In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Critical Tales: New Studies of the Heptaméron and Early Modern CultureDora E. PolachekCritical Tales: New Studies of the Heptaméron and Early Modern Culture, edited by John D. Lyons and Mary B. McKinley; xii & 296 pp. Philadelphia: University of Pennsylvania Press, 1993, $36.95.What a difference a decade can make. In 1983 H. P. Clive’s slim Marguerite de Navarre: An Annotated Bibliography made pointedly clear the marginal position of (...) this author in the French Renaissance literary canon, and the relative obscurity of her Heptaméron (there were less than 200 entries dealing with her unfinished collection of stories that first appeared in 1558). The 500th anniversary of Marguerite’s birth in 1992 brought with it a remarkable outpouring of reflections on this neglected masterpiece. Critical Tales ranks among the best of such undertakings. Eclectic in its approach, the volume comprises fifteen articles by scholars whose analyses advance the reader’s appreciation of the Heptaméron in all “its inexhaustible complexity” (p. 279).As complex as Marguerite’s tales may be, Lyons and McKinley have done an admirable job making their volume’s contents as accessible as possible to the growing number of scholars interested in the work both as text and as important artifact in the history of the evolution of narrative. All the articles are in English (with three translated from French). Citations from the Heptaméron appear in French, but for each, the editors include the corresponding page numbers in the most accessible English translation. In addition to a selected bibliography, the volume provides a useful index.The volume’s introduction presents the dominant issues, as well as a sketch of each article’s vantage point. The editors then divide the book into three sections: “Generic Transformations and Graphic Transgressions” (with articles by Robert D. Cottrell, Hope Glidden, Marcel Tetel, Donald Stone, and Tom Conley); “Narrative Systems and Structures” (with articles by Michel Jeanneret, Cathleen M. Bauschatz, François Cornilliat and Ullrich Langer, McKinley herself, Philippe de Lajarte, and André Tournon); “Character and Community” (with articles by Daniel Russell, François Rigolot, Paula Sommers, and Edwin M. Duval). The epilogue that follows, by virtue of its length and quality, could easily be considered the sixteenth article in the collection. It shows how these heterogeneous pieces relate to issues of narrative and narrative theory.Just how radical an upheaval did the Reformation cause? The contributions bear witness to the major changes in ways of thinking and writing that played themselves out even in secular texts. The theological tensions caused by the evangelical movement are evident in all three sections of the volume, and the introduction will lead readers to the relevant essays. Among them, Rigolot’s striking allegorical reading of novella 32 in terms of “The Magadelen Controversy” (i.e., was she really one person or a conflation of three different women?) demonstrates why the discoveries of the intellectually driven philological projects of such humanists as Lefèvre d’Etaples posed such pragmatic [End Page 392] quagmires for the late medieval church. Another piece likely to cause discussion is Duval’s “Et puis, quelles nouvelles?” His lexical findings on the Renaissance meaning of nouvelle lead him to conclude that the ten characters assembled at Saint-Serrance “do no tell tales” but rather “report news” (p. 245). For Duval the evangelical resonances of the “Good News” highlight the fundamental philosophical dilemma in the discussions of the frame story characters: how to reconcile living in the world of news while still abiding to the Word of the Good News.For articles more specifically on narrative theory, readers will benefit from the epilogue by using its insights and directional signs to locate those essays particularly relevant to their interests. Among these, two focus on the interplay between the revolution in printing and narrative strategies. In “Modular Narrative and the Crisis of Interpretation,” Jeanneret shows how the short tale structure of the Heptaméron was part of an important Renaissance trend favoring creation of “modules,” defined as moveable segments of discourse that could be reassembled and put to other uses, while at the same time allowing for the intercalation of commentary. In his “The Graphics of... (shrink)

This work studies the Great Council of Malines as an institution. It analyzes the Council's internal organization and staff policy, its position within the broader society of the Austrian Netherlands, the volume and nature of litigation at the Council, and its final years and ultimate demise in the late 18th and early 19th century. By means of this institutional study, this volume provides insight into the role played by the Great Council in the process of state-building in the 18th century (...) Austrian Netherlands. While superior courts were once considered to be the prime agencies of change in the Early Modern Period, tools par excellence for the sovereigns' striving towards centralization and superiority, their position in the 18th century has so far been barely touched upon. This work focuses specifically on the 18th century supreme court of the Austrian Netherlands, and provides a broad overview with attention to other aspects of the tribunal's functioning and to its role in 18th century attempts at state formation. (shrink)

