It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its "reconstruction." The "reconstruction" in empathy is one- dimensional. "Construction" presupposes "destruction." Almost fourteen years after the death of Jacques Derrida, the least one can say is that his inheritance is as contested and fraught with rivalries, rejections, and appropriations as at the time of the flowering of Deconstruction in American universities in (...) the seventies and eighties. A halt was observed in 1988-89 after the posthumous revelations about Paul de Man's past in Belgium and Derrida's embattled defense of his friend. Today, in France, one often hears that "Derrida a fait l'Ecole mais n'a pas fait ecole," meaning that Derrida passed the entrance examination of the prestigious Ecole Normale Superieure where he taught for a long time, where he met Paul Celan, Louis Althusser, Michel Foucault and many other luminaries, whereas he never had a real "school" in France-no real institutional backing beyond the various Parisian places at which he taught later, or those that he founded like the College de Philosophie; his following constituted of young philosophers, only a few of whom became university professors in their turn and disseminated his teachings. However, the mechanisms of power within the French university remained closed to Derrida until the end; besides, he wanted to prevent the stereotyped reproduction currently observed from master to disciple. (shrink)

Introduction: Ancient & modern : the braid of Cassiodorus -- Tradition, literacy and change -- Church versus scripture : the idea of biblical tradition -- Revolution and tradition -- Re-envisioning the past : metaphors and symbols of tradition -- Inventing Christian culture : Volney, Chateaubriand and the French Revolution -- Herder, Schleiermacher, Novalis and Schlegel : the idea of a Christian Europe -- Translating Herder : the idea of Protestant Reformation -- Keble and the Anglican tradition -- (...) Newman and the development of tradition -- Arnold : taking religion out of religion -- Radical tradition : theologizing Eliot -- Epilogue: Re-energizing the past -- Appendix: Velázquez and the royal boar hunt. (shrink)

This study represents a comparison between two radical gestures of literary self-reflexivity: romantic irony and postmodernist metafiction. It examines the impact of early German romantic theory and its central concept of irony on German and English romantic narrative fiction and relates the same to postmodernist self-reflexive novels, including its British and American variants. A primary objective of this comparison is to account for the radical skepticism that postmodernist metafiction voices with respect to the paramount philosophical question of truth and reality. (...) The immanent tension between an absolute idealistic and a radically skeptic position which romantic irony articulates and enacts is conceived of as an important and instructive link to the understanding of postmodernism. (shrink)

