In lieu of an abstract, here is a brief excerpt of the content:Thus Spake Howard Roark:Nietzschean Ideas in The FountainheadLester H. HuntIThe position I will be taking here will seem very peculiar to many people. I will be treating a novel as a discussion of the work of a philosopher—namely, Friedrich Nietzsche. Worse yet, I will be treating it as a discussion that is philosophically penetrating and deserves to be taken seriously. Still worse, the novel is Ayn Rand's early novel (...) The Fountainhead. I think it is safe to say that her reputation, among academics who discuss the works of philosophers, is very low. If the reader will only bear with me, though, I think I can make a case that Rand opens a line of inquiry about Nietzsche's ideas and values that is not only quite interesting in itself but one that ought to be pursued further by others.There has always been ample reason to associate Nietzsche with The Fountainhead.1 He is after all, the only philosopher who is more or less directly quoted in the book.2 Beyond that, Rand's novel has many other passages that students of Nietzsche instantly recognize as conscious references to him or deliberate echoes of his style. In addition, she revealed, in an introduction written for the twenty-fifth anniversary edition, that the following quotation from Beyond Good and Evil had originally stood at the head of the book when it was still in manuscript:It is not the works, but the belief which is here decisive and determines the order of rank to—employ once more an old religious formula with a new and deeper meaning—it is some fundamental certainty which a noble soul has about itself, something which is not to be sought, is not [End Page 79] to be found, and perhaps, also, is not to be lost—The noble soul has reverence for itself.—3She said, in the same introduction, that she removed the quotation (evidently, immediately before publication) for philosophical reasons, because of her "profound disagreement with the philosophy of its author." Nietzsche, she says, was fundamentally "a mystic and irrationalist," and even in this quotation, chosen for its content, insinuates a philosophical position that she regards as erroneous (namely, determinism). Even her statement of what she likes about this passage is rather constrained: "as a poet [ie., not as a philosopher], he projects at times (not consistently) a magnificent feeling for man's greatness, expressed in emotional, not intellectual terms."4It is of course true enough that Rand does disagree with Nietzsche, and for more or less the reasons that she suggests here, but it is also true that the passage she has quoted expresses some ethical themes—nobility, order of rank, the "pathos of distance," and (most obviously) the idea of self-reverence as a characteristic of the ethically good—which are at least as important in The Fountainhead as they are in Nietzsche's writings. Though Rand's spirited disclaimer serves to remind us of her deep differences with Nietzsche, the quotation itself suggests that there might be an interesting philosophical, not merely literary or emotional, connection between The Fountainhead and Nietzsche's ideas. What I would like to show here is that this connection merits a much closer look than it has ever been given heretofore. Not only is the presence of Nietzschean themes in Rand's novel deep and pervasive, but the book actually contains a very interesting and powerful internal critique of one of Nietzsche's most characteristic ideas, a criticism based in large part on values and assumptions that he shares. Before I can set out this critique, I will need to explore some of the positive thematic and philosophical connections.IIOne evening, rather late in the novel, Gail Wynand, the corrupt newspaper publisher and financier, surprises his wife, Dominique, with a present: he has had an architect design a house for them. The architect, she realizes with shock as she sees the drawings for the house, is her former lover, Howard Roark, a man with whom she is still in love. None of this is known to her husband, who innocently tells her that [End Page 80] Roark... (shrink)

Drawing on the work of Charles W. Mills and considering the case of reparations to Black Americans, this article defends the “structural turn” in the philosophical reparations scholarship. In the Black American context, the structural turn highlights the structural and institutional operations of a White supremacist political system and a long chronology of state-sponsored injustice, as opposed to enslavement as a standalone historical episode. Here, the question whether distributive justice is more appropriate than reparative justice is particularly pressing, since (...) structural racial inequalities form part of the basis for reparations. Derrick Darby’s pragmatic argument for non-race-specific redistributive policies and Tommie Shelby’s principled defense of distributive justice are both considered, as well as the challenge to the structural turn that comes from Carlton Waterhouse’s argument for reparations for enslavement rather than “legacy of slavery” reparations. (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 work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

ABSTRACTFeminists have long criticized Rousseau for his patriarchal political theory. But when his lesser-known writings on women from the 1740s are taken into account, including a nearly 900-page manuscript critiquing Montesquieu from a feminist perspective, we see how the early Rousseau robustly converged in feminist ideas with his employer Madame Louise Dupin, before he gradually diverged from this egalitarian school of thought over the course of the 1750s. I add to the evidence of the early Rousseau’s egalitarian response to (...) ‘the woman question’ by showing his philosophical convergence with the feminist arguments of the anonymous ‘Critique of the Spirit of the Laws’ as well as Madame Dupin’s ‘Ouvrage sur les femmes’ – manuscripts largely in his secretarial hand. Through this triangulation of understudied texts, we find that the early Rousseau was not a patriarchal apologist, but rather a feminist secretary and a secretary to a feminist. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

One does not have to share William Connolly's vitalist affiliations in order to have serious reservations about Ruth Leys's essay and response.1 Simple phenomenological concerns will do to make one suspicious of her core claim:From my perspective, intentionality involves concept-possession; the term intentionality carries with it the idea that thoughts and feelings are directed to conceptually and cognitively appraised and meaningful objects in the world. The general aim of my paper is to propose that affective neuroscientists and the new affect (...) theorists are thus making a mistake when they suggest that emotion or affect can be defined in nonconceptual or nonintentional terms.2I worry about the difficulty of defining the boundaries of a notion like conceptual, especially since on the next page Leys claims an equivalence between cognition and signification. There seems at least a tendency toward tautology in equating “nonconceptual” with “nonintentional,” as if one could be used to define the other. But then signification enters the picture, although criteria for signification involve simple recognition and do not implicate the awareness of logical connectives that seem necessary for conceptual and cognitive appraisal. And the Wittgenstein in me worries even more why Leys thinks that intentionality should be confined to only one set of traits despite the fact that a great variety of language games depend on something like intentional awareness. (shrink)

Do hunting and fishing lead to the development of environmental virtues? This question is at the heart of philosopher Charles List’s engaging study, which provides a defense of field sports when they are practiced and understood in an ethical manner. In his argument, List examines the connection between certain activities and the development of virtue in the classical sources, such as Aristotle and Plato. He then explores the work of Aldo Leopold, identifying three key environmental virtues that field sports (...) instill in practitioners in the kind of conservation advocated by Leopold and others. After reviewing several powerful philosophical objections to his viewpoint, List considers the future of environmental sportsmanship. He suggests that, in order to incorporate a revived connection between field sports and environmental virtue, the practice of hunting and angling must undergo changes, including shifts that would impact hunter education, civic engagement, the role of firearms, our understanding of “game” animals, and alliances with other sorts of outdoor recreation. _ Hunting, Fishing, and Environmental Virtue_ will appeal to academics interested in the ethical issues surrounding hunting and fishing, professionals in wildlife management, and hunters and anglers interested in conservation. (shrink)

I argue that sport hunting is a right thing according to Leopold’s land ethic. First, I argue that what Leopold means by a “thing” (“A thing is right...”) is not a human action, as is generally assumed, but rather a practice of conservation that is an activity connecting humans to the land. Such an “outdoor” activity emphasizes internal rewards and the achievement of excellence according to standards which at least partially define the activity. To say that hunting is a right (...) thing is to say that the practice of sport hunting tends in the direction of the land ethic. The actions of individual hunters are judged to be ethical or not by the standards of the practice; these standards are in turn evaluated by the precepts of the land ethic. Second, I discuss how the practical standards are evaluated. I argue that the concepts of integrity, stability, and beauty, contrary to some interpretations, are not inherent values of the biotic community, but rather labels carefully chosen by Leopold as three conduits for the ecological conscience necessary for the land ethic: the ethical, the ecological, and the aesthetic. I show that Leopold uses this model for his own evaluation of the practice of hunting as well as his evaluation of other practices of conservation. Thus, to ask about whether sport hunting is a right thing is to ask about the historical evolution of the standards of this practice and, of equal importance, about the future direction of these standards with regard to the land ethic. (shrink)

Volume 47, Issue 3, November 2018, Page 403-427.