Introduction. Analyzing the popularity of television series in the XXI century makes it possible to conclude that this format of video production has changed significantly in comparison with the second half of the XX century: the fascinating (seductive, enchanting) function in it dominates over the narrative-entertaining one. At the same time, not only the individual performer becomes the instrument of fascination, but the entire specially created visual environment of the series. This situation makes it possible for a researcher, on the (...) one hand, to identify the most significant emotional and psychological needs of modern society and thereby clarify some of the philosophical and anthropological aspects of today’s culture. On the other hand, it makes it possible to classify serial production on the basis of hedonistic values, that is, to identify the basic models by which the fascinating environments of popular serials are created. One of such models, the existential one, becomes the subject of special attention in the article. The purpose of the study is to present the existential model as one of five generative models of the screen spectacle on the basis of analyzing visual cues from the 2020 television series (Tales from the Loop. Amazon Studio, Fox 21 Television Studios, USA, 2020); to consider «Tales from the Loop» as a screen model that gives a viewer the experience of philosophical and anthropological reflection. Methods: In the course of the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensually perceived qualities of object-spatial screen images; a hermeneutic method that makes it possible, on the basis of visible sign structures, to reveal the deep intentions of a visual image. The scientific novelty lies in the fact that we consider the television series as an anthropological phenomenon, not only reflecting the interests, aspirations and values of the society, but also modeling the society through a deep suggestive (fascinating) influence. A typology of such environments is created, corresponding to basic hedonistic needs and reflecting the degree of demand for certain states of pleasure in modern society. The method of creating a visual environment that draws a viewer into a state of philosophical reflection, which in this case is interpreted as a way to achieve «the fulfillment of being» (Aristippus), is specially clarified. Results. In the course of the analysis, the authors applied to television production a hedonistic-ontological typology of a visual image, which includes five generative models; a targeted analysis of the popularity of the most influential television series of the 2000s – 2020s was carried out, taking into account the level and causes of spectator fascination; as exemplified by the television series «Stories from the Loop» and in the course of the analysis of its visual components, it becomes clear how the modern series succeeds in involving a viewer in a state of philosophical reflection. Conclusions. The philosophical and anthropological analysis of the modern television series shows that the entertainment and narrative functions that are relevant for the twentieth century have been replaced by the function of fascination, a deep influence on a viewer at a suggestive level. In this case, the purpose of fascination is to involve a viewer not only in hedonistic states of pleasure, but also in states of faith or philosophical reflection. (shrink)

Modern, Stevie In the movie Exodus set in 1947, Paul Newman plays a Jewish 'people smuggler' Ari Ben Canaan in an amusing early scene where he disguises himself as a British soldier. Ben Canaan fools a commanding officer into signing off on the transport of recent holocaust survivors out of detention in Cyprus, making the officer believe the survivors would be shipped back to Germany.

The traditional view of cognition as detached from emotions is recently being questioned. This study aimed to investigate the influence of emotional valence on the accuracy and bias in the representation of numbers on the mental number line (MNL). The study included 164 participants who were randomly assigned into two groups with induced positive and negative emotional valence using matched arousal film clips. Participants performed a computerised number-to-position (CNP) task to estimate the position of numbers on a horizontal line. The (...) results showed that participants in the positive valence group exhibited a rightward bias, while those in the negative valence group showed an opposite pattern. The analysis of mean absolute error revealed that the negative valence group had higher error rates compared to the positive valence group. Furthermore, the MNL estimation pattern analysis indicated that a two-cycle cyclic power model (CPM) best explained the data for both groups. These findings suggest that emotional valence influences the spatial representation of numbers on the MNL and affects accuracy in numerical estimations. Our findings are finally discussed in terms of body-specificity and the Brain’s Asymmetric Frequency Tuning (BAFT) theories. The study provides new insights into the interplay between emotions and numerical cognition. (shrink)

In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The most famous masters (...) engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work. (shrink)

Is the endeavour to probe the meaning of modernity other than a form of self-obsession, a kind of collective and conceptual narcissism, characteristic of the perhaps peculiarly modern preoccupation with abstract notions and inwardness? And whatever the motivation and origin, is the endeavour likely to issue in something better than doubtful or empty pronouncements, true to the extent that they are platitudes and false or obscure for the rest? Encountering the title Modernism as a Philosophical Problem one can (...) imagine a Rortyean reading: modernism a philosophical problem?—and the commentary: well, if you think that, you do have a problem, namely, philosophical pretentiousness and an affliction for foundations, for ultimate principles that, if truly ultimate, are unattainable and also unnecessary. In a different voice, a similar cynicism can be heard, the Lyotardean lament at the announcement of yet another unneeded philosophical meta-narrative, a new, idle tale about history, ideas and development, culminating in grand notions confounded by facts. (shrink)

In _The Coloniality of the Secular_, An Yountae investigates the collusive ties between the modern concepts of the secular, religion, race, and coloniality in the Americas. Drawing on the work of Édouard Glissant, Frantz Fanon, Aimé Césaire, Sylvia Wynter, and Enrique Dussel, An maps the intersections of revolutionary non-Western thought with religious ideas to show how decoloniality redefines the sacred as an integral part of its liberation vision. He examines these thinkers’ rejection of colonial religions and interrogates the narrow conception (...) of religion that confines it within colonial power structures. An explores decoloniality’s conception of the sacred in relation to revolutionary violence, gender, creolization, and racial phenomenology, demonstrating its potential for reshaping religious paradigms. Pointing out that the secular has been pivotal to regulating racial hierarchies under colonialism, he advocates for a broader understanding of religion that captures the fundamental ideas that drive decolonial thinking. By examining how decolonial theory incorporates the sacred into its vision of liberation, An invites readers to rethink the transformative power of decoloniality and religion to build a hopeful future. (shrink)

