willing suspension of disbelief" (as Coleridge put it so memorably), which we have no difficulty in granting, provided only that the story is skillfully told. What we want from romance is the fulfillment of the wishes it arouses; what we get from their fulfillment is the pleasure of story-for-the-sake-of-story. It is this pleasure, in fact, that constitutes the basic, generic purpose of romance.The difference between the two genres, however, can be seen in the kinds of wish and fear they evoke in us, for unlike comedy the feelings of wish and fear evoked by romance are uncomplicated by ambivalence. We may wish to experience the destructive impulse vicariously through the protagonist, but only in order to see him triumph in the end. We are so entirely sympathetic to his enterprise that we cannot possibly wish for his destruction. If he is destroyed, as in the case of Tristan, the hero of the eponymous medieval romance, we are forced to recognize that the love potion he drank with Isolde was his... (shrink)

Background: Maximum safe resection of infiltrative brain tumors in eloquent area is the primary objective in surgical neuro-oncology. This goal can be achieved with direct electrical stimulation to perform a functional mapping of the brain in patients awake intraoperatively. When awake surgery is not possible, we propose a pipeline procedure that combines advanced techniques aiming at performing a dissection that respects the anatomo-functional connectivity of the peritumoral region. This procedure can benefit from intraoperative monitoring with computerized tomography scan and brain (...) shift correction. Associated with this intraoperative monitoring, the additional value of preoperative investigation combining brain mapping by navigated transcranial magnetic stimulation with various neuroimaging modalities has not yet been reported.Case Report: A 42-year-old left-handed man had increased intracranial pressure, left hand muscle deficit, and dysarthria, related to an infiltrative tumor of the right frontal lobe with large mass effect and circumscribed contrast enhancement in motor and premotor cortical areas. Spectroscopy profile and intratumoral calcifications on CT-scan suggested an WHO grade III glioma, later confirmed by histology. The aforementioned surgical procedure was considered, since standard awake surgery was not appropriate for this patient. In preoperative time, nTMS mapping of motor function was performed, combined with magnetic resonance imaging -based tractography reconstruction of 6 neural tracts and resting-state functional MRI connectivity of sensorimotor and language networks. In intraoperative time, DES mapping was performed with motor evoked response recording and tumor resection was optimized using non-rigid image transformation of the preoperative data to iCT data. Image guidance was updated with correction for brain shift and tissue deformation using biomechanical modeling taking into account brain elastic properties. This correction was done at crucial surgical steps, i.e., when tumor bulged through the craniotomy after dura mater opening and when approaching the presumed eloquent brain regions. This procedure allowed a total resection of the tumor region with contrast enhancement as well as a complete regression of IICP and dysarthria. Hand paresis remained stable with no additional deficit. Postoperative nTMS mapping confirmed the good functional outcome.Conclusion: This case report and technical note highlights the value of preoperative functional evaluation by nTMS updated intraoperatively with correction of brain deformation by iCT. This multimodal approach may become the optimized technique of reference for patients with brain tumors in eloquent areas that are unsuitable for awake brain surgery. (shrink)

Paul de Man ha interpretado la teoría de la traducción de Walter Benjamín como precursora de las posiciones de la deconstrucción. Por el contrario, aquí se va a demostrar la centralidad del mesianismo en la teoría del lenguaje y de la traducción de Benjamín, así como en su posterior concepción materialista de la historia. Se va a mantener que la fuerza teórica del pensamiento de este autor tiene como base precisamente tal elemento teológico.

This paper confronts the interpretations of Eugène Atget’s photography given by Robert Desnos and Walter Benjamin. In the first part, it discusses Atget’s reception among the surrealists, particularly his relationship with Man Ray and the publication of some of his views from Paris in Littérature and La Révolution surréaliste. The second part is focused on the paragraphs that Benjamin has devoted to Atget in “Short history of photography” and "The work of art in the age of its technological (...) reproductibility”. Finally, it introduces, establishes and comments two texts by Desnos to highlight his idea of a history of photography, the place he attributes to Atget in it, and the presence of topical and figures of fundamental significance for Benjamin’s own perspective. (shrink)

The end of human history is an event that has been foreseen or announced by both messianics and dialecticians. But who is the protagonist of that history that is coming—or has come—to a close? What is man? How did he come on the scene? And how has he maintained his privileged place as the master of, or first among, the animals? In The Open, contemporary Italian philosopher Giorgio Agamben considers the ways in which the “human” has been thought of as (...) either a distinct and superior type of animal, or a kind of being that is essentially different from animal altogether. In an argument that ranges from ancient Greek, Christian, and Jewish texts to twentieth-century thinkers such as Heidegger, Benjamin, and Kojève, Agamben examines the ways in which the distinction between man and animal has been manufactured by the logical presuppositions of Western thought, and he investigates the profound implications that the man/animal distinction has had for disciplines as seemingly disparate as philosophy, law, anthropology, medicine, and politics. (shrink)