While Billy Budd's beauty has often been connected to his innocence and his moral goodness, the significance of the musical character of his beauty—what I will argue is the site of a struggle for political expression—has not been remarked upon by commentators of Melville's novella. It has, however, been deeply explored by Britten's opera. Music has often been situated at, or just beyond, the limits of communication; it has served as a medium of the ineffable, of unsaid and (...) unsayable truths (and lies), of an expressive power beyond language and reason. It is this expressive but communicatively problematic role that Billy embodies and that Billy Budd sets into political motion. In this essay, I would like to suggest that Billy's musical beauty can only be fully appreciated, and assumes full significance, when considered within the context of the various conceptions of beauty, and corresponding conceptions of authority, presented in the novella and in the opera. In particular, I will argue that Billy's beauty is a modern one that calls for the active participation of its audience. (shrink)

Herman Melville’s Billy Budd presents a classic example of a legal official legally required to enforce a law he believes or knows to be unjust. Although there has been considerable discussion of a citizen’s moral duty to obey unjust laws, there has been little consideration of a legalofficial’s duty to enforce unjust laws.In this paper I take the central moral dilemma of the novel -- a legal official’s moral duty to enforce a valid law of a legal system (...) vs. his moral duty not to do or to contribute to injustice -- and discuss various moral considerations that would bear on this dilemma. By doing this I hope to contribute both to the moral issues involved as weIl as, to some extent, the literary criticism with regard to Billy Budd. (shrink)

Herman Melville’s Billy Budd presents a classic example of a legal official legally required to enforce a law he believes or knows to be unjust. Although there has been considerable discussion of a citizen’s moral duty to obey unjust laws, there has been little consideration of a legalofficial’s duty to enforce unjust laws.In this paper I take the central moral dilemma of the novel -- a legal official’s moral duty to enforce a valid law of a legal system (...) vs. his moral duty not to do or to contribute to injustice -- and discuss various moral considerations that would bear on this dilemma. By doing this I hope to contribute both to the moral issues involved as weIl as, to some extent, the literary criticism with regard to Billy Budd. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 273-295 [Access article in PDF] Billy Budd:Melville's Dilemma Lester H. Hunt I THE CHAIN OF EVENTS NARRATED in Herman Melville's Billy Budd, Sailor (An Inside Narrative)—how Billy is falsely accused of plotting mutiny by his Master-at-Arms, John Claggart, how Billy accidentally kills Claggart and, finally, is executed at the urging of the Captain of the Ship, Edward Fairfax (...) Vere, despite Vere's personal conviction that Billy does not deserve to be killed—is simple enough. The text itself, nonetheless, is troublesomely complex. It is a very difficult work to interpret with both honesty and confidence. Melville unflinchingly represents to us the moral horror of what Captain Vere does to Billy, and yet he also depicts Vere himself with a respect that borders on admiration. The attentive reader experiences a painful cognitive dissonance that can only be soothed by a coherent interpretation, and perhaps by a bit of philosophy.Given the way in which the text of Billy Budd emerged—it was assembled by scholars, long after Melville's death, from a confusing collection of manuscript pages he had left behind when he died—it may well be an unfinished work. It is possible that ill health and death overtook Melville before he had a chance to iron out the inconsistencies that inevitably arise as a book is written, and it is therefore also possible that some of our sense of dissonance is produced by this brute fact. 1 Whether or not this is the case, this book is, according to the view I will present here, at least very close to being coherent. The point of view it represents is actually quite appropriate to an unfinished work, and little damaged by textual indeterminateness. Billy Budd is about the inescapably dilemmatic nature of certain choices. It alleges the impossibility of resolving them in any comfortable way. Melville beckons us to [End Page 273] look through the window of Billy Budd into an abyss of undecidability, and perhaps a text that contains some chaos within itself will better serve as such a window than one that does not.The best way to begin trying to understand how we should take this work is to begin at its very beginning. The very beginning of a story is of course its title, and the title of this story, or more exactly its subtitle, tells quite literally what sort of story it is. It is an "inside" narrative. Of course, this immediately raises the question of what an inside narrative is. Inside what? Are we supposed to contrast it with an outside narrative? And what sort of story would that be?Melville does not leave us entirely without an answer to this question. Billy Budd does contain another story, one that contrasts so sharply with the main narrative that it might well be described as its opposite: it is virtually an inverted version of the book's plot. In an "authorized weekly publication" quoted at some length at the end of the book, the events of Melville's tale are briefly recounted. In this version of the story, apparently the only officially sanctioned one, Billy Budd is depicted as the ringleader of a genuine mutiny, who "vindictively stabbed" Claggart for exposing him. Claggart is motivated only by a "strong patriotic impulse" and Billy Budd by "extreme depravity."This account, Melville tells, us was written "for the most part" sincerely enough, "though the medium, partly rumor, through which the facts must have reached the writer served to deflect and in part falsify them" (1432.27-30). 2 It could be called an "outside" narrative in virtue of the fact that its author was not there and consequently was not in a position to know what actually happened. The most direct way to give literal meaning to the "inside" status of Melville's main narrative is simply to observe that it gives a view from inside the ship, from inside the Bellipotent. It represents things that were known by people who were there, and precisely because they were there.This... (shrink)