"Cheng" is a key term in Chinese culture. At the same time, it has been widely viewed as an "elusive," even "the most unintelligible term" by both Chinese and Western scholars, because of its various, sometimes even contradictory usages and definitions. This dissertation points out that cheng possesses a core meaning--consistency. It is shared by all the usages and definitions, and legitimizes their validity as the members of the cheng family. ;The idea of cheng evolves mainly through two traditions, the (...) traditions of influence and of reality. The first one emphasizes the impact of cheng on other people. It claims that cheng is the ultimate source from which comes a series of positive consequences. The second one treats cheng as essential attribute, or reality of a thing. It can explain why a thing exists as itself. Between the two traditions, cheng/influence is more prominent and complicated. ;The tradition of influence in turn divides into two sub-traditions, the sub-traditions of transformation and of change. One stresses that the sage with perfect cheng will effortlessly enlighten people, necessarily draw them to follow him. The goal of social transformation will be automatically realized in the above two-way process. The other emphasizes that cheng in a person's heart/mind can be made actively radiate out, impact on other people, and stimulate, inspire, and persuade them to do what the person treasures and wishes. The first one characterizes cheng in mainstream Confucianism, while the second is often found in various philosophers out of the mainstream. ;The work of Song Confucians signifies the summit of the evolution of the idea of cheng. They construct a system, with the notion of heaven, or the heavenly way as its foundation, and that of the transformation as its framework. In modern times, due to both theoretical rejections and practical challenges, the notion of heaven is decisively damaged. This results in the collapse of the system. The present task is not to rebuild the precious parts of the cheng tradition on the discredited heaven, but to rearrange them around the original core meaning. (shrink)

Junzi (君子 gentleman) is the ideal personality for Confucius. To perform benevolence ( ren 仁) and righteousness ( yi 義) is the responsibility of a junzi. A junzi also esteems bravery, which takes benevolence and righteousness and the justification of the enterprise as its prerequisites. A junzi must do things properly and act in accordance with the mean ( zhongyong 中庸). How does one achieve the mean? The person concerned needs to be flexible with the principles and the circumstances of (...) the situation. A person is not born a junzi, but to become one. And to become a junzi, one needs to cultivate one’s character, which includes the cultivation of the inner spirit and the literature and arts. Confucius’ theory of junzi is still relevant in modern times, and modern society needs a new type of junzi. (shrink)

Junzi (君子 gentleman) is the ideal personality for Confucius. To perform benevolence ( ren 仁) and righteousness ( yi 義) is the responsibility of a junzi. A junzi also esteems bravery, which takes benevolence and righteousness and the justification of the enterprise as its prerequisites. A junzi must do things properly and act in accordance with the mean ( zhongyong 中庸). How does one achieve the mean? The person concerned needs to be flexible with the principles and the circumstances of (...) the situation. A person is not born a junzi, but to become one. And to become a junzi, one needs to cultivate one’s character, which includes the cultivation of the inner spirit and the literature and arts. Confucius’ theory of junzi is still relevant in modern times, and modern society needs a new type of junzi. (shrink)

The great chain of being is an ontological conception in which all beings, from inanimate things to God, are ranked on a scale according to their perfectness. This hierarchical scheme, though widely known in the history of ideas, was systematically addressed by Arthur Lovejoy in 1936. The great chain of being as formulated by Lovejoy is composed of three main principles, whose roots can be found in Plato and Aristotle’s philosophies. These principles are “the principle of plenitude”, “the principle of (...) gradation” and “the principle of continuity.” The first principle, the principle of plenitude, was pointed out in Plato’s philosophy and the latter two, the principle of gradation and the principle of continuity, were addressed in Aristotle’s philosophy. According to Lovejoy, these three principles were systematically addressed in Plotinus’s philosophy and became an essential part of Neo-Platonic cosmology. Platon explains the abundance of beings with reference to the absolute goodness of the God in his famous book Timaios. Accordingly, God has absolute goodness and this attribution has given rise to an abundance of beings as goodness requires the existence of things. The other two principles, the principle of gradation and the principle of continuity, were forwarded by Aristotle and through his works affected Western thought. While the principle of gradation refers to the ranking of beings in a chain based on the criteria of their perfection, the principle of continuity is the natural consequence of that ranking in that all beings share at least a minimum level of similarity. Plotinus synthesized and systematized those three principles as an expression of ranked beings specific to emanation theory and added three hypostasis -One, Nous, and Soul- in addition to the natural world addressed in Aristotle’s works. Therefore, we see that beings were ranked from inanimate things to God in Plotinus’s works. This concept of hierarchical order of beings, the great chain of being, affected many cultures and philosophical ideas from Classical Islamic philosophy to the Western tradition. In this article, we confine our subject to only Western thought, including Medieval Christian theology and philosophy, the Renaissance period, and the Age of Enlightenment as well as a peculiar implication and interpretation of the great chain of being specific to modern times. In every period we will deal with just one thinker and their ideas to demonstrate the effect of the great chain of being on those thinkers’ philosophies and systems. In this context, we examined how Thomas Aquinas used the great chain of being to justify some theological and philosophical matters and tried to show how he utilized the principle of continuity effectively to explain the relationship between matter and soul. Marcilio Ficino, a Neo-Platonist philosopher of the Renaissance period, also used the great chain of being to explain the hierarchical order of beings and their ontological relationship to the perfect being, which is God, placing them in a rising line according to their closeness to God. On the other hand, when we come to the Age of Enlightenment we see that the great chain of being continues to be apparent in some philosophical works. One example is John Locke’s famous book An Essay Concerning Human Understanding. Here Locke tries to make sense of the existence of many species of spirits with reference to the great chain of being, especially by using the principle of continuity. This attempt of justification shows us that the great chain of being, as an old philosophical and ontological concept, was still used even in the Enlightenment. Finally, it would be beneficial to address how the chain of being in question was presented and understood in modern times. Unlike the justification of some philosophical or theological subjects, in modern times the hierarchical structure of the great chain of being has been anachronistically read into the theory of evolution with reference to some medieval Muslim philosophers’ works. This approach, however, springs from the figural similarities between the great chain of being and the theory of evolution, although the contents of both theories are completely different. It would be accepted easily that similarities in figure do not necessitate similarities in content. In short, the great chain of being has been very effectively used in the history of philosophy to justify different subjects in different areas such as philosophy and theology. In this article, we address the usages of the chain in question and trace its effects specific to the Western tradition from the ancient period to modern times. (shrink)

