John Milbank's case against secular reason draws much of its authority and force from Augustine's critique of pagan virtue. "Theology and Social Theory" could be characterized, without too much insult to either Augustine or Milbank, as a postmodern "City of God". Modern preoccupations with secular virtues, marketplace values, and sociological bottom-lines are likened there to classically pagan preoccupations with the virtues of self-conquest and conquest over others. Against both modern and antique "ontological violence" (where 'to be' is 'to be antagonistic'), (...) Milbank advances an Augustinian hope for the peace that is both beyond and prior to the peace of (temporarily) repressed antagonism. One aim of this essay is to consider whether virtues conceived out of such a hope are really all that different from the virtues they are taken to replace. I take a critical look at Augustine's critique of pagan virtue, Milbank's appropriation of that critique, the applicability of that critique to Plato, and the polemical value of Augustine's notion of original sin. I end up being skeptical of the notion of a peculiarly Christian way to turn antagonistically conceived virtues into love, but I am not unsympathetic to Milbank's concerns about a loveless and self-complacent secularity. (shrink)

In Flip Thinking, Berthold Gunster, the founder of the Dutch omdenken--or flip thinking--philosophy, presents fifteen strategies to transform your thinking away from limitations and negativities and towards possibilities and opportunities. From disrupting (turn all the rules upside down) to flaunting (play up what you want to hide) and from importing (get the enemy on board) to amplifying (do more of what works), Gunster's strategies and stories will have you approaching even the most challenging problems--from an annoying neighbor to an (...) angry colleague to an unhappy partner--in a whole new way. (shrink)

In examining Hegel's and Kierkegaard's theories of language, I argue that both entail conceptions of the therapeutic power of language to heal us from madness and despair. I show that whereas Hegel quite straightforwardly celebrates the emancipatory power of language, Kierkegaard is more ambivalent; on the one hand, he devotes his life to a maieutic authorship in service of aiding the reader, but on the other, he believes that ultimately it is only faith in God that can cure us, and (...) that faith requires silence. I use Lacan's psychoanalytic account of the role of language to explore Hegel's view that language constitutes the self and Kierkegaard's experimentation with an indirect form of communication that he hopes will enable him to fulfill each of his apparently conflicting goals, to write and yet to remain silent. (shrink)

When Humpty-Dumpty had his great fall nobody could put him together again. A vastly more moderate challenge is to reunite the two partial beams of a Stern-Gerlach apparatus with such precision that the original spin state is recovered. Nevertheless, as we demonstrate, a substantial loss of spin coherence always occurs, unless the experimenter is able to control the magnetic field's inhomogeneity with an accuracy of at least one part in 105.

In lieu of an abstract, here is a brief excerpt of the content:Talking Cures, the Clinic, and the Value of the IneffableDaniel Berthold (bio)KeywordsMadness, disease, the normal, the abnormal, the ineffable, Hegel, Kierkegaard, LacanI am most grateful to my readers, James Phillips and Louis Sass, who have led me to several new insights by suggesting ways of complicating my reading of a Lacanian approach to Hegel's and Kierkegaard's conceptions of madness. I am a Kierkegaard and Hegel scholar, with very (...) little pretense to expertise about Lacan and regrettably even less about the theory and practice of psychiatry. In submitting my essay to Philosophy, Psychiatry, & Philosophy, I was hoping to entice a community of practitioners and theoreticians I have great respect for to consider the musings of a philosopher on topics which engage them as thinkers and actors in their professions. I could not possibly have hoped for more intelligent and provocative replies than I have been given by my two respondents.Phillips' framing of his response in terms of the distinction between the "madness of the philosophers" and the "madness of the clinic" is very helpful. It is a distinction that is indeed central to the question of the possibility of dialogue between philosophers and clinicians—so central, in fact, that it is generous of Phillips not to reproach me for failing to mention it. On the one hand, the challenge for philosophers is to show that their descriptions are not merely metaphoric and that their preoccupation with the dark side of human experience connects in some way with the reality of disease, so that there is some way for clinicians to translate their language into the language of psychiatry. Otherwise, philosophers will have only poetic or literary interest for the psychiatrist or psychologist.On the other hand, the challenge for clinicians is the extent to which they are open to moving beyond a reduction of "mental illness" to a purely biological conception of disease. One needn't go so far—nor should we—as Thomas Szasz or Michel Foucault in seeing "mental disease" as itself merely a metaphor. But granting the evidence of underlying organic disorder, symptoms nevertheless display themselves as mental and behavioral states (what Hegel calls "shapes of consciousness") that, as Hegel argued, are paralleled in "normal" experience, so that the distinction between disease and normality (and hence illness and metaphor) is often elusive. Madness "has the healthy consciousness for its presupposition," Hegel writes, because the healthy mind is still grappling with the same sorts of contradictions and feelings of alienation, the same "infinite pain" which characterizes insanity. Madness is not the absolute "other" of rationality, but an echo of it (1978, 3:382, 408).Hegel himself accepted the medicalization of madness that began to occur in the late eighteenth [End Page 325] century, and rejected the metaphysical and theological categories of what was called "romantic medicine." But he also cautioned against the narrowness of the "somatic" school which he felt lacked sufficient explanatory value if not connected to a "speculative" (i.e., philosophic) framework (see Berthold-Bond 1995, ch. 2).It might even be argued that every person seeking therapy is first of all suffering from "philosophic" madness, at least in the sense that initially she does not understand her own suffering as "disease," but experiences her torment in the vocabulary of the philosopher. Thus the philosopher's descriptions are the closest to the subject's own self-understanding, and while the therapist must seek to rephrase these descriptions into the vocabulary of the clinic (just as Hegel, for example, translated his own philosophic description of the madness of his friend Hölderlin in the Phenomenology as the "lost soul" whose "light dies away within it" into the medical category of Wahnsinn—mania or frenzy, which today we would call schizophrenia—in the classificatory scheme of mental disorder he gives in the Encyclopaedia; 1977, 400; 1978, 408)—there is a real question about which vocabulary is a metaphor for the other.The second main point Phillips addresses, which is taken up in different ways by Sass as well, has to do with the relation between speech and silence in madness. Phillips finds that Kierkegaard offers a more complex and subtle view than... (shrink)