Der Beitrag nimmt Erich Auerbachs Postulat einer transnationalen Ideengeschichte als Ausgangspunkt, um aktuelle Potenziale einer ideenhistorisch geprägten Literaturwissenschaft zu prüfen. Einerseits ausgehend von der sozialgeschichtlichen bzw. sprachkritisch geprägten Neuausrichtung der Ideengeschichte, wie man sie mit dem Schlüsseljahr 1969 und den Namen Foucault und Skinner in Verbindung bringen kann, und andererseits vor dem Hintergrund ihrer kulturwissenschaftlichen Expansion lotet der Artikel die Möglichkeiten einer Ideengeschichte aus, die sich wieder stärker der Interpretation von Bedeutung, von Ideen als geistigen Tatsachen zuwendet. Dazu schlägt er (...) einen topisch-rhetorischen Begriff der Texthandlung vor, der es dem Leser gestattet, sich dem Autor als dem eklektischen Nutzer und Neuarrangeur verfügbaren Wissens zu nähern. Die Literaturwissenschaft könnte sich auf diese Weise als hermeneutisches Leitverfahren der Ideengeschichte empfehlen, mit dem der Stellenwert eines souveränen Lesersubjekts auch angesichts zur Unübersichtlichkeit neigenden Text-Kontext-Formationen aufrechterhalten werden kann. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950Eva L. CorredorA History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950, by René Wellek; xvii & 458 pp. New Haven: Yale University Press, 1991, $42.50.The seventh volume of René Wellek’s history of modern criticism may well be the most interesting (...) of his eight-volume monumental oeuvre. Devoted to German, Russian, and Eastern European criticism between 1900 and 1950, it exemplifies most strikingly Wellek’s personal battles with critics who were roughly his contemporaries and closest to his own European background. “I should like to think of my History as ‘elucidatory,’ as not ‘argumentative’ or ‘polemical’” (v, xxi), Wellek writes, but he does not shrink from expressing his own critical perspective usually in a gentlemanly humorous or ironical, but occasionally also quite harsh and stubborn fashion. He insists on the importance of individual value judgments in critical analysis, particularly when they are his own: “I do not believe that... my views and those of my contemporaries will be replaced by completely different assumptions” (“Reflections on my History,” The Attack on Literature, Chapel Hill: University of North Carolina Press, 1982, p. 145).Since Wellek rejects the idea of a historical determinism and thinks that “an evolutionary history of criticism must fail” (The Attack, p. 144), he provides less a history than a collection of essays in which he offers succinct appraisals of writers, thinkers and critics both as individuals and as participants in the broader literary movements of the century. He presents “portraits” (p. xv), which he also calls “doxographies” (The Attack, p. 143), containing a vast amount of quotations carefully selected to support the authority of his own views or to let them speak for themselves when he would rather not comment.More than any previous work, this volume embodies Wellek’s will and determination to carry on against all odds even when he can no longer do so on his own. An accident in 1986 left him bedridden and dependent on students and secretaries to help him with his research and writing. He was able to draw on a wealth of previously published essays, some of which had been written more than three decades ago. There are some arguable inaccuracies and shortcomings (his canon includes obscure writers but not Adorno and [End Page 259] again no women writers), and problems with his bibliographies and references. Yet Wellek’s unique talent to assemble in one volume half a century of critical commentary on the literatures of half a dozen different cultures appears intact. So do his well-known critical positions.Among his most interesting essays are those on Spitzer, Auerbach, Ingarden, Bakhtin, and Benjamin, highly erudite men in whose company Wellek enjoys moving. On the other hand, some extraordinarily fertile minds and their enormous influence on the post-1950 critical discourse are often quickly dismissed or treated with unnecessary condescension. Young Roman Jakobson “should be forgotten” (p. 372). Freud’s psychoanalysis “seems forced and mistaken” (p. 79). Heidegger “often ascribes a meaning which seems to me absent in the text itself” (p. 89). Wellek’s low tolerance of any but his own interpretation of Dostoevsky appears repeatedly in this volume: Thomas Mann’s views are called “strange” and “distorted” (p. 12), Freud’s “deeply flawed” (p. 79), Bakhtin’s “simply wrong” (p. 357), and Lukács’s “simply... [those] of Communism” (p. 232). Wellek’s anti-historicism is dramatized in essays on Auerbach and his “historical perspectivism” (p. 132), vs. Spitzer who “always saw that there is a point at which historicism must fail” (p. 144). The vacuum of German criticism during the Nazi period is hauntingly demonstrated. The essays on Walter Benjamin, Bertholt Brecht, and in particular György Lukács reveal best Wellek’s notorious feuds with Marxists. Wellek indulges in a sarcastic critique of the Marxist Lukács’s “doctrinaire limitations” (p. 245) and attempts, wrongfully, to “prove” the Hungarian philosopher’s “exaltation of Socialist Realism” (p. 244). When in the mid-eighties and after much encouragement Wellek finally writes an essay on the early Lukács, he... (shrink)

Introduction -- The muse of paralysis -- Horizon of conquest: Eugene Fromentin's Algerian narratives -- Slow progress: Jean Paulhan and Madagascar -- Frustration: Michel Leiris -- Atopia: Roland Barthes -- The wake of Ulysses.

He challenges methods of doing ethics that attempt to specify universally binding principles or rules and argues for the need to bring literature back into ...

This collection of essays is unlike others in the field of African studies, for it is based on three very precisely delineated focal points: a particular geographical region, the sub-Sahara; specific modes of cultural production, literature and cinema; and a focus on works of French expression. This three-fold approach to exploring the relationships between power and culture in a non-Western environment greatly contributes to making this book unique from a variety of perspectives: African, Francophone and postcolonial studies, as well (...) as cross-disciplinary, cultural, transnational and diasporic studies. Moreover, the book offers deft and innovative analyses that move beyond the rhetoric of crises on the African continent we so very often hear of, so as to present a critical reflection on the subject at hand that is specific to the sub-Sahara and at the same time intimately linked to global culture, economy and politics. The authors' three-fold approach also presupposes that disciplinary compartmentalization increases power conflicts in academia. If only in part, compartmentalization is the result of antagonistic and competitive relations between specialization and multidisciplinary education. This book is thus a modest attempt at presenting an alternative to excessively fixed and homogeneous academic frontiers while considering that disciplinary expertise remains a must. Keeping in mind that an increasing number of scholars in Anglophone Postcolonial studies and Francophone African studies have been attempting for quite some time now to open interstices and build crossroads that can better connect them to each other, keeping in mind that these scholars work at revealing mechanisms by which any antagonistic discourses can mix, influence, act upon or react to one another, this book seeks to take a constructive step in establishing enduring grounds for multidisciplinary, cross-disciplinary and transnational academic research and collaboration. (shrink)

This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...