As last year's 200th anniversary celebrations of the first publication of Mary Godwin Shelley's novel Frankenstein; or, The Modern Prometheus came to a close, it seemed there could be nothing that remained unsaid about the work and its enduring cultural influence. Academic conferences had begun two years earlier: in June 2016, the Brocher Foundation hosted one of the first international meetings to examine the importance of the novel for our time. The Brocher Foundation, situated in Hermance, Switzerland—just a few miles (...) along Lake Geneva from the Villa Diodati, the site in June 1816 of Mary Godwin's inspiration for her famous gothic tale—was the perfect place for such an event. Since... (shrink)

Jain ādhyātmik (spiritual, mystical) poets from the 17th to 19th centuries (e.g., Banārasīdās, Ānandghan, Cidānanda) elaborated a category of ineffability to discuss the pure experience of the soul or self (ātma-anubhava). These early-modern Jain poets mobilized a very specific understanding of the ineffable, one that resists language and logocentrism as sources of delusion and conflict. The focus on the ineffable in this poetry is always attended by a set of terms that qualify the ādhyātmik view. These are a privileging of (...) the neutral (samatā), experience (anubhava), and on the other hand, a demotion of opinion, partisanship, doctrinarism, and bigotry (matawālā, mata-arthi, mata-jaṅgī). This paper will show that a shared constellation of terms, intertextuality, and a rejection of partisanship and logocentrism bound a group of Jain poets from the 17th to 19th centuries to a particular endorsement and understanding of ineffability; one which was authorized and emboldened by an engagement with Jain philosophical plurality and non-absolutism. The poetry exhibits a frequent co-occurrence of ādhyātmik anubhava with the Jain the epistemological system known as saptabhaṅgī (Jain seven-valued predications), of which avaktavya (sometimes translated as ineffable or non-assertable) is a prominent aspect. The association philosophically grounds ādhyātmik positions and reinforces their assertion that some aspects of reality, namely ātma-anubhava, are ineffable and beyond the realm of phenomenal predication. (shrink)

Current interdisciplinary research points to a connection between the emotional relationship with nature and factors resulting from modern lifestyles, such as insufficient exercise and time spent in nature, and excessive use of information and communication technologies. These factors are often associated with the healthy development of school-age children. In the literature, ‘connectedness to nature’ is usually described as a term that measures the emotional and positive relationship between people and nature. The research was conducted on a sample of respondents consisting (...) of primary school pupils, their parents and teachers in primary schools in Croatia and Slovenia (N=1345). In the research, the adapted scale of the Connectedness to Nature Index (Chang and Monroe, 2012) was used as a measurement tool. It was found that connection with nature is rated with high scores, but also that there is no statistically significant correlation of the rating of connectedness to nature among pupils, parents and teachers in Croatia, but only among Slovenian respondents. The implications of the research results are reflected in the consideration of this topic for further research in the field of education. (shrink)

I have vigorously absorbed the negative element of the age in which I live, an age that is, of course, very close to me, which I have no right ever to fight against, but as it were a right to represent. The slight amount of the positive, and also of the extreme negative, which capsizes into the positive, are something in which I have had no hereditary share. I have not been guided into life by the hand of Christianity – (...) admittedly now slack and failing – as Kierkegaard was, and have not caught the hem of the Jewish prayer shawl – now flying away from us – as the Zionists have. I am an end or a beginning.1. (shrink)

This paper discusses the relationship between rational thought and rational action, between philosophy and politics, in a perspective in which this relationship, if properly understood, turns out to be decisive for the repoliticisation process that seems to impose itself as an urgent obligation of our time. It will be shown that the ancient Greek experience of understanding philosophy and politics, transformed in modernity in a certain way, is also relevant to the contemporary emancipation of our rational life. And in (...) this context of rational life, it is shown that thought is always a political act and politics, in turn, always presents specific thought. (shrink)

Since the end of the nineteenth century it has been known that the year 1000 passed without any particular notice in Europe; only one writer is known to have claimed that the reign of Christ would begin then, and there is no basis for tales of widespread public panic. Only around 1600 did it assume millenarian significance; it is thus a problem in modern, not medieval, historiography. The origin of the myth is Volume XI of the Annales ecclesiastici of Baronius (...) , elaborating on a reference by the Burgundian monk Raoul Glaber. Different passages of Glaber were cited, however: some authors referred to the alleged terror inspired by this year as an illustration of medieval mentalité; others saw in them a remote cause of the Crusades; still others believed that when the anticipated millennium failed to materialize, the result was a decisive change in medieval attitudes. Only in France was the myth of the year 1000 widespread, and only from 1830 to 1870. Michelet was its most important advocate, and it is related to his conception of the epoch-making nature of the French Revolutions of 1789 and especially 1830. (shrink)

