Finally, our argument suggests that the relationship and the distinction between literature and philosophy cannot be made in terms of a distinction between aesthetic and epistemological categories. All philosophy is condemned, to the extent that it is dependent upon figuration, to be literary and, as the depository of this very problem, all literature is to some extent philosophical. The apparent symmetry of these statements is not as reassuring as it sounds since what seems to bring literature and (...) philosophy together is, as in Condillac's argument about mind and object, a shared lack of identity or specificity. Contrary to common belief, literature is not the place where the unstable epistemology of metaphor is suspended by aesthetic pleasure, although this attempt is a constitutive moment of its system. It is rather the place where the possible convergence of rigor and pleasure is shown to be a delusion. The consequences of this lead to the difficult question whether the entire semantic, semiological, and performative field of language can be said to be covered by tropological models, a question which can only be raised after the proliferating and disruptive power of figural language has been fully recognized. Paul de Man, Tripp Professor in the humanities and chairman of the comparative literature department of Yale University, is the author of Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism. His previous contribution to Critical Inquiry, "Political Allegory in Rousseau," appeared in the Summer 1976 issue and appears in his book Allegories in Reading. (shrink)

This is my first book from Partridge International In Association with Penguin Random House in 2018. I wanted to enrich self through my creativity on selected topics as far as a Google Scholar.

Samuel Pufendorf is one of the most important moral and political philosophers of the seventeenth century. His theory, which builds on Grotius and Hobbes, was immediately recognized as a classic and taken up by writers as diverse as Locke, Hume, Rousseau, and Smith. Over the past twenty years there has been a renaissance of Pufendorf scholarship. On the Duty of Man and Citizen is Pufendorf's own epitome of his monumental On the Law of Nature and of Nations, and it served (...) as a basic text in European universities throughout the Enlightenment. This edition has a lucid and historically sensitive translation by Michael Silverthorne, the first since the early twentieth century. James Tully's introduction sets the text in its context, summarizes the main arguments, surveys recent literature on Pufendorf, and shows how Pufendorf transformed natural law theory into an independent discipline of juristic political philosophy that dominated reflection on politics until Kant. (shrink)

The subject of this study is the nature of the secular desire for immortality and the idea of digital paradise. Digital paradise is covered in the San Junipero episode of Black Mirror, which was released on the Netflix movie platform. The subject has been under the spotlight within the framework of this posting. San Junipero can be considered as a fictional projection of the future. This fiction is important in terms of rationalizing, legitimizing and embodying the non-religious desire for (...) immortality, although it contains intense messages/references that will have an impact in the short or long term. Based on the example of the digital paradise San Junipero, the study aims to explore the meaning and nature of the secular desire for immortality and analyze the messages it contains. With the qualitative research method, the San Junipero serial episode was handled as a case example, and it was analyzed and interpreted with a phenomenological and semiotic approach. As a result, in the non-religious pursuit of the afterlife and in the nature of the desire for immortality, which is reflected in San Junipero, which is fictionalized as a secular/earthly/technological imitation of the afterlife and heaven in religions; There are basic beliefs and motivations such as disbelief (unbelief), overcoming God, death and worldly problems, nihilistic will to power, coping with the fear of extinction and avoiding pain, challenging time and death, liberation from everything, hedonism, searching cosmic signifiance, belief in reason, power and technology, evaluated. (shrink)

The article provides a reconstruction of Kierkegaardʼs conception of self-knowledge, mainly in the light of The Concept of Irony, The Sickness unto Death, Philosophical Fragments and selected upbuilding discourses. The concept of self-knowledge, which in Kierkegaard goes beyond mere epistemology, is shown in its duality, as a process which is for Kierkegaard both substantial and relational: to know oneself is for Kierkegaard both an ethical claim upon man and a religious act whose accomplishment is dependent on Godʼs intervention. The article (...) next discusses how self-knowledge involves a relationship to and “knowledge” of God. Finally, it is shown that self-knowledge presupposes not only that one believes himself or herself to be known by God, but also by his or her fellow human beings: self-knowledge requires engagement in the lived world and with others. (shrink)

Adler has skillfully focussed the extensive research of his Institute for Philosophical Research into this work in philosophical anthropology and has come up with a working framework within which to discuss the question of man's comparative identity vis-à-vis the other members of the natural universe. The comparative question approach is methodologically behavioristic in the sense that it eschews appeal to evidence drawn from man's interior life, from his presence to himself in consciousness, and erects hypotheses about man's sameness and/or difference, (...) in degree and/or kind, from other things solely on the basis of man's similar or unique behavior. The comparative question is a "mixed-question" in the sense that it is answerable only on the basis of scientific evidence and philosophical argument. On this basis Adler thinks that it is at present decidable that man differs in kind from all other things, especially animals; the primary evidence here is man's unique behavior as a language-user and, hence, concept-employer. The question remains whether this is a radical or superficial difference in kind. The latter would be the case if man's use of concepts could be exhaustively explained in neurophysiological terms or if artificial intelligence is perfected to the point where a robot could pass Turing's conversational test. If success were not forthcoming in either of these enterprises, the traditional notion that there is an immaterial dimension to man's nature would be strengthened. Adler is sympathetic to an Aristotelian version of the traditional answer to the comparative question, but he is careful not to let his sympathies interfere with the exposition of the alternatives; and he constantly reminds the reader that the decision between the radical-difference-in-kind and the superficial-difference-in-kind alternatives is very much an open question. Many useful distinctions are made and certainly the literature is more extensively and meaningfully covered than anywhere else since Feigl's "The 'Mental' and the 'Physical'." Taxonomy does, however, cloud a few important issues--consider the possibility that methodological behaviorism is a logically dependent approach, presupposing the standpoint of interiority. And criticism is often sacrificed to coverage. But the book fulfills the intention of the author and could function well as a survey introduction to philosophical anthropology.--E. A. R. (shrink)

Donald Davidson infamously claims that belief is in its nature veridical, and that skepticism is for this reason fundamentally incoherent. To those who take the issue of external world skepticism seriously, Davidson's arguments may seem to involve a conjuring trick. In particular, his invocation of an ‘omniscient interpreter’, whose intelligibility supposedly ensures that our beliefs must be largely true, has the air of incense and lantern-rubbing about it. Davidson's claim has received considerable critical response in the literature, almost all (...) of it negative. In my view, some commentators have indeed lit on a critical and controversial lemma in Davidson's argument, but this basic result has been obscured by being presented amidst an array of other criticisms that simply make no sense from a Davidsonian point of view. The aim of this paper is to clear away some of the confusion that stands in the way of a more productive evaluation of Davidson's important claim. (shrink)