Recasting French literary history in terms of the cultures and peoples that interacted within and outside of France's national boundaries, this volume offers a new way of looking at the history of a national literature, along with a truly global and contemporary understanding of language, literature, and culture. The relationship between France's national territory and other regions of the world where French is spoken and written (most of them former colonies) has long been central to discussions (...) of "Francophonie." Boldly expanding such discussions to the whole range of French literature, the essays in this volume explore spaces, mobilities, and multiplicities from the Middle Ages to today. They rethink literary history not in terms of national boundaries, as traditional literary histories have done, but in terms of a global paradigm that emphasizes border crossings and encounters with "others." Contributors offer new ways of reading canonical texts and considering other texts that are not part of the traditional canon. By emphasizing diverse conceptions of language, text, space, and nation, these essays establish a model approach that remains sensitive to the specificities of time and place and to the theoretical concerns informing the study of national literatures in the twenty-first century. (shrink)

Ethics of Description: The Anthropological Dispositif and French Modern Travel Writing follows the development of a minor tradition in French literature where metropolitan authors traveling abroad demonstrate their awareness of the ethical conundrums of representing world peoples. During the colonial-modern era, currents of anthropological thought and representational practice are identifiable throughout society, and across literature, the arts, and the sciences. Collectively, they can be theorized as belonging to a dispositif, the anthropological dispositif. The modernization of anthropology serves as (...) an ambivalent interlocutor for the realizations of the writers studied in this book about the difficulties of describing cultural realities that lie largely outside their ken. Anthropology motivates new literary representational strategies that are, alternatively, in keeping with scientific mandates or operate against them. Forty images are analyzed alongside literary works. A postcolonial chapter shows how the ethical awareness of the colonial-modern authors studied have impacted minority self-representation in contemporary France. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Two Stories in One: Literature as a Hidden Door to the History of Seventeenth-Century FranceChristian Jouhaud (bio)Translated by Cynthia J. Koepp (bio)I would like to take you into the history of seventeenth-century France through a narrow door—a door that is not only narrow but hidden. Why should we struggle to squeeze through this passage? Well, there are at least two reasons. First, it is an attempt to (...) experience a disorienting perspective on a landscape that we believe we already know completely; and second, the narrowness of the path underlines its particularity and in that way elicits a comparison with other paths elsewhere. This narrow passage is a text, perhaps an insignificant one, written by a seventeenth-century author. After making a few observations concerning its mechanics, I will use this text as a model to interpret something else, to understand it as something that stimulates thinking about historiographical hypotheses: as a convenient tool to shake up the political history of seventeenth-century France. In other words, I propose to utilize literature as a hidden door in order to enter the arena of political history, where we usually do not find any door at all.Deux histoires en une, or Two Stories in One, is a brief text by Jean-Louis Guez de Balzac, a work of uncertain status, published among dozens of other pieces in a collection known by two titles: Moral Treatises and Conversations. Guez de Balzac, who lived between 1595 and 1654, does not appear on the short list of the most celebrated writers of seventeenth-century France: Molière, Racine, Corneille, La Fontaine, Sévigné, Bossuet. At the time, however, he occupied center stage in French literary life. He was perhaps the first author recognized as a grand écrivain; he was widely admired, celebrated, criticized. At the center of protracted literary debates, Guez de Balzac exercised an immense critical authority in the world of belles lettres.Since I first began working on the question of the birth of literature as a specific social space in seventeenth-century France, I have not stopped reading and rereading Balzac’s Two Stories in One. This text resists interpretation—even comprehension. It gives the reader the feeling—to be honest, an exasperating feeling—of extraordinary richness and also of an extraordinary capacity to steal away from view. The importance of this text for the comprehension of something other than itself, however, has become clear to me. This leapt out at me, by chance, when I was reading it for the nth time—at nearly the same time that I was rereading several pages of Marcel Proust. Not that the author of À la recherche du temps perdu had any connection at all to Guez de Balzac. Rather, it was Proust’s evoking, in his way, two stories in one—or rather one story in two parts—that for me rendered suddenly palpable something of the force of Balzac’s text.At the beginning of À l’ombre des jeunes filles en fleurs, Proust meditates on the story of Swann before and after his marriage. He emphasizes our incapacity to think of two successive states in the history of our life at the same time: for example, that of a jealous lover and that of an appeased husband. If one succeeds in thinking both things at once, the two moments then cease to appear distinct to us, and are mixed up one in the other. If the [End Page 92] mind wants to distinguish them, it loses the ability to think them both at once. I would like to propose an hypothesis that the import of Balzac’s Two Stories in One, contrary to Proust, is an attempt to open up to speculation an improbable space, a space imperceptible to sensory experience. This space lies at the interstice of “both at once” and “separately.” Thus Balzac attempts to escape the dilemma of superimposition (that is to say, fusion) or of succession (that is, separation). He attempts to subvert the elementary rule of logic that states that “a” is either different from “b” or is the same as “b.”What is striking when one first reads Two Stories in... (shrink)