The paper considers the possibility of detecting points of contact between Michel Foucault’s theory of power and the theory of communicative agency formed by Jurgen Habermas. In the beginning, the development of the philosophical discourse of modernity, which Habermas analyzes in his work bearing the same title, is laid out, with the aim to gain insight into the nature of Habermas’s critique of Foucault. After having reviewed some of the basis of Foucault’s theory, the author points out Habermas’s depiction (...) of the theory of power as the pinnacle of Nietzschean, anti - modernist stream of the philosophical discourse. The critique is based on Habermas’s assumption that Foucault’s analyses of power fails to comprehend the complexity of modernity. Foucault, according to Habermas, over - emphasizes one dimension of the process of modernization - gradual strengthening of the disciplinatory power based on the "control of the spirit". The author, however, wishes to point out the importance the theory of power ascribes to the preservation of insight into the complexity of history. Through the insight into multiple and divergent nature of historical processes that are responsible for the formation of modern society, the individual becomes historically self - conscious and able to step out of the paradigm of self - relating subject. As the theory of communicative agency also tends to transcend the "limits of the subject - philosophy", the author concludes that Foucault’s work is, to the same extent as Habermas’s, imbued with the idea of "modernity as an unrealized undertaking". Towards the end of the paper the author analyzes Foucault’s relation to Enlightenment, in order to show the essentially modern nature of his thought. (shrink)

The article highlights the impact of globalization processes on formation of dominant worldviews and guidelines, as well as ways and means of representing the latter. The state and prospects of studying intertextuality as an important element of modern world discourses in the projection on the national cultural background are studied. Attention is drawn to the high degree of development of both theoretical and applied aspects of intertextuality of discourses by representatives of academic communities of different countries and fields of knowledge, (...) which gave grounds to establish the polydiscursive and interdiscursive nature of the object of analysis. Orientation of domestic experts on parameterization of mainly specific manifestations of intertextuality within certain discourses at the level of isolated intertexts and presence of gaps in the theoretical description of the phenomenon in the context of national specificity is stated. Emphasis is placed on the definite variability of the terminology due to the interdisciplinary nature of discursiveness and, accordingly, intertextuality. A complementary link has been established between postmodernism as the dominant philosophical worldview and the intertextuality of discourses. The specifics of the intertextuality of contemporary Ukrainian literary discourse with regard to various scientific studies are clarified. The concept of “intertextual memory” is introduced and justification of its use is given. The need to apply the term “postmodern intertextuality” in relation to contemporary literary discourse is considered. The common and distinctive features of the manifestation of intertextuality in literary and journalistic discourses are traced. The specifics of intertextuality of Ukrainian journalistic discourse are described. It is established that the precedent character of the communicative act is of exceptional importance for realization of intertextuality in journalistic discourse. (shrink)

Individual researchers may interpret responsible conduct of research (RCR) in various ways, especially given the diversity of research personnel in modern science. Therefore, understanding individuals’ RCR-related misconceptions is important, as it can help RCR instructors customize their lessons to target learners’ incorrect and incomplete ideas. In this vein, this study aimed to explore whether Taiwanese and American graduate students differ in their perceptions and misconceptions regarding RCR-related concepts and, if so, to determine these differences. A diagnostic assessment, the Revised RCR (...) Reasoning Test (rev-RCRRT), was developed to pursue the intended goal. The rev-RCRRT is a two-tier test capable of diagnosing whether a student’s justifications of ethical acceptance in relation to specific RCR-related concepts are based on incorrect or incomplete ideas of RCR. The current results indicated that, first, participating graduate students’ test performances dropped drastically between the first- and second-tier items, suggesting that they were able to judge the ethical acceptability of given RCR-specific scenarios but lacked the advanced knowledge required to explain their judgments. Second, in general, American students achieved significantly better scores on the rev-RCRRT than Taiwanese students. Third, the two groups held different RCR-related misconceptions centered around various RCR topics. Specifically, Taiwanese students’ misconceptions involved concepts related to authorship, piecemeal publication, and human-subject protection. However, American students sometimes misjudged the issues regarding duplicate submissions and publication and the reproducibility of research and replication of ideas. In summary, through a cross-national comparative method, this study not only suggests that graduate students from different national backgrounds interpret RCR differently but also provides substantial evidence for the employment of a two-tier test approach in RCR-specific contexts. The implications of the current findings for future research and the utility of using two-tier tests in RCR instruction are also discussed in this article. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Modern Biblical Criticism as a Tool of Statecraft (1700–1900) by Scott W. Hahn and Jeffrey L. MorrowSteven C. SmithModern Biblical Criticism as a Tool of Statecraft (1700–1900) by Scott W. Hahn and Jeffrey L. Morrow (Steubenville, OH: Emmaus Academic, 2020), 312 pp.Almost anyone who has suffered through a course in biblical studies at a secular (or, increasingly so, Christian) university, read a book, or heard a lecture from (...) one of its scholarly progenies is acquainted with the litany of hermeneutical absolutes. Among the factum historicum are the following certainties: the Enlightenment rescued the Bible from the Dark Ages; the Old Testament was shaped out of the mythical clay of Hellenism; Israel's priesthood was a lamentable development that hijacked an earlier, socially oriented love-of-neighbor religion, replacing it with its bloodthirsty, sacrificial cult; the Documentary Hypothesis is not merely a theory, but the scientific truth of how the Pentateuch emerged; one must separate the Jesus of history from the Christ of faith; Peter and Paul clashed over their dueling Christianities; and above all, historical criticism is the only reliable lens by which the Bible is to be studied.In Modern Biblical Criticism as a Tool of Statecraft (1700–1900), Hahn and Morrow expose such positivisms as the outflow of Europe's secularized universities over these centuries. Not only did politically motivated institutions seek to diminish the theological truths of Scripture (and sadly, were often successful at it), but they eventually repurposed the Bible as "a work of historical fiction," such that the Sacred Page was "to be studied like other ancient myths and fairy tales; it is one fairy tale among many" (24). The authors present a thoroughly researched and meticulously detailed study of the period, and throughout the book amply demonstrate that the aforementioned tropes (and numerous others), no matter how often or how confidently recited, are merely one slant on "the story of biblical criticism" in the modern age.Taking their lead from the lead of Pope Benedict XVI, Hahn and Morrow provide a much-needed critique of historical biblical exegesis and its "appearance of quasi-scientific certainty."1 These salient words of the biblical-theologian Pope, articulated in a variety of contexts (e.g., Verbum Domini), provide the jumping-off point for this robust three-hundred-page voyage. And it is a journey through a divided and secularized Europe, with notable stops in England, France, and above all, Germany. This "divided" Europe, the authors explain, was not a result of the Protestant [End Page 985] Reformation, nor of the so-called "war of religions" that sprang from it—no. The divisions run much deeper still. Drawing upon Andrew Jones's important Before Church and State, Hahn and Morrow rightly lament the societal competition that developed within late medieval Christendom between church and state.2Building upon Jones's work, the authors rightly stress that there indeed existed "a unified medieval worldview wherein what we might think of as temporal authorities and spiritual authorities were united in a single purpose—the extension of the kingdom of God—and this was the background that unified Christendom" (3). As Jones point out, this earlier period of European history "was a world not of the religious and the secular, but of the New Testament and the Old, of virtue and vice, grace and law.... It was an integral vision which included all of societal reality."3 Sadly, the reality of "sacramental kingdoms," in which there lived a reciprocal respect and vision of unity between throne and alter, was torn asunder long before the 1700s, the time at which the present volume commences. Over time, this formerly unified European world gave way to the very complicated, deeply skeptical, and highly politicized world of nation-states. And biblical criticism (along with many other worthy and creative endeavors), became deeply mired in "statecraft."Here, it is worth mentioning that the book should be approached as the rightful heir to an earlier volume (which involved one of its authors, Hahn), Politicizing the Bible.4 While Modern Biblical Criticism may be intelligently read upon its own merits, the reader would do well to pick up the earlier... (shrink)