Rosso: Can you say something more about the differences between your work and Derrida’s?De Man: I’m not really the right person to ask where the difference is, because, as I feel in many respects close to Derrida, I don’t determine whether my work resembles or is different from of Derrida. My initial engagement with Derrida—which I think is typical and important for all that relationship which followed closely upon my first encounter with him in Baltimore at the colloquium on “The (...) Languages of Criticism and the Sciences of Man”—had not to do with Derrida nor with me, but with Rousseau. It happened that we were both working on Rousseau and basically on the same text, by sheer coincidence. It was in relation to Rousseau that I was anxious to define, to try to work out some … not discrepancies … but some change of emphasis between what Derrida does and what I’m doing. And there may be something in that difference between us that remained there, to the extent that in a very genuine sense—not as denegation or as false modesty —my starting point, as I think I already told you, is not philosophical but basically philological and for that reason didactical, text-oriented. Therefore I have a tendency to put upon texts an inherent authority, which is stronger, I think, than Derrida is willing to put on them. I assume, as a working hypothesis , that the text knows in an absolute way what it’s doing. I know this is not the case, but it is a necessary working hypothesis that Rousseau knows at any time what he is doing and as such there is no need to deconstruct Rousseau. In a complicated way, I would hold to that statement that “the text deconstructs itself, is self-deconstructive” rather than being deconstructed by a philosophical intervention from the outside of the text. The difference is that Derrida’s text is so brilliant, so incisive, so strong that whatever happens in Derrida, it happens between him and his own text. He doesn’t need Rousseau, he doesn’t need anybody else; I do need them very badly because I never had an idea of my own, it was always through a text, through the critical examination of a text … I am a philologist and not a philosopher: I guess there is a difference there … I think that, on the other hand, it is of some interest to see how the two different approaches can occasionally coincide, at the point that Gasché in the two articles he as written on this topic says that Derrida and myself are the closest when I do not use his terminology, and the most remote when I use terms such as deconstruction: I agree with that entirely. But, again, I am not the one to decide on this particular matter and I don’t claim to be on that level … Stephano Rosso teaches English literature at the University of Verona and is writing a dissertation in comparative literature at SUNY—Binghamton. Among other works, he has coedited, with Naurizio Ferraris, Decostruzione tra filosofia e letteratura and Estetica e decostruzione. He is presently translating Paul de Man’s Resistance to Theory into Italian. (shrink)

In 'Philosophy and the Mirror of Nature' Richard Rorty presented his provocation and influential vision of the post-philosophical culture, calling upon professional philosophers to accept that epistemology is dead, that the analytic method is a myth, and that philosophy and science are merely forms of literature.

Although the success of Habermas’s theory of communicative action depends on his dialogical model of understanding in which a theorist is supposed to participate in the debate with the actors as a ‘virtual participant’ and seek context-transcendent truth through the exchange of speech acts, current literature on the theory of communicative action rarely touches on the difficulties it entails. In the first part of this paper, I will examine Habermas’s argument that understanding other cultural practices requires the interpreter to (...) virtually participate in the “dialogue” with the actors as to the rationality of their cultural practice and discuss why, according to Habermas,such dialogue leads to the “context-transcendent truth”. In the second part, by using a concrete historical example, I will reconstruct a “virtual dialogue” between Habermas and Michael Polanyi as to the rationality of scientific practice and indicate why Habermas’s dialogical model of understanding based on the methodology of virtual participation cannot achieve what it professes to do. (shrink)

Written by an ardent spokesman for the Libertarian philosophy, this is an important book for Americans, most of whom have been steeped in the concept that their ...

This paper challenges the first Gettier counterexample to the tripartite account of knowledge. Noting that 'the man who will get the job' is a description and invoking Donnellan's distinction between their 'referential' and 'attributive' uses, I argue that Smith does not actually believe that the man who will get the job has ten coins in his pocket. Smith's ignorance about who will get the job shows that the belief cannot be understood referentially, his ignorance of the coins in his pocket (...) shows that it cannot be understood attributively. An explanation for why Smith appeared to have justified true belief is given by distinguishing between 'belief' and 'belief in truth'. Smith believes the sentence 'the man who will get the job has ten coins in his pocket' to be true (he mistakenly believes that Jones will get the job, of whom he knows that he has ten coins in his pocket) (hence his 'belief'), the sentence is true (hence 'truth'), and he has sufficient reason to assent to it (hence his 'justification'). But he does not believe the proposition expressed. Hence he does not know it either. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cynthia B. Cohen THE TRIALS OF SOCRATES AND JOSEPH K. No two trials could have been more unlike than those of Socrates and Joseph K. As portrayed in Plato's Apology,' Socrates was the conscience of Athens, a thoughtful and courageous man whose life was devoted to the pursuit of wisdom. He challenged others to examine themselves and to transform themselves into lovers of truth and goodness. This gadfly of (...) Athens was put on trial by those whom he had stung and was dispatched with a final slap. He died the bravest, wisest, and most upright man of his time. By contrast, Joseph K., the protagonist of Kafka's novel, The Trial, was an ordinary bank clerk locked into a life of unreflective routine. His arrest one day by the agents of a Court he could not comprehend failed to change his rote approach. Like a fly stuck fast to flypaper, he was glued to the details of his immediate experience, and would not rise above these to find meaning in his dreary life, or even in his shameful death. Socrates was an original and constructive thinker who died rather than deny the purpose that he found in human life; Joseph K. was a leaden bureaucrat whose life was one long moment of guilty hesitation before a broader vision of things. Or is it that Socrates was an arrogant, peculiar, conniving failure who was engaged in an insidious attempt to undermine the moral and political values of Athens? And is it that Joseph K. was a successful young businessman who had established himself as a conscientious, decent, and eminently reasonable man struggling bravely for justice against an alien and capricious authority? Or perhaps these two trials should be seen as very similar. Each man was tried on charges of which he claimed to be innocent; each wanted to restore order and meaning to a disintegrating world; each led a life that became the cause of his death; and each was condemned for claiming that the unexamined life was not worth living. Or is it that Joseph K. was condemned for maintaining that it was the examined life that was not worth living...? 212 Cynthia B. Cohen213 Difficulties in the interpretation of works of literature are to be expected when their subjects are complex and subtle individuals set in an atmosphere in which basic questions of human significance are raised. Both the Apology and The Trial are such works. Socrates initially seems a model of clarity to the interpreter. He responds to his accusers in a form of direct discourse that can be taken at face value. He presents his arguments openly and cogently. There can be no doubt that his general position is coherent, consistent, and reasonable. Yet the interpreter 's initial satisfaction fades as Socrates' irony creates confusion about what Socrates professes to know. His lines of reasoning seem to intersect in paradox; his answers to questions about the meaning and purpose of human life curve around to miss each other. The interpreter emerges confused and perplexed. These transformations of perspective and significance are repeated in The Trial. Joseph K., too, is described in a straightforward manner that is clear and quite detailed. His reactions and arguments appear sensible and well-reasoned. Yet on closer examination, his simple statements turn out to have hidden meanings; his responses often contradict one another; his logical arguments appear pointless. His answers to questions about the meaning and purpose of human life are immediately challenged by a horde of competitors. To the interpreter, The Trial metamorphizes into a model of intentional obscurity. The problem of interpretation is compounded in the case of Socrates by the question of the accuracy of our information about him. The "Socratic problem" is well known. Each of the four major sources about his life and thought, Xenophon, Aristophanes, Plato, and Aristotle, presents a somewhat different person. There has been strong support for the view that the portrayal of Socrates in the earlier dialogues of Plato is essentially sound, even though this earlier Socrates seems at variance with the later one. The resolution of this problem is irrelevant to this endeavor. Our purpose is to consider the life and... (shrink)

Vaihinger... shows that thought is primarily a biological function turned into a conscious art. It is an art of adjustment, whose chief instrument is the construction of fictions by which men may manage to live. Thought is to be tested not by correspondence to an objective reality (that fiction is neatly disposed of) nor by its mirroring in consciousness an objective external world. Thought is to be tested by its fruits. The constructions of thought are not copies of or transcripts (...) of reality; they are programs, guess-work plans; possible programs for operation. Their validity is to be measured not by verisimilitude but by value. The fruits of thought are not "true," but especially where they are false, it may be important to act as if they were true... Vaihinger's chief originality consists in his defining of fictions and his distinction of fictions from hypotheses on the one hand, and from dogmatisms on the other. An hypothesis is a tentative discovery about the universe; a fiction is a deliberate, often clearly false and internally contradictory invention of thought... Evolution is the hypothesis that man is descended from the lower animals. We assume that we can indirectly turn to the remote facts which would justify that hypothesis. But the concept of infinity in the calculus, the atom and the ether in physics, the economic man in Adam Smith, are deliberate self-contradictory fictions, and fictions at variance with all experience. But though they are not only imaginary, false to the reality they allegedly represent and logically incoherent, they nevertheless facilitate thought and proper action. They are vital lies, human conveniences. They are the faiths, the palpably false faiths, the clearly useful falsities by which we live... The discovery that fictions were fictions has led, in the past, says Vaihinger, to an abandonment of them, and a turning to other fictions believed to be truer. Pathetic and foolish adventure! What the race needs is more faith in its own effective imaginations. The myths that it has told itself, the world pictures that it has made, are not to be dismissed because they are found to be creations of the imagination. They tally with no world and they carry the canker of logical inconsistency within them. The important thing is their utility; their human scope and mortal relevance. If we ceased making fictions, we should cease altogether to be. Let us beware to plunge from fruitful fictions to less fruitful ones that masquerade as truths and are really dogmatisms. (Review of As If by Irwin Edman, Saturday Review of Literature, 10 January, 1925) This is a well-formatted version of C.K. Ogden's translation of Philosophie des Als Ob, originally published in 1925 by Kegan Paul. (shrink)

