“It has been our fate as a nation not to have ideologies,” Richard Hofstadter famously wrote, “but to be one.” Defining that “American ideology” or “American creed” obsessed scholars of the consensus era, who celebrated Americans’ allegiance to a limited liberal vocabulary of rights, freedoms, and markets. The cultural transformations begun in the 1960s seemed to question the very idea of a unitary culture or creed, but some historians responded by exploring alternative ideological founding myths to the liberal consensus. Over (...) the ensuing decades scholars mounted formidable efforts to support republicanism or millennial Christianity as challengers, but liberalism proved a resilient foe. And it seemed to have contemporary history on its side: during the Reagan revolution of the century's final decades the classic liberal combination of scaled-down government and free markets carried the day as Americans’ ideal if not their reality. The Lockean liberal tradition that Louis Hartz described a half-century earlier still appeared the only game in town, although scholars continued to argue over its terms, history, and boundaries. (shrink)

Fashion is defined by an infinite variation of a single tautology … stripped of content, but not of meaning. A kind of machine for maintaining meaning without ever fixing it, it is forever a disappointed meaning. … [I]t … becomes the spectacle human beings grant themselves of their power to make the insignificant signify; Fashion then appears as an exemplary form of the general act of signification, thus rejoining the very being of literature which is to offer to read not (...) the meaning of things but their signification.Meaning is distributed according to a kind of revolutionary grace; its power becomes so autonomous that it can act at a distance and in the end dissolve substance itself. … [M]eaning denies substance... (shrink)

Languishing in exile after Louis Napoleon's coup d'état of December 1851 shut down socialist agitation, the followers of the utopian theorist Charles Fourier turned their attention to the New World as an "asylum" where Fourierism's communal ideals might be realized. In so doing they joined a long line of utopian dreamers who saw the young United States as a promised land of free expression and social experimentation. The head of the French Fourierists, Victor Considerant, made contacts with the remnant of (...) the American Fourierist movement, toured the United States in 1853, and was thrilled by the vast open spaces of Texas. Considerant discounted the fate of another French socialist group, the disciples... (shrink)

The article is an examination of the 1930 play Brain. A Play of the Whole Earth, by an obscure early twentieth-century British writer, Lionel Britton, in the light of the writings of Polish Jewish physician and philosopher of science Ludwik Fleck and the sociologist Émile Durkheim. A consideration of the notion of collectivity as depicted in the text, its complex representation of a posthuman existence, and the unusual generic characteristics of the play lead to the suggestion that Brain may be (...) regarded as a utopian bildungsroman whose main focus is the life of an idea in society. (shrink)

This essay departs from conventional American Studies treatments to resituate Bellamy's utopia of 1888 within transnational debates over industrialism, socialism, and the state in European nations and their settler societies between 1890 and 1940. Building upon critical studies and information about the reception of Bellamy's utopia abroad, it offers three approaches: a genre-based analysis of the utopian hybrid that suggests textual bases for multiple readings; a transnational history of evolutionary socialism that helps explain Bellamy's global relevance in the 1890s and (...) again in the 1930s; and a comparative approach that contrasts the reception of Looking Backward in different national contexts. In the face of traditionally exceptionalist scholarship and the narrower, nationalistic frame of Bellamy's sequel, Equality, to understand Bellamy's global appeal we must recover the international context of Looking Backward and the internationalist views expressed in its pages. (shrink)

Interdisciplinary studies that would create deep connections between science and the arts and humanities face the daunting task of bridging two diametrically opposed worldviews. The clash of the modernist Enlightenment values of science with the postmodern sceptical values of the humanities came to a dramatic height with the Sokal Hoax and so called ‘science wars’ of the 1990s. There is now an uneasy ceasefire, but the fundamental contradictions persist between the two cultures. Complexism is an attempt to create a new (...) synthesis suggested by the attitudes and worldview that arises from the scientific study of complex systems. An overview of key concepts from complexity science is offered. Complexism is then presented as a point-by-point analysis reconciling the diametrically opposed positions of modernity in the sciences and postmodernity in the humanities despite their apparently incommensurate paradigms. The special role of networks, and a corresponding process-oriented ontology, is proposed as an alternative to the flawed network theories current in the humanities. Finally two examples of how complexism can be applied are detailed. A complexist theory of authorship is offered, as is a new view of formalism in the arts. (shrink)