Schopenhauer, "le vieux prophete", disait Nietzsche. Paru en 1819 dans l'obscurite la plus totale, son ouvrage majeur, Le Monde comme Volonte et comme representation, lui a valu d'atteindre en 1900 a une celebrite posthume telle qu'aucun penseur n'en a jamais connue - influence que son extension meme a fini par occulter aujourd'hui. Car Schopenhauer a fait cristalliser la crise des croyances qui marque la fin du XIXe siecle, dessinant pour l'avenir la physionomie de l'homme moderne. Un homme qui sous un (...) ciel vide eprouve dans le ressentiment la condition qu'il s'est lui-meme assignee : un intellect regi secretement par des pulsions irrationnelles, une concurrence vitale qui l'isole de ses semblables et de la nature, une sexualite dominatrice mais sans joie, une irresponsabilite aveugle vis-a-vis de son propre comportement comme de l'histoire collective, bref l'enracinement de son existence entiere dans une inconscience fondamentale. Nietzsche et Freud n'ont pas ete les seuls heritiers de Schopenhauer qui a remodele ce territoire invisible sur lequel la litterature edifie son discours. Aussi est-il present, on l'ignore generalement, dans la genealogie de tant de grands ecrivains - de Tolstoi, Strindberg, Maupassant, Conrad, Proust, Pirandello, jusqu'a Kafka, Thomas Mann, Celine, Beckett, Bernhard. Ce sont les voies de ce renouvellement inventif qui sont ici tracees. (shrink)

Evil remains a primary source of inquiry in contemporary literature of French expression, even among its most secular writers. In considering French-speaking authors from France, Belgium, the United States, the Maghreb, and Sub-Saharan Africa, this collection delineates a rich international perspective on some of the most disturbing events of our time. Each essay testifies to the urgency expressed in works of fiction to give an account of human catastrophes, from the Shoah and the Rwandan genocide to the terrorist (...) attacks of September 11, and the ongoing oppression of women in Islamic nations. Themes underlying this volume include an investigation into the origins of evil, its representations in writing, and the ethical responsibilities of authors who write on human suffering. Contemporary fiction on evil confronts us with fundamental questions: Can evil be attributed to intentionality, is evil "subconscious," or is it the result of impersonal forces? Which styles of writing are ethically appropriate or effective for depicting evil? Can we speak of a veritable "poetics of evil" shared by contemporary authors? When does a literary text on evil become "evil"? In providing informed and nuanced answers to these important questions, the scholars engage in crucial theories of psychoanalysis, post-structuralism, and post-modernism, address a number of issues raised by trauma and genocide studies, and draw from critical frameworks in literary theory on testimony, the limits of representing the extreme, and "transgressive" writing. (shrink)