Charles Travis; IX*—On Constraints of Generality, Proceedings of the Aristotelian Society, Volume 94, Issue 1, 1 June 1994, Pages 165–188, https://doi.org/10.10.

In lieu of an abstract, here is a brief excerpt of the content:Further ReflectionsCharles AltieriI see now that I was wrong in lumping Robert B. Pippin with other philosophers who adapt literary experience to philosophical purposes.1 And I was probably too taken with Walter Benjamin to appreciate fully Pippin's version of Proustian sensibility. I can invoke no authority to explain why I did not see adequately that tone is so central to J. M. Coetzee's Elizabeth Costello. So I am very (...) grateful to Pippin not only for pointing out my inadequate reading but also showing how, as critics, we both—for the most part—emphasize conditions of experience rendered by great literary texts. But I cannot apologize for some features of my argument, so I hope to refine them in this response.Pippin is not interested in providing explanations for texts or even, at his best, in using philosophy to extract "meaning." He limits himself to a subset of literary texts that engage philosophical thinking. Within these limits he proposes to do philosophy by literary means. That is, he wants to develop philosophically the particular situations eliciting philosophical concerns. His goal is not to stabilize the arguments underlying the text but to make more fully articulate the particular line of reflection carried out by the text and projected as a means of engaging thought on the part of the audience. Philosophy by other means becomes an engagement with literary practices concentrating on how the ways that thinking is handled in the text can take on a kind of concrete universality. This move toward generalizability does not depend on universals provided by argument (since, if one follows Ludwig Wittgenstein's On Certainty, the fictive cannot be said to provide any knowledge of objective conditions, despite Pippin's wavering on this point; see p. 240). Rather, [End Page 260] generalization occurs by fleshing out dramatic particular occasions that establish significant perspectives on cultural problems, especially those involving transformations in cultural life, like understandings of self-knowledge, the consequences of imperialism, and the ways language becomes increasingly difficult to trust for communicative purposes.The philosophical task for Pippin is to provide a language for why the situation in a literary text might matter beyond the details that give it much of its power. G. W. F. Hegel showed how works of art can embody modes of thinking that provide articulate moments shaping what before them had been isolated undercurrents marking fissures in cultural life. Pippin wants to revive this ambition to produce philosophically articulate moments that bring out cultural and ideological tensions formative for modern reflective lives. This desire, I think, springs largely from Pippin's commitment to preserve Hegel's way of reading literature so that he can provide an alternative to Hegel's argument that once the universals established in an Absolute become increasingly visible, the significance of art for understanding culture will diminish substantially.Pippin has explored two alternatives for defending a Hegelian approach capable of preserving the cultural importance of the arts: in visual arts by providing languages for social critique, and in literature by actually dramatizing the significance of how texts can engage and establish processes of thinking that address pressing philosophical concerns. In effect, only by showing how Hegel was wrong that philosophy could establish a possibility of knowing an Absolute that would render art a minor player in civilization's capacity for self-awareness could criticism show how art becomes possibly the only vehicle we have to honor the spiritual complexities experience can make manifest.But even when I am led to agree for the most part with Pippin's claims about literature as philosophy, his focus on cultural relevance bothers me because that focus provides constant temptations to minimize the complex experiences works produce. So I think I have to try again to articulate what I think I can save of my efforts to distinguish literary experience from Pippin's enlightened philosophical ways of engaging literary texts. Let me propose three features of my original argument that seem still worth considering. First, I will simply assert that Pippin's theorizing of two factors necessary for interpreting intentions—as authorial purposiveness and as historically based recontextualizations of the work—makes it very difficult... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Robert B. Pippin's Philosophy by Other MeansCharles AltieriRobert Pippin's book is terrific in many ways.1 He not only makes Hegel's aesthetic theorizing lucid; he makes it extremely attractive, especially in his account of how artists double the sensuous world so that an artwork embodies the presence of the spirit's labor. And he proposes a forceful case that Hegelian thinking can honor the contributions art makes to philosophy, (...) given that a major challenge for philosophy is to capture "its own time reflected in thought." Hence G. W. F. Hegel treats works of literature "not as examples of an ideal or moral commitment or the expression of general norms, but as criterial aspects of just what it could be to espouse or avow such a value or, more important, … for such a value to lose its grip on its adherents" (p. 222, emphasis added).The opening of his second essay, on J. M. Coetzee, elaborates this claim by making two assertions—"that fiction can be a distinctive form of thought, even a form of knowledge," and "that such knowledge is relevant to, has a bearing on, the sort of knowledge that philosophy, or at least some version of philosophy tries to achieve" (p. 240). Modern literature, in particular, offers this knowledge largely because it is obsessed with problems of self-reflection that are also basic to the age's philosophical concerns. Hegel shows that in modernity, self-consciousness must establish new imaginative relations between subjectivity and what seem objective conditions in order to address the inherent tensions and senses [End Page 234] of contradiction inevitable when persons face historical change on this large a scale. And Pippin's essays on literature show how significant, and how disturbing, the need for understanding these efforts at shaping identity can become.II want first to register the kinds of observations Pippin's approach can develop for particular works of art. Then we will have a framework for clarifying and assessing his arguments, in ways that his dealing with art, especially modern writing, may help us dialectically stage how his views can be sublated. Pippin performs a minor, yet brilliant, example of sublation in his essay on Immanuel Kant's hatred of tragedy. Kant's aversion is based on his belief that we "cannot make ethical sense" (p. 35) of how tragedy contradicts anything reason can assert. (And in denying the power of moral reasoning, tragedy also denies the presence of the divine in human life.) This observation then becomes a difficult dilemma for philosophy: either we dismiss tragedy or we expand what counts as philosophy. But Pippin finds in philosophy the expansion he needs by deploying Friedrich Nietzsche's argument against Kant: what we "need in our response to tragedy is not understanding but strength" (p. 36).The issue of tragedy deepens in Pippin's first essay on literature, about Henry James's What Maisie Knew, but largely because of what Pippin does not address. Pippin emphasizes how James thinks Maisie demonstrates to herself and to others that she can ultimately understand her position regarding her dangerously charming parents and caregivers. In Maisie's final choice to leave with her caregiver nurse, Mrs. Wix, she takes responsibility for her relationship to her entire social circle and demonstrates to its members her capacity to free herself from them. She thereby satisfies Hegel's demand that self-knowledge can reasonably be claimed only when one acts on that knowledge; and is capable, when challenged, of standing behind what she has determined. For she then accomplishes two feats. Her action presents self-knowledge not as a report of an inner state but as "a reflexive stance taken up for reasons in a social world" (p. 171). And it does so in a context of "social contestations" rather than settling for a limited projection of herself to herself (p. 164). However, I claim later that while James is certainly impressed by Maisie, her knowledge does not prevent the tragic consequence of dooming her to a life where her multiple virtues are not [End Page 235] likely to be realized. At times, literary texts show how self-knowledge... (shrink)

Charles Parsons; X*—Mathematical Intuition, Proceedings of the Aristotelian Society, Volume 80, Issue 1, 1 June 1980, Pages 145–168, https://doi.org/10.1093/ari.