This paper examines how Adriana Cavarero extends and offers an alternative to Hannah Arendt's understanding of speech and its relationship to politics and violence through a re-reading of Herman Melville’s, Billy Budd, Sailor (1891). The novella was examined by Arendt in On Revolution (1963) where she considers the apolitical character of the French Revolutionary Terror and establishes a link between violence, mimetic contagion, and the failure of articulate speech. I suggest that whereas Arendt’s reading only offers two possible (...) responses to violence—forgiveness or punishment (perpetuating violence)—a reading of the novella inspired by Cavarero’s work shows a third alternative, the prevention of violence, while equally revealing the blind spot of Arendt’s argument. The blind spot is Arendt's privileging of articulate speech and her failure to consider the embodied character of human expression. Cavarero’s ethics of inclination, however, allows for a response to, and responsibility for, the uniqueness of the human voice, and for the intention to convey meaning. To mediate between Arendt and Cavarero, the paper also reconsiders Nidesh Lawtoo’s understanding of mimesis, evokes Eve Sedgwick’s paradigm-setting queer reading of Billy Budd, and engages with Walter Benjamin’s and Giorgio Agamben’s contrary takes on the relationship between violence and language. (shrink)

Preface -- The text's view as gateway to Billy Budd -- The critical heritage -- Acceptance, resistance, and the struggle -- To define Billy Budd -- Brodtkorb: language, mystery and the acceptance of annihilation -- Scorza: Burke, Rousseau and the two narratives of Billy Budd -- Parker: the genetic text and the incompleteness of Billy Budd -- Garner: finding the kernel in the shell -- Wenke: Billy Budd and the pursuit (...) of ambiguity -- The analyses. Billy; Claggart; Vere; The meta-dichotomies; Three dichotomies; "Dreaminess" and the master dichotomy; Winch and the private conscience -- Conclusion -- The moral world of Billy Budd. (shrink)

En este artículo se analiza el problema especial que tiene que enfrentar un agente moral cualificado institucionalmente, en específico un juez de un sistema jurídico cuando tiene que decidir sobre una situación que supone un dilema moral o jurídico. A partir de la historia de Melville, Billy Budd, se examinan los principales desafíos que el caso de Billy Budd plantea a la filosofía jurídica y la filosofía moral. Se muestra cómo el desafío es discutido por los (...) filósofos del derecho en términos de la dimensión institucional del derecho, y por los filósofos morales cuando tratan las cosas en términos de una ética kantiana, en oposición a una ética de la virtud. Por último se sugiere la necesidad de contar con una visión más integrada de la filosofía moral y la filosofía del derecho. /// This paper analyzes the special problem that an institutionally qualified moral agent faces. In particular, it deals with the case of a judge in a legal system facing a moral or legal dilemma. By focusing on Melville's Billy Budd, the text examines the main challenges that the Billy Budd case poses to legal and moral philosophy. It shows how the challenge is discussed by philosophers of law and by moral philosophers. Finally, it suggests the need for a more integrated perspective in moral and legal philosophy. (shrink)