In der heutigen Zeit haben aktuelle politische Fragen - wie etwa die Konflikte im Nahen Osten - häufig eine religiöse Dimension oder werden auch über die Religion ausgetragen. Eine globale Friedensordnung ist nur denkbar, wenn die großen weltanschaulichen Systeme, also auch die großen Religionen, einbezogen werden. Die großen Religionen haben auch einen wichtigen Beitrag an die Friedensthematik zu leisten. Der vorliegende Band analysiert, diskutiert und entfaltet schwergewichtig die Beiträge der jüdischen Tradition und besonders des jüdischen Schrifttums, also Tanach und Talmud, (...) zu Fragen der Friedensordnung, zu einer übergreifenden politischen Ethik und zu Themen wie Krieg, Gewalt, Frieden und Versöhnung. Zur Sprache kommen neben den Schriften des antik-klassischen Judentums punktuell auch rabbinische Stellungnahmen, jüdische Autoren des Mittelalters und moderne jüdische Autoren. Das Buch ist Bestandteil einer fünfbändigen Reihe. Bereits erschienen ist Frieden, politische Ordnung und Ethik. Fragestellungen - Erklärungsmodelle - Lösungsstrategien (2018). (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:diacritics 35.1 (2005) 136-146MuseSearchJournalsThis JournalContents[Access article in PDF]The Christian Bain de Diane, or the Stakes of an Ambiguous ParatextPatrick AmstutzTranslated by Gerald MooreUpon its publication, Le bain de Diane elicited few reactions on the part of criticism. Klossowski's name was still a secret and, despite its note among writers such as Bataille, Beauvoir, Camus, Parain, and Sartre and their public following, the number of readers to have (...) read this fifth work remained confined to those already familiar with Klossow-ski the essayist (Sade mon prochain, Méditations bibliques de Hamann), or the novelist (La vocation suspendue, Roberte, ce soir). The discreet silence that characterized the first reception of Le bain de Diane would last until the end of the seventies, despite a reedition in 1972 by the same publisher. During this time three important moments made Le bain de Diane resurface at the heart of the literary world: first, in fictional form, thanks to a subtle but explicit homage paid by Henri Thomas [Le promontoire]; second, in the form of a penetrating commentary article by Michel Foucault ["La prose d'Actéon"], and finally, at the hands of René Micha and Catherine Backès-Clément, key contributors to the issue that the review L'Arc dedicated to the writer. The reedition of Le bain de Diane by Gallimard1 would significantly relaunch interest in this work which, one comes increasingly to realize, is a major text in the Klossowskian oeuvre: offering a reflection on the image and writing, it was Gilles Quinsat who would open this new period of critical reception.An Uncertain IdentityQuinsat emphasizes the "series of 'tableaux' that glazes Le Bain de Diane" in accordance with a "circular" descriptive movement, he says, "from vision to commentary, attributed to the deferral without end of signs, and which feeds the entire work of Pierre Klossowski" [95]. And if he borrows the term "exegesis" from Foucault to describe the genre of the work, he immediately associates it with that of "narrative." A quarter of a century earlier, a commentary in the new Nouvelle revue française had already underlined the "disconcerting" character of Klossowski's book, by accentuating not only the strangeness of its thematic, but also the difficulties posed by the uncertainty of its generic belonging (which is echoed by the absent mention of a paratext): the critic, hesitating, suggested somewhat confusedly a typological kinship with philosophical commentary, theological scholasticism, prose poetry, series of paintings, historical narrative and even the analysis of myths [Amer 144]. In fact, this mythological "reverie," neither an essay nor a narrative, is, from this point of view, a typically Klossowskian [End Page 136] book, as Ian James has more recently reminded us [143]. Le bain de Diane mixes erudite commentary and narrative discourse so well that it entices its commentators into the traps of scholarly, historical, and philological annotation. Yet this would be to forget, as Maurice Blanchot has observed [92–94], that the written oeuvre of Klossowski belongs fully to the field of literature, even more so than to those of philosophy, theology, or psychoanalysis.When it comes to discerning the literariness of this literary object, which the different paratextual and intertextual stakes and levels underline, the principal difficulty consists in not losing oneself in a mythological labyrinth and innumerable variants of the cult of Artemis, which was one of the most significant, oldest, and popular cults of the Greco-Roman era and which plunges into a world on whose complexity historians and philologists have insisted on many occasions. The study of Klossowski's sources could lead one through multiple disciplines (philology, mythography, psychoanalysis, the history of religions, history of art, French literature—all centuries cobbled together, and so on) to overly vast inquiries: the goddess "of a thousand names" assumes a properly vertiginous semiotic richness, and the cult of Artemis, before being linked to that of Apollo, stretches back to time immemorial where, behind Artemis, can be glimpsed the Asiatic figure of a Great Mother Goddess, whose... (shrink)

Les historiens nous permettent d'avoir une connaissance des guerres. Mais peut-on penser la guerre comme un phénomène unifié au-delà de ses multiples formes? La guerre est-elle le destin de l'humanité ou bien peut-on envisager un monde sans guerre? Comment la paix peut-elle à son tour être conçue? Telles sont les grandes questions auxquelles cet ouvrage entend répondre en convoquant les philosophes et les historiens, mais également les écrivains des traditions les plus diverses. Toutes questions qui se résument à celle-ci ; (...) qu'y a-t-il de pensable sur la guerre aujourd'hui? (shrink)

In this work of sweeping erudition, one of our foremost historians of early Christianity considers a variety of theoretical critiques to examine the problems ...

Why do Americans, and so often, American writers, profess moral sentiments and yet write so little in the traditionally "moralistic" genres of maxim and fable? What is the relation between "moral" concerns and literary theory? Can any sort of morality survive the supposed nihilism of deconstruction? Jefferson Humphries undertakes a discussion of questions like these through a comparative reading of the ways in which moral issues surface in French and American literature. Humphries takes issue with the "amoral" view of (...) deconstruction espoused by many of its detractors, arguing that the debate between the theory's advocates and opponents comes down to two opposing literary and moral traditions. While the American tradition views morality as a rigid system capable of being enforced by injunctions along the lines of "Thou shalt" and "Thou shalt not," the French tradition conceives of morality as a function of a relentless and unsentimental pursuit of truth, and finally, an admission that "truth" is not a static thing, but rather an ongoing process of rigorous thought. (shrink)