In this article the mirror is considered as a model of the adequacy of the world and mind, which to some extent dominated the European history of ideas. This idea of relationship and mutual perception in the field of intersubjectivity is problematic enough when the concrete collision of two corporeal entities, two personalities as two bodies, is at stake. According to author, the metaphor of the mirror serves in the history of culture as an analog of the relationship (...) of a person to himself, to others, to the world, thereby placing the topic of anthropology, the human self and worldview at the center of the research. In the author's view, the mirror metaphor is not so much about how strong the mirror metaphor is in this context, but primarily about the social limit of physical perception reflexes. The other person's social reflection on us contains a personal dimension that is equivalent to matching mutual reflections, including the rejection of contact with each other. The mirror can only confirm the psychophysical side of my being, while the other person mirrors my social side behind this side, where he also has the ability through his subjectivity and spontaneity to deny me in the mirror image, i.e. to deny me any recognition. The author describes various asocial forms of view that refuse to allow symmetry between us and others with reference to the metaphorical theories of Ralf Konersmann and Hans Blumenberg. Using metaphor we can address pre-conceptual expectations, needs, and experiences that conceptual language does not have access to. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Don Quijote and the Law of LiteratureCarl Good (bio)The part is one of these beings, the whole minus this part the other. But the whole minus a part is not the whole and as long as this relationship persists, there is no whole, only two unequal parts.—Rousseau, Social Contract, cited by Paul de Man in Allegories of ReadingBut it is not just that, because it is also a performative.... (...) There is first a performative, the act of positing..., which then moves to a system of tropes; a kind of anamorphosis of tropes takes place, in which all the tropological systems are engendered, as a result of this original act of positing.... It is circulation which is out of hand,... the sheer circulation or play of the signifier, and which is, as you know, the root of error, madness, stupidity and all other evil.—Paul de Man, “The Concept of Irony”Amid a confusion of narrative inversions, misleading appearances, and unresolvable disputes, at least two things are consistent in Don Quijote de la Mancha: first, the knight’s singular fidelity to what I will refer to as a law of literature, which persists like a phantasm of continuity throughout the larger narrative; and, second, the many interruptions of this narrative by the stories, or episodes, recounted by the characters who cross don Quijote’s path (including the knight himself), in the form of speeches, testimonies, plays, jokes, poems, and so on. In at least one strict sense, these other stories have nothing to do with that path other than their interruptions of it and by it. Such a claim has its own strategic value and does not entirely contradict the reasonings of a long history of critics of the Quijote who have tended to argue from a variety of different standpoints for some kind of ideological cohesion that would bind the smaller episodes to the larger story that they interpolate. But at a certain ground zero of interpretation—albeit a paradoxical ground that prohibits a scholarly shelter to be built on it—no argument would be sufficient to establish such a coherence among the work’s separate narrative parts, since such an argument would live in the brief, oneiric intensity of the critic’s testimony and that testimony’s potential effects rather than in the composition of the work itself somewhere beyond its apprehension by reading. Nonetheless, out of the dismembered ensemble of the Quijote what does perhaps effect its own strange kind of life is the very play of ironic interruptions and frictions between the dismembered parts, the profusion of which seems to impose itself as the work’s own aggressive insistence on itself as something which makes sense possible by constantly provoking and unsettling sense. That is where we could begin to speak of don Quijote himself, not only as the phantasmatic agent of this unsettling but also as the mad promise of justice that could be said to motivate it.The play of interruptions in don Quijote’s own story begins to outline the shifting contours and living contradictions of this novel as a “text” in the sense in which Derrida [End Page 44] and others have used the term: that which “names or relates in its way... [a] conflict without encounter between law and singularity” [“Before the Law” 187]. Although the story of this “encounter” has been often recounted, it bears another citation here, at least because it seems to be forgotten more often than it is told. Even when it is told, the story is often muted in homage to the name of Derrida by writers who tacitly assume that Derrida’s is the only possible version of this “conflict without encounter.” That version would be better described as merely one particular ethical shaping or forcing—a powerful one—of a story that has been told, and remains untold, in uncountable ways. Nonetheless, such a democratic assessment of Derrida does not quite justify a dismissal of his version as merely one among others, since, for one thing, it would be unable to account for the astonishing hold that different versions of Derridean “deconstruction” continue to have on the imagination of North American... (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure. . . . There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure.... There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