With the end of the cold war, issues of environment and economic development are assuming greater international salience. By the 1970s, environmental degradation was becoming pervasive, with growing global effects. Increasingly, global and emergent globalized problems are forcing environmental interdependence on the world. Transboundary threats cannot be addressed unilaterally by any single country or group of countries. The global environmental agenda is reviving the North-South debate and rejuvenating the Third World coalition in international fora. The encouragement of environmentally sustainable forms (...) of industrialization in the South requires expanded and improved international cooperation. However, the North’s greater resources and greater responsibility in causing global environmental degradation require its continuing involvement in the search for solutions, including ones applicable to newly industrializing countries. In June 1992, the largest intergovernmental conference ever held was convened in Rio de Janeiro to address these issues: the United Nations Conference on Environment and Development (UNCED, or the Earth Summit). It produced a consensus action plan of about 700 pages: Agenda 21. Agenda 21 presents massive challenges for international cooperation as well as for national and private actors and scientific and technical institutions. It reflects a complex configuration of demands for institutional arrangements that support environmentally sustainable technical and socioeconomic change. One of the most consistent of the Agenda 21 themes, and one of the most intractable issues, concerns “access to technology.” This can be as straightforward as diagnosing and improving the efficiency of a production process in a small manufacturing firm, or as complex as engineering a technological revolution in which production and consumption take place with virtually no material or energy loss to the environment. The selection of entry points for action is a critical strategic problem as well as an important operational issue. In this paper I identify and describe new initiatives intended to improve the environmental performance of industry in the South, and find that they largely aim to promote incremental industrial innovation through international technology transfer and diffusion. This strategy raises many questions about how to promote effective technology transfer and diffusion. (shrink)

Charles Clark; Why Teachers Need Philosophy, Journal of Philosophy of Education, Volume 23, Issue 2, 30 May 2006, Pages 241–252, https://doi.org/10.1111/j.1467-.

Charles Bailey; Lifelong Education and Liberal Education, Journal of Philosophy of Education, Volume 22, Issue 1, 30 May 2006, Pages 121–126, https://doi.org/10.

As originally planned this volume was meant to cover a somewhat wider scope than, in fact, it has turned out to do. When, in rg68, I initially conceived of preparing it, it was proposed to deal with several aspects of early modern scepticism, in addition to the fortuna of the Academica, and to publish various loosely related pieces under the title of 'Studies in the History of Early Modern Scepticism. ' Thereby, I foresaw that I would exhaust my knowledge of (...) the subject and would then be able to turn my attention to other matters. In initiating my research on this topic, however, I soon found that there remained a much greater bulk of material to study than could possibly be dealt with between the covers of the single modest volume which I envisioned. My proposed section on Cicero's Academica was to cover between 50 and 75 pages in the original plan. It soon became apparent, however, especially after Joannes Rosa's hitherto unstudied commentary on Cicero's work was uncovered, that this material would have to be treated at a much greater length than I had foreseen. The present volume is the result of this expanded investigation. The monograph which has come from this alteration in plans has, I think, the virtues of continuity and cohesive ness and one hopes that these advantages offset the benefits of a broader scope which were sacrificed. (shrink)

Charles Clark; Child-centred Education and the ‘Growth’ Metaphysic, Journal of Philosophy of Education, Volume 22, Issue 1, 30 May 2006, Pages 75–88, https://do.

Although controversy concerning the morality of hunting is generally focused on sport hunting, sport hunting itself is not a morally distinctive kind of hunting. The understanding of hunting in general needs to be supplemented with reference to the goods which hunting seeks. Attempts to draw a moral distinction between sport and subsistence hunting are inadequate and historically suspect. Likewise, trying to establish sport hunting as morally distinctive by emphasizing its similarities to other sports also fails. Nevertheless, there are standards accepted (...) by hunters that support ethical judgments about hunting. Ethical hunting requires reentry into a community of nonhuman beings governed by ecology and evolution, not human constructs, the development of virtues such as tenacity, courage, moderation, and discipline, and the achievement of a heightened respect for the biotic community in which the hunt takes place. By means of such standards, we may yet be able to determine what good hunting is even though we are unable to determine whether sport hunting is good. (shrink)

Charles Taylor; X*—The Validity of Transcendental Arguments, Proceedings of the Aristotelian Society, Volume 79, Issue 1, 1 June 1979, Pages 151–166, https://do.

Charles Bailey; Teaching by Discussion and the Neutral Teacher, Journal of Philosophy of Education, Volume 7, Issue 1, 30 May 2006, Pages 26–38, https://doi.org.