I begin with the story told by Herman Melville in his short novel, Billy Budd.The year is 1797. Britain is engaged in a long and bitter war against France, and the British war effort has been threatened by two naval mutinies: the Nore Mutiny and the mutiny at Spithead. The scene is His Majesty’s Ship, the Indomitable, and the central character is Billy Budd, sailor. Billy Budd is a young man of exceptional beauty, both (...) physical and moral, whose only flaw is a stammer. He is loved by all his fellow sailors except the master-at-arms, John Claggart. The incarnation of evil, Claggart recognises in Billy the incarnation of goodness, and is consumed by a jealousy which leads him to accuse Billy (falsely) of inciting the crew to mutiny. Alone with Claggart and the ship’s Captain, Edward Vere, Billy hears the lying charge against him. He is enraged, but his stammer prevents him from responding in words. He strikes Claggart, and the blow is fatal. Billy Budd, sailor, has killed the master-at-arms of one of His Majesty’s ships on active service, and the penalty for this is death. (shrink)

This article queries Winch's view that moral issues are particular, subjective, context-dependent and not open to generalizations. Drawing on examples from film and literature, Winch believes he can prove first, that the universalisability principle is idle and second, that morality is wrongly conceived as a guide to moral conduct. Yet, neither example proves his point. Quite the contrary, they show that we face moral dilemmas only when moral theory fails to provide an answer to moral problems. Therfore, it is not (...) the case, as Winch suggests, that moral issues have a force independent of moral theory. The article questions a general trend in contemporary moral theory that argues that abstract principles are inconsistent with the actual way we live our lives. Footnotes1 In memory of Irving Velody 1936–2000. (shrink)

What is Billy Budd “about”; or, if you prefer, what is its “theme”? I think it is about more than one thing, has more than one theme ; and I think that some of the things Billy Budd is about are well-known, the themes long since revealed. But all of the hares have by no means been started, or run to ground. And one in particular seems to me to be barely noticed, if noticed at all. (...) That is the theme I am calling the “secular problem of evil.” I propose in what follows to try to start this hare from Melville’s metaphysical thicket, and put it through its paces. (shrink)

RÉSUMÉ Billy Budd, la dernière oeuvre de Melville, contient le récit de quatre morts violentes. Deux marins meurent victimes de leur devoir en temps de guerre. L’amiral Nelson succombe lors de la bataille de Trafalgar après s’être théâtralement exposé au feu de l’ennemi ; le héros éponyme, condamné par effet de la loi martiale, meurt innocent mais parfait dans sa soumission. Toutes ces morts, mais surtout les deux dernières, sont présentées par l’auteur comme pouvant être éclaircies, peut-être, en (...) ayant recours à une notion de sacrifice. L’article assure qu’il n’en est rien, car aucune de ces victimes n’est la « victime parfaite » qu’exige la conception biblique de sacrifice expiatoire. ABSTRACT Billy Budd, Melville’s last work, contains the narration of four violent deaths. Two sailors die in war time doing their duty. Admiral Nelson falls during the battle of Trafalgar after exposing himself dramatically to enemy fire. And the hero, condemned under martial law, dies innocent but perfect in his obedience. All these deaths, but especially the last two, are presented by the author as being possibly understandable thanks to a notion of sacrifice. The article shows that this is not the case since neither of them is the “perfect victim” required by biblical notions of expiation. (shrink)

The paper suggests that Samuel Taylor Coleridge’s arguments against sympathy after the French Revolution, Walter Benjamin’s claims against empathy following the traumatic shock of Modernity and the First World War, and Hannah Arendt’s critical take on compassion. after the Holocaust are similar responses to singular historical crises. Reconsidering Arendt’s On Revolution (1963) and its evocation of Hermann Melville’s novella Billy Budd (1891), I show first that the novella bears the traces of an essay by Samuel Taylor Coleridge, “The (...) Appeal to Law” (1809). Then, drawing on Walter Benjamin’s writings on trauma in Illuminations (1968, edited by Arendt), I discuss the political importance Arendt attaches to the proper way of telling a story, at a time when “the communicability of experience is decreasing” (Benjamin, Illuminations, 86). Through the analysis of Benjamin’s “The Storyteller” and Arendt’s “heartless” report on the Eichmann trial (1963), I equally show that, according to Arendt, testimonies must be narrated, or rather performed, in a dispassionate, dry, and compact manner so that they can be historically and politically relevant. (shrink)