Mirrors for princes, in general, give advices to the rulers about the subtleties of political art. Another aim of these books is to define and explain the administration of the state and the duties of rulers based on experience. In consequence of this they reflect the practical ethics of the period in which they were written. As such, they resemble practical handbooks written for rulers. Another point regarding the mirrors for princes works in which the political understanding of the era (...) can be observed is that they generally use sacred texts in order to prove the political legitimacy or invalidity of the power, as well as the rightfulness or the unlawfulness of the claims to the throne. Evidences from the Qurʾān and the ḥadīth literature was almost always used to support such advocated opinions. In fact, during the Middle Ages when religion and politics were considered coupled, it was unthinkable that religious elements should not be included in the works of state administration. The important point here is that the verses and ḥadīths were sometimes removed from their contexts and interpreted and explained in a way to support the ideology of the author or the ruler whom the author presented his work. In this study, we will try to reveal the subjects in which the verses and ḥadīths used in the mirrors for princes, which is a genre that has emerged within the Islamic culture and civilization. Thus, we aim to prepare a background for the future studies, which will focus on a specific verse or ḥadīth.Summary: The first political splits in Islamic history occurred immediately after the death of prophet Muḥammad. These differences were resolved by the agreement of the majority of Muslims on Abu Bakr's name. Until the second half of the rule of the third caliph ʿUthmān, Muslims came together around the unifying power of the idea of conquest. Nevertheless, substantially as a result of economically based problems the period of tranquility in Islamic society came to an end and was replaced by disputes. Disputes turned into conflict and ultimately seperation fused with the massacre of ʿUthmān in the capital Medina turned into a big fire with the Battles of the Camel and Ṣiffīn, the emergence of Khārijīs, the formation of the Shia and the deepening of the intellectual divisions after the all of these. Islamic history has witnessed a clash of different religious views and beliefs. along with deepening of intellectual disagreements as a result of political debatesIn the Islamic political thought, especially the first two centuries process was formed around the views of the jurists, muḥaddiths and theologians. The first sources used by those who tried to justify their opinion in the differences of opinion experienced during this period were the Qurʾān and ḥadīth literature which Muslims accepted as the determining factor in all their acts. The views based on the Qur'an and the hadiths, which are the two main sources of Islamic religion, had been used to influence the people, legitimize the actions and refute the claims of the opponents. On the other hand the sort who gave direction to political thought changed and political thought adhered a new path with Turks and Persians served as bureaucrats and soldiers and took an active position in the state. Especially Persians carried the culture of advice to Islamic thought, which is the product of both Greek and Hind civilization. Such books had brought in the İslamic society with translation movements began in the Umayyad period and peaked with the Bayt al-Ḥikma in the Abbasid period. Together with these books, the ideas of these civilizations on ideal state administration, politics and morality were recognized by Muslim scholars.These type of works, which are famous in terms of Islamic thought as mirrors for princes, have been written by Muslim scholars since the middle of the eighth century. Mirrors for princes are political, moral and religious content books that gives the rulers practical advice to maintain their power in accordance with the religious orders and prohibitions, and to the consent of Allāh’s who grant them this authority and people which appointed for their administration. Mirrors for princes are mostly theoretical books since they are mostly focused on what should be. In addition, since they are written for names that currently hold power, they are centered on how the rulers can maintain and increase their power and with which practices the state will maintain its existence for a longer period. The basic point of political thought and political interpretation are concepts and definitions. When the concept meaning of a word is mentioned, it is generally considered that there is a general definition. However, the concepts reflect the meaning that the user assigns to him in the context of his thoughts, perceptions, criticisms, explanations and analyzes. Concepts such as fair, honest, brave, hero, beautiful, rich, good and clean express what the person imposes on the meaning. In other words, everyone’s experience determines the content of the concept so far. The meaning of the concepts varies with the age and its user of that concept. Even concepts such as justice, merit and consultation can change meaning in different periods and geographies. The concepts, which are often used to facilitate understanding, are sometimes used to judge, to mold or mislead the interlocutor. In this context, it is imperative to enter the mind of the user in order to make concept analysis.In Islamic civilization, the principles of management are explained with concepts. The idiosyncrasies that Muslims expect from an ideal ruler are defined as justice, consultation, merit, trust and legitimacy and a broad corpus has been written about the concepts related to the administration, especially those mentioned. One type of this corpus is mirrors for princes.In Islamic history, there are many Mirrors for princes who are written in different time periods by names coming from different geographies and different backgrounds. Although the advice given in Mirrors for princes indicate a great similarity to each other, the preferred arguments and examples in the foundation of the counsel are different. While the persons in active politics mostly based their opinions on political arguments, scholars with scientific tradition supported their advices with religious arguments.Verses are the leading religious elements highlighted in Mirrors for princes. While explaining the concepts and emphasizing the importance of the advices, many verses have been exploited. Some verses are used only by one author, while some verses are the subject of their work by many authors. In the same way, ḥadīths and the sentences accepted as ḥadīths were also used to reinforce the emphasis and meaning. At this point, sometimes the context of the verses and ḥadīths were not taken care of. In this study, we aim to address the use of religious elements.In the literature, different opinions have emerged about who is ülü’l-emr and the limits of obedience to ülü’l-emr that used describe the names of senior executives and leaders of society. The reason for the difference is that each sect or religious school provides an interpretation on the basis of grounding its own views in explaining the verse. Justice is the most emphasized concept among the advices given to the rulers in mirrors for princes. Justice, which is shown as the most important feature of a sovereign, has been regarded as extremely important for the state to existences until the Doomsday. In addition, justice has been described as the most important condition for the maintenance of the state/sovereign authority. Consultation was important to make the right decision.Verses and ḥadīths were used in the explanations about the personal characteristics of the sovereign. Some features such as being compassionate, keeping promise, controlling anger, patience, honesty, blessing, extravagance, self-esteem, break a promise, revoke a promise and arrogance have become the subject of politics. When the mirrors for princes are considered as a whole, it is seen that religion and state are considered as inseparable twin brothers, taken one step further the understanding that accepts religion and the world as brothers especially is a product of the old Persian tradition. In this understanding, religion was accepted as the root and was given the duty of its patronage to political authority. It is seen that in the Mirrors for princes verses and ḥadīths hold a significant amount. As the reason for this can be said that along with religion takes place on the basis of morality, the authors of the Mirrors for princes, which put deep meanings on the relationship between religion and the state in the period that we are dealing with, consider both institutions to be complementary and integrative. (shrink)

The play's the thing,"1 Hamlet says in act 2, scene 2 of Shakespeare's finest tragedy. Hamlet is referring here to the forthcoming performance of The Mousetrap, the play that he has asked the newly arrived players to perform that evening in the presence of his mother and uncle. "The play's the thing," Hamlet says, "Wherein I'll catch the conscience of the King". But it is not confirmation of his uncle's guilt as the murderer of his father that Hamlet really needs (...) or ultimately receives from this piece of theater he has asked be performed but rather the clarification and redemption of his own confused and violent psyche.Hamlet is a character who spends the first two acts of Shakespeare's play alternately... (shrink)

The place of man in Darwin's development of a theory of transmutation has been obscured by his manner of disclosure. Comparing the 1837–1839 period to his entire career as a theorist suggests that it was Darwin's practice to present himself and his work only before the most select scientific audiences, and then in accordance with their expectations. The negative implications of this rule for his publication on man are clear enough: finding no general invitation in science to publish as a (...) theorist and no contemporary scientific audience for the sorts of inquiries he was making on man, he was silent, at least until such time as he could publish on the strength of reputation alone. Now, with the availability of manuscripts from the early period, what was once hidden stands revealed. It is clear from Darwin's notebooks that man played a dual role in the formation of his theory: as a zoological species to be incorporated into the theory and as the primary vehicle for the study of behavior. On the first score, integrating man into the theory provoked Darwin to break with the traditional view of man's place in nature and to reject a major element in the scientific notion of progressive development. On the second score, the study of behavior led Darwin outside natural history and thence, unexpectedly, to Malthus and natural selection.One is left with the certainty that the subject of man was a central element in Darwin's formulation of his species theory. To an extent, then, the public judgment of Darwin was right all along, for the public had always sensed that Darwin spoke to a larger audience than that formed around science. On the basis of new evidence, we can add that Darwin drew from that larger audience as well. There are of course ironies to this conclusion: that Darwin the professional drew so heavily from fields where he was the amateur, that as a transparent man his inner life should prove so at odds with the manner in which he presented himself, and that his arrival at a strong sense of himself—the revolutionary “I” of his notebooks—should occur just as he stepped beyond science to engage the general culture. But when one considers the inherent difficulties of Darwin's subject and the magnitude of his claims respecting man, these ironies are perhaps not surprising at all but those of a kind which might be anticipated. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