To celebrate the 270th anniversary of the De Gruyter publishing house, the company is providing permanent open access to 270 selected treasures from the De Gruyter Book Archive. Titles will be made available to anyone, anywhere at any time that might be interested. The DGBA project seeks to digitize the entire backlist of titles published since 1749 to ensure that future generations have digital access to the high-quality primary sources that De Gruyter has published over the centuries.

The negative aim of this paper is to identify shortcomings in received theories. First, we criticize approaching audiences, and large gatherings more general, in categories revolving around the notion of the crowd. Second, we show how leading paradigms in emotion research restrict research on the social-relational dynamics of emotions by reducing them to physiological processes like emotional contagion or to cognitive processes like social appraisal. Our positive aim is to offer an alternative proposal for conceptualizing emotional dynamics in audiences. First, (...) we offer a notion of emotional sharing for studying the social-relational dynamics of emotions. Second, we propose a working concept of audience as a dynamic and dispersed social collective. Finally, we bring these elements together in the description of two scenes of jubilation. (shrink)

The importance of teaching critical thinking skills at the college level cannot be overemphasized. Teaching a subcategory of these skills—argument analysis—we believe is especially important for first-year students with their college careers, as well as their lives, ahead of them. The struggle, however, is how to effectively teach argument analysis skills that will serve students in a broad range of disciplines.

Perspective, Symbol, and Symbolic Form: Concerning the Relationship between Cassirer and Panofsky During the last two decades of the twentieth century, there was a sudden surge of interest in Ernst Cassirer’s major work, The Philosophy of Symbolic Forms (1923–29), and Erwin Panofsky’s essay, ‘Perspective as Symbolic Form’ (1927), an interest that has continued uninterrupted to the present day. Particularly amongst art historians, however, a serious misunderstanding remains evident here – the confusing of ‘symbolic form’ with ‘symbol’. Cultural and perceptual mediations, (...) in which objects (and subjects) are only just in the process of forming, are carelessly turned into arbitrary, isolated objects of art history or pictorial history. Every work, in this view, is regarded as a ‘symbolic form’ to the extent that a representation of the world is ‘expressed’ in it. This article initially reviews Panofsky’s essay in order to establish the context in which the art historian uses the term ‘symbolic form’. His use of it is then compared with Cassirer’s original understanding of the term. A careful distinction is made between ‘symbol’, ‘symbolic pregnance’, and ‘symbolic form’, and this is followed by an analysis of scattered remarks in Cassirer’s writings, and particularly in his posthumous manuscripts and notes, on ‘art’ as symbolic form and on the spatial form that is prior to all perception and art production, as well as his call for a kind of art history that conceives of itself as a scholarly discipline. The article concludes with the recognition that Panofsky not only deliberately, but justifiably – that is, in the spirit of Cassirer, at least – transferred the expression ‘symbolic form’ to ‘perspective’. (shrink)

A unitary transformation replaces the given description of a quantum system by an equivalent one. It is observed, however, that not all members of a set of unitarily equivalent Hamilton operators are equally well suited for identifying the corresponding classical systems. A criterion is proposed for recognizing the privileged representatives of the set. A few explicit examples are reported that show the criterion at work.