Against the background of the contemporary debate about financialisation, the paper conceptualises the capitalist labour economy as fundamentally a monetary system. It argues that money is not a capitalist means of organising its labour economy but that it is rather a capitalist end. The argument examines and finds wanting conceptions of money in political economy, including Keynesianism and neoliberalism, and argues that the debate about financialisation is fundamentally based on the propositions of political economy. It holds that Marx’s critique of (...) political economy conceives of money as the form of value and expounds money-making as the purpose of the capital labour economy. Thus, the labour theory of value is fundamentally a monetary theory of value, labour is the means of valorisation, and that is, of money in process, and as such capital. Making money out of money is capital as its most rational. In the form of credit, money posits wealth as a claim on future surplus value. (shrink)

Traditional Chinese Medicine is often considered an “experiential medicine.” As such, it is seen as in need of conceptual elevation by scientific experiments and theorization, which actualize and undermine scientized forms of TCM. This essay argues that the predicaments of TCM are thoroughly modern and must be understood within the “Modern Constitution” in which the production and proliferation of asymmetries are both constitutive of and obscured by modern knowledge production. This essay dislodges these asymmetries through transdisciplinary engagements with TCM. This (...) transdisciplinary approach, as I will show, allows us to animate the experiential in order to unsettle the relations between the empirical and the conceptual, the concrete and the abstract, and the contingent and the universal. Most importantly, it enables reconsiderations of the experiential and the empirical as conditions for thinking, doing, and being that insist on immanence, move analogously, and travel sideways. Thus, rather than wanting conceptual uplifting, TCM as an experiential medicine could not only work as a critique of the Modern Constitution but also force a conceptual disruption from within by insisting on the empirical as conceptual. (shrink)

This article is an introduction to an ancient Egyptian text called The Tale of the Eloquent Peasant and an argument that it ought to be seen as a classic of political philosophy. After contextualizing the tale as part of a tradition of moral and political philosophy in ancient Egypt, I explore the methods by which the text defines the proper roles of political authority and contrast its approach to justifying political authority with the argument from the state of (...) nature so common in modern Western political philosophy. I claim that the tale's argument from dysfunction anticipates the move in contemporary Western political philosophy towards privileging non-ideal over ideal theory. I discuss challenges in translating the key term in the tale – ma'at – in light of the fact that it can be taken to mean ‘justice’ and/or ‘truth’. Finally, I discuss how the irony at the heart of its narrative can lead us to interpret the tale as having either conservative or revolutionary implications for the political system it depicts. (shrink)

Reinhart Koselleck is an important thinker in part for his attempt to interpret the cultural changes resulting in our modern cultural outlook in terms of the historical categories of experience and expectation. In so doing he tried to pay equal attention to the static and the changing in history. This article argues that Koselleck’s use of “experience” and “expectation” confuses their metahistorical and historical meaning, with the result that his account fails to do justice to the static, to continuity in (...) history, and mischaracterizes what is distinctive of the modern era. As well as reconfiguring the categories of experience and expectation, this essay also introduces a third category, namely, imagination, in between experience and expectation. This is done to render intelligible what is obscure in Koselleck’s account, and as a stimulus to a study of history that divides its attention equally between the static and the changing. In fact, it is argued that the category of imagination is pre-eminently the category of history, on the concrete historical as well as the metahistorical level. (shrink)