No doctrine of Pufendorf's is better known than that of socialitas. The reason is that Pufendorf himself declared that socialitas was the foundation of natural law. No interpreter of Pufendorf can therefore avoid dealing with it. Moreover, Pufendorf linked the issue of socialitas to the question of the state of nature, thus raising important issues with both theological and philosophical implications. Given the prominence and importance of this theme in Pufendorf's work, a close analysis of what he meant by it (...) is central to the interpretation of his work, even though this means to pose again a new number of questions already discussed in the scholarly literature. In particular, this article examines the relationship between Pufendorf and Hobbes with regard to this central theme. In fact, a traditional historiographic topos is that Pufendorf and Hobbes fundamentally disagree on the doctrine of socialitas, while the former is closer to Grotius and to the Aristotelian-classic tradition that see man as a social animal. This article takes, instead, Pufendorf to be a follower of Hobbes, and tries to explain how the more traditional view of Pufendorf as a critic of Hobbes was in some way due to Pufendorf's own attempt to distance himself from the accusations of Hobbesism (and hence of atheism and moral indifference) that the critics made against him when his work first appeared. In order to do this, Pufendorf tried to rethink his own position within the history of ethics, and put himself on the side of the Stoics, of Grotius and of Cumberland, against Epicurus and Hobbes. This retrospective ‘illusion’ has greatly influenced later scholarship, giving us a distorted image of Pufendorf's own view of socialitas. A more precise account of the latter gives a better prospective from which to look at the relationship between Pufendorf and Hobbes. ☆ The publication of this text, in this form, may require some explanation. In what it now appears the very distant June 1989, the Max-Planck-Institut für Geschichte in Göttingen organised an International Workshop on ‘Unsocial Sociability: Modern natural Law and the 18th-Century Discourse of Politics, History and Society’. The proceedings of that Workshop were never published, even though individual contributions have piecemeal appeared since then. My own contribution consisted in a short extract from a chapter from my book Samuel Pufendorf discepolo di Hobbes. Per una reinterpretazione del giusnaturalismo moderno (Bologna, 1990), which appeared in print the following year. For this reason, I considered the separate publication of that intervention as superfluous. Rather naively I underestimated the fact that the publication of my book in Italian restricted its circulation in the Anglo-American academic circles, and even if occasionally quoted, the book would not be much read. Recently, following the solicitations of many friends to present in English part of the theses developed in that book, I had decided to have my intervention at the Göttingen Workshop finally published. After all, this had amply circulated as a manuscript and been cited by many in that form. But while I was planning to revise that manuscript, I was presented with the draft translation of the second chapter of my book done by Dr. Melissa Calaresu of Cambridge University, when she was still a graduate student. It is probably better to leave aside the story of why Melissa did that translation, but I am extremely grateful to her for having allowed me to use it as the basis for this piece, which is therefore a revised version of the second chapter of my Italian book on Hobbes. I have decided to publish it in English with some hesitation, at least for two reasons. First, because with the publication in English of only part of my book I may risk to reinforce a rather simplified interpretation of my work, and consequently of Pufendorf's thought, that his main contribution lies in his doctrine of socialitas and of the state of nature. I am instead firmly convinced that the most important parts of my own work are those that are still untranslated, that is those on the nature of moral obligation and that of moral entities, beside the comparison I make in the second part of the book between the first and the second edition of De iure. Secondly, because during the intervening years I have distanced myself from a conception of the history of philosophy understood as an internal analysis of the texts, and have become more attentive to the context in which to place philosophical texts. I have therefore developed a slight impatience towards the rather nick-picking analysis of texts, which with a certain virtuosism I performed in the book. Nonetheless, since even after so many years I do not believe that the theses I developed in that book have lost their force, I am happy for this partial translation, with some essential bibliographic updating, to appear, in the hope that such theses will be finally discussed for what they are and not on the basis of second-hand reports. I am grateful to Dario Castiglione for his precious help with the final revision of the text, and to Richard Whatmore and Brian Young for their willingness to publish this translation in their Journal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Moses Maimonides: The Man and His WorksAlfred L. IvryHerbert A. Davidson. Moses Maimonides: The Man and His Works. New York: Oxford University Press, 2005. Pp. x + 567. Cloth, $45.00Herbert Davidson is a scholar of exceptional brilliance whose previous studies of medieval Jewish and Islamic philosophy have been widely acclaimed. In the present work, he ventures beyond philosophical argument to encompass an analysis of every aspect of the (...) life and work of one of the most celebrated—and controversial—figures in Jewish history, Moses Maimonides (1138–1204). In so doing, Davidson discloses a formidable knowledge of Talmud and rabbinic literature, as well as of the history, science, astronomy, medicine and philosophy of Maimonides' day. Davidson offers elegant descriptions and often challenging evaluations of Maimonides' life, education, and work: the rabbinic oeuvre, philosophical and medical treatises, and miscellaneous epistles.Maimonides' accomplishments do not include a number of works commonly but mistakenly attributed to him, in Davidson's opinion. He offers persuasive reasons (though admittedly not always conclusive proof) for rejecting Maimonidean authorship of a "Treatise on Logic," and the Epistles "In Opposition to Astrology" and "On Religious Persecution." Davidson's rejection of the last named epistle abets his interpretation of the early period of Maimonides' life, according to which he was not compelled to convert or to dissimulate a faith in Islam, as many think. [End Page 484]It is a cardinal principle for Davidson, though he does not identify the term as such, that Maimonides never practiced dissimulation in any significant way, or as Davidson sees it, that he did not lie. Davidson's Maimonides, for all the personal failings he notes, is a figure of immense rectitude and religious sincerity, to be taken at his word.Davidson comes, then, to defend Maimonides against his past and present critics who see esoteric and heretical teachings lurking behind Maimonides' protestations of orthodox belief. Davidson is no simple apologist for Maimonides, however, and does not hesitate to identify places in Maimonides' writings where the Master nodded. Such places abound for Davidson in Maimonides' philosophical masterpiece (as it is commonly thought), the Guide for the Perplexed, raising the strong suspicion that Davidson hardly regards it as such (creation arguments apart). He is much more taken with Maimonides' rabbinic acumen and achievements than with his philosophical work, arguing that Maimonides did not, when writing the Guide, have the time and concentration he possessed when composing the Commentary on the Mishnah and the Mishneh Torah.Davidson is assured by the strong and traditional affirmations of faith expressed in Maimonides' rabbinic writings that he maintained the same beliefs in his philosophy. The reconciliation of faith and reason is a theme that runs through all of Maimonides' writings. For Davidson this issues in a religious philosophy both radical and conservative: radical in that the Jewish God assumes an Aristotelian mien; conservative in that a "measure of personality" (365) is expressed through the act of creation and the performance of other miracles, notably the revelation at Sinai, prophecy, and resurrection. Problematic as he acknowledges the latter notion is for Maimonides, Davidson yet believes he held it.This is typical of Davidson's iconoclastic posture towards much of contemporary Maimonidean scholarship. Davidson does not believe Maimonides knew all that much philosophy and was not as careful with his writing as he claimed; that he did not have a first-hand knowledge of Aristotle, using Avicenna mostly instead; that his vaunted secret "Accounts of Creation and of the Chariot" were thinly disguised common notions of medieval physics and metaphysics; and that his entire claim to secret or esoteric teachings has none of the significance scholars in the past or present have given it.Here Davidson's bête noir is Leo Strauss, whom he regards as projecting his own dissimulating tactics upon Maimonides, turning him into an atheist (400). Davidson sees Shlomo Pines, adopting Strauss' methodology, as foisting an agnostic posture upon Maimonides. Davidson does not consider a Deistic alternative, probably assuming it incompatible with a creator God. Yet Maimonides' God functions dispassionately in His governance of the world, not knowing individuals directly, and offering them only a collective immaterial immortality.Maimonides exempts Moses and... (shrink)

It is ironic that, with few exceptions, the now vast body of critical literature about Diego Velázquez’s Las Meninas fails to link knowledge to understanding—fails to relate the encyclopedic knowledge we have acquired of its numerous details to a convincing understanding of the painting as a whole. Las Meninas is imposing and monumental; yet a large portion of the literature devoted to it considers only its elements: aspects of its nominal subjects, their biographies, and their roles in the (...) household of the queen or the king. Niceties of court etiquette; concerns about clothing, and shoes , and the small cup of water offered to the Infanta Margarita .This increasingly intimate discussion of the painting’s details is not altogether beside the point; some of this information deserves to be integrated into descriptions of the painting as a whole. But a reader of these descriptive accounts soon begins to suspect they are offered in the hope that some new details might provoke an understanding of the entire painting, might prove to be the key to our comprehension of it. In fact, Las Meninas invites such analysis. Some nineteenth-century critics called it “photographic” in its naturalism , in the profusion of its detail, and in the alleged “snapshot” quality of its composition.1 The underlying motive of this understanding ought not to be dismissed, even thought the photography analogy is clearly grotesque, in terms both of history and visual sensibility. Although we know a great deal about the contention, in seventeenth-century Spanish art theory, that a major function of art is the perfecting of nature according to ideal standards, Las Meninas nonetheless is most commonly taken to be a pure spectacle memorializing an incidental moment, seemingly explicable solely in terms of what is apparent in it. 1. Gustav Waagen, paraphrased in Carl Justi, Diego Velazquez and His Times , p. 419; William Stirling-Maxwell, quoted in ibid. Joel Snyder is associate professor of humanities and of art and design and is chairman of the Committee on General Studies in the Humanities at the University of Chicago. He is currently working on a book about the foundations of perspective. His previous contributions to Critical Inquiry are “Photography, Vision, and Representation,” written with Neil Walsh Allen , “Picturing Vision” , and “Reflexions on Las Meninas: Paradox Lost,” written with Ted Cohen. (shrink)