This is the story of the transformation of the ways in which the increasingly Christianized elites of the late antique Mediterranean experienced and conceptualized linguistic differences. The metaphor of Babel stands for the magnificent edifice of classical culture that was about to reach the sky, but remained self-sufficient and selfcontained in its virtual monolingualism - the paradigm within which even Latin was occasionally considered just a dialect of Greek. The gradual erosion of this vision is the slow fall of Babel (...) that took place in the hearts and minds of a good number of early Christian writers and intellectuals who represented various languages and literary traditions. This step-by-step process included the discovery and internalization of the existence of multiple other languages in the world, as well as subsequent attempts to incorporate their speakers meaningfully into the holistic and distinctly Christian picture of the universe. (shrink)

Le mot anagogia, « anagogie » serait une mauvaise traduction latine du grec a. L'équivalent latin serait, selon les philologues, sursumductio. D'abord conçue comme un voyage, l'anagogie prendra le sens d'ascension, de montée. Le mot anagogie est plus fréquemment employé pour désigner le quatrième sens de l'Écriture, le terme s'inscrit dans l'histoire de l'exégèse sacrée et plus généralement de l'herméneutique.Les études qui composent cet ouvrage (sur l'obscénité, Alfred Jarry, Georges Bataille, René Daumal, Pierre Klossowski, Maurice Blanchot, Pierre Guyotat, Jean-Noël Vuarnet (...) ou Platon) traitent, de près ou de loin, de cette ascension, souvent entendue ici comme transgression : l'esprit sursoit aux limites de la matière, dont il ne s'émancipe jamais totalement, dans un mouvement vers le sommet (mort, rire divin, « communication », révélation, soleil). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XX, Number 1, April 1994, pp. 143-149 David Hume and Public Debt: Crying Wolf? JOHN CHRISTIAN LAURSEN and GREG COOLIDGE David Hume's views on public credit have not only received prominent attention in the literature on his political thought, but have even been the subject of attention in The Wall Street Journal.1 Most of the attention has centered on Hume's essay "Of Public Credit" of (...) 1752, and treats it only as an expression of ideas, without relating it to the historical facts. This note lays out Hume's views on this matter throughout his lifetime, and juxtaposes them with figures for the actual public debt, carrying the story down to the twentieth century. Public debt as we know it only goes back about 300 years. The British government in the 1690s was the first modern government to establish enough genuine credit that private citizens would loan it money without having to be compelled.2 At the turn of the century, in the year 1700, the British public debt amounted to 14.2 million pounds sterling.3 As early as 1741, Hume was already worrying about the public debt in the essay "Of Liberty and Despotism" (later changed to "Of Civil Liberty"). In the last paragraph of that essay, he wrote of the "degeneracy" brought about by public debt, suggested that debt-service "taxes may, in time, become altogether intolerable, and all the property of the state be brought into the hands of" the government. If it is not curbed, we may come to "curse our very liberty," he wrote.4 That year, the national debt totaled 48.8 million pounds (45.2 million in 1701 pounds5). John Christian Laursen and Greg Coolidge are at the Department of Political Science, University of California, Riverside, Riverside, CA 92521 USA. Laursen e-mail: [email protected]. 144 John Christian Laursen and Greg Coolidge Hume's essay of 1752, "Of Public Credit, " was devoted entirely to criticism of the public debt (Essays, 349-365). His thoughts on public credit at this time can be summed up in this ominous warning: It must, indeed, be one of these two events; either the nation must destroy public credit, or public credit will destroy the nation. (Essays, 360-361) Hume acknowledged that the use of public credit could benefit the economy in some ways: more men with large stocks and incomes, may naturally be supposed to continue in trade, where there are public debts; and this, it must be owned, is of some advantage to commerce, by diminishing its profits, promoting circulation, and encouraging industry. (Essays, 354) But the many disadvantages would outweigh such advantages (Essays, 354355 ): 1) "It is certain, that national debts cause a mighty confluence of people and riches to the capital," making the head too large for the body. 2) Public stocks "banish gold and silver from the most considerable commerce of the state." 3) The taxes levied to pay the interest oppress the poorer people. 4) "As foreigners possess a great share of our national funds, they render the public, in a manner, tributary to them, and may in time occasion the transport of our people and our industry." 5) Public credit encourages an idle and useless rentier class. All of this pales, however, in comparison to the political consequences. From the point of view of the body politic, public credit was a threat to the security of the state. It would die a natural or a violent death. In wartime, or some national emergency, the funds necessary for the functioning of the economy would be diverted to other purposes. The economy, now dependent on credit, would crumble. The whole fabric, already tottering, falls to the ground, and buries thousands in its ruins. And this, I think, may be called the natural death of public credit. (Essays, 363) Hume Studies David Hume and Public Debt: Crying Wolf? 145 Another scenario would occur if the government became too indebted to intervene in maintaining the balance of power in Europe. Our children, weary of the struggle, and fettered with encumbrances, may sit down secure, and see their neighbors oppressed and conquered ; till, at last, they themselves... (shrink)