McGinn's latest brings together moral philosophy and literary analysis in a way that illuminates both. Setting out to enrich the domain of moral reflection by showing the value of literary texts as sources of moral illumination, McGinn starts by setting out an uncompromisingly realist ethical theory, arguing that morality is an area of objective truth and genuine knowledge. He goes on to address such subjects as the nature of goodness, evil character, and the meaning of monstrosity in the context of (...) an aesthetic theory of virtue, which maintains that goodness of character is the same thing as beauty of soul. Looking at such literary works as Billy Budd, Lolita, The Picture of Dorian Gray, and Frankenstein, as well as examples from film and painting, Ethics, Evil, and Fiction is an original and compelling book by a leading philosopher who is also a critic and novelist. (shrink)

Sidgwick's theses that "if I judge any action to be right for myself, I implicitly judge it to be right for any other person whose nature and circumstances do not differ from my own in certain important respects" fails to differentiate moral judgments of importantly different kinds and, In particular, Overlooks peculiarities of a kind of judgment, Made by a prospective agent, About what "he" ought to do. The court-Martial in melville's "billy budd" is closely examined as an (...) example. Although we can speak of such an agent "finding out" what he ought to do, He is not finding out what "anyone" ought to do in such a situation, But something "about himself": something, However, Which can only be expressed in moral categories. (shrink)

Our lives are such that moral wrongdoing is sometimes inescapable for us. We have moral responsibilities to persons which may conflict and which it is wrong to violate even when they do conflict. Christopher W. Gowans argues that we must accept this conclusion if we are to make sense of our moral experience and the way in which persons are valuable to us. In defending this position, he critically examines the recent moral dilemmas debate. He maintains that what is important (...) in this debate is not whether there are irresolvable moral conflicts, but whether there are moral conflicts in which wrongdoing is unavoidable. Though it would be incoherent to conclude moral deliberation by deciding to perform incompatible actions, he argues that there is nothing incoherent in supposing that we have conflicting moral responsibilities. In this way, he shows that it is possible to capture the intuitions of those who have defended the idea of moral dilemmas while meeting the objections of those who have rejected this idea. Gowans carefully evaluates utilitarian and Kantian analyses of moral dilemmas. He argues that these approaches eliminate genuine moral conflict only by displacing persons as direct objects of moral concern. As an alternative, he develops a more concrete account in which moral responsibilities to persons are central. The book also includes discussions of Melville's Billy Budd, methodology in moral philosophy, moral pluralism, moral tragedy, and "dirty hands" in politics. (shrink)

The Evil Character, e.g. Claggart in Melville's Billy Budd, is one who derives pleasure from other people's pain, and pain from their pleasure. The attraction of Sadism is that, by causing pain, one has the power to subvert the victim's basic principles and values, the ultimate goal being to destroy the victim's will to live. Although envy is often a source of evil, McGinn argues that, from the point of view of folk psychology, an evil disposition is a (...) primitive fact that does not require a special explanation. McGinn considers two possible origins of evil: violent entertainment, and group behaviour. The prevention of evil lies in breaking the hedonic link or the link between pleasure and the evil act. (shrink)

The purpose of the text is to demonstrate a distinction between good or virtue and evil or vice, introduced by Hannah Arendt on the grounds of the novel by Hermann Melville Billy Budd. I analyze this distinction in relation to the life story of Romulus Gaita, the hero of the autobiographical novel My father Romulus, written by the Australian ethicist Raimond Gaita. The first paragraph deals with the said distinction, indicating the re-evaluation of such concept as virtue and (...) vice in Melville’s novel and his understanding of virtue. Then, I make an attempt to answer the question of why Gaita writes about his father using a category of character instead of virtue. Then, I reflect on the relationship between virtue, character, goodness and Romulus’s mental illness. Finally, I answer the question about the metaphysical foundation on which Gaita forms his conviction about the superiority of Good and goodness over virtue, and I show what particular components make up the ethics of goodness assumed by Romulus. (shrink)

