In, Love and Politics Jeffery L. Nicholas argues that Eros is the final rejection of an alienated life, in which humans are prevented from developing their human powers; Eros, in contrast, is an overflowing of acting into new realities and new beauties, a world in which human beings extend their powers and senses. Nicholas uniquely interprets Alasdair MacIntyre's Revolutionary Aristotelianism as a response to alienation defined as the divorce of fact from value. However, this account cannot address alienation in (...) the form of the oppression of women or people of color. Importantly, it fails to acknowledge the domination of nature that blackens the heart of alienated life. Alienation must be seen as a separation of the human from nature. Nicholas turns to Aristotle, first, to uncover the way his philosophy embodies a divorce of human from nature, then to reconstruct the essential elements of Aristotle's metaphysics to defend a philosophical anthropology based on Eros. Love and Politics: Persistent Human Desires as a Foundation for Liberation presents a critical theory that synthesizes MacIntyre's Revolutionary Aristotelianism, Frankfurt School Critical Theory, and Social Reproduction Theory. It will be of great interest to political theorists and philosophers. (shrink)

Undoubtedly Romantic love has come to saturate our culture and is often considered to be a, or even the, major existential goal of our lives, capable of providing us with both our sense of worth and way of being in the world. The Radicalism of Romantic Love interrogates the purported radicalism of Romantic love from philosophical, cultural and psychoanalytic perspectives, exploring whether it is a subversive force capable of breaking down entrenched social, political and cultural norms (...) and structures, or whether, in spite of its role in the fight against certain barriers, it is in fact a highly conservative impulse. Exploring both the grounds for the central place of Romantic love in contemporary lives and the meaning, extent and nature of its supposed radicalism, this volume considers love from a variety of theoretical perspectives, with attention to matters of gender, sexuality, class and ethnicity. With authors examining a range of questions, including the role of love in the same-sex marriage debate, polyamory and the notion of love as a political force, The Radicalism of Romantic Love illuminates a fundamental but perplexing aspect of our contemporary lives and will appeal to scholars across the social sciences and humanities with interests in the emotions and love as a social and political phenomenon. (shrink)

In Love Notes, a collection of articles, essays, and presentations, Philip McKibbin introduces the Politics of Love and explores the possibilities of this emerging theory. The Politics of Love affirms the importance of love and reimagines our relationships: to ourselves, each other, non-human animals, and the natural environment. This love is inclusive, critical, generous, and constructive. Instead of a politics of fear and distrust, of separation and narrow-mindedness, the Politics of Love presents a new (...) vision that extends beyond individuals, families, the nation state, and even human beings: it is love that will bring about justice for other species, and it may also enable us to address climate change. This book presents an intellectual journey; it charts a course for the future, and invites you to help take the Politics of Love forward. (shrink)

As part of a larger project, this paper serves as an overview that examines how “ai” 愛 as an affective concept made its way into the Chinese vocabulary, how it gained popularity at specific junctures in modern Chinese history, and the ways in which it has been adapted as a marker of modernity and a political discourse in Republican and Communist China in distinct ways. Although literary scholars have noted the significance of the shaping of love as an (...) affective concept for the project of Chinese modernity, they mainly focus on the conceptions and interpretations of love in the literature, and with a time frame from late imperial to Maoist China. The few studies about love in post-Mao era usually attribute the sources of such affect to Christianity. My paper makes a fresh contribution in three aspects. First, I take a longer historical perspective, from the 1910s to the 2010s, and dedicate, secondly, a large part of my study to the decisive impact from revolutionary radicalism to popular religions on the formation of the discourse of state propaganda and everyday politics, rather than manifestations in the literature and sources from Christianity. Third, I study some of the most controversial political figures in modern China, including Sun Yat-sen, Mao Zedong, and Xi Jinping, rather than intellectuals and writers only. (shrink)

By resorting to the spiritual autobiography of Mother Teresa of Calcutta, an important religious and cultural personality of the 20th century, the author tries to emphasise the aspects of political theology that defined her way of acting and thinking and to show how she understood the relationship between religion and politics. Topics like poverty, love, giving, peace, sacrifice or responsibility are presented as keywords in the understanding of a complex vision with interdisciplinary relevance, while the two levels of (...) poverty, namely the material one, often accompanied by physical pain, maladies and other types of suffering, and the spiritual one, that is not necessarily related to the lack of basic material needs and can be found even in developed countries like the United States of America or Japan, are seen through the lenses of political theology. The author shows that, by finding practical bridges between spirituality and politics and by using as sources of inspiration not only Christian thinkers, but also thinkers from other religions, like Ghandi, the Albanese militant accomplished her vocation and also offered important and perennial principles which can help in the understanding of the contemporary world and in finding solutions to some of its crises. Although her message is a sort of combination between theology and social life, the political accents, sometimes theoretical, at other times practical, are important and can be used today for the development of a sustainable discourse for both the theological and the political sphere. CONTRIBUTION: The article brings into attention a spiritual autobiography that was not valorised properly by the contemporary research and in the same time offers an inter-disciplinary approach with ecumenical value. (shrink)

This article critically analyzes Antonio Negri's democratic theory by exploring the theoretical significance of a concept that begins to appear in his writings after the 1990s, namely the concept of ‘love’. Negri's turn to love in the closing pages of his most recent books is puzzling, especially given his earlier recourse to notions of antagonistic struggle, direct confrontation and even violence. Using Jacques Derrida's conception of ‘the supplement’ for interpretive purposes, I argue that the concept of love (...) not only enriches Negri's account of democracy, but also points to a lack within his political thought. During the 1970s, as one of the leading figures of autonomist Marxism, Negri called for a radicalization of antagonism and the use of violence to ensure the political organization of the revolutionary subject without giving up on the emancipatory potential of ‘direct and immediate’ action. In his recent writings, Negri has supplemented the notion of ‘love’ for his earlier emphasis on antagonism to address autonomist Marxism's unresolved question of political organization. And yet, this turn to love comes at a price. Negri's understanding of love as the creative force of revolutionary consciousness leads him to erase the process of political contestation and mediation involved in the constitution of political struggles. Love, then, operates as a dangerous supplement, undermining Negri's commitment to multiplicity and diversity as central aspects of his democratic theory. (shrink)

Rousseau, a philosopher of history? The suggestion may startle those who know him as an enemy of history, the founder of Counter-Enlightenment who rejected his century’s hope in progress and conjured quasi-utopias devoid of time. Alone, the political texts seem to justify this interpretation. Side by side with the Emile and Julie sagas, however, they disclose a new Rousseau, the weaver of a master plot that governs private and public history. This essay describes Jean-Jacques’ overarching narrative and the two (...) main subnarratives that compose it by juxtaposing his political and fictional works. In doing so, it contests current conventions about his ideas on women, challenges assumptions about his educational ideals, retrieves new aspects of his debt to Fénelon, and foregrounds the pivotal role that the idea of ‘true love’ plays in his philosophy as the foundation of political community. (shrink)