When discussing one of Fyodor Dostoyevsky's novels, Mikhail Bakhtin ruminates on the poietic power of dialogue: in dialogue a person not only shows himself outwardly, but he becomes for the first time that which he is—and […] not only for others but for himself as well. To be means to communicate dialogically. When dialogue ends, everything ends. […] At the level of his religious-utopian worldview Dostoyevsky carries dialogue into eternity, conceiving of it as eternal co-rejoicing, co-admiration, concord. […] Two voices (...) is the minimum for life.1 Notably, Bakhtin's commendation of dialogue as a sine qua non ontological condition communicates both necessity and hope, implying the indispensability of an encounter... (shrink)

The nineteenth century was the time of the emergence of the concept of solidarity, which "to an extent replaced [the older term fraternity],"1 as well as of a dramatic increase in utopian thinking and writing.2 A notable place among the impressive body of utopian literature of the era belongs to feminist and antifeminist visions of alternative futures, especially from 1860s onward, which Lewes links with "middle class women's overwhelming frustration... with the apparent failure of the suffrage movement."3 The concept of (...) womanhood was also undergoing transformations at that time, variously defined with reference to contending and sometimes complementary tendencies: the cult of domesticity and the women's rights... (shrink)

" L'expérience esthétique, n'est autonome, écrit Adorno, que lorsqu'elle se débarrasse du goût culinaire, la voie qui y conduit passe par le désintéressement.... ", à ce lointain écho de la rupture transcendantale au sein de l'Esthétique du goût, à ce déni pur et simple de la sensibilité et du plaisir " sensuel et grossier ", comme principes du goût, on préfèrera, ici, une présentation non morale, ou non kantienne, de la notion de goût ; une réflexion qui, de Voltaire et (...) Montesquieu à Brillat-Savarin, prend en compte le goût " lui-même " et non seulement sa métaphore ; on cherchera le raffinement et la délicatesse du goût non seulement dans les sphères supérieures de l'existence, mais aussi dans les relations primordiales de la vie, celle de la consommation, de la préparation et de la production, ainsi que le voulait Charles Fourier, (beau) frère de Brillat-Savarin. Dans les deux essais, ici étudiés, s'impose, en effet, la dimension organique et sensuelle mais néanmoins esthétique du goût, dans les choses de la nature et de l'art. L'Essai sur le goût de Montesquieu et La Physiologie du goût de Brillat-Savarin, témoignent, dans des domaines distincts mais étroitement liés, de l'Esthétique comme " science de la sensibilité ". Par leur rapprochement, on entend montrer que le goût n'est pas une " chose mentale " mais l'affaire de tous les sens, que l'âme qui goûte est l'âme qui sent. On cherchera à dépasser le divorce, qui semble s'être installé, entre le jugement esthétique et le plaisir esthétique, on tentera par là, de restaurer la continuité entre les deux pôles de la sensibilité gustative et de redonner, par une réévaluation du goût culinaire, une assise réelle, vitale et réconfortante à la notion de goût, comme sentiment délicat. (shrink)

Ce livre réunit les actes du colloque qui s’est tenu le 30 octobre 2013 à Nérac dans le cadre des agoras nationales de l’Association des Professeurs d’Histoire & de Géographie, auxquelles ont participé Éric Bonhomme, Yohann Chanoir, Franck Collard, Maurice Daumas, Didier Foucault, Thierry Issartel, Thierry Labarthe, Céline Piot et Yann Prouillet. Pour paraphraser l’humour de sa préface, ce colloque pourrait s’intituler « Et si Lysistrata était un homme…. » Car du masculin et du viril, il en e...