An unprecedented reading of Hegel’s Logic that sets this difficult work in a dialogue with literary texts. In this book, Angelica Nuzzo proposes a reading of Hegel’s Logic as “logic of transformation” and “logic of action,” and supports this thesis by looking to works of literature and history as exemplary of Hegel’s argument and method. By examining Melville’s Billy Budd, Molière’s Tartuffe, Beckett’s Endgame, Elizabeth Bishop’s and Giacomo Leopardi’s late poetry along with Thucydides’ History in this way, Nuzzo (...) finds an unprecedented and productive way to render Hegel’s Logic alive and engaging. She argues that Melville’s Billy Budd is the most successful embodiment of the abstract movement of thinking presented in Hegel’s Logic, connecting Billy Budd’s stutter to the puzzlingly inarticulate beginning of Hegel’s Logic, “Being, pure Being,” identical with “Nothing,” and argues that the Logic serves as an especially appropriate tool for understanding the sudden violent action that strikes Claggart dead. Through these and other readings, Nuzzo finds a fresh way to address interpretive issues that have remained unresolved for almost two centuries in Hegel scholarship, and also presents well-known works of literature in an entirely new light. This account of Hegel’s Logic is framed by the need for an interpretive tool able to orient our understanding of the contemporary world as mired in an unprecedented global crisis. How can the story of our historical present—the tragedy or the comedy we all play parts in—be told? What is the inner logic of our changing world? “Angelica Nuzzo presents an original interpretation of Hegel’s Logic by representing it as a logic of action. This novel approach is supported by insightful readings of the literary texts she covers in the book.” — Andrew Cutrofello, author of All for Nothing: Hamlet’s Negativity. (shrink)

In 1965 Peter Winch published ‘The Universalisability of Moral Judgements’. I feel that the argument in this paper has never been successfully refuted, and that it remains relevant to many contemporary debates in moral philosophy. Winch argued against the widespread assumption that a moral judgement, if true, ought to be universalisable for all people in relevantly similar situations. He considers the example of Captain Vere in Melville’s ‘Billy Budd’: Vere managed to condemn a man he considered innocent, while (...) Winch concludes that in the same situation he could not have done it. Many contemporary moral realists would demand that at least one of them was incorrect, probably because of misperceiving the situation . Instead, says Winch, there is a sense in which one action legitimately ‘struck’ Vere, but not Winch, as correct, and that this is the end of the ‘dispute’ between them. However, this requires a robust defence against counter-charges of relativism. Part of the problem with Winch’s article, I argue, is his ambiguous use of the concept of ‘moral rightness’, but I remedy this, and defend Winch against two further sympathetic criticisms. (shrink)

In this paper I examine the psychological traits that can play a constitutive role in having an evil character, using a recent affect-based account by Colin McGinn as my starting point. I distinguish several such traits and defend the importance of both affect and action-based approaches. I then argue that someone who possesses these characteristics to the greatest possible extent—the purely evil individual—can actually be less depraved than one whose character is not so thoroughly penetrated by such traits. To illustrate (...) the contrast I have in mind, I use two fictional characters, each of whom exemplifies a different kind of moral extreme: Claggart, from Melville’s Billy Budd, and Wilde’s Dorian Gray. (shrink)

In order the combat the growing apathy, cynicism, and indifference observed among students, the author developed a course designed to make the study of philosophy relevant, applicable, and personal for students. This paper is a detailed exposition of the structure and content of this course. Build around the theme “Exploring Moral Character,” this course focuses on the role of moral character in ethical decision making and the nature of students’ own moral character. The course is divided into four units. Designed (...) as a voyage of personal discovery for students, each unit concludes with a non-traditional writing assignment (the moral reasoning unit, for example, concludes with students writing letters to the Admiralty as witnesses to the conviction and sentencing of Billy Budd). The author discusses why the course structure and paper assignments facilitate students’ ability to make explicit and to reflect on their own moral values. Appended to the article is a list of the course’s non-traditional paper assignments. (shrink)

This chapter investigates Euripedes' Bacchae and Herman Melville's Billy Budd. In Bacchae, which expresses the story of the god Dionysus returning to Thebes disguised as a human, initially asking, then demanding, acknowledgment of the divinity of his mother, Semele, Dionysus transforms the hypermasculine young king into a coquettish “girl.” In Billy Budd, the practice of impressing and oppressing sailors heightens the fear of mutiny, which in turn produces an atmosphere fraught with secrecy, fear, and conspiracy. Both (...) of these texts display a troubling dialectical link between innocence and violence, sacrifice, and evil. The chapter concentrates on the pivotal incident in Billy Budd: Billy's lashing out at Claggart when Claggart slanders him in front of Captain Vere. “Vere” would mediate in the world and soul as he does in the novel. But for reasons adduced before, his claim to do so is suspect. (shrink)