Charles Taylor; X*—The Validity of Transcendental Arguments, Proceedings of the Aristotelian Society, Volume 79, Issue 1, 1 June 1979, Pages 151–166, https://do.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Wilhelm Dilthey, Selected Works, Volume IV: Hermeneutics and the Study of History ed. by Rudolf A. Makkreel, Frithjof RodiCharles BambachRudolf A. Makkreel and Frithjof Rodi, editors. Wilhelm Dilthey, Selected Works, Volume IV: Hermeneutics and the Study of History. Princeton: Princeton University Press, 1996. Pp. xii + 409. Cloth, $59.50.Contemporary hermeneutics has been dominated by the work of Heidegger and Gadamer. Their phenomenological approach to the human world has (...) exerted such a powerful influence in recent years that one can hardly enter a discussion about the philosophical meaning of hermeneutics that is not already framed in the terms of their discourse. At the same time, there is less familiarity with the origins and sources of the hermeneutic method or with the thought of Wilhelm Dilthey. The editors of Dilthey’s Selected Works, Rudolf Makkreel and Frithjof Rodi, have set about trying to rectify this situation. They have sought to provide a richer context for the study of hermeneutics by bringing out a six-volume collection of writings from one of the major hermeneutical philosophers in the Western tradition. The publication of Volume Four in this series helps to accomplish this task by offering new translations of important Dilthey texts covering both the history and genesis of hermeneutics and a genealogical account of Dilthey’s own hermeneutical approach to history. Only one short essay in this volume, “The Rise of Hermeneutics” (1900), has been published before, and even this older translation has been revised and supplemented by material from the Nachlass. But what is the significance of this material and how does it help to achieve a fuller understanding of hermeneutics and its history?The selections in Volume Four cover the period from 1860 to 1903 with a heavy emphasis on the period from 1860 to 1868 (over two-thirds of the book focuses on Dilthey’s 1860 Preisschrift on “Schleiermacher’s Hermeneutical System in Relation to Earlier Protestant Hermeneutics,” notes from his 1867–68 lectures “On Understanding and Hermeneutics,” and three reviews from 1862 on historical literature from Buckle, Burckhardt, and F.C. Schlosser). The remaining essays from 1900–1903 provide a sense of Dilthey’s later reflections on hermeneutics and on the meaning of the eighteenth century for historiography and as a philosophical approach to history. The editors of this collection have chosen these texts carefully; the selections in Volume Four are organized around a specific theme. By culling significant early texts about hermeneutics and history and juxtaposing them with a number of later texts on the same topics, they hope to show the genesis of Dilthey’s own path of thought. What emerges from an attentive reading of these sources—especially when carried out within the context of the editors’ own principle of selection—is a highly persuasive view of Dilthey and his work. In the texts themselves we see Dilthey moving from his earlier role as the chronicler and historian of Protestant thought (who conceives of hermeneutics as an ancillary method of textual exegesis) to his later position as the philosopher of the historical world (who views hermeneutics as the epistemological method for the grounding of the human sciences). What we see here is a developmental account of Dilthey’s thought path: from the traditional scholar who conceives of hermeneutics as a method for interpreting texts to the philosopher who understands it as the fundamental science for interpreting historical life. This shift within Dilthey’s work from a hermeneutics of textuality to a hermeneutics of historicity marks an important turning point in the history of the hermeneutical [End Page 641] tradition, a turning point that helped to form the basis of all later philosophical hermeneutics.The five essays from Part Two—“Interpretations of History”—offer a smattering of Dilthey’s own writings on historiography, the theory of history, and the role of the eighteenth-century German tradition in forging an historicist understanding of “human affairs” (373) whose “organic nexus” and “inner purposiveness as a whole” opened up a radically new conception of historical being. Most contemporary continental philosophers will get lost in the textured details of Dilthey’s analyses because what passes for “philosophy” in our epoch pales by comparison with the rich... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Poetry, Community, Movement: A Conversation*Charles Bernstein (bio), Ann Lauterbach (bio), Jonathan Monroe (bio), and Bob Perelman (bio)1JM: What remains at stake in the long-standing and still tenacious distinction in Western culture between making arguments and making metaphors, between “poetry” and “philosophy”? What is the investment in holding onto this dichotomy?AL: There’s a familiar split in the notion of what a creative act is. That split, in our culture, (...) involves an idea of creativity as being natural and expressive: a poet has no need to have thought about anything in order to make a poem; the enemy is the analytical. This is a long-standing divisive space, certainly within the academy but also in the culture at large.JM: Over the past thirty years or so that space became institutionalized to greater and lesser degrees within the academy in the United States in the familiar tensions that came to exist in many universities between Creative Writing programs and programs in literary theory. Although both kinds of programs acquired substantial institutional power at a roughly similar pace, they’ve often seemed to move along parallel tracks that communicated with each other poorly or at cross-purposes. How do you see their prospects developing midway through the nineties?CB: Let me come at this in a different way. I think there’s enormous value in poets teaching literature in graduate as well as undergraduate programs. We need to have many different perspectives and methodologies in the classroom. For example, it can be a value that we have diametrically opposite perspectives on many of these questions. What particularly interests me as a model for teaching is having the active involvement of contemporary poets in both undergraduate and graduate classes teaching literature in what I would prefer to call “Creative Reading” rather than “Creative Writing” classes.JM: When you say, “We tend to view things from diametrically opposed perspectives,” who is the “we” you’re referring to?CB: Well, the category of “poets” in and of itself is too broad. There is no single perspective of poetry any more than there is a perspective of philosophy or theory. Poets themselves often have diametrically opposed perspectives on these very issues we’re talking about. So there isn’t a perspective of poetry. Poets as a group don’t bring any one thing. As a class in and of itself, it’s just too general. [End Page 196]BP: It seems as though such distinctions are actually playing to an external audience like in the film Dead Poets’ Society, where the artist is this glamorous figure, an outsider.AL: Somewhere in this complicated, or not so complicated, or simplistic view, there may be a reading of reading. Poets who read theory, for example, might be said to read it differently than theorists read poetry, in other words for different ends.BP: That’s true.AL: It is true. And that in itself is interesting. I read a lot of theory but not to theoretical ends.JM: What does that mean, “not to theoretical ends”?AL: I read theory not in order to produce theory. I read theory to produce a way of thinking about poetry, if you see what I mean. So far anyway, I’m not interested in becoming a theoretician of poetry, but I’m very interested in what theory has to say, what it gives me.JM: What kinds of communities are being drawn together or held apart under the words “philosophy” and “poetry”? When you write, Bob, in “The Marginalization of Poetry,” about what you call “overgenred” writing, what happens to the “poetic”?BP: At the end of the poem, quoting from Glas, I wrote, and I still feel this is true, that Derrida is very responsive to philosophic decorum and that my use of his words are in the service of something very different. When I use the word “poetic” there, I’m using it not as a noun but as an adjective. If something is “poetic,” in that sense, I’d worry that it’s trying to be beautiful in old-fashioned ways, not responsive to theory, that it wants to be self-expressive and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading As Poets Read: Following Mark StrandCharles BergerFor close to a decade now, in the third or fourth phase of his career, Mark Strand has been giving us poem after poem marked by his familiar voice—luminous, deceptively casual, witty, allusive—as he builds up a body of work that thinks and sings ever more deeply about the poet’s unavoidable life of allegory. This growing summa of poetic knowledge and readerly (...) pleasure demands, as the best lyric poetry always does, that readers give themselves over to the rigorous joys of figurative reading, figurative argument. You stare and stare at the poem until something flashes—linkages, interpretive genealogies, a conjunction of words that opens up arguments. Wittgenstein asked: “How can that which we understand in a flash, be put to a use?” Literary criticism, I think, provides an answer.Reading a poet like Strand shouldn’t send you running to the library for secondary source material; instead, you let your memory for poetry run. This assumes that you indeed possess a memory for poetry. Nowadays—enter the polemics—poems are not considered to be sufficient contexts for critical discourse. They need to be supplemented, bolstered, by “wider” cultural texts. The remarkable poetry being written around us counts for very little in the precincts of academic debate, even though so much of this poetry speaks directly to issues of great polemical importance. And it should go without saying that the deep pleasures of tracking poetic language, wherever you will let it take you, wherever you will take it, goes untasted. The poems Mark Strand has recently been writing show him, I think, at the height of his [End Page 177] power, as he thinks through the question of his place in poetry, the place of poetry in his life and ours, and the strange institution of poetry: so gripping in its hold on those who practice it as readers and writers, so hard to locate among the public monuments. The cultural critics don’t seem to understand how one is chosen by poetry, and how the kind of poetry you choose to read, to write, to teach, to remember, constitutes a deep part of your public and private being.At the same time, we should never espouse a defense of reading that limits us to the “poem-in-itself,” as if poems were not already layered, as if it were so easy to distinguish between imagination and interpretation. Poems have memories, as Rosanna Warren demonstrated so powerfully in her discussion of the formal genealogy of Auden’s Freud elegy. A poet like Mark Strand displays a ghostlier kind of memory that signals to us a little less overtly, but no less hauntingly. This is never more apparent than in the three new poems of his that I will now discuss: “Our Masterpiece is the Private Life,” “The Next Time,” and, briefly, “Great Dog Poem No. 2.” Since these poems have yet to be published in a volume, I need to quote them in their entirety.Our Masterpiece is the Private LifeIIs there something down by the water keeping itself from us, Some shy event, some secret of the light that falls upon the deep, Some source of sorrow that does not wish to be discovered yet? Our happiness says we should not care, that desire Could cast its rainbow over the coarse porcelain of the world’s skin And with its measures fill the air. Why look for more? Why not in the brightness of this weather allow ourselves to be Astonished by the music and the privilege of our passing?IIAnd now, my love, while the advocates of awfulness and sorrow [End Page 178] Push their dripping barge up and down the beach, let’s eat Our brill, and sip this beautiful white Beaune. True, the light is artificial, and we are not well-dressed. So what. We like it here. We like the bullocks in the field next door, We like the sound of wind passing over grass. The way you speak, In that low voice, our late night disclosures... why live For anything else? Our masterpiece is the private life.IIIStanding on... (shrink)