The German term “Antiziganismus” could be translated as “antigypsyism”, but the semantic roots are, in fact, different. Coined in the 1980s, “Antiziganismus” might be misconceived as a sheer abstraction: a “close reading” of the term's context could indeed partially justify the assumption that it in many ways reproduces certain impacts and implications of its better known equivalent – an actively employed anti-Semitism. However, the article's main thesis is that “Antiziganismus” denotes a term in its own right. This status cannot be (...) challenged even by the most recent development, which is an interest group's attempt to internationalize the scope of the term by coining the derivative “antiziganism”. (shrink)

This chapter situates Kierkegaard's commitment to death in companionship with a similar, if not identical, commitment on the part of Friedrich Nietzsche. Both conceptualize the relation between self and other as occurring across an abyss of difference that dissolves the authority of the author, and adhere to a philosophy of language in which the author's text becomes infinitely interpretable according to the position occupied by the reader. But notwithstanding the inventiveness with which Kierkegaard and Nietzsche practice the art of dying, (...) we can discern a fundamental ambivalence: With every intention of dying, they have recurring second thoughts; at the entrance to the tomb they hesitate, giving in to a certain nostalgia for the privileged position of the author. (shrink)

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renown Renaissance artists created imaginative syntheses between their art and contemporary cosmology, philosophy, theology and magic. The Neo-Platonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for their lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work, but (...) that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians - both those concerned with the history of their own discipline and also those whose research is on the art and culture of the Italian Renaissance itself - with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature. (shrink)

Plato’s statements on art have met with countless commentators and almost as many different interpretations. In most cases, comments and hints that are scattered through various dialogues are taken out of context and played off against each other – depending on whether the intention is to portray Plato as a modern art lover or as an ageing political reactionary. In the face of the confusing range of contending opinions, there is an urgent need to examine and clarify the textual basis (...) in Plato. For this purpose, a meticulous analysis of Book 10 of the Politeia is initially carried out – the only part of the corpus of Plato’s works that is concerned with art in detail and exclusively. The results are surprisingly clear. The corrupting and dangerous aspect of art is not attributed to individual artists or a specific artistic orientation, nor to the style of the depiction, nor to the content that is narrated or presented; instead, it is ascribed to its essential nature as the μίμησις of a μίμησις. Since even the objects of sense perception are imitations of the archetypal Ideas, which are ultimately accessible only to rational cognition, the artist is an imitator of something imitated. He merely touches on the appearance of a reality that is in turn already a defective, mutable and ephemeral imitation of the only true, immutable and eternal archetypal Ideas. As the imitation of an imitation, art is insurmountably distant from truth and knowledge, ontologically and therefore also epistemologically worthless and useless – and also damaging, because it attempts to shackle us and domesticate us at a level three steps below truth. However, it not only holds us captive, but also corrupts us even further by appealing not to reason, but to the lower part of the soul with its desires and affections. It is because of this that it is corrupting and dangerous, initially for the individual character and individual spiritual welfare, and ultimately – through the individual – also for human society as a whole. Art thus creates precisely the situation which for the philosopher represents the fundamentally distorted condition from which he is attempting to liberate people. Art is constantly re-fastening the shackles that the philosopher releases. This is why art has to be excluded from Plato’s ideal state, with philosophy alone taking its place. The condemnation of all forms of art could not be expressed more clearly. Despite this, repeated efforts have been made to weaken the condemnation or even disprove its existence, either in order to save art from Plato or, conversely, to save Plato from condemning art. To achieve this, alleged contradictions between Books 10 and 3 of the Politeia have been pointed out ; a differentiation or alteration in Plato’s understanding of the concept of μίμησις has been postulated; and reference has been made to passages in Plato’s works in which, it is claimed, the philosopher concedes that art has direct access to the world of the Ideas or in which he speaks of the artist’s divine inspiration , as well as the numerous passages that discuss Beauty . Finally, it is claimed that Plato did not condemn all art, but only a certain contemporary trend in art , or more generally, only illusionistic art in contrast to an abstract form of art – namely Egyptian art . In the second part of the study, these lines of argumentation are discussed individually and in detail and their content is tested. In each case, the findings obtained initially in the analysis of Book 10 of the Politeia are confirmed. The present study does not offer any new hypotheses; instead, its goal is to use a detailed and differentiated examination of the relevant texts to clearly distinguish Plato’s view of art from later neo-Platonic views, as well as from obfuscations created by modern interpreters, in order to obtain a secure basis for future investigations of Plato’s view of art in particular, as well as of ancient aesthetics in general. The extensive review of the secondary literature also documents part of the history of twentieth-century scholarship. (shrink)

Apparitions takes a new look at the critical legacy of one of the 20th century's most important and influential thinkers about music, Theodor W. Adorno. Bringing together an international group of scholars, the book offers new historical and critical insights into Adorno's theories of music and how these theories, in turn, have affected the study of contemporary art music, popular music, and jazz. The essays review the impact of Philosophy of New Music a fter World War II, examine Adorno's struggle (...) to adapt his aging philosophy to the new music of the 1950s and 1960s, and trace his influence on recent composers. Several essays in this volume also re-evaluate Adorno's controversial contribution to the study of popular music and jazz, as well as his theories of mass media and mass culture in the context of an increasing consolidation of corporate and political power in the entertainment industry. This volume will be indispensable for both scholars and students of Adorno, who seek a historical context and a critical assessment of some of his most influential as well as most contested writings on music. (shrink)

It is a wonderful, often beautiful book."--Brian Hyer, University of Wisconsin-Madison "This is an important book that many in music will profit from confronting. It is a performative work, embodying and recreating what it wishes to argue.