The recent spate of books and articles reflecting on the question of evil might make one forget that the question of just what constitutes goodness is no less urgent or perplexing. Everyone wants to think of him- or herself as good. But what does a good life look like? And how do people become good? Are there multiple, competing possibilities for what counts as a good life, all equally worthy? Or, is there a unified and transcendent conception of the good (...) that should guide our judgment of the possibilities? What does a good life look like when it is guided by God? How is a good life involved with the lives of others? And, finally, how good is good enough? These questions are the focus of _In Search of Goodness_, the product of a year-long conversation about goodness. The eight essays in this volume challenge the dichotomies that usually govern how goodness has been discussed in the past: altruism versus egoism; reason versus emotion; or moral choice versus moral character. Instead, the contributors seek to expand the terms of the discussion by coming at goodness from a variety of perspectives: psychological, philosophic, literary, religious, and political. In each case, they emphasize the lived realities and particulars of moral phenomena, taking up examples and illustrations from life, literature, and film. From Achilles and Billy Budd, to Oskar Schindler and Shel Silverstein’s _The Giving Tree_, to Iris Murdoch and the citizens of Flagstaff, Arizona, readers will find a wealth of thought-provoking insights to help them better understand this most basic, but complex, element of human life and happiness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 347-350 [Access article in PDF] Book Review The Sin of Knowledge: Ancient Themes and Modern Variations, The Sin of Knowledge: Ancient Themes and Modern Variations, by Theodore Ziolkowski; xvi & 222 pp. Princeton: Princeton University Press, $29.95. After thirty-five years of teaching and administrating at Princeton University, dozens of books, and innumerable articles, the eminent Germanist Theodore Ziolkowski has turned his attention to a (...) theme appropriate for someone so immersed in the intellectual life: the sorrow and grief that accompany human knowledge. Although Ziolkowski has made great contributions in standard studies of genre (notably the elegy and the twentieth-century novel) and authors (Mann, Hesse, and Broch), he became especially well known for his theorization and implementation of thematic studies, ranging from the sublime--fictionalizations of the life of Jesus--to the humorous--talking animals in literature. The figures whom Ziolkowski has selected for analysis of the sin of knowledge are Adam, Prometheus, and Faust, each of whom he views through both an ancient and a modern lens.All three of these mythic heroes violate "divine prohibitions against the new knowledge" (p. 69). Less heroically, all of these myths treat women misogynistically. Generally, Ziolkowski sees each of these stories as having emerged in a time of crisis, when new opportunities presented humanity with knowledge both alluring and disruptive. Because these are highly elastic myths, able to provide meaning in a variety of contexts, they have all mutated in modern times. Adam's Fall comes to represent the human transition from innocence to consciousness, Prometheus becomes a symbol for socialism's promise, and Faust turns into a representative of the American way of life.Looking at the ancient legend of Adam, Ziolkowski notes that sexuality and wisdom are linked in many of the oldest texts in humanity's recorded history. The emphasis on knowledge, however, is especially strong in the Hebrew myth. While many Near Eastern traditions have stories with similarities to the Biblical account of Adam and Eve, only Hebrew mythology has the Tree of Knowledge. For Ziolkowski, the fact that this story was probably set down during the reign of King Solomon explains this emphasis on knowledge. Because the Age of Solomon was a time of unparalleled wealth and power for the Hebrews, [End Page 347] Ziolkowski argues that the tale of Adam and Eve is the kind of myth "produced by cultures that have reached a certain level of sophistication... and look back with a degree of nostalgia at an imagined simpler, happier existence" (p. 23). According to Ziolkowski, knowledge becomes a sin for the Hebrews as they come to terms with the limitations of everything that their knowledge has brought them even at the height of their power and glory.In the modern era, Ziolkowski continues, the story of Adam has become secularized, representing the transition of humanity from a state of innocence to one of consciousness. He finds references to the Fall in Voltaire's Candide, Kleist's The Broken Pitcher, E. T. A. Hoffmann's The Golden Pot, Melville's Billy Budd, and Hesse's Demian. The overall trend of these representations of the rise of consciousness has been increasingly negative, culminating in sentiments like those expressed by the East German author Günter Kunter, who argues that "our whole present misery and all the problems of industrial civilization" can be linked to "the moment when man used the first firestone as a tool, the Fall" (p. 107). As Ziolkowski concludes: "Two centuries of secularization have brought the modern Adam to a depressing end" (p. 108).Citing Nietzsche, who compared Prometheus to Adam (and Pandora to Eve), Ziolkowski looks first at Hesiod's depiction of Prometheus as a trickster and then to Aeschylus' hero. Unlike the authors of the story of Adam and Eve, though, Aeschylus depicts Prometheus' claim to divine knowledge in a positive light: "Rather than a humankind declining from a glorious golden age to the present deplorable iron age, Aeschylus sees humanity progressing by means of knowledge--the crafts, arts, and sciences--from blindness and ignorance... (shrink)