My paper explores contemporary socio-political aspects of love-as-power within the newly emerging context of feminist ethics of love, as well as in a broader sense of neoliberal commodification of self-centrism and philosophical urgency for articulating love as togetherness, responsibility and solidarity with others. My theoretical analysis begins with the tensions between the early 20th century collective consciousness represented by the feminist socialist formulations of love as responsibility for the outside world and the existentialist anxiety as (...) related to individual alienation. My analysis culminates in the re-emergence of non-monogamous bonding in Europe as a trope for a new precariousness of family enactments extending beyond the nuclear heteronormativity in the 21st century. (shrink)

All the great ideals that gave life meaning in earlier societies--God, the nation, revolution, freedom, democracy--are in disarray today, widely questioned, and rejected outright by the many people who have lost faith in them. But there is another value, rooted in the birth of the modern family and in the passage from traditional to modern marriage, which has transformed our lives in profound and often unrecognized ways: love. It affects not only our personal lives but many aspects of our (...) social and collective life, too, from art and education to politics. In this book, Luc Ferry shows how the quiet rise of love as the central value in modern societies has created a new principle of meaning and a new definition of the good life that requires a completely different kind of philosophical thinking. It forms the basis for a new philosophy for the twenty-first century and a new kind of humanism for the modern world--not a humanism of reason and rights, but a humanism of solidarity and sympathy. The ideal behind this new realism has nothing to do with nationalism and revolution: it has moved beyond the organized violence that was driven by deadly and often inhumane principles. Instead, it aims to prepare and ensure a future for those we love most: our future generations."--Jacket. (shrink)

This book examines the social and political character of love. Like everything else, love must be seen at multiple levels: human society (in its relation to nature and in relation to the materiality of human life itself); specific forms of class society such as capitalism.

This work seeks to highlight that an understanding of aesthetic practices is essential to the analysis of politics and political processes. If today, aesthetics has become a rather overused term, referring to a variety of historical periods and groups, even states of being (love, melancholy...), nonetheless its relevance as a connecting agent between individual, state and society remains strong. Placing it as a central theme for understanding processes of domination, contestation and transversal links highlights the mobilization of spaces, (...) bodies and objects in a struggle for the exercise of power and the challenges to it. It is impossible to study historical shifts or systems of power without examining the mobilisation of aesthetic languages: of splendour and display, austerity, asceticism, minimalism or restraint. In this book the concern is with the dynamics between the custodians of aesthetics and the dissenters, with the moment, and with change over time. This book approaches contemporary politics through the aesthetics of power and its practices: from the more formal and regulated presence of state power in the public space in the form of official buildings, commemorative monuments, to the aestheticisation of sacrifice in politics and judicial spectacles. The studies presented here promise to lead us further to deepening our understanding of the dynamics of political spaces and the politics of the aesthetic in contemporary politics. (shrink)

Political theology as a normative discourse has been controversial not only for secular political philosophers who are especially suspicious of messianic claims but also for Jewish and Christian thinkers who differ widely on its meaning. These essays mount an argument for a "messianic political theology" rooted in an interpretation of biblical (especially Pauline), Augustinian, and radical reformation readings of messianism as a thoroughly political and theological vision that gives rise to what the author calls "diaspora ethics." (...) In conversation also with Platonic, Jewish, and Continental thinkers, Kroeker argues for an exilic practice of political ethics in which the secular is built up theologically "from below" in the form of public service that flows from messianic political worship. Such a "weak messianic power" practiced by the messianic body inhabits an apocalyptic political economy in which the mystery of love and the mystery of evil are agonistically unveiled together in the power of the cross--not as an instrument of domination but in the form of the servant. This is not simply a matter of "pacifism" but of a messianic posture rooted in the renunciation of possessive desire that pertains to all aspects of everyday human life in the household (oikos), the academy, and the polis. --Book cover. (shrink)

This article will discuss different understandings of love. In particular, two modern perceptions of love will be differentiated: love as consisting of individual, often inconstant, emotions between human beings, and a Christian understanding of love, which is often expressed through caring for other members of the community. Aspects of Christian love will then be examined in ethical terms, emphasising the relevance of love for the diaconal dimension of the church. Before one is able to (...) help one's neighbour, one first has to be actively identified within the complex social structures of society. Next, the nature of diaconal action has to be defined and adapted to individuals who are in need, or who have become needy or been disadvantaged by society, for example, migrant workers, refugees or asylum seekers. A central aspect of diaconal action - in addition to meeting basic needs - lies in giving a voice to such individuals and in empowering them, including politically, to represent their own interests in public life. (shrink)

Hobbes's understanding of love, and its significance for his political thought, has received insufficient attention. This essay contends that Hobbes has a consistent and comprehensive teaching on love that directly repudiates what he regards as the Platonic teaching on eros. In attacking the Platonic idea of eros, Hobbes undermines a pillar of classical political philosophy and articulates a significant aspect of his new understanding of the passions in terms of power, which is itself a critical part (...) of his new political science most famously presented in Leviathan. (shrink)

Lessons from a life of activism and mindfulness for navigating social, political, and ecological crises.