Originally published in 1960, The Edge of Objectivity helped to establish the history of science as a full-fledged academic discipline. In the mid-1950s, a young professor at Princeton named Charles Gillispie began teaching Humanities 304, one of the first undergraduate courses offered anywhere in the world on the history of science. From Galileo's analysis of motion to theories of evolution and relativity, Gillispie introduces key concepts, individuals, and themes. The Edge of Objectivity arose out of this course. It must (...) have been a lively class. The Edge of Objectivity is pointed, opinionated, and selective. Even at six hundred pages, the book is, as the title suggests, an essay. Gillispie is unafraid to rate Mendel higher than Darwin, Maxwell above Faraday. Full of wry turns of phrase, the book effectively captures people and places. And throughout the book, Gillispie pushes an argument. He views science as the progressive development of more objective, detached, mathematical ways of viewing the world, and he orchestrates his characters and ideas around this theme. This edition of Charles Coulston Gillispie's landmark book introduces a new generation of readers to his provocative and enlightening account of the advancement of scientific thought over the course of four centuries. Since the original publication of The Edge of Objectivity, historians of science have focused increasingly on the social context of science rather than its internal dynamics, and they have frequently viewed science more as a threatening instance of power than as an accumulation of knowledge. Nevertheless, Gillispie's book remains a sophisticated, fast-moving, idiosyncratic account of the development of scientific ideas over four hundred years, by one of the founding intellects in the history of science. Featuring a new foreword by Theodore Porter, who places the work in its intellectual context and the development of the field, this edition of The Edge of Objectivity is a monumental work by one of the founding intellects of the history of science. (shrink)

Cela fait trente ans maintenant que la Imité hante le débat en France. Que les intellectuels et les politiques s'en disputent la définition. Que les polémistes de tous bords s'en arrogent le monopole ou la dénonciation. Que les confusions succèdent aux approximations et les outrances aux ignorances. Le dialogue que voici, ouvert, contradictoire, mené par deux éminents juristes, philosophes et historiens, constitue le meilleur des remèdes à cette hystérie nationale. Des Guerres de religion à l'islam en France, ou de France, (...) en passant par les Lumières, la Révolution, la Ille République, la loi de 1905 et ses suites, leur controverse clarifie les épisodes du passé pour mieux éclairer les crises du présent, qu'il s'agisse du voile intégral dans l'espace public, des menus de substitution dans les cantines scolaires ou encore la présence des crèches dans les mairies. Avec savoir et simplicité, Charles Coutel et Jean-Pierre Dubois affirment, dans la diversité de leurs considérations, le même message salutaire : comprendre la laicité. c'est se protéger du fanatisme et redonner sens à cet idéal du bien public que suppose l'ordre républicain."--Page 4 of cover. (shrink)

"It was sheer chance that I encountered David Bohm's writing in 1958 ... I knew nothing about him. What struck me about his work and prompted my initial letter was his underlying effort to seek for some larger sense of reality, which seemed a very humanized search." - Charles Biederman, from the foreword of the book This book marks the beginning of a four thousand page correspondence between Charles Biederman, founder of Constructivism in the 1930s, and David (...) Bohm the prestigious physicist known for his interpretation of quantum theory. Available for the first time, we are given a rare opportunity to read through and engage in a remarkable transatlantic, intellectual discussion on art and science, creativity and theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature as Fable, Fable as ArgumentLester H. HuntIIn an ancient Chinese text we find the following exchange between the Confucian sage Mencius and one of his adversaries:Kao Tzu said, "Human nature is like whirling water. Give it an outlet in the east and it will flow east; give an outlet in the west and it will flow west. Human nature does not show any preference for either good or (...) bad, just as water does not show any preference for either east or west.""It certainly is the case," said Mencius, "that water does not show any preference for either east or west, but does it show the same indifference to high and low? Human nature is good just as water seeks low ground. There is no man who is not good; there is no water that does not flow downwards."1The subject of this colloquy is a familiar one in philosophy as we know it in the West. Its form and style are also vaguely familiar: it is a clashing exchange of theories, in which the speakers do not seem to be speaking merely to express themselves, but in order to persuade others that they are right. Yet at the same time it seems quite alien to us. It would be hard to find anything in it that a Western philosopher since the time of Plato would recognize as an argument. The participants seem to be speaking entirely in illustrative analogies and clever aphorisms, not in arguments at all. The style seems to be literary rather than philosophical. Yet what they are doing does look curiously like arguing. There is a rhythm of statement and counter-statement, in which each speaker seems to be answering the claims of the other.A related, though different, sort of ambiguity, in which the author [End Page 369] really does seem to be both arguing and not arguing, can be found in the following text, traditionally attributed to a Westerner of the sixth century B.C.:Between the North Wind and the Sun, they say, a contest of this sort arose, to wit, which of the two would strip the goatskin from a farmer plodding on his way. The North Wind first began to blow as he does when he blows from Thrace, thinking by sheer force to rob the wearer of his cloak. And yet no more on that account did he, the man, relax his hold; instead he shivered, drew the borders of his garment tight about him every way, and rested with his back against a spur of rock. Then the Sun peeped forth, welcome at first, bringing the man relief from the cold, raw wind. Next, changing, he turned the heat on more, and suddenly the farmer felt too hot and of his own accord threw off the cloak, and so was stripped.Thus was the North Wind beaten in the contest. And the story means: "Cultivate gentleness, my son; you will get results oftener by persuasion than by the use of force."2Here Aesop, to use the traditional name for the author of this ancient fable, is plainly doing something "literary": he is telling a story. But narration in the Aesopian mode is never simply telling a story, and in this case what is present in addition to the story seems to have something logical about it. Personally, I read this fable with a certain sense, however faint, that I am being enlightened by it. That of course is Aesop's aim. He is not merely expressing his opinion, but in some way showing us the truth of it. This is the sort of thing that, in philosophy, is done through argument. However, as in the text from the Mencius, it seems there may be no argument here.Clearly, we are dealing with forms of persuasion that are common at certain times in the development of a culture: namely, those periods when the philosophical muse is a mere suckling babe. We are looking, one might think, at a level of development so rudimentary that the distinction between argument as we think of it today and other forms of persuasion has not been made... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature as Fable, Fable as ArgumentLester H. HuntIIn an ancient Chinese text we find the following exchange between the Confucian sage Mencius and one of his adversaries:Kao Tzu said, "Human nature is like whirling water. Give it an outlet in the east and it will flow east; give an outlet in the west and it will flow west. Human nature does not show any preference for either good or (...) bad, just as water does not show any preference for either east or west.""It certainly is the case," said Mencius, "that water does not show any preference for either east or west, but does it show the same indifference to high and low? Human nature is good just as water seeks low ground. There is no man who is not good; there is no water that does not flow downwards."1The subject of this colloquy is a familiar one in philosophy as we know it in the West. Its form and style are also vaguely familiar: it is a clashing exchange of theories, in which the speakers do not seem to be speaking merely to express themselves, but in order to persuade others that they are right. Yet at the same time it seems quite alien to us. It would be hard to find anything in it that a Western philosopher since the time of Plato would recognize as an argument. The participants seem to be speaking entirely in illustrative analogies and clever aphorisms, not in arguments at all. The style seems to be literary rather than philosophical. Yet what they are doing does look curiously like arguing. There is a rhythm of statement and counter-statement, in which each speaker seems to be answering the claims of the other.A related, though different, sort of ambiguity, in which the author [End Page 369] really does seem to be both arguing and not arguing, can be found in the following text, traditionally attributed to a Westerner of the sixth century B.C.:Between the North Wind and the Sun, they say, a contest of this sort arose, to wit, which of the two would strip the goatskin from a farmer plodding on his way. The North Wind first began to blow as he does when he blows from Thrace, thinking by sheer force to rob the wearer of his cloak. And yet no more on that account did he, the man, relax his hold; instead he shivered, drew the borders of his garment tight about him every way, and rested with his back against a spur of rock. Then the Sun peeped forth, welcome at first, bringing the man relief from the cold, raw wind. Next, changing, he turned the heat on more, and suddenly the farmer felt too hot and of his own accord threw off the cloak, and so was stripped.Thus was the North Wind beaten in the contest. And the story means: "Cultivate gentleness, my son; you will get results oftener by persuasion than by the use of force."2Here Aesop, to use the traditional name for the author of this ancient fable, is plainly doing something "literary": he is telling a story. But narration in the Aesopian mode is never simply telling a story, and in this case what is present in addition to the story seems to have something logical about it. Personally, I read this fable with a certain sense, however faint, that I am being enlightened by it. That of course is Aesop's aim. He is not merely expressing his opinion, but in some way showing us the truth of it. This is the sort of thing that, in philosophy, is done through argument. However, as in the text from the Mencius, it seems there may be no argument here.Clearly, we are dealing with forms of persuasion that are common at certain times in the development of a culture: namely, those periods when the philosophical muse is a mere suckling babe. We are looking, one might think, at a level of development so rudimentary that the distinction between argument as we think of it today and other forms of persuasion has not been made... (shrink)