The prevailing view about the history of early modern philosophy, which the author dubs “the early modern tale” and wants to convince us is really a fairy tale, has it that the focus on ideas as a solution to various epistemological puzzles, first introduced by Descartes, created difficulties for the traditional ontological scheme of substance and mode. The early modern tale depicts the development of “the way of ideas” as abandoning ontology at least by the time of (...) Berkeley. This, in turn, fostered an antimetaphysical bias as modern philosophy developed further, elevating epistemology to its current primary status in the field. Marc Hight challenges this account by showing how, though the conception of ideas changed over time, the ontological status of ideas remained a central part of the discussion about ideas and influenced how even later thinkers like Locke, Berkeley, and Hume thought about them. By his reading of important texts in early modern philosophy, Hight aims not only to provide a more accurate history of philosophy for this period but also to resuscitate the value of metaphysics for philosophical analysis today.��. (shrink)

Prehistory is an invention of the later nineteenth century. It was in this moment of technological progress and the acceleration of production and circulation, that three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to reckon the age of the Earth; second, to find a point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki's Transfixed by Prehistory (...) considers the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if it was considered through these three, at once consecutive and interwoven, inventions of the longue durée? This book attempts to articulate such a history, which turns out to be more complex than that of an inevitable march of progress leading up to the "Anthropocene." Rather, it's a history of stupor, defamiliarization, regressive acceleration and incessant invention, since the "new" was also found in the deep sediments of the Earth. Composed as much of speed as of slowness, as much of change as of deep time, as much of confidence as of skepticism and doubt, modernity is a complex phenomenon that needs to be thought again. This book focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger) and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology. (shrink)

Prehistory is an invention of the later nineteenth century. It was in this moment of technological progress and the acceleration of production and circulation, that three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to reckon the age of the Earth; second, to find a point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki's Transfixed by Prehistory (...) considers the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if it was considered through these three, at once consecutive and interwoven, inventions of the longue durée? This book attempts to articulate such a history, which turns out to be more complex than that of an inevitable march of progress leading up to the "Anthropocene." Rather, it's a history of stupor, defamiliarization, regressive acceleration and incessant invention, since the "new" was also found in the deep sediments of the Earth. Composed as much of speed as of slowness, as much of change as of deep time, as much of confidence as of skepticism and doubt, modernity is a complex phenomenon that needs to be thought again. This book focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger) and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology. (shrink)

Topics covered in Discrete Mathematics have become essential tools in many areas of studies in recent years. This is primarily due to the revolution in technology, communications, and cyber security. The book treats major themes in a typical introductory modern Discrete Mathematics course: Propositional and predicate logic, proof techniques, set theory (including Boolean algebra, functions and relations), introduction to number theory, combinatorics and graph theory. An accessible, precise, and comprehensive approach is adopted in the treatment of each topic. The ability (...) of abstract thinking and the art of writing valid arguments are emphasized through detailed proof of (almost) every result. Developing the ability to think abstractly and roguishly is key in any areas of science, information technology and engineering. Every result presented in the book is followed by examples and applications to consolidate its comprehension. The hope is that the reader ends up developing both the abstract reasoning as well as acquiring practical skills. All efforts are made to write the book at a level accessible to first-year students and to present each topic in a way that facilitates self-directed learning. Each chapter starts with basic concepts of the subject at hand and progresses gradually to cover more ground on the subject. Chapters are divided into sections and subsections to facilitate readings. Each section ends with its own carefully chosen set of practice exercises to reenforce comprehension and to challenge and stimulate readers. As an introduction to Discrete Mathematics, the book is written with the smallest set of prerequisites possible. Familiarity with basic mathematical concepts (usually acquired in high school) is sufficient for most chapters. However, some mathematical maturity comes in handy to grasp some harder concepts presented in the book. (shrink)

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)

Originally published in different form this is a commentary on "modern man" that is not, and does not pretend to be, a sociological or psychological study. It does claim to be philosophical, but if it is, it is surely not in the Anglo-American analytic tradition. It is concerned with such thinkers as Marcel, Proust, Nietzsche, Sartre, Buber, Dostoyevsky, Kierkegaard, Kafka, Marx and Heidegger, although there is often gross over-simplification of their views and a frequent tendency to confuse the lives of (...) the philosophers with the content of their works. Through the framework of the tale of the Sleeping Beauty and by way of commentary Mr. Harper examines such notions as poetic justice, hope, longing, mystery, promise, waiting, nostalgia and "presence": "something that moves one." The text is ridden with highly dubious and at times unintelligible assertions. But only a minimum of sensitivity is needed to understand that dramatic emphasis is being placed upon certain aspects of the experience of those who may be seriously concerned with the lack of God in the world, those who are shaken, disturbed, and homesick, who turn toward the past to complete a hungry and hollow present. Mr. Harper believes there are few who do not.—D. A. G. (shrink)

The paper provides a commentary on B.G. Yudin's paper devoted to the relationship between technoscience and contemporary human enhancement technologies. In order to discuss these issues I address to T. Kuhn's conception of two traditions in the development of modern science. I show that technoscience belongs to the tradition that Kuhn calls the Baconian or ”experimental" sciences in contrast to the ”mathematical" sciences. I argue that technoscience creates an experimental environment for the study of a human being as an integral (...) part of this environment. (shrink)