Despite Hannah Arendt’s scepticism about psychoanalysis, this essay shows the relevance of Freud’s psychoanalytic notions of love and sublimation for Arendt. In her rejection of a political relevance of love, Arendt does not take into consideration the libidinal aspects of collective bonds, nor does she give an account of the passionate aspect of being together despite the crucial role of amor mundi in her work. Following Freud, I demonstrate that love and sublimation are fundamental to worldliness, (...) central to our understanding of forgiveness and the making of promises, all of which is pivotal to understanding Hannah Arendt's political thought. In Freud’s writing love and sublimation expand knowledge and creativity and enable community building. By negotiating between Arendt’s and Freud’s writings on love and politics, this article demonstrates that sublimated love mediates between the private and public spheres. The ultimate question I ask concerns the relation between love of the world and its negation by radical evil. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wild LoveCynthia Willett’s Biosocial Eros EthicsAnn V. MurphyI’ll frame my comments in honor of Cynthia Willett’s work in light of two recent anecdotes:Anecdote I: It happened that one evening as I was reading Willett’s most recent monograph Interspecies Ethics—in particular the chapter on animals’ capacity for laughter and humor—my wonderful (if somewhat insubordinate) Airedale terrier, Nora Mae Murphy, heard me laughing, trotted into the living room, jumped on the (...) couch, looked at me with concern, stared down at the book in my hand, then placed her paw on my arm as if to check my pulse, eyes wide and ears slicked back. Nora is used to me reading philosophy at night; but she is not used to me laughing loudly while doing so. Clearly, she was curious. I smiled in recognition of what Nora’s behavior had enabled me to realize: I don’t often laugh when I read philosophy, not like I did that night while reading Willett’s work.Anecdote II: Cindy came out to New Mexico last spring to give the keynote address at our department’s annual graduate student conference. The afternoon she arrived, a few graduate students had arranged to take her on a hike in a nature preserve, a beautiful tract of land alongside the Rio Grande, which winds through Albuquerque. The next day, two of [End Page 50] the graduate students were in my office and I asked how the hike went. The students looked at each other, shuffled a bit, and stared at the floor until one announced, “Well, we kind of got locked in the preserve.” Me: “You got locked in the nature preserve?” “Yep, but it all worked out okay. She was cool with it,” one student reported. The other added: “Yeah, she’s pretty wild.”That conversation happened months before I was asked to speak on and to Willett’s work, but that conversation, that compliment, that word—“wild”—came to mind many times as I was preparing these comments in her honor. And I mean “wild” in the best sense: as rowdy and irreverent and joyful. There is a wildness to Willett’s texts in their performative aspect, one that marks them as singular. Bucking certain philosophical tendencies to overindulge a metaphorics of war and violence, Willett’s own work evinces an entirely different philosophical orientation, one that takes love, and more specifically eros, as its bedrock. The wildness of Willett’s ethical philosophy comes into play in the truly variable scenes in which Willett locates eros and its promise. It’s a wild kind of love that informs Willett’s ethics, one that refuses domestication, refuses to be hemmed in by the borders between species, refuses to be fixed. The scope that Willett assigns eros is broad, countering the tendency to reduce it to the sexualized and sentimental contexts in which it is often placed.1At the heart of Willett’s deliberations across her four monographs and many articles is an abiding concern with, and celebration of, eros as a site of social, political, and ethical promise. A preoccupation with eros is evident in her work from the very beginning. In her first monograph, Maternal Ethics and Other Slave Moralities (1995), Willett frames her project in reference to Audre Lorde’s claim (in Lorde’s essay “Uses of the Erotic: The Erotic as Power”) that European American culture has perpetuated an understanding of power that parses the erotic from the spiritual and political and as a consequence has “suppressed the deepest source of power and knowledge in our lives” (Lorde 1984, 55, cited in Willett 1995, 7). This first book suggests new conceptions of freedom and ethical subjectivity based on social eroticism, a project furthered in her second monograph The Soul of Justice: Social Bonds and Racial Hubris (2001), where hubris is understood with and against the Greeks as an assault on this primary sociality. “In response to the Greeks we might say that the person is born, not of honor, but of love. Sociality, or social eros, and not honor is the origin and the goal of the person and the positive core of freedom... (shrink)

This book reviews Iris Murdoch’s thought as a whole. It surveys the breadth of her thinking, taking account of her philosophical works, her novels and her letters. It shows how she explored many aspects of experience and brought together apparently contradictory concepts such as truth and love. The volume deals with her notions of truth, love, language, morality, politics and her life. It shows how she offers a challenging provocative way of seeing things which is related to but (...) distinct from standard forms of analytical philosophy and Continental thought. Unlike so many philosophers she does offer a philosophy to live by and unlike many novelists she has reflected deeply on the kind of novels she aimed to write. The upshot is that her novels and her philosophy can be read together productively as contributions to how we can see others and the world. (shrink)

What is the spirit that animates collective action? What is the ethos of democracy? _Worldly Ethics _offers a powerful and original response to these questions, arguing that associative democratic politics, in which citizens join together and struggle to shape shared conditions, requires a world-centered ethos. This distinctive ethos, Ella Myers shows, involves care for "worldly things," which are the common and contentious objects of concern around which democratic actors mobilize. In articulating the meaning of worldly ethics, she reveals the limits (...) of previous modes of ethics, including Michel Foucault's therapeutic model, based on a "care of the self," and Emmanuel Levinas's charitable model, based on care for the Other. Myers contends that these approaches occlude the worldly character of political life and are therefore unlikely to inspire and support collective democratic activity. The alternative ethics she proposes is informed by Hannah Arendt's notion of _amor mundi_, or love of the world, and it focuses on the ways democratic actors align around issues, goals, or things in the world, practicing collaborative care for them. Myers sees worldly ethics as a resource that can inspire and motivate ordinary citizens to participate in democratic politics, and the book highlights civic organizations that already embody its principles. (shrink)

Perhaps the most distinctive aspect of Italian-language rap in the 1990s has been the close association of some popular performers with the nation's radical Left. Through a critical reading of the imagery, lyrics and other writings of two of Italy's best known rap bands, this essay seeks to explore the tensions between cultural labour and political commitment in the social centres movement.

In recent years the issue of wellbeing has moved centre stage across jurisdictions within a wide range of debates relating to economic, cultural and political changes associated with neoliberalism. This is the backdrop against which the legal profession has itself begun to pay increasing attention to the issue of wellbeing in law. This article explores an aspect of this debate that has tended to be neglected thus far, namely the relationship between the neoliberal corporatisation of universities, gender and questions (...) of wellbeing in the legal profession and law schools. It assesses the meaning of wellbeing in the context of law and considers changes in universities that, it is argued, have reshaped understandings of the academic subject and academic labour in ways that have potential implications for this debate around wellbeing in law. Focusing on gendered dimensions of these shifts, the article argues that the growing literature around wellbeing raises significant questions about legal ethics, values and gender equity in law, as well as about legal professionalism and the place and purpose of legal education and research. Arguing against an individualising logic that would depoliticise personal experience, the paper suggests a complex re-gendering of social relations is having contradictory implications for understanding these contemporary debates around wellbeing, equality and diversity in law. (shrink)

Nicolas Berdyaev’s spiritual autobiography was, unfortunately, the least well-known of his publications. Therefore, we will try to shed light on it, emphasising its philosophical and political value. We will describe the manner in which the author speaks in order to deepen our understanding of it. We will also consider the genesis of some of his works, noting the influence his spiritual experiences had on them. We will emphasise some of the main political aspects his spiritual autobiography contains, showing (...) its usefulness in areas like political theology. Therefore, we will present the interdisciplinary value of this autobiography, together with its potential for building bridges between spirituality and different areas of science in an analysis dedicated to providing a holistic understanding of his work. We will observe how his spiritual experiences informed his way of thinking, allowing him to critique topics like modernity, a system based on freedom, love and human dignity and a profound understanding of eschatology as the accomplishment of the world and its mission.Contribution: The research investigates Berdyaev’s memorial work showing why it can be considered a spiritual autobiography and it emphasises also its relevance for the philosophical area. (shrink)

This set of 12 papers collates together experiences, lessons, and good practice drawn from Oxfam GB and its partners' global program work on the theme of "the Right to be Heard". Each paper focuses on a different project and demonstrates varying ways of working which can strengthen the participation of people in poverty as active citizens in the shaping of policy decisions. Many poor people around the world are denied the opportunity to have their say. Politics generally works well for (...) those in power, but those in poverty are often excluded from forums on issues that directly affect their welfare and so are unable to hold decision-makers to account. Due to this lack of opportunity to influence debates, many government policies and resource allocations systematically marginalize the people who most need support and assistance and so block progress towards reducing poverty and suffering. These papers cover different approaches, lessons learned, and useful case examples on issues ranging from local community budget monitoring to popular mobilization and media work. Throughout the papers, the authors highlight how addressing a lack of voice and ability to speak out against injustice, as well as the more tangible aspects of the situation, can make a big difference to people's ability to achieve greater well-being and get out of poverty, and so work towards a point where poor and marginalized women and men are more powerful and able to access their rights. (shrink)

Although critical of what she calls the `antipolitical' forces of love and sovereignty, Arendt reluctantly embraces these aspects as the basis of politics itself. I explain this paradox by arguing that Arendt seeks to balance Greek and Roman notions of freedom with modern conceptions of the will. The solipsistic will poses a threat to politics. Yet the will is a fact of modern life and cannot be ignored. I argue that despite her embrace of classical understandings of freedom as (...) contingency, Arendt seeks to limit contingency and even freedom itself. She does this to accommodate the will which must have some sense of agency and continuity in order to be able to function at all. Arendt argues that sovereignty can, if properly constrained, produce a `certain limited reality' and can serve as a basis for politics. I claim that Arendt sacrifices her classical ideals, allowing for the possibility of a modern, lesser version of freedom. (shrink)

My aim is to show how Aristotle's theory of friendship supports his thesis that happiness requires virtuous activity. Ethical behavior is valuable, according to the Nicomachean Ethics, not solely because it uses reason (the immoral can use reason too), but also because it is the expression of a loving attitude towards other persons. By emphasizing this aspect of virtuous activity, I defend Aristotle against the charge that his high estimation for pure intellectual activity commits him to an unethical doctrine. I (...) also argue that his theory of love helps explain why he considers the political life second only to the philosophical life. (shrink)

Although critical of what she calls the `antipolitical' forces of love and sovereignty, Arendt reluctantly embraces these aspects as the basis of politics itself. I explain this paradox by arguing that Arendt seeks to balance Greek and Roman notions of freedom with modern conceptions of the will. The solipsistic will poses a threat to politics (it is the source of sovereignty itself). Yet the will is a fact of modern life and cannot be ignored. I argue that despite her (...) embrace of classical understandings of freedom as contingency, Arendt seeks to limit contingency and even freedom itself. She does this to accommodate the will which must have some sense of agency and continuity in order to be able to function at all. Arendt argues that sovereignty can, if properly constrained, produce a `certain limited reality' and can (along with love) serve as a basis for politics. I claim that Arendt sacrifices her classical ideals, allowing for the possibility of a modern, lesser version of freedom (which in her view is better than no freedom at all). Key Words: love • promising • sovereignty • will. (shrink)

A little over one hundred years after his birth, and not quite twenty-five years since his death, interest in the French political philosopher and sociologist Raymond Aron continues to grow. Aron is now widely recognized as one of the most significant intellectual figures of the postwar period, whose wide-ranging reflections played a key part in preserving liberal democracy in Europe and abroad. His sober analyses of modern society, his trenchant critique of ideological politics and every form of totalitarianism, and (...) his philosophical reflections on politics and history have given powerful support to democratic liberalism throughout the western world. Aron's work combines passion and observation, disinterested reflection and love of liberty in a way that is an imitable model for humane and balanced political reflection. In this stimulating collection of essays, inspired by the centennial of Aron's birth, a distinguished group of North American and European scholars—including Pierre Manent, Stanley Hoffmann, Irving Louis Horowitz, Liah Greenfeld, Claude Lefort, and Aurelian Craiutu—examine four key aspects of Aron's thought and work: his educative legacy; his reflections on other philosophers and intellectuals; his distinctive approach to international relations; and the unique character of his own political reflection. The result is a masterful engagement with Aron's intellectual legacy and a thoughtful coming to terms with the political and intellectual substance of the twentieth century. (shrink)

Does remorse imply self-hatred? In this paper, I argue that self-hatred is a false response to one’s wrongdoing because it is corrupted by the vice of pride, which affects the perception of its object. To identify the detrimental operation of pride, I propose to study the process of change of heart and its impediments. I use the example of Kostelnička, from Janáček’s opera Jenůfa, to show that the impediment to remorse is active already as a source of wrongdoing and self-deception. (...) I identify three different aspects of Kostelnička’s pride: social ambition, defensive anger, and moral ambition. I show that it is pride as moral ambition that prevents the wrongdoer’s acknowledgment of her blameworthiness by causing her obsession with her blameless self-image and corrupting her self-love. In the last part of the paper, I reject Kostelnička’s initial self-hatred before her change of heart, because it is not based on an accurate judgement of her agency. Kostelnička’s true remorse is thereupon connected with her inner transformation towards humility and with a reorientation of her attention towards the victim of her wrongdoing, as testified in her plea for forgiveness. The implied moral improvement and reconstitution of her relationship to herself and others opens the way for her coming to terms with her guilt. (shrink)

An important and original new contribution to lesbian and gay studies, We Are Everywhere brings together the key primary sources relating to the politics of homosexuality. Presenting political, historical, legal, literary, and psychological documents which trace the evolution of the lesbian and gay movement, it includes documents as diverse as organization pamphlets, essays, polemics, speeches, newspaper and journal articles, and academic papers. We Are Everywhere includes writings from the beginnings of the gay and lesbian movement in the 19th century (...) by Karl Ulrichs, Magnus Hirschfeld, and John Addington Symonds; legal and government studies concerning rights of gay and lesbian citizens; articles from the early US liberation movement publications such as Mattachine Review , The Ladder and ONE ; documents from the first days of the AIDS epidemic to current activism; statements and writings from the movements within "the movement" (bisexuals, S/M, conservatives); and finally, a look at the future of lesbian and gay politics. Together the documents allow readers to examine a diverse set of issues: the concept of gay love before "homosexuality," the development of political movements based on homosexual identity, the history of government persecution of homosexuality, the impact of feminism on the modern lesbian and gay rights movement, and the emergence of queer theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 3. © 2018 by Feminist Studies, Inc. 699 Jennifer C. Nash The Political Life of Black Motherhood In 1976, Adrienne Rich wrote, “We know more about the air we breathe, the seas we travel, than about the nature and meaning of motherhood.”1 In the four decades since the publication of Rich’s now-canonical Of Woman Born, Andrea O’Reilly has argued for the advent of “maternal (...) theory” as an academic discipline, the maternal memoir has become a highly popular (and profitable) literary genre, and there has been sustained attention to maternal activism with scholarly analyses of such organizations as Mothers Against Drunk Driving and Mothers of the Movement.2 If Mamie Till Bradley boldly “let the world see” her son’s mutilated body in a 1955 public plea to make visible black suffering and antiblack violence, Valerie Castile’s statement after a jury found a police officer not guilty in the death of her son continued in the tradition of 1. Adrienne Rich, Of Woman Born: Motherhood as Experience and Institution (New York: W. W. Norton, 1995), 11. 2. See Andrea O’Reilly, ed., Maternal Theory: A Reader (New York: Demeter Press, 2007); Ann Hulbert, “The Real Myth of Motherhood,” Slate, March 8, 2005; Jennifer C. Nash and Samantha Pinto, “Strange Intimacies: Reading Black Mothering Memoirs,” Public Culture (forthcoming); Danielle Poe, Maternal Activism: Mothers Confronting Injustice (Albany: SUNY Press, 2016); and Ruth Feldstein, Motherhood in Black and White: Race and Sex in American Liberalism, 1930–1965 (Ithaca, NY: Cornell University Press, 2000). 700 Jennifer C. Nash Books Discussed in This Essay Revolutionary Mothering: Love on the Front Lines. Edited by Alexis Pauline Gumbs, China Martens, and Mai’a Williams. Oakland, CA: PM Press, 2016. Laboring Positions: Black Women, Mothering and the Academy. Edited by Sekile Nzinga-Johnson. Bradford, ON: Demeter Press, 2013. How All Politics Became Reproductive Politics: From Welfare Reform to Foreclosure to Trump. By Laura Briggs. Oakland: University of California Press, 2017. Birthing Justice: Black Women, Pregnancy, and Childbirth. Edited by Julia Oparah and Alicia Bonaparte. New York: Routledge, 2016. making black (male) pain visible through grief-stricken black motherhood. Castile said, My son loved this state. He had one tattoo on his body and it was of the twin cities, the state of Minnesota with “TC” on it. My son loved this city, and this city killed my son and the murderer gets away.... We’re not evolving as a civilization, we’re devolving, we have taken steps forward, people have died for us to have these rights and now we’re devolving, we’re going back to 1969.3 Her emotional plea reveals the political currency of black maternal suffering, one of the few spaces in which black pain is readily culturally visible. Indeed, there has been intensified scholarly and popular interest in representing black motherhood as both a site constituted by grief and expected loss and as a political position made visible (only) because of its proximity to death. It is certainly the case that a cultural inattention to motherhood has been replaced by an intense investment in representing at least some aspects of “the nature and meaning of motherhood” and 3. “Philando Castile’s Mother Reacts to Verdict,” Washington Post video on YouTube, posted on June 16, 2017, https://www.youtube.com/watch?v=RJsD4cCpUA. Jennifer C. Nash 701 in representing certain mothers—particularly black mothers—as symbols of trauma and injury, of pain that can be mobilized for “legitimate” political ends and social change. If, as O’Reilly suggests, maternal theory is now a distinct field, it has been fundamentally shaped by the intellectual and political labor of black feminists—Dorothy Roberts, bell hooks, Alice Walker, Patricia Hill Collins, Hortense Spillers, and Audre Lorde—who have captured the myriad ways that black maternity is cast as pathological, excessive, and marked by aberrant performances of gender and heterosexuality that threaten both the nuclear family and the heterosexual state. Drawing on a varied archive from the Moynihan Report to cultural panics about “kids having kids,” from ongoing representations of black women’s “failure” to breastfeed as a public health crisis to the racialized underpinnings of birth control, black feminist theory... (shrink)

In his play Clizia Machiavelli explores the nature of comedy, indicating the rhetorical difference between his political and his literary works. Comedy, a safe and decent medium that is at the same time subversive and appealing to the young, provides the means for instructing the future prince about the art of love. This education is necessary, according to Machiavelli, because the erotic desires and longings of the future prince guide his princely ambition while posing a danger to its (...) successful accomplishment. The more subversive and indecent aspect to this education, however, is Machiavelli's attempt to undermine the piety of the future prince by raising profound questions about love and the Providence of the God of Love in order to replace it with his own teaching on virtu and Fortuna. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Political Emotions: Aristotle and the Symphony of Reason and EmotionJason IngramPolitical Emotions: Aristotle and the Symphony of Reason and Emotion by Marlene K. Sokolon. De Kalb: Northern Illinois University Press, 2006. Pp. ix + 217. $38.00, cloth.In this book Marlene Sokolon develops Aristotle's theme that virtue, both individual and social, consists of a harmonious interplay of reason and emotion. The nine chapters of Political Emotions: Aristotle (...) and the Symphony of Reason and Emotion argue for the continued relevance of Aristotle's work. The first chapter uses the metaphor of a symphony to outline Aristotle's view of emotions as necessary to the proper exercise of reason in a good society. Reason should not master emotion, Sokolon explains, but, rather, should function like a parent to train good emotional responses. Emotions are inherently political and can enrich or endanger a political order depending on how they are modulated. The second chapter assesses Aristotle's fit with current research into emotion by discussing areas where his conclusions are consistent with contemporary findings. Emotions are not reducible either to thought or to physiological reactions, they have a social component, and they involve judgments as well as perceptions. Chapters 3 through 9 consider particular emotions, following Aristotle's Rhetoric to illustrate their political and rhetorical components. Emotions have a Janus face, in that they can present a beneficial or a baneful aspect. The final chapter and conclusion connect Aristotle's account to recent work in political science, suggesting lines of future research. Aristotle's narrative provides [End Page 92] topics for understanding how reason can transform emotions, as well as how emotions can distort or improve deliberation.The book is not about rhetoric, though Sokolon weaves rhetoric's capacity to shape judgment and perception, thereby altering emotions and their intensity, into her discussion of each emotion. She explains that persuasive speech can "turn" emotional judgments and draws a parallel between rhetoric's capacity to induce audiences to adopt emotions and reason's ability to persuade individual emotional response (20). Emotions such as anger, love, fear, and even shame have roles to play in a good society. For example, anger against tyranny can provide a valuable spur to change, while well-grounded fear can motivate effective self-defense. Sokolon begins her account by discussing anger's possible merit in political decision making and ends by considering how emotions such as anger can motivate attempts to overthrow tyranny. Aristotle thus redeems seemingly negative emotions in the process of explaining their political value. Because they are potentially so powerful and because they shape perception and judgment, emotions pose threats. Love in the form of civic friendship provides an essential foundation for community stability, but excessive love can corrupt judgment by fostering improper partiality. Therefore Aristotle considers emotions such as love and hate to be limited goods. The idea that a moderate amount of hate can be good for a just society seems to strike a jarring note today, given hatred's propensity to breed bigotry, but Aristotle has in mind hatred of flatterers and the unjust.Emotions are "Janus-like" in that they can be helpful or harmful depending on how they are activated and habituated. Sokolon reiterates the idea that a good society will cultivate habits to modulate emotional response based on reason to explain each emotion's dangerous and productive potential. For example, excessive fear can corrupt deliberation, and excessive confidence can lead to disaster. A "middle" between extremes can habituate individuals to desire justice and motivate appropriate action: without appropriate confidence soldiers will not fight, and without appropriate fear citizens will not provide sufficient means of defense. However, the formal notion that we should search out a virtuous mean for each emotion based on our character and context typically lacks substantive content; the extent to which Aristotle's work might help contemporary audiences to sustain such virtue remains mostly implicit. What counts as proper emotional habituation will be radically contingent, and the book's aim is not to describe contemporary political regimes or to offer interventions. Nonetheless Sokolon sprinkles brief discussion of keystone speeches by [End Page 93] leaders such as Susan B. Anthony, Winston Churchill, Frederick Douglass... (shrink)

The paper puts forward an analytic definition of “love” that is intended to characterize the use of the word in expressions of the form “He/she loves...” It is proposed that when “love” is used in such contexts, it denotes “a disposition towards either (i) desiring a perceived good or desiring union with it, either as an end itself or with it being a source of delight in itself or (ii) desiring good for a particular object for its own (...) sake.” The first of these might be referred to as unitive love and the second as contributory love. A defense of the definition is offered by considering its application to a number of seemingly problematic cases. Many of the puzzling features of “love” arise from the disjunctive nature of its use – that we use “love” when either unitive or contributory love is present. Confusions arise when we take what can be said about unitive love, and apply this to contributory love, or vice versa, or when we assume all uses of “love” entail both unitive and contributory aspects. Consideration is given to the implications of the proposed definition and distinctions for cultivating love within society, marriages, political life, and media. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Political Affections: Civic Participation and Moral Theology by Joshua HordernMichael P. JaycoxPolitical Affections: Civic Participation and Moral Theology By Joshua Hordern NEW YORK: OXFORD UNIVERSITY PRESS, 2013. 312 PP. $125.00Hordern asks his reader to consider that the decline of participatory democracy in Western societies may be ameliorated by a renewed appreciation of the role of emotions in politics. Creatively retrieving many elements of the Augustinian tradition, he (...) argues that the “evaluative intentionality” of emotions is an imperfect type of moral insight whereby human beings both participate in and conform themselves to the created “order of value” (40, 77). Although the power of sin profoundly destabilizes human inclinations, emotions can become stable moral guides through a process of “intersubjective verification” (81). Hordern claims that the epistemological capacities of socially stabilized emotions are substantial enough to enable the community to “participate in and evaluate the goods with which institutional practices are concerned, recognize the authority of those who promote the proper ends of those goods, and initiate common political reflection and deliberation” (142).Bringing these insights to bear upon his own political context, Hordern claims the “resentment,” “alienation,” and “disillusionment” that some British citizens feel toward the cosmopolitan project of the European Union stands as [End Page 213] evidence that “law which is not primarily rooted in the locality which it governs will run the risk of opposing the affections of the people” (22, 23, 242). Working from the premise that “local loves are the fertile soil in which more wide-ranging loves may grow,” Hordern champions “the politically beneficial possibilities of a limited ethnocentricity,” by which he means that emotions shared in smaller communities and within nation-states motivate citizens to attend to the common good most effectively (224, 240).Anticipating the objections to this proposal, Hordern assures his reader that the influence of Christianity upon democratic processes minimizes the negative effects of ethnocentric nationalism, such as the oppression of socially vulnerable groups. Insofar as Christian emotions participate uniquely in the transcendent order of values, the participation of this community in the temporal order would “disturb, renew, or correct patterns of social trust” (271) and provide “a critical standpoint whereby affections in all institutions may be described and assessed” (164).This reviewer shares some of Hordern’s general premises regarding the intelligence of emotions and their motivational potential in public life. By way of evaluation, however, I find three significant problems with his argument. First, although Hordern grasps Martha Nussbaum’s emotion theory quite well, he habitually mischaracterizes the more central aspects of her moral thought in order to prop up his somewhat more conservative agenda. For example, he accuses her of denying the existence of a “stable moral order” and of endorsing an individualistic concept of agency (98). These inferences fail to account for the highly social and essentialist vision of human flourishing that provides the normative content of her capability theory and her feminist ethic.Second, he offers some weak arguments as he develops his account of emotional stabilization. For example, he alleges that virtue cannot stabilize emotion because it is a form of “epistemological self-dependence” that “tends to block repentant attentiveness,” but this assertion is grounded in his antecedent concern to discredit Aristotelian habituation as a moral theory (110, 101). As he develops his own alternative proposal about intersubjective verification by appeals to “the power of memory,” he glosses over significant counterarguments concerning the “contested” nature of social memories of historical events (110, 115).Third, Hordern does not propose any universal norms of justice capable of checking the authority of particular civil governments. For example, he seems dismissive about the moral dangers of emotionally motivated nationalism, the gravity of which he attempts to minimize by emphasizing the critical aspect of Christian political participation. (The historical record of fascism in Europe would hardly support such a claim.) Nevertheless, he presumes a tacit normative point of reference every time he offers a political judgment. For example, he claims that civil authority should caution “against overreaching [End Page 214] itself in pride,” but this is to beg the question of what the interventionist role of governments should be vis-à-vis systemic injustice (198).Political... (shrink)

Philip Pettit has identified some interesting apparent commonalities among core human values like love, friendship, virtue, and respect. These are all, Pettit argues, ‘robustly demanding’: they require us to provide certain benefits across ranges of alternative scenarios. Pettit also suggests a general ‘rationale’ for valuing such goods, which draws on his work on freedom. In this paper, I zoom in on love in particular. I critically assess whether Pettit’s schematic account of love’s value adequately captures what we (...) typically value in valuing love. And I scrutinize the analogy Pettit suggests between the rationale for valuing freedom and his rationale for valuing love. My conclusion is that whereas Pettit’s account of love and its value does not strictly speaking contain false propositions, it ends up being a somewhat skewed account of love’s value. Finally, I bring up some widely discussed aspects of love’s value not captured by Pettit’s account. (shrink)

Reimagining Eroticism through Embodied Aesthetics: A Feminist Reading 1. The Epistemological and Ethical Aspects of the Arts of Love In the debate of contemporary thought and its intersections with philosophy, aesthetics, and the politics of the self, Richard Shusterman’s Ars Erotica (AE) makes a significant and inspiring contribution. The book delves into the intricate relationship between aesthetics and eroticism, offering a unique perspective on the relation between the ancient notion of d...

This essay poses a critical response to Strauss’ political philosophy that takes as its primary object Strauss’ philosophy of Law. It does this by drawing on recent theoretical work in psychoanalytic theory, conceived after Jacques Lacan as another, avowedly non-historicist theory of Law and its relation to eros. The paper has four parts. Part I, ‘The Philosopher’s Desire: Making an Exception, or “The Thing Is...’’’, recounts Strauss’ central account of the complex relationship between philosophy and ‘the city’. Strauss’ Platonic (...) conception of philosophy as the highest species of eros is stressed, which is that aspect of his work which brings it into striking proximity with the Lacanian-psychoanalytic account of the dialectic of desire and the Law. Part II, ‘Of Prophecy and Law’, examines Strauss’ analysis of Law as first presented in his 1935 book, Philosophy and Law, and central to his later ‘rebirth of classical political philosophy’. Part III, ‘Primordial Repression and Primitive Platonism’, is the central part of the paper. Lacan’s psychoanalytic understanding of Law is brought critically to bear upon Strauss’ philosophy of Law. The stake of the position is ultimately how, for Lacanian psychoanalysis, the Law is transcendental to subjectivity, and has a founding symbolic force, which mitigates against speaking of it solely or primarily in terms of more or less inequitable ‘rules of thumb’, as Plato did. Part IV, ‘Is the Law the Thing?’ then asks the question of what eros might underlie Strauss’ paradoxical defense of esoteric writing in the age of ‘permissive’ modern liberalism – that is, outside of the ‘closed’ social conditions which he, above all, alerts us to as the decisive justification for this ancient practice. (shrink)

On political and social life issue in Malaysia.

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Efforts to develop a coherent role for white people in racial justice initiatives in the USA are often stymied by the defensiveness, paternalism, and guilt of many white liberals. Such efforts are also undermined by critiques of whiteness that conflate white identity and white supremacy. I address this dilemma by developing an account of antiracist white identity politics, conceived of here as taking responsibility for the effects of being socially defined as white. I locate conceptual resources for this project in (...) James Baldwin’s reflections on tragedy, love, and identity. In contrast to those who invoke Baldwin to argue for abolishing white identity, I make a case for politicizing it. I draw on Baldwin’s articulation of a tragic sensibility to argue that white antiracism requires accepting a morally compromised identity one has not chosen. It also requires accepting that serious efforts to end white supremacy inevitably lead to mistakes, misunderstandings, and counterproductive outcomes. By adopting a tragic perspective on these aspects of white antiracism, white people would become more capable of forging antiracist white identities through robust engagement in struggles for racial justice. (shrink)

Nietzsche’s Immoralism begins a two-volume critical reconstruction of a socialist, democratic, and non-liberal Nietzschean politics. Nietzsche’s ideal of amor fati (love of fate) cannot be individually adopted because it is incompatible with deep freedom of agency. However, we can create its social conditions thanks to an under-appreciated aspect of his will-to-power psychology. We are driven not toward domination and conquest but toward resistance, contest, and play―a heightened feeling of power provoked by equal challenges that enables the non-instrumental affirmation of (...) suffering. This incompatibilist, anti-teleological psychology leads to Nietzsche’s distinctive immoralism: the abandonment of cultural means of human improvement for a historical materialist politics of breeding that produces future higher types through changes to our political order’s material conditions. Politics becomes first philosophy: it is not grounded in moral values but is instead the very source of their legitimacy. Moreover, despite Nietzsche’s professed aristocratism, his immoralism offers a stronger foundation for a renewed left, attacking conservative politics at its very root: the belief in moral order, authority, and responsibility. (shrink)

In this essay, we examine certain key aspects of Nietzsche’s contribution to the ongoing debate concerning the nature and status of philosophical wisdom. We argue that, for Nietzsche, philosophical wisdom is tantamount to a “disruptive wisdom” which is expressed in a “permanent critique of ourselves” and our entire mode of existence. Philosophical wisdom, so construed, is not a matter of finding “metaphysical comfort” in consoling theories, images, or ideas; nor is it a matter of offering consolation for frustration and suffering. (...) Instead, it is about disrupting or rupturing those prevailing “human, all too human” myths and illusions that perpetuate human frustration and suffering—especially the myths and illusions associated with what Nietzsche terms the “hitherto reigning ascetic ideal” in the West. By disturbing our “dogmatic slumber” in common-place beliefs and values, Nietzsche’s “untimely” atopic philosophers of “disruptive wisdom” evoke the promise of alternate forms of humanity: new ways of valuing the earth and our life on it, new paradigms for a way of life to be achieved in the future. Disruptive philosophers and the wisdom they impart, help liberate and inspire us to experiment with new ways of thinking and valuing, all of which contribute, as Nietzsche sees it, to the reconstituting and “fashioning of the self” as a transformed “second nature”. (shrink)

A quarterback like Green Bay's Aaron Rodgers gambles with a Hail Mary pass at the end of a football game when he has nothing to lose - the risky throw might turn defeat into victory, or end in a meaningless interception. Rodgers may not realize it, but he has much in common with figures such as George Washington, Rosa Parks, Woodrow Wilson, and Adolph Hitler, all of whom changed the modern world with their risk-loving decisions. In The Power of Nothing (...) to Lose, award-winning economist William Silber explores the phenomenon in politics, war, and business, where situations with a big upside and limited downside trigger gambling behavior like with a Hail Mary. Silber describes in colorful detail how the American Revolution turned on such a gamble. The famous scene of Washington crossing the Delaware on Christmas night to attack the enemy may not look like a Hail Mary, but it was. Washington said days before his risky decision, "If this fails I think the game will be pretty well up." Rosa Parks remained seated in the White section of an Alabama bus, defying local segregation laws, an act that sparked the modern civil rights movement in America. It was a life-threatening decision for her, but she said, "I was not frightened. I just made up my mind that as long as we accepted that kind of treatment it would continue, so I had nothing to lose. (shrink)

This small book explores the political thought of Lucretius, by analysing De rerum natura. Nichols does not move immediately to the last section of Book V, which discusses clearly political phenomena; rather he locates that section within the place it has in the entire poem. Writing in the Straussian tradition, Nichols analyses not only the sections of the poem relevant to the political enterprise, but discusses the form and movement of the poem as a whole. Chapter 1 (...) asks how we can take such an apparently antipolitical and antireligious tradition—the Epicurean—as serious political philosophy, answering that the Epicurean-Lucretian materialist atomism, and its consequences for our understanding of the whole of things, represents a fundamental philosophic alternative to the Socratic-idealist political tradition. The traditions agree, though, on the primacy of philosophy for genuine human fulfillment. Chapter 2 elucidates Lucretius’ non-Epicurean choice of a poetic medium for his philosophy. Nichols ties it both to the need for beauty to conceal Lucretius’ bitter doctrine of the whole of things until Epicurean philosophy can replace politics and religion, and also to poetry’s "psychagogic utility." These claims are often made of Plato’s use of poetry. It is thus unfortunate that Nichols does not discuss the differences and similarities between Plato’s and Lucretius’ use of poetry, because Plato’s political project, and hence his dramatic philosophical presentations, seems essential to his philosophy, whereas "The element of poetry does not arise naturally or automatically from the Epicurean doctrine." Chapter 3 describes the character of the poem as a whole. Nichols works through the development from the first two Epicurean metaphysical principles to the Lucretian teaching which opposes the fear of death and the chains of love. This teaching does not rest on the overcoming of false religious fears but rather on not attributing "something more than belongs to our mortal condition to oneself or to another." It is this thesis in its metaphysical, theological, and political dimensions that is the core of Nichols’ reading of Lucretius. Chapter 4 deals specifically with Lucretius’ political concerns. Its two themes are Lucretius’ evaluation of the development of current political society, and his response to the bitter truth about man’s relationship to a thoroughly nonteleological universe. Both themes are, to say the least, bleak. traces the "natural" development of political society out of primitive association and through pre-political life. While this development is "natural," and in a way mandated by human desires, Nichols is clear that "... the most striking aspect of Lucretius’ treatment of political society is his depreciation of political life... There is no indication that Lucretius thinks the city achieves any other good purpose". describes the tension between religion and politics, and philosophy. The former try to replace or control fears and excess desires by other fears and desires. "Only philosophy" "can purge a man’s heart of unnecessary desires and thus enable him to live well without fear...." Chapter 5 compares Lucretius with Hobbes, Montesquieu, and Rousseau: "... all three share a hopefulness for fundamental improvements in man’s lot that sets them apart from Lucretius...." Nichols’ book presents a consistent picture of Lucretius’ work as a whole, and of the interrelationship of themes in it which lie beyond the domain of politics.—J.R. (shrink)

In her foreword to Science Next, Elizabeth Edwards wrote of science as a tool for social progress: "Innovation is not simply the abstract victory of knowledge [or] the research that gave me years to live; the next science can advance human flourishing and serve the common good. That's the kind of world I want to leave for my children, and for yours." With these words, she joined a tradition that goes back to America's founders, who saw America itself as a (...) "great experiment." Yet while no one can deny that science undergirds the American Dream, it has long been fertile terrain for the "culture wars." Along with arguing the pros and cons of abortion and healthcare, policymakers must now grapple with advancements that raise questions about what it means to be human: we've decoded the genome, but should we modify it to enhance certain "desirable" traits? If we can, should we prolong life at any cost? Will we soon be counting robots, cyborgs, and chimeras among our friends and family?The first book to unpack our love/hate relationship with science from our country's origins to today, The Body Politic is essential reading for science buffs and concerned citizens alike.Jonathan D. Moreno is editor of the Center for American Progress' online magazine Science Progress and professor of bioethics at the University of Pennsylvania. Author and editor of many seminal books and articles on science and science policy, he divides his time between Philadelphia, PA, and Washington, DC. (shrink)

Religious discourse can be harsh and disconnected. In our time, determined atheists strive to refute fundamentalist beliefs promoted by demagogues for political purposes. In the news, we hear about the spiritual needs of the secular. Practicing clergy no longer believe what their congregations want them to preach. Edward W. Lovely’s new book George Santayana’s Philosophy of Religion is therefore a timely publication, as it focuses on a philosopher who showed great appreciation of religious stories and ideas, even though, as (...) a confirmed naturalist, he did not believe them.Lovely emphasizes the Roman Catholic foundation of Santayana’s religious ideas. In the first chapter, he spells out Santayana’s religious background. The second and third chapters are devoted to explicating Santayana’s philosophic system. In the fourth chapter, Lovely presents Santayana’s philosophy of religion. In the final chapter, “Aspects of Santayana’s Legacy to Religion in the Third Millennium,” the reader can fi. (shrink)

This collection of eminently practical advice from the likes of Socrates, Plato, Diogenes, Pythagoras, and Aristotle covers subjects as diverse as money, child-raising, politics, philosophy, law, and relationships--all aspects of life and how to live it. Thomas Cleary has translated these sayings and aphorisms from the Arabic sources that preserved Greek thought throughout the Middle Ages. Many of the texts no longer exist in the original Greek. Included in the book is an appendix that presents resonant sayings and fragments from (...) Buddhist, Taoist, and Muslim sources, demonstrating the universal quality of the teachings of the Greek sages and hinting at the interaction between Western and Eastern cultures. (shrink)

Following and extending the recent tradition of Kierkegaard–Levinas comparativists, this essay offers a Levinasian commentary on salient aspects of Kierkegaard’s ethico-religious deliberations in Works of Love, a text that we are unsure whether or not Levinas actually read. Against some post/modern interpreters, I argue that one should adopt both a Jewish and a Christian perspective (rather than an oversimplified either/or point of view) in exploring the sometimes “seamless passages” between Kierkegaard and Levinas’s thought. The first argument of this essay (...) is that interhuman ethical relationships, as seen by Kierkegaard and Levinas, are premised upon an original asymmetry or inequality. Ethical alterity requires more on the part of the responsible I for the destitute Other. However, this original ethical alterity is not at all the last word in loving and healthy human relationships. In the second section of this study, a dual asymmetry on the part of each participating human yields an “asymmetrical reciprocity,” or in Kierkegaard’s words, “infinity on both sides.” While they are of no concern␣to me, your ethical duties to me are revealed to you upon our face-to-face encounter.Here I offer a Kierkegaardian–Levinasian response to Hegel’s and Buber’s thoughts that humans essentially desire recognition, mutuality, and reciprocity from one another in intersubjective relationships. Hegel and Buber are more or less correct, but when seen from a Kierkegaardian and Levinasian perspective, we are offered resources for understanding more precisely how and why their accounts are accurate. Hegel and Buber offer us the second phase of the argument, whereas Kierkegaard and Levinas show us the first and primary phase of interhuman relationships – the revealed and infinite ethical responsibility to the Other person. (shrink)

With unflinching gaze and uncompromising intensity Julius Evola analyzes the spiritual and cultural malaise at the heart of Western civilization and all that passes for progress in the modern world. As a gadfly, Evola spares no one and nothing in his survey of what we have lost and where we are headed. At turns prophetic and provocative, Revolt against the Modern World outlines a profound metaphysics of history and demonstrates how and why we have lost contact with the transcendent dimension (...) of being. The revolt advocated by Evola does not resemble the familiar protests of either liberals or conservatives. His criticisms are not limited to exposing the mindless nature of consumerism, the march of progress, the rise of technocracy, or the dominance of unalloyed individualism, although these and other subjects come under his scrutiny. Rather, he attempts to trace in space and time the remote causes and processes that have exercised corrosive influence on what he considers to be the higher values, ideals, beliefs, and codes of conduct--the world of Tradition--that are at the foundation of Western civilization and described in the myths and sacred literature of the Indo‑Europeans. Agreeing with the Hindu philosophers that history is the movement of huge cycles and that we are now in the Kali Yuga, the age of dissolution and decadence, Evola finds revolt to be the only logical response for those who oppose the materialism and ritualized meaninglessness of life in the twentieth century. Through a sweeping study of the structures, myths, beliefs, and spiritual traditions of the major Western civilizations, the author compares the characteristics of the modern world with those of traditional societies. The domains explored include politics, law, the rise and fall of empires, the history of the Church, the doctrine of the two natures, life and death, social institutions and the caste system, the limits of racial theories, capitalism and communism, relations between the sexes, and the meaning of warriorhood. At every turn Evola challenges the reader’s most cherished assumptions about fundamental aspects of modern life. A controversial scholar, philosopher, and social thinker, JULIUS EVOLA (1898-1974) has only recently become known to more than a handful of English‑speaking readers. An authority on the world’s esoteric traditions, Evola wrote extensively on ancient civilizations and the world of Tradition in both East and West. Other books by Evola published by Inner Traditions include Eros and the Mysteries of Love, The Yoga of Power, The Hermetic Tradition, and The Doctrine of Awakening. (shrink)