La collection « Dictionnaire...» a l'ambition de présenter, dans des ouvrages de 200 pages environ, l'essentiel des termes (le mot est volontairement vague) dans lesquels s'exprime chaque philosophe.

La lecture que propose Derrida de Genet, dans Glas, est un exemple particulièrement intéressant de la méthode déconstructive en matière d’interprétation des textes littéraires. Venant à peine plus de vingt ans après le Saint Genet, comédien et martyr de Sartre, le texte de Derrida ne pouvait manquer en effet d’entrer en rivalité avec celui du grand auteur encore vivant à l’époque. Et de fait, Derrida, non seulement ne manque aucune occasion, dans Glas, de souligner les insuffisances et les défauts qu’il (...) relève chez Sartre, mais se trouve en outre conduit, par la nécessité de cette opposition, à caractériser sa propre méthode aussi nettement que possible, jusqu’à souligner, voire accuser, les traits de son projet de lecture. De là, malgré la complication voulue (et parfois indémêlable) du texte, la grande clarté doctrinaire de Glas, et, pour peu qu’on ait la patience de le lire, son fréquent aspect de « manifeste » ou de « défense et illustration » de la déconstruction en littérature. Bien loin de contresigner le pacte d’illisibilité que nous proposerait Glas, je me propose donc, dans les pages qui suivent, d’exposer aussi clairement que possible, en elle-même et par différence d’avec celle de Sartre principalement, cette lecture derridienne de Genet : ses principes, ses résultats, son originalité, mais aussi, comme nous le verrons, certaines ressemblances parfois inattendues avec sa rivale, tenant sans doute (telle sera du moins mon hypothèse finale) à la difficulté même de définir au fond l’intérêt qu’une philosophie (en tant que telle) peut trouver à se confronter à une œuvre littéraire (en tant que telle)… . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Is Oedipus Smart?Charles B. DanielsWhat does it amount to, to ask whether Oedipus is smart, intelligent, clever? I take this to mean that he is quicker than most to gain understanding about difficult matters. Now, does Sophocles in Oedipus Rex portray Oedipus to be an intelligent, clever man?The Yes AnswerA "yes" answer to the title question may rest upon three grounds:Y1. Everyone in the play, including Oedipus himself (...) and the citizens of Thebes who have been his subjects for some 15 to 20 years, everyone, that is, save Teiresias, thinks that Oedipus is intelligent.Y2. In both legend and Sophocles' play, the only person smart enough to solve the Sphinx's riddle is Oedipus. Everyone in the play, as well as in the play's audiences, knows that Oedipus has solved the Sphinx's riddle. This is a major reason why everyone in the play, again excepting Teiresias, believes Oedipus to have a first-class mind. Oedipus is renown for this deed and thought by his subjects to be very clever in doing of it.Y3. John P. Carroll, in his interesting study of the extraordinary number of questions posed by Oedipus in Oedipus Rex (one in each nine lines of text uttered by him), concludes, "King Oedipus was endowed at birth with the heritage of the 'riddler's mind,' which by constant use throughout the course of his life he sharpened and brought to greater [End Page 562] perfection than it ever had had in his parents." 1 Oedipus is clever because he has a "riddler's mind": he asks lots of questions.Y1, Y2, and Y3, I believe, constitute the sole evidential textual base for the "yes" response to the title question. 2The No AnswerThe "no" answer, the view that Oedipus is not clever, rests upon four grounds:N1. The first consists of events from Oedipus' past that took place prior to the opening scene of the play and hence do not occur on stage. These are disclosed as the play progresses and its characters relate in dialogue what they believe to have taken place. We discover that Oedipus has lived his entire adult life with unresolved doubts about who his parents are. Worse yet, at the very beginning of his adult life, his inquiry at the Delphic Oracle met with terrible, enigmatic pronouncements that raised the ante on these doubts and made the tenor of his whole subsequent life up to the present worrisome to say the least. We learn of six questions of high moment to Oedipus—questions that touch him as profoundly as did the Sphinx's riddle, "What walks on two, three, and four legs?"—questions which he continues to be aware of and yet has not resolved, or in some cases even probed. A truly clever person, one with a "riddler's mind," would have done so. But the mature Oedipus we meet at the beginning of the play has yet to puzzle out correct answers to the questions:1. Where did the scars on my feet come from?2. Who are my real parents, Polybus and Merope, or some other couple?3. How can I best avoid doing the terrible things the Oracle foretells I shall do—killing my father and marrying my mother—given I am not sure who my father and mother really are?4. Is this old man who has just forced me off the road and arrogantly swatted me from his passing carriage my father?5. Who killed the king whose throne I have just been given?6. Is this widow I am about to marry my mother?The Oedipus we see at the beginning of the play is a man who has solved the riddle of the Sphinx, but has not solved a single one of these six questions from his own past life, which, it turns out, are easily of comparable importance to him. [End Page 563]N2. Another source of evidence in support of a "no" answer consists of failures on Oedipus' part to evince a quick wit concerning two puzzles that arise in the dramatic present among the events we see unfold on stage:7. The riddles... (shrink)