Le temps est une notion associée aux changements, qu’ils soient futiles ou existentiels. Il permet ainsi l’organisation moderne de nos sociétés à travers les agendas, la planification du travail ou les rendez-vous galants. Il rythme les saisons et nous expérimentons chaque année les couleurs chatoyantes de l’automne et les nuages sombres de l’hiver. Notre corps évolue constamment et vieillit sans cesse entre notre naissance passée et notre mort future. Toutes ces descriptions font intervenir le concept de temps, ou une notion (...) plus spécifique généralement associée au temps comme le changement, le passé, le présent, le futur, la simultanéité ou la synchronisation. Mais quelle est la nature du temps ? Que peut-on comprendre de cette notion si fondamentale et si présente dans notre vie quotidienne, et pourtant si difficilement définissable ? Cet article vise à introduire les différentes conceptions contemporaines du temps objectif, indépendamment des perceptions que nous en avons. Le temps existe-t-il (section 1.) ? Le temps s’écoule-t-il (section 2.) ? Le passé et le futur existent-ils (section 3.) ? Le présent possède-t-il une étendue (section 4.) ? Le futur est-il déjà écrit maintenant (section 5.) ? Le temps est-il une substance qui contient les objets matériels, ou une collection de relations entre les objets matériels (section 6.) ? Quelle est la source de la direction apparente du temps (section 7.) ? Peut-on voyager dans le temps (section 8.) ? Ces questions seront présentées sous un angle contemporain. (shrink)

Autrefois déconsidéré, le chat a aujourd’hui le statut privilégié d’animal de compagnie, au terme d’un long processus de valorisation amorcé au xviiie siècle. Cet article montre comment le premier livre consacré à cette espèce, Les Chats (1727) de François-Auguste de Paradis de Moncrif, contribua à ce changement. Là où le chat passait pour un sujet féminin et frivole, « l’historiogriffe » en fit un objet d’histoire, combinant deux modèles de masculinité, érudite et galante, dissociés par la Querelle des Anciens et (...) des Modernes. L’érudition lui permit de critiquer la phobie des chats en renvoyant aux mœurs des Orientaux, mais aussi de citer maints amateurs et amatrices de la haute société française. Moncrif réunit ainsi une communauté émotionnelle livresque constituée de félinophiles estimables, hommes et femmes, pour démontrer qu’il est parfaitement juste et raisonnable de chérir un chat. (shrink)

The attributes that characterize the compelling world-view of Philip Galanter’s Complexism constitute a rich array that spans complexity theory, biological systems, cybernetics, computation and the phenomenology of affect. An ever-growing movement of transdisciplinary artists who engage and synthesize the unique combination of fields, theories and practices associated with Complexism suggests that this model – particularly its embrace of complexity theory – holds promise in the problem space of art and science. This article examines three contemporary artists and their collaborative teams, (...) each of whose work embodies a unique attitude and synthesizing model that expresses the ethos of Complexism. Their work arguably contributes to a higher synthesis of modernism and postmodernism and the coalescence of art and science through the progression of ideas that emerge from this union in direct correspondence to the larger culture. Furthermore, they do so through the embrace of evolutionary and generative processes, connectionist networks, and participatory practices that engender new discourse about contemporary life, moving us beyond the space of postmodernity. (shrink)

This article responds to Philip Galanter’s essay ‘Complexism and the role of evolutionary art’ to explore complexism in relation to postmodern and generative architecture. Galanter poses complexism as a new theoretical mode that can supercede the divides of modernism/postmodernism and the two cultures (sciences/arts and humanities). The author, rather than promoting complexism, examines it as if from afar, positioning it as our most recent scientifically informed paradigm. She asserts that, in many ways, complexism functions as an ideology permeating realms of (...) cultural and intellectual production. Examples range from contemporary advertising to economic theory, political and economic protests such as the Occupy Movement, to the rhetorical and computational strategies in generative architecture. The author demonstrates that postmodernism in architecture was always theoretically tied to complex systems theory. Further, she connects the vagaries of application and extrapolation of complexity theory, across realms of current-day cultural production, to the definitional vagueness of some of complexism’s key terms (system, selforganization, emergence). Finally, she argues that two collateral effects of complexism are: (1) the promotion of dependence on environmentally damaging computational devices and (2) the socio-economic and environmental expulsions occurring in the global economy, as recently argued by sociologist Saskia Sassen. (shrink)