Clandestine philosophical manuscripts, made up of forbidden works including erotic texts, political pamphlets, satires of court life, forbidden religious texts, and books about the occult, had an avid readership in the seventeenth and eighteenth centuries, becoming objects of historical research by the twentieth century. The purveyors of the clandestine could be found in the Dutch Republic, Switzerland, Denmark, Spain, and not least in Paris or London. Despite the heavy risks, including prison, the circulation of these manuscripts was a prosperous venture. (...) After Ira Wade's pioneering contribution (1938), Clandestine Philosophy is the first work in English entirely focused on the philosophical clandestine manuscripts that preceded and accompanied the birth of the Enlightenment. Topics from philosophy, political and religious thought, and moral and sexual behaviour are addressed by contemporary authors working in both America and Europe. These manuscripts shed light on the birth of pornography and provide an important avenue for investigating philosophical, religious, political, and social critique. (shrink)

Furthermore, it is not easy for most of us to accept a philosophy however well reasoned which refuses exterior reality to all we see, hear and touch about us. It is such philosophy that gives point to Valery's boutade: 'Philosophy pretends not to ...

Plato in the Third Sophistic examines the influence and impact of Plato and Platonism on later Christian and Byzantine rhetoric. The volume brings together specially commissioned articles from leading scholars of late antique philosophy and literature. Their examinations show that Plato is the single most important and influential literary figure used to frame the literature of this time. Plato in the Third Sophistic will help scholars and students from a wide range of disciplines better understand the development of (...) class='Hi'>Christian and Byzantine rhetoric and philosophy during the third through sixth centuries. (shrink)

Cefalu offers the first sustained assessment of the ways in which recent contemporary philosophy and cultural theory -- including the work of Giorgio Agamben, Alain Badiou, Eric Santner, Slavoj Žižek, and Alenka Zupancic -- can illuminate Early Modern literature and culture. The book argues that when selected Early Modern devotional poets set out to represent subject-God relations, they often encounter some sublime aspect of God that, in Slovenian-Lacanian terms, seems "Other" to himself. This divine Other, while sometimes presented directly as (...) a void or empty place, is more often filled in and presented instead as some form of divine excess. While Donne, and to a lesser extent Traherne, disavow those numinous aspects of God that might subsist beneath such excesses, Crashaw, and especially Milton, attempt to represent the intimate relationship between any creature’s and God's intrinsic alterity. Cefalu introduces new ways of theorizing not only seventeenth-century religious ideologies, but also the nature of Early Modern subjectivity. (shrink)

Against the background of intellectual and political debates in France during the 1950s and 1960s, Daniel Just examines literary narratives and works of literary criticism arguing that these texts are more politically engaged than they may initially appear. As writings by Roland Barthes, Maurice Blanchot, Albert Camus, and Marguerite Duras show, seemingly disengaged literary principles - such as blankness, minimalism, silence, and indeterminateness - can be deployed to a number of potent political and ethical ends. At the time the (...) main focus of this activism was the escalation of violence in colonial Algeria. The poetics formulated by these writers suggests that blankness, weakness, and withdrawal from action are not symptoms of impotence and political escapism in the face of historical events, but deliberate literary strategies aimed to neutralize the drive to dominate others that characterized the colonial project. (shrink)

How does modern writing in French grapple with the present absence and absent presence of lost loved ones? How might it challenge and critique the relegation of certain deaths to the realm of the unmournable? What might this reveal about the role of the literary in the French and francophone world and shifting conceptions of the nation state? Essays from the Revolution to the present day explore these questions from a variety of perspectives, bringing out the ways in (...) which mourning blurs the boundaries between the personal and the historical, the aesthetic and the ethical, the self and the other, and ultimately reasserting its truly critical resonance as a concept. (shrink)

The gift of death and the new magic of politics: Hegel and Tolkien on sorcery and secondary worlds -- The political theology of catastrophe: Plato's Athenian Atlantis, Tolkien's Númenoran Atalantë, and the Nazi Reich -- Burglar and bourgeois? Bilbo Baggins' dialectical ethics -- Hobbes, Hobbits, and the modern state of Mordor: myths of power and desire in Leviathan and Tolkien's Legendarium -- Middle-earth and the return of the common good -- Epilogue: from apocalypse to eucatastrophe: "The end of history," (...) happy endings, and the politics of narrative form. (shrink)

Cover -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter One: Writing against Theodicy: Secularization in Baudelaire's Poetry and Critical Essays -- Chapter Two: The Mourning of God and the Ironies of Secularization in Baudelaire's Le Spleen de Paris -- Chapter Three: Sublimation and Conversion in Zola and Huysmans -- Chapter Four: The Staging of Doubt: Zola and Huysmans on Lourdes -- Chapter Five: Religious and Secular Conversions: Transformations in Céline's Medical Perspective on Evil -- Conclusion -- (...) Notes -- Bibliography -- Index -- About the Book. (shrink)

Analyzing writings ranging from the Puritans to the present day, Loving God's Wildness traces the effects of Christian theology on America's ecological imagination, revealing the often conflicted ways in which Americans relate to and perceive the natural world.