The text traces the development of the notion of catatonia in the work of Gilles Deleuze across three spheres – the individual, social and literary. The need for an analysis is based on the author’s perception that Deleuze thought on catatonia and slowness has been undervalued in many interpretations ; the recognition, in works of sociologists such as Hartmut Rosa, of the adverse effects of social acceleration. In the individual sphere, catatonia is the effect of a radical withdrawal into anti-production (...) or the body without organs. In the social sphere, catatonia is also linked to anti-production, but since in capitalism most anti-production is included in the sphere of production, catatonia represents a special case of resistance to this tendency. Deleuze shows how these two spheres intertwine in his analyses of Herman Melville’s works, especially Billy Budd and Bartleby; the title characters of these two texts are interpreted as embodiments of the catatonic as a political-revolutionary figure. (shrink)

Literary criticism is neither more nor less important today than it has been since the becoming an accepted activity in the Renaissance. The humanists of the sixteenth and seventeenth centuries created the institution of criticism as we know it: the recovery and analysis of works of art. They printed, edited, and interpreted texts that dated from antiquity and which had been lost or disheveled. Evangelical in their fervor, avid in their search for lost or buried riches, they also put into (...) circulation certain influential ideas. Perhaps the most important of these was that the authoritative version of a book is the original version, freed from interpolation and accretion. A correlative idea was that, similarly, one could rely on an original or natural light in the interpreter, an intuitive good sense that helped him to a true understanding of a text if it was a genuine text. . . . There are signs that we are now nearing the end of this Renaissance humanism. Not because of a determinist or providential march of history, but ideas eventually exhaust what influence they may have. Today, after all, there is no dearth of ancient texts, or of new ones. Editing, moreover, has become only too conscious of the difficulty of recovering an "original" version or edition: in Wordsworth scholarship, for example, the authority of the 1850 Prelude, the text approved by the poet shortly before his death, was challenged by the 1805-6 Prelude printed by de Sélincourt in the 1920s; and the authority of this is in turn being eroded by antecedent manuscripts, the so-called "Five-Books Prelude" and "Two-Part Prelude." It is equally precarious to establish the text of Emily Dickinson's poems—which of the variants are to be chosen as definitive? Or, from another angle, Melville's Billy Budd has become a mine for genetic speculation. Even when no editorial problem exists, a philosophical issue arises as to the concept of originality itself.1 · 1. For the time being, it is enough to quote Hegel's provocative attack on all "Ur-Metaphysics": "What comes later is more concrete and richer; the first is abstract, and least differentiated." Geoffrey Hartman, professor of English and comparative literature at Yale University, is the author of The Unmediated Vision, Andre Malraux, Wordsworth's Poetry, Beyond Formalism, and most recently The Fate of Reading. He is currently working on a book to be published in late 1977, Criticism in the Wilderness. (shrink)