Memory, funerals, and the communion of the saints: growing old and practices of remembering / M. Therese Lysaught -- God bends over backward to accommodate humankind...while the Civil Rights Acts and the Americans with Disabilities Act require [only] minimum effort / Mary Jo Iozzio -- Radical solidarity: migration as challenge ofr contemporary Christian ethics / Kristin E. Heyer -- Catholic lesbian feminist theology / Mary E. Hunt -- Theology of whose body? Sexual conplementarity, intersex conditions, and La Virgen de (...) Guadalupe / Katie M. Grimes -- Social conscience and politics in the United States of America: reflections / Mary Jo Bane -- Pope Francis, women, and the church for the poor / Lisa A. Fullam -- Floodwaters and the ticking clock: the systematic oppression and stigmatization of poor, single mothers in American and Christian theological responses / Julie A. Mavity Maddalena --What causes inequity? / Dean Baker -- Engaging the U.S. Bishops' pastoral on crime and criminal justice: from atomism to community justice / Robert DeFina and Lance Hannon -- Reconstructing the moral claim of racially unjust mass incarceration / Alison Benders -- The systemic erasure of the Black/dark-skinned body in Catholic ethics / Bryan Massingale -- Anti-blackness and white supremacy in the making of American Catholicism / M. Shawn Copeland -- White privilege / Charles E. Curran -- The Black Lives Matter Movement: justice and health equity / Michael P. Jaycox -- Mujerista theology: a challenge to traditional theology / Ada María Isasi-Díaz -- Faith of our mothers; Catholic womanist God-talk / Diana L. Hayes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"The Crowd Is Untruth": A Comparison of Kierkegaard and Girard Charles K. Bellinger University of Virginia The purpose ofthis essay is to provide an introductory comparison of the writings of Soren Kierkegaard and René Girard. To my knowledge, a substantial secondary article or book has not been written on this subject.1 Girard's writings themselves contain only a handful of references to Kierkegaard.2 This deficiency is unfortunate, since, as (...) I hope to show in the following pages, these two authors do share common insights into the psychology ofviolence. Girard's writings usually take the form of a scientific analysis of historical data. He is attempting to frame a theory of culture which takes into account all of the data which he has encountered. It would seem that Kierkegaard's mode of thought is very different, since he is primarily concerned with the meaning of personal existence before God. But 1 Eugene Webb's Philosophers of Consciousness and The Self Between contain discussions ofKierkegaard and Girard, but they are basically parallel sections which do not include a focused comparison of the two authors. David McCracken's The Scandal ofthe Gospels makes reference to Girard and contains a chapter on Kierkegaard, but it also lacks an extended comparison. 2 See Girard 1984, 58; 1986, 173; 1988, 26-7. In his Foreword to Robert HamertonKelly (xi), Girard says, "Mimetic theory is too realistic and commonsensical to be confused with one more nihilistic stepchild ofGerman idealism. And yet, unlike the positivistic social sciences, it is not blind to paradox; it can articulate the intricacies of human relations just as effectively as a Kierkegaard or a Dostoievsky." 104Charles K Bellinger Kierkegaard was in his own way and in his own time a kind of social scientist. He engaged in an extended "anthropological contemplation" (1967-1978, 1:37), in which he attempted to map out the territory of the human spirit. Girard's thought, for its part, occasionally steps outside ofthe methodological atheism of the scientific guild to speak in theological terms. Thus in both realms, the scientific and the theological, there is the possibility of fruitful dialogue between these two authors. I am assuming that the readers ofthis essay are more familiar with the writings of Girard than with the writings of Kierkegaard. My procedure will therefore involve listing certain key concepts in Girard's thought, such as mimetic desire, envy, the social crisis, etc., followed by a search for parallel ideas in Kierkegaard. IfGirard were claiming complete originality for his interpretation of culture, my findings would show that he was in many respects foreshadowed by Kierkegaard. But, of course, he is not claiming this. He claims only to be restating and organizing insights which have already been achieved by great novelists and the Bible. I would argue that Kierkegaard is rightly seen as one of the great "novelists" who sees human culture clearly and penetratingly. It is not a coincidence that Kierkegaard's thought, like Girard's, is rooted in an interpretation ofthe Bible. After this initial survey ofsimilarities between Kierkegaard and Girard, I will outline a few possible differences between their approaches. This will lead to comments on the way in which Kierkegaard's thought can be used as a basis for understanding the motives which underlie political violence. Consequently Kierkegaard's thought can be coordinated with Girard's in such a way that the thought ofeach author is strengthened by the contribution of the other. Mimetic desire Mimetic desire is the main starting point for Girard's theory of personality and culture. Human beings have a basic feeling ofexistential lack that leads them to look to a model who seems to possess a greater fullness of being. The desires of the model are imitated in the hope of acquiring a similar fullness ofbeing. In Girard's words: When modem theorists envisage man as a being who knows what he wants, or who at least possesses an "unconscious" that knows for him, they may simply have failed to perceive the domain in which human uncertainty is most extreme. Once his Kierkegaard and Girard105 basic needs are satisfied (indeed, sometimes even before), man is subject to intense desires, though he may not... (shrink)

Volume 19, Issue 10, October 2019, Page 50-51.

‘And many chariots were smashed to pieces in the dust…’ My conjecture seems far more vibrant and vivid than Edgar Lobel's suggestion Adopting my supplement the Greek will mean that the chariots are not only broken but actually smashed to pieces. This Epic form fits well into a poem that already has so much Epic usage.