In today’s business world, the phenomenon of overqualification is widespread. Organizations need to consider – how to motivate the overqualified employees to utilize their qualifications, for example, promoting creative performance. Based on person-organization fit theory, this study explored when and how employees, who feel overqualified can engage in creative performance. Data were collected from 170 supervisor-subordinate dyads of 41 groups in 10 manufacturing companies across two timepoints in China. Results revealed that perceived overqualification is positively related to organizational identification when (...) employee development-oriented organizational culture is strong but negatively related to organizational identification when employee development-oriented organizational culture is weak, organizational identification is positively related to creative performance, the indirect relationship between perceived overqualification and creative performance via organizational identification is moderated by employee development-oriented organizational culture. We provide several theoretical contributions to the overqualification literature and make some suggestions to motivate the overqualified employees to use their surplus qualifications within the organizations. (shrink)

This last work by Paul de Man before his death in 1983 brings together what is essentially his complete work on the study of European Romanticism and post-Romanticism.

This last work by Paul de Man before his death in 1983 brings together what is essentially his complete work on the study of European Romanticism and post-Romanticism.

κάτοπτρον, which is in all the manuscripts, was emended by Canter to κάτοπτον, and this emendation, or Headlam's κατόπτην, has been received by subsequent editors. Those who read κάτοπτον have been in the habit of taking the word to mean here ‘looking down upon’, and in support of this interpretation they sometimes adduce a scholium in M, κατόψιον. This does seem to prove that the scholar, whose note is copied in our scholium, found κάτοπτον in his text. Presumably he took (...) Σαρωνικο πορθμο κάτοπτον to signify ‘descried from the Saronic gulf’, having very possibly in his mind the phrase in Euripides, Hippolytus 30, where the temple of Cypris is said to be κατόψιον γς τσδε, visible from Troezen. At least we ought not without proof to lay to his account what appears to be the solecism of regarding κάτοπτον as if it meant ‘looking down upon’. Headlam's κατόπτην has at least an active force, but I cannot find that it means ‘one who looks down upon’, if that is the sense desired; it is a ‘spy’ or an ‘inspector’. And, at the end of all discussion, when one asks what in fact is this peak or headland that ‘looks down upon the Saronic crossing’, then commentators take refuge in silence or tend to contradict one another. An emendation that nobody can be sure he understands can hardly be regarded as satisfactory. It may be feared that what has happened is this. In order to get rid of κάτοπτρον, which appeared to them devoid of meaning, editors have introduced into the text a word which does not mean what they want it to mean, and which, if it had that meaning, would still present us with a picture which no man can recognize. (shrink)

Man is a biosocial entity, so, in the study of his adaptive peculiarities two directions, that is, biologic and social, can be determined. Within the biological framework it is possible to combine evolutionary, genetic, medical-biological and ecological investigations. Recently, the problem of man’s adaptation to profound changes taking place in the environment, under the impact of man’s activity, becomes of growing importance. The second direction of the man adaptation research may be called social or socio-cultural. In the course of social (...) adaptation man acts as an adaptively-adapting entity, inasmuch as, unlike animals, he does not only adapt himself to the environment, but also transforms it in course of his activity, sometimes creating a new environment. The complex study of human being makes necessary a synthesis of natural-scientific and socialhumanitariansides of the man’s adaptation problem. The analysis of the above mentioned directions, of social and biological man’s adaptations research, enables us tocome to the conclusion that no one direction, taking separately, can resolve the problem of man’s adaptation, which has a complicated pattern with many aspects. The man’s adaptation problem emerged within the framework of biology, and during a long time it was of evolutionary-biological character. However, in the course of the development of science it has become an interdisciplinary issue. It may be conceived profoundly and with all aspects only by means of an interdisciplinary synthetic analysis. (shrink)

Behavioural welfare economics has lately been challenged on account of its use of the satisfaction of true preferences as a normative criterion. The critique contests what is taken to be an implicit assumption in the literature, namely that true preferences are context-independent. This assumption is considered not only unjustified in the behavioural welfare economics literature but unjustifiable – true preferences are argued to be, at least sometimes, context-dependent. This article explores the implications of this ‘critique of the inner (...) rational agent’. I argue that the critique does not support a wholesale shift away from the use of true preferences as an evaluative standard in normative economics; instead, the critique implies that behavioural welfare economists need to inquire into and establish the ‘source’ of particular context-dependent choices in individuals’ decision-making. The source determines the permissibility of correcting individuals’ context-dependent choices and can, in some situations, support decisive welfare judgements. (shrink)

This study analyzes Kierkegaard's theory of authorship from a comparative perspective, by using Liu Xie's 劉勰 Chinese literary criticism in Wenxin Diaolong《文心雕龍》as a comparative model. It examines the meaning of an author of literature writing, the spiritual, the aesthetic dimensions and the creative force of compositional literary writing, and finally the goal of writing, as elaborated by these two authors. In Kierkegaard's sense, the quality of writing is mainly tied up with the religious mind of a person, while to (...) Liu, the quality of writing is related to the moral quality of a person. The following examination demonstrates how Kierkegaard and Liu complement and enrich each other in the understanding of authorship and writing. (shrink)

The article examines the situation that has developed in the contemporary age and being named differently: postmodernism, post-postmodernism, digital modernism, metamodernism, etc. It is noted that, despite the difference in naming, all the terms indicate a global crisis of culture and man. The three most important signs of this crisis are identified: degradation of a man – the predominance of his animal nature; total technicism; oblivion of national traditions, sacred things. These features are briefly explained. It is concluded that the (...) basis of these signs is the loss of human spirituality. It is stated that music has extraordinary opportunities to elevate the spiritual needs of a person. It is emphasized that these opportunities contributed to the strengthening of the impact of religious practices within various worships – shamanism, Zoroastrianism, Sufism, and others, which ensured the maintenance of the humanity of the world. It is believed that the use of spiritual-creative possibilities of music will help overcome the existing global crisis and prepare the formation of the era of culture and man, the era called a New Humanism by M. Eliade. It is argued that there are composers in Russia and in other countries today who purposefully use the spiritual-creative potential of music in their work to overcome the crisis that has arisen. We offer an interview with one of them – Russian composer Dmitry Stefanovich. In conclusion, it is noted that the following articles will continue to analyze the processes taking place in contemporary culture, and, in this regard, there will be presented stories about music and interviews with composers from Russia and other countries. (shrink)

In the article I compare the concept of the human “I” of Helmuth Plessner that underlies his philosophical anthropology with the theory of “mirror stage” by Jacques Lacan. Both they have been inspired by the experiment of Wolfgang Köhler in which a child and chimpanzee reacted differently to their image in a mirror. Plessner and Lacan drew different conclusions from this experiment. Plessner maintained that the child who recognizes its image in the mirror as its own takes (...) into account the possibility of its replacement by other “I” on the level of its social roles and functions. Yet, at the same time it knows very well that nobody will be able to replace its own individual “I.” While Lacan says that the ideal image of “I” has the status of the defence-symptom representing an alternative to the feeling of dismembered body that the child experiences in the early phase of its life. This image of “I” is not given forever but is always endangered by the possibility of destruction and regress on its early stage of the dismembered body. The telling testimony of this is the passage au acte by psychotics in which the ouburst of aggression is accompanied by the destruction of “I.” Or the cases in which the I assumes the pathologically exaggerated shape. This possibility of destruction of I that is inherently rooted in its structure has been misrecognized by Plessner. (shrink)