I have three aims in this essay. I want to offer an example of an interdisciplinary historical inquiry combining literary criticism with the relatively new field of critical legal studies. I intend to use this historical inquiry to argue that the ambiguity of literary texts might better be understood in terms of an era’s social contradictions rather than in terms of the inherent qualities of literary language or rhetoric and, conversely, that a text’s ambiguity can help us expose the contradictions (...) masked by an era’s dominant ideology. I try to prove my assertion by applying my method to Herman Melville’s three most famous short works—“Benito Cereno,” “Bartleby, the Scrivener,” and Bill Budd, Sailor—works dealing with the law and lawyers and widely acknowledged as ambiguous.1 I will base my critical inquiry into these stories on Melville’s relationship with his father-in-law, Lemuel Shaw, who, while sitting as the chief justice of the Supreme Judicial Court of Massachusetts from 1830 to 1860, wrote some of the most important opinions in what Roscoe Pound has called “the formative era of American law.”2Before I get started, I should clarify what this study does not entail. By using Shaw and his legal decisions in conjunction with Melville’s fiction, I am not conducting a positivistic influence study. My method will not depend on the positivist assumption that Shaw’s legal opinions can be used to illuminate Melville’s texts only when his direct knowledge of Shaw’s opinions can be proved. Nor will I limit myself to a traditional psychoanalytic reading: my emphasis is on political and social issues, and too often these issues are deflected by translating them into psychological ones. At the same time, I recognize that critics concerned with political and social issues too often neglect questions raised by a writer’s individual situation. I compare Shaw to Melville not to reduce Melville’s politics to psychology but to prevent a political study from neglecting the political implications of psychology, to remind us—as the title of Fredric Jameson’s book The Political Unconscious reminds us—that psychological questions always have political implications. 1. See Herman Melville, “Benito Cereno,” “Bartleby,” and Billy Budd, Sailor, “Billy Budd, Sailor” and Other Stories, ed. Harold Beaver ; all further references to these works will be included in the text.2. See Roscoe Pound, The Formative Era of American Law . For discussions of Melville and Lemuel Shaw, see Charles Roberts Anderson, Melville in the South Seas, Columbia University Studies in English and Comparative Literature, no. 138 , pp. 432-33; Charles H. Foster, “Something in Emblems: A Reinterpretation of Moby-Dick,” New England Quarterly 34 : 3-35; Robert L. Gale, “Bartleby—Melville’s Father-in-Law,” Annali sezione Germanica, Istituto Universitario Orientale di Napoli 5 : 57-72; Keith Huntress, “ ‘Guinea” of White-Jacket and Chief Justice Shaw,” American Literature 43 : 639-41; Carolyn L. Karcher, Shadow over the Promised Land: Slavery, Race and Violence in Melville’s America , pp. 9-11 and 40; John Stark, “Melville, Lemuel Shaw, and ‘Bartleby,’ “ in Bartleby, the Inscrutable: A Collection of Comentary on Herman Melville’s Tale “Bartleby the Scrivener,” ed. M. Thomas Inge , all further references to this work, abbreviated JA, will be included in the text. Brook Thomas teaches English and American literature at the University of Hawaii, Manoa. He is the author of James Joyce’s “Ulysses”: A Book of Many Happy Returns and is at work on a study of the relations between law and literature in antebellum America. (shrink)

This interesting approach to literary analysis comprises articles by writers in philosophy, literature, and the classics. Authors treated include Shaw, Shakespeare, Plato, Ibsen, and Browning; among those faced with dilemmas are Faust, Billy Budd, Hamlet, and Job.--E. T.

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These (...) include: how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

First published in 1989, this book tackles a relatively little-explored area of Wittgenstein’s work, his philosophy of psychology, which played an important part in his late philosophy. Writing with clarity and insight, Budd traces the complexities of Wittgenstein’s thought, and provides a detailed picture of his views on psychological concepts. A useful guide to the writings of Wittgenstein, the book will be of value to anyone concerned with his work as a whole, as well as those with a more (...) general interest in the philosophy of psychology. (shrink)

This paper advances two theses about evolutionary debunking arguments in ethics. The first is that, while such arguments are often motivated with the rhetoric of ‘luck', proponents of these arguments have not distinguished between the kinds of luck that might lead to the formation of a true belief. Once we make the needed distinctions, the relevance of the kind of luck which can be derived from broadly evolutionary explanations to the epistemological conclusions debunkers draw is suspect. The second thesis is (...) that debunkers might successfully show that epistemic luck is relevant to their concerns. But they will need to include specific premises about the kind of evolutionary mechanism that explains the beliefs that the debunker targets. Proponents of debunking arguments, if they continue to insist on using luck-based considerations, are then hostage to empirical fortune in a way not previously recognized. (shrink)

Billy Dunaway develops and defends a framework for realism about morality. He defends the idea that moral properties are privileged parts of reality which are the referents for our moral terms. He suggests how it is that we can know about morality, and what the limits to moral disagreement are.