In lieu of an abstract, here is a brief excerpt of the content:Lorenzo Valla on the Problem of Speaking about the TrinityCharles TrinkausLorenzo Valla was a major Renaissance humanist critic of scholasticism, and a proponent of empirical and language-based thought. He also ventured into the field of theology with his humanistic preconceptions that not ancient philosophy but the literary arts and philology should provide the proper model for its study. Salvatore Camporeale in his major studies of Valla, and in a (...) recent notable article comparing the humanistic method of theologizing of Valla with the scholastic method of Thomas Aquinas, established the major features of this new mode of theologizing as based on Biblical philology and study of the Church Fathers. 1 This was taken up by Erasmus and given its fully developed form. 2 Valla was rash enough to apply his methodology to the central Christian doctrine of the Trinity, not without some disastrous results in his first effort in the 1439 redaction of his Repastinatio dialectice et philosophie, but with greater doctrinal acceptability in his later revised versions of 1448 and 1452. 3 Like all theological mysteries, the Trinity defied both ordinary human language and the most rudimentary rules of thought, i.e., grammar, logic, and “common sense.” 4 Hence there was a [End Page 27] great challenge and a real danger of falling into error in talking about the Trinity either to establish its true “nature,” or to defend it against criticism. Valla’s efforts may be considered likely paradigms of some of the ways language study played a role in unraveling one of the Christian religion’s central mysteries.It was one of Lorenzo Valla’s main convictions that the theology and religious and moral thought of his own age (namely Aristotelian scholasticism) should be purged of philosophy, which he regarded as a seedbed of heresy. Yet he himself, though a rhetorician, was not entirely pure of philosophy...just as elements of philosophical thought remained as indispensable ingredients of the rhetorical teachings of Cicero and Quintilian. Thus Valla, following them, especially Quintilian, found it necessary to retain some simplified elements of systematic thought in his primordia of linguistic theory. Nevertheless, he intended to demonstrate that a more satisfactory description of the Trinity could be attained by adhering to these rules of language than that arrived at by the scholastics seeking to affirm it by metaphysical principles.I: The Repastinatio of 1439Valla in his proem to the 1439 redaction of the Repastinatio stresses the libertas a philosopher should have to think and express his own thoughts and protests the compulsion to think in Aristotelian modes manifested by scholastic philosophers:Why therefore should we fear to contradict this man, especially while following the approved custom of freely stating what we believe? Certainly they treat themselves badly who commit themselves to some sect in which it is necessary to praise everything of the one they follow, whatever it is. We have insisted on that liberty in other books and will hold to it in these. 5In keeping with these sentiments Valla in this first redaction boldly sets forth his own views. For reasons which will be seen he becomes more careful to refute his opponents and justify his own views in the later two redactions. In this first redaction he begins by setting forth his reduction of the ten Aristotelian/Porphyrian/Boethian categories to three “elements,” using a term found in Quintilian. These are “substance,” “quality” and “action.” He follows this up by reducing the so-called six transcendentals to the one, multi-meaninged term res, or “thing,” which is that about which one is talking, or the subject that can comprise substance, quality and action. 6 [End Page 28]Because the res or “thing” is never substance only, since substance can never be perceived except by means of its qualities or actions which are manifest to the perceiver, Valla proposes a new term for the combination of substance, quality and action: “consubstance.” “There are two species of [consubstance],” he writes, “ ‘soul’ and ‘body.’ A third which is composed of both of these may be added, which is ‘animal.’” 7Just before introducing the term “consubstance” for things in their combination of the three elements, and without... (shrink)

Most of us came into ecology with memories of special personal places. A cliff top that Claude Monet might have painted. Allen as a youth spent his holidays on the Dorset Coast near Swanage; he can still smell the sea breeze of his childhood. Curtin grow up on a farm in southwestern Wisconsin, the dew of the grass and the bright green on a June morning remains vivid. The catching of reptiles and insects for him awakened a curiosity about the (...) natural world that has remained to this day. But once into the field there came the scholarship. With ever tighter grant monies, the pressure to publish takes so much of the fun out of it. A climate of unbridled careerism prevails and shows itself in the incremental state of the literature: little things to list on this year's activities report. There are now even predatory journals that cynically do not seriously review submissions, and only collect page charges. As journal editors have a desperate time getting reviews done by mature scholars, instead of a hand off to their overworked graduate students. So what is to be done - how can we bring the joy and importance of discovery back into it all? After all ecology is done by human beings. Mostly it is a personal mission, for what great ecologists write is frequently personal and life changing. So an undercurrent of this book is to remind and reveal the original purpose of science. Not professional advancement, but the genuine search for novel ideas and the imperative to share hard won insights and personal passions. (shrink)

Excerpt from Histoire Et Solution des Problèmes Métaphysique Les deux sortes d'évolution peuvent se concilier.; celle qui est une et indéfinie embrasse, pour cet effet., une infinité, en arrière et en avant, des évolutions multiples, finies et périodiques, construites hypothéti quement; mais c'est là le point de perfection du sys teme; et nous ne sommes plus alors aux époques pri mitives de la spéculation. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at (...) www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Place and the "Spatial Turn" in Geography and in HistoryCharles W. J. WithersI. IntroductionA few years ago, British Telecom ran a newspaper advertisement in the British press about the benefits—and consequences—of advances in communications technology. Featuring a remote settlement in the north-west Highlands of Scotland, and with the clear implication that such "out-of-the-way places" were now connected to the wider world (as if they had not been before), the (...) advert proclaimed "Geography is History." What the advert signalled to as the "end" of geography in the sense of the social gradients associated with space and distance is what is known, variously, as "time-space convergence" and "time-space distanciation."1 The terms embrace not just the "collapse" of geographical space given technical advances (in travel time and in communications—consequences of what Castells calls "the information age" and "the network society"2), but also the idea that the modern world has become [End Page 637] more homogenized. One place is now much the same as another. Further, given the likelihood of such technical and cultural changes continuing into the future, geographical distinctiveness, evident in the particularity of place, would be a thing of the past: geography would indeed be history. There is, of course, much evidence to the contrary: that, in the face of "globalisation," questions of locality, sense of place and of identity in place matter now more than ever. Even, then, as Francis Fukuyama cautioned against the "death" of liberal democratic politics as The End of History,3 geography—that is, geography understood as questions to do with place, and questions to do with where you are in the world as part of questions about how you are and who you are in the world—has had considerably heightened significance and for some places and people more than others.4These notions of place—as a particular location, and the character or sense of place—are only part of the meanings associated with place in geographical and in historical work. Like space, its regular epistemic dancing partner in geographical ubiquity and metaphysical imprecision, place is a widespread yet complex term. What follows is historiographical in focus and, of necessity, partial in range. I offer a historiographical survey of the term place, principally but not alone within recent work in geography. In more detail, and with reference to one of the strong senses in which place is used, namely that of locale, "the local," or localness, I trace here the connections between place, space, and the idea of the local as evident in recent work in history and in geography, especially within the history and the geography of science. Particular attention is paid in this context to the distinctive features of what we may think of as the "spatial turn" in the history of science by looking at the idea of place and space in recent work in Enlightenment studies. My argument is three-fold. Notions of place and space, much debated by geographers, have been as central a concern for intellectual historians and historians of science as for philosophers and others, but they have been differently expressed. There is, I shall argue, value in looking at these different views in order to understand that whilst place is a commonplace term it is not agreed upon: working with imprecision has been both opportunity and restriction. In relation to work within the history of science and in Enlightenment studies, consideration of the so-called "spatial turn," of place [End Page 638] as social practice and of placing as a process in accounting for the uneven movement of ideas over space and time may help provide some precision and strengthen connections between geography and history.II. Place (In Geography): A Partial HistoriographyPlace is one of the most fundamental concepts in human geography. It is also one of the most problematic.5 Place, or small-scale regional space, features as a subdivision within the Classical tripartite division of cosmography (the earth in relation to other planetary bodies), geography (the earth as a whole) and chorography (parts of the earth or regional geography). So, too, does the distinction between chorography and chronology as... (shrink)