The protagonist of Edith Wharton’s 1904 short story “The Descent of Man” is both scien­tist and satirist. The target of his satire-“false interpreters” of evolutionary theory-allows Wharton to combine analysis of genre with inquiry into the cultural controversy Darwin’s ideas inspired. Anthropocentric anxieties explain popular preference for soothing “pseudo-science” over unsparing accounts of natural selection; they likewise explain widespread obtuseness to Professor Linyard’s ridicule of hazy illogic posing as science. Motivated more strongly by fitness interests than by allegiance to scientific (...) truth, however, the professor becomes complicit in widespread misreading of his own text. He thereby encourages the ignorance he intended to dispel, and Wharton highlights the ironies inherent in this self-sabotage. She insists that susceptibility to evolved adaptations is universal, moreover, and that it often impedes the discovery and promulgation of truth. (shrink)

We are far removed, in this section of the Encyclopedia on memory, from the mnemotechnic icons described by Francis Yates in The Art of Memory and much closer to Augustine's advice about how to remember and to psalmodize Scripture. Memory, for Hegel, is the learning by rote of names, or of words considered as names, and it can therefore not be separated from the notation, the inscription, or the writing down of these names. In order to remember, one is forced (...) to write down what one is likely to forget. The idea in other words, makes its sensory appearance, in Hegel, as the material inscription of names. Thought is entirely dependent on a mental faculty that is mechanical through and through, as remote as can be from the sounds and the images of the imagination or from the dark mine of recollection, which lies beyond the reach of words and of thought[…]No wonder, then, that Hegel's Aesthetics turns out to be a double and possibly duplicitous text. Dedicated to the preservation and the monumentalization of classical art, it also contains all the elements which make such a preservation impossible from the start. Theoretical reasons prevent the convergence of the apparently historical and the properly theoretical components of the work. This results in the enigmatic statements that have troubled Hegel's readers, such as the assertion that art is for us a thing of the past. This has usually been interpreted and criticized or, in some rare instances, praised as a historical diagnosis disproven or borne out by actual history. We can now assert that the two statements "art is for us a thing of the past" and "the beautiful is the sensory manifestation of the idea" are in fact one and the same. To the extent that the paradigm for art is thought rather than perception, the sign rather than the symbol, writing rather than painting or music, it will also be memorization rather than recollection. As such, it belongs indeed to a past which, in Proust's words, could never be recaptured, retrouve. Art is "of the past" in a radical sense, in that, like memorization, it leaves the interiorization of experience forever behind. It is of the past to the extent that it materially inscribes, and thus forever forgets, its ideal content. The reconciliation of the two main theses of the Aesthetics occurs at the expense of the aesthetic as a stable philosophical category. What the Aesthetics calls the beautiful terms turns out to be, also, something very remote from what we associate with the suggestiveness of symbolic form.Paul de Man, Sterling Professor of the Humanities at Yale University, is the author of Blindness and Insight and Allegories of Reading and is currently completing a book tentatively titled The Resistance to Theory. His previous contributions to Critical Inquiry are "Political Allegory in Rousseau", "The Epistemology of Metaphor", and "A Letter". (shrink)

This chapter considers political, psychological, and grammatical forms of connection and their implications for narrative analogies between self and nation developed in relation to the 1707 Union between England and Scotland, and the confederation of the United States in 1776. Reid's and Beattie's ‘refutations’ of Hume propagate the structural tension in his epistemological argument into the assumptions of Common Sense philosophy. Some implications for imaginative literature of tensions between coherent stories and fragmented form are explored in the example of (...) William Duff's History of Rhedi and the work of Henry Mackenzie. Similar issues of style and self-consciousness about language use are discussed in relation to the prose of the American Founders. (shrink)

Normal 0 0 2 false false false EN-US ZH-TW X-NONE MicrosoftInternetExplorer4 Normal 0 0 2 false false false EN-US ZH-TW X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:????; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; mso-bidi-font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:????; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-font-kerning:1.0pt;} Learning styles, much related to motivation and cognitive strategies, has been one of the most frequently discussed topics in the field of foreign/second language (L2) education. (...) There is a considerable body of research on learning styles stemming from the domain of psychology to the conceptual field. As individuals learn in different ways from time to time, from culture to culture, and from context to context, findings of such research can only explain a comparatively small group of people’s temporary perceptions of their learning preferences to a selected subject surveyed. Sternberg (2001, p. 250) notes that “the literature has failed to provide any common conceptual framework and language,” while, according to Reid (1998), the concept is still not well understood. An enduring question for language researchers is the effect of individual differences on the efficacy of language learning (Nel, 2008). Much more research has to be done to address the issue of theoretical coherence as well as aiming for well-rounded empirical findings, tested through replication. Therefore, with an intention to contribute more data to cross-country research, this study investigated the differences and similarities of Chinese and Japanese college students’ perceptions of their current English learning styles through a classroom-based survey. Implications for the teaching and learning are discussed in the final section. (shrink)

In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. My (...) paper starts from the main dimensions of aesthetic experience in the history of Western aesthetics as concluded by Shusterman. In terms of our experiential practices in the fragmentation of modern life and the disjointed sensationalism of the media, I also agree with Shusterman that people are losing the capacity for deep experience and feeling, especially when we are undergoing various extensive series of informational revolutions. My paper is also a response to Shusterman's claim that the concept of aesthetic experience is worth recalling, not for formal definition but for art's reorientation toward values and populations that could restore its vitality and sense of purpose. I mention the recent calls for values and life concerns in art in the Anglo-American aesthetics circles, which has also turned to the possible strength of aesthetic experience, claiming that "Aesthetics is the Mother of Ethics." Amidst the discourse is the review of John Dewey's notion of "aesthetic experience," which claims to support a transcultural view and common patterns, as the relationship is structured around human needs. A basic question posed in the article is whether this Deweyan notion still remains equally influential as in the past and whether it really provides a satisfying answer to the problem of art and value? The discussion will turn then to neo-Confucian aesthetic models for reference, and to point out some meaningful comparative revelations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I chose (...) something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

This study contributes to the growing interest in how hybrid organizations manage paradoxical social–business tensions. Our empirical case is “impact sourcing”—hybrids in global supply chains that hire staff from disadvantaged communities to provide services to business clients. We identify two major growth orientations—“community-focused” and “client-focused” growth—their inherent tensions and ways that hybrids manage them. The former favors slow growth and manages tensions through highly integrated client and community relations; the latter promotes faster growth and manages client and community relations separately. (...) Both growth orientations address social–business tensions in particular ways, but also create latent constraints that manifest when entrepreneurial aspirations conflict with the current growth path. In presenting and discussing our findings, we introduce preempting management practices of tensions, and the importance of geographic embeddedness and distance to the paradox literature. (shrink)

Descartes is well known as a mathematician and natural philosopher. However, none of Descartes's biographers has described the invitation he received in 1633 to fill a chair in theoretical medicine at the University of Bologna, or the fact that he was already sufficiently known and respected for his medical knowledge that the invitation came four years before his first publication. In this note I authenticate and contextualize this event, which I refer to as the ‘Bologna affair’. I transcribe the letter (...) written to the Bolognese Senate announcing efforts to bring Descartes to the university and explain the events that led to Descartes receiving the invitation. While many questions about the Bologna affair cannot be answered because of the paucity of the historical record, I conclude that the event invites us to consider again the larger historiographical issue of how best to integrate the history of medicine with the history of science and philosophy during the early modern period. (shrink)

This paper addresses the appropriation of theories of evolution by nineteenth-century feminists, focusing on the critical response to Darwin's The Descent of Man by Eliza Burt Gamble and Antoinette Brown Blackwell and Charlotte Perkins Gilman's social evolutionism. For Gilman, evolutionism was a revolutionary resource for feminism, one of its greatest hopes. Gamble and Blackwell revisit Darwin's data with the aim of locating, amidst his ostensive conclusions to the contrary, his implicit "defense" of either the equality or the superiority of women. (...) This article identifies the reasons for, and limitations of, this enthusiasm. To some extent, the basis of this feminism is provided by its keen perception of disparities between what a text does, and what it says it is doing. But these feminists did not think through the implications for their own rhetoric about race hierarchy. Darwin's trope of the "savage" would return in the work of some of these feminists, occasionally displaced or rejected, but usually reiterated, and sometimes integral to the feminism in question. (shrink)

Goffman makes considerable use of the metaphor of social life as theater. This metaphor has a significant impact on his thought in three areas: 1) it is central to his changing views about cynicism and trust in everyday life; 2) metaphor in general is a method of sociological inquiry; and 3) metaphor suggests a "limit" that his later work attempts to transcend.