How to read Plutarch in the context of New Testament studies? Almost 50 years after the seminal project on the topic led by Hans Dieter Betz, this volume elevates once again the issue's priority. Bridging discourses is a fitting description both of the religio-philosophical spirit of Plutarch, the Platonist philosopher and priest of Apollo at Delphi, and the task of bringing his writings into fruitful dialogue with the writings of the New Testament, Hellenistic Judaism, and Early Christianity. Taken together, these (...) authors constitute the religious Platonism of the early imperial era. Contributions from the fields of New Testament, classics, philosophy, religious studies, and patristics explore various ways of how to establish these bridges. (shrink)

Investigates the relationship between philosophy and fiction in the 16th century, especially in French vernacular writing. The texts under consideration treat one or more branches of learning, including metaphysics and alchemy but also contain an element of fiction.

Senshu University has hosted many international conferences on medieval English literature - primarily on Geoffrey Chaucer and William Langland - as well as in the related fields of Old Germanic, medieval French and Renaissance Italian literature. These international collaborations inform and contribute to the present volume, which addresses the heritage bequeathed to medieval English language and literature by the classical world.<BR> This volume explores the development of medieval English literature in light of contact with Germanic and Old Norse cultures, (...) on the one hand, and Romance languages, on the other. The book includes a comparative study of <I>Beowulf in the Germanic context, discusses aspects of <I>Piers Plowman and its tradition, and offers philological approaches to Chaucer (especially his <I>Troilus and Criseyde). The articles assembled here collectively suggest how the torches of classical learning were carried from continental Europe to illuminate the pages of medieval English literature. (shrink)

In classical Latin, luxuria means 'desire for luxury'; it is linked with the ideas of excess and deviation from a standard. It is in most cases labelled as a vice which contrasts with the innate frugal nature of the Romans. Latin authors do not see it as endemic but as an import from the East in the aftermath of military conquests--and as a cause of fatal decline. Following these etymological and semantic origins, Roman Luxuria: A Literary and Cultural History (...) discusses the influence of Greek culture on the Roman concept and the peculiar characteristics of Roman luxuria. It analyses Roman views on luxuria through close readings in historical order from Cato the Elder, who regards luxuria as the opposite of the ideal Roman way of life, to the Christian poet Prudentius, who represents it in an allegorical fight with Sobriety. The book attends both to key authors and to wider literary genres, such as historiography and satire. Particular consideration is given to the rhetorical device of personification, which can be traced from the first appearances of luxuria in Latin literature to those of late antiquity. Berno devotes detailed attention to Seneca the Younger, whose work is often preoccupied with this passion. Seneca both defends himself from the charge of luxuria and violently attacks it in others, describing it as the archenemy of a philosophical life. Along the centuries, the focus on luxuria shifts from the economic sphere (and the waste of money) to the erotic, to the extent that in the Christian world it becomes one of the Seven Capital Sins representing the vice of lust. (shrink)

"Spanning many historical and literary contexts, Moral Imagination brings together a dozen recent essays by one of America's premier cultural critics. David Bromwich explores the importance of imagination and sympathy to suggest how these faculties may illuminate the motives of human action and the reality of justice. These wide-ranging essays address thinkers and topics from Gandhi and Martin Luther King on nonviolent resistance, to the dangers of identity politics, to the psychology of the heroes of classic American literature. Bromwich demonstrates (...) that moral imagination allows us to judge the right and wrong of actions apart from any benefit to ourselves, and he argues that this ability is an innate individual strength, rather than a socially conditioned habit. Political topics addressed here include Edmund Burke and Richard Price's efforts to define patriotism in the first year of the French Revolution, Abraham Lincoln's principled work of persuasion against slavery in the 1850s, the erosion of privacy in America under the influence of social media, and the use of euphemism to shade and anesthetize reactions to the global war on terror. Throughout, Bromwich considers the relationship between language and power, and the insights language may offer into the corruptions of power.Moral Imagination captures the singular voice of one of the most forceful thinkers working in America today"--. (shrink)

While individuals presented in central texts of the period are indeed often alone or separated from others, Yousef regards this isolation as a problem the texts attempt to illuminate, rather than a condition they construct as normative or ...