RESUMO:Na Carta a d’Alembert, Rousseau se coloca contra a ideia de um teatro enquanto instrumento de educação moral, porém, o posicionamento do filósofo não está em colocar essa atividade lúdica de ordem moral na categoria de atividade imoral, mas na de atividade artificial, e, talvez, isso gerasse efeitos imorais. Todavia, é preciso observar os verdadeiros efeitos do teatro, a partir de alguns argumentos que Rousseau resolve construir e analisá-los, contudo, apenas se trouxesse à tona a crítica de Rousseau ao romance, (...) na Carta a d’Alembert, que tem como contexto “a ideia negativa de privatização da cena”, pois o teatro destina uma excessiva importância à descrição do amor, obviamente, exagerando na representação, naquilo que é romanesco. Porém, se, na Carta a d’Alembert, o filósofo não expressa de forma direta que a teorização sobre o teatro também equivale ao romance, na Nova Heloísa, ou seja, no próprio romance, o autor faz essa ratificação, ao importar um longo comentário sobre o teatro que estava na Carta, afirmando que considera o mesmo da própria cena quanto à maioria dos novos escritos. O cidadão genebrino ataca os romances indiretamente e viceversa, porque é observado que tudo aquilo que diz sobre uma arte se aplica quase que integralmente a outra arte. E, como um povo galante deseja amor e polidez, Rousseau resolve fixar alguns termos, na tentativa de explicar suas críticas e argumentar a coerência de seu posicionamento, já que, se, em geral, a cena é um quadro das paixões humanas, cujo original está nos corações, se o pintor, porém, não tiver cuidado de acariciar suas paixões, os espectadores logo ficarão desgostosos e não desejarão mais se ver sob um aspecto que fizesse com que desprezassem a si mesmos. E pontua que essa linguagem não tem mais sentido, em seu século, pois é preciso falar as paixões, esforçando-nos para usar uma que melhor se compreenda, talvez o romance. ABSTRACT:In theLetter to d’Alembert, Rousseau argues against the idea of theater as a moral instrument of education. However, the position of the philosopher is not one of putting this playful activity in the category of immoral activity, but in the category of an artificial activity that perhaps generates immoral purposes. It is necessary to observe the true effect of the theater on the basis of some arguments that Rousseau decides to construct. These are analyzed here, bringing to the fore Rousseau’s critique of the novel in theLetter to d’Alembert. The letter has as its context “the negative idea of privatization of the scene”, as the theater gives an excessive importance to the description of love, obviously exaggerating the representation of romance. If, in theLetter to d’Alembert, the philosopher does not directly express that theorizing about the theater is equivalent to the novel, in theNouvelle Héloïse, that is, in the novel itself, the author does this. He adds to the novel a long commentary on the theater that was in theLetter, stating that he considers the theatrical scene itself to be the same as most new writing. He attacks novels indirectly, as well as the theatre, observing that everything said about one art applies almost entirely to another art. As a gallant people want love and politeness, Rousseau decides to fix certain terms in an attempt to explain his criticism and argue the consistency of his position. In general, the scene is a picture of human passions whose original is in the heart; if the painter is not careful in stroking these passions, spectators will soon become disgusted, not wanting to see themselves in such a way that they despise themselves. Rousseau points out that this language has no more meaning in his century, as it is necessary to speak the passions, striving to use language that best understands the passions, such as, perhaps, that of the novel. (shrink)