Nietzsche and Shaw are famous and infamous: famous for their innovative and influential forms of writing, but infamous for their apparent support of totalitarianism and Nazism. However, while it has long been shown that Nietzsche’s provocative language about “breeding” and “masters and slaves” was intended to enhance culture through competition, it is still an open question how and when Shaw supported biological eugenics. Via Nietzsche’s “philosophical breeding,” this article presents a new reading of Shaw’s Man and Superman: on the one (...) hand, it contrasts Nietzsche’s philosophical Übermensch with Shaw’s eugenic Superman; and on the other hand, it connects Nietzsche’s agonistic enhancement of culture with Shaw’s philosophical reflections in “Don Juan in Hell.” In contrast to Tanner’s support of eugenic breeding in his Revolutionist’s Handbook, Shaw’s Don Juan remarkably resembles Nietzsche’s notion of “philosophical breeding” toward a more competent, truthful, and autonomous orientation that is needed in increasingly complex global politics. (shrink)

Customers complain because they want to be treated fairly by the company when a service failure occurs. The role of perceived complaint justice and its relation to customer satisfaction has been discussed and researched. However, a static view is mostly adopted in previous literature. We argue that satisfaction is cumulative and both prior satisfaction and post-recovery satisfaction should be looked at in relation to complaint justice in the context of service recovery. This study attempts to fill the gap by (...) investigating the mediating role of justice in the relationship between prior satisfaction and post-recovery satisfaction (both with the recovery and with the organization) and examining the mediating role of post-recovery satisfaction in the relationship between the dimensions of justice and customer retention. Hypotheses were tested using a sample of 200 customers that had service failure experience at Chinese restaurants in Hong Kong. Justice dimensions (distributive justice, procedural justice, and interactional justice) were found to fully mediate the relationship between prior satisfaction and satisfaction with recovery. All dimensions, except the interactional justice, were also found to be partial mediators in the relationship between prior satisfaction and post-recovery satisfaction with organization. Findings also revealed the mediating roles of two post-recovery satisfaction variables in transferring the justice dimensions into behavioral intention, with the two variables playing almost opposite roles. Discussion and recommendations are provided for future development and improvement in building long-term relationship with customers. (shrink)

: This paper addresses the appropriation of theories of evolution by nineteenth-century feminists, focusing on the critical response to Darwin's The Descent of Man by Eliza Burt Gamble (The Evolution of Woman, 1893) and Antoinette Brown Blackwell (The Sexes Throughout Nature, 1875) and Charlotte Perkins Gilman's social evolutionism. For Gilman, evolutionism was a revolutionary resource for feminism, one of its greatest hopes. Gamble and Blackwell revisit Darwin's data with the aim of locating, amidst his ostensive conclusions to the contrary, his (...) implicit "defense" of either the equality (Blackwell) or the superiority (Gamble) of women. This article identifies the reasons for, and limitations of, this enthusiasm. To some extent, the basis of this feminism is provided by its keen perception of disparities between what a text does, and what it says it is doing. But these feminists did not think through the implications for their own rhetoric about race hierarchy. Darwin's trope of the "savage" would return in the work of some of these feminists, occasionally displaced or rejected, but usually reiterated, and sometimes integral to the feminism in question. (shrink)

One of the foundational works of military history and political philosophy, and an inspiration for Alexander the Great, the Anabasis of Cyrus recounts the epic story of the Ten Thousand, a band of Greek mercenaries hired by Cyrus the Younger to overthrow his brother, Artaxerxes, king of Persia and the most powerful man on earth. It shows how Cyrus' army was assembled covertly and led from the coast of Asia Minor all the way to Babylon; how the Greeks held the (...) field against a superior Persian force; how Cyrus was killed, leaving the Greeks stranded deep within enemy territory; and how many of them overcame countless dangers and found their way back to Greece. Their remarkable success was due especially to the wily and decisive leadership of Xenophon himself, a student of Socrates who had joined the Ten Thousand and, after most of the Greek generals had been murdered, rallied the despondent Greeks, won a position of leadership, and guided them wisely through myriad obstacles. In this new translation of the Anabasis, Wayne Ambler achieves a masterful combination of liveliness and a fidelity to the original uncommon in other versions. Accompanying Ambler's translation is a penetrating interpretive essay by Eric Buzzetti, one that shows Xenophon to be an author who wove a philosophic narrative into his dramatic tale. The translation and interpretive essay encourage renewed study of the Anabasis as a work of political philosophy. They also celebrate its high adventure and its hero's adroit decision-making under the most pressing circumstances. (shrink)

Music is fundamental to human existence, a cultural universal among all humans for all times. It is embedded in our evolution, encoded in our DNA, which is to say, essential to our survival. Academics in a variety of disciplines have considered this idea to devise explanations that Richard Manning, a lifelong journalist, finds hollow, arcane, incomplete, ivory-towered, and just plain wrong. He approaches the question from a wholly different angle, using his own guitar and banjo as instruments of discovery. In (...) the process, he finds himself dancing in celebration of music rough and rowdy. American roots music is not a product of an elite leisure class, as some academics contend, but of explosive creativity among slaves, hillbillies, fieldhands, drunks, slackers, and hucksters. Yet these people-poor, working people-built the foundations of jazz, gospel, blues, bluegrass, rock 'n' roll, and country music, an unparalleled burst of invention. This is the counterfactual to the academics' story. This is what tells us music is essential, but by pulling this thread, Manning takes us down a long, strange path, following music to deeper understandings of racism, slavery, inequality, meditation, addiction, the science of our brains, and ultimately to an enticing glimpse of pure religion. Use this book to follow where his guitar leads. Ultimately it sings the American body, electric. (shrink)

Objective: The COVID-19 epidemic has generated great stress throughout healthcare workers. The situation of HCWs should be fully and timely understood. The aim of this meta-analysis is to determine the psychological impact of COVID-19 pandemic on health care workers.Method: We searched the original literatures published from 1 Nov 2019 to 20 Sep 2020 in electronic databases of PUBMED, EMBASE and WEB OF SCIENCE. Forty-seven studies were included in the meta-analysis with a combined total of 81,277 participants.Results: The pooled prevalence of (...) anxiety is 37% from 44 studies. Depression is estimated in 39 studies, and the pooled prevalence of depression is 36%. There are 10 studies reported the prevalence of insomnia, and the overall prevalence of insomnia is 32%. The subgroup analysis showed a higher incidence of anxiety and depression among women and the frontline HCWs compared to men and non-frontline HCWs respectively.Conclusions: The COVID-19 pandemic has caused heavy psychological impact among healthcare professionals especially women and frontline workers. Timely psychological counseling and intervention ought to be implemented for HCWs in order to alleviate their anxiety and improve their general mental health. (shrink)