"Based on a true story: the early modern tale." In Idea and Ontology, Marc Hight argues that the story we have been told about early modern philosophy is false. What Hight calls the "early modern tale" tells us that beginning with Descartes and ending with Berkeley, metaphysics began its slide into the historical dustbin, replaced by epistemology as first philosophy. The categories of medieval metaphysics, substance and mode, so the story goes, could no longer serve the needs of (...) the moderns, specifically their questions about the nature of ideas. Ideas could not easily be categorized as either substances or modes, and because of this difficulty, metaphysical questions were abandoned in favor of epistemological questions about the nature of representation and certainty. Hight reexamines the early modern tradition to find the metaphysicians behind the epistemologists' masks supposed by the early modern tale.Once the metaphysical questions are revealed as central to early modern philosophy, Hight argues that Berkeley's immaterialism, rather than ridiculous, is the final and triumphant conclusion of the metaphysical speculations of the seventeenth and eighteenth. (shrink)

Galileo’s last publication, his Discorsi e dimostrazioni matematiche intorno a due nuove scienze attenenti alla mecanica & i movimenti locali (1638), is widely considered to be one of the most influential contributions of early modern science to the emergence of classical physics. As the title of Galileo’s book indicates, he himself claimed to have established “two new sciences,” including a new science of motion which, from the perspective of classical physics, indeed turned the Aristotelean theory of motion, which had prevailed (...) for hundreds of years, into an obscure medieval relic. (shrink)

Recent years have witnessed an explosion of debate re what democratic theory has to say about the boundaries of democratic peoples. Yet the debate over the ‘democratic boundary problem’ has been hindered by the way contributors work with different understandings of democracy, of democratic legitimacy and of what it means to participate in a demos. My argument is that these conceptual issues can be clarified if we recognize that the ‘demos’ constitutive of democracy is essentially dual in character: it must (...) be defined from a third-person, observer’s perspective from which it can be represented as a whole entity; but it must also be seen as arising out of an association of numerous and ongoing second-person relationships that participants negotiate among one another. Both perspectives are essential to conceptualizing the demos, but their relation to each other has been obscured by democratic theory’s historical reliance on the imaginary of the sovereign state. Drawing on literature from deliberative democratic theory, this article reconstructs the concept of the demos in a way that better distinguishes the logic of democracy from the logic of the state, allowing us to think more clearly about how demotic boundaries may be subjected to standards of democratic legitimation. (shrink)

Recent years have witnessed an explosion of debate re what democratic theory has to say about the boundaries of democratic peoples. Yet the debate over the ‘democratic boundary problem’ has been hindered by the way contributors work with different understandings of democracy, of democratic legitimacy and of what it means to participate in a demos. My argument is that these conceptual issues can be clarified if we recognize that the ‘demos’ constitutive of democracy is essentially dual in character: it must (...) be defined from a third-person, observer’s perspective from which it can be represented as a whole entity; but it must also be seen as arising out of an association of numerous and ongoing second-person relationships that participants negotiate among one another. Both perspectives are essential to conceptualizing the demos, but their relation to each other has been obscured by democratic theory’s historical reliance on the imaginary of the sovereign state. Drawing on literature from deliberative democratic theory, this article reconstructs the concept of the demos in a way that better distinguishes the logic of democracy from the logic of the state, allowing us to think more clearly about how demotic boundaries may be subjected to standards of democratic legitimation. (shrink)

This article is concerned with Niklas Luhmann's theory of art which he formulated in the 1990s, based on his general theory of autopoietic systems. This theory regards modern society as a functionally differentiated formation whose sub-systems operate according to their inner principles of communication. According to this, the domain of art can also be seen as an operationally closed and self-referential communicative system. The basic problem in these notions lies in the way in which their description of the relationships existing (...) between different systems is only in very narrow terms. Consequently they partially ignore the present process of de-differentiation which has noticeably changed the status of art in society. Instead, Luhmann's ideas expressly emphasize that functional differentiation is an ongoing process. In order to describe the process of de-differentiation, social theory does not need to abandon the concept of autopoiesis, but it does need to understand social systems as interlaced formations which, to an increasing extent, contain common normative and organizational constituents. Because social systems are not altogether self-referential formations, the concept of autopoiesis can describe them only in part. This particular concept of system has been developed in particular by Richard Münch, and as such it forms a productive alternative to the theory of autopoietic social systems. (shrink)

Since the Korean Philosophy of Education Society was established in 1964, the question regarding the nature of Philosophy of Education as a modern discipline has always been a vexing question to mo...

This inclusive, cross-cultural study rethinks the nexus between engineering, development, and culture. It offers diverse commentary from a range of disciplinary perspectives on how the philosophies of today’s cultural triumvirate—American, European and Chinese—are shaped and given nuance by the cross-fertilization of engineering and development. Scholars from the humanities and social sciences as well as engineers themselves reflect on key questions that arise in this relational context, such as how international development work affects the professional views, identities, practice and ethics of (...) engineers. The first volume to offer a systematic and collaborative study that cuts across continental boundaries, the book delineates the kinds of skills and competences that tomorrow’s engineering success stories will require, and analyzes fascinating aspects of the interplay between engineering and philosophy, such as how traditionally Chinese ways of thinking can influence modern engineering practice in the world’s most populous country. China’s problematic mix of engineering woes and wonders, from the high-profile crash on its high-profile rail network to its ‘bird’s nest’ Olympic stadium, adds to the urgency for reform, while Europe’s Enlightenment-informed legal frameworks are contrasted with Chinese mechanisms in their governance of the field of nanotechnology, a crucial element of future technical evolution. Fascinating and compelling in equal measure, this volume addresses one of the topics at the leading edge of humanity’s quest to survive, and to thrive.​. (shrink)

This book discusses the complexities of love and the nature of erotic passion as these appear in the great love stories of the world. Starting with the story of Romeo and Juliet and its roots in European Christianity, the authors uncover hidden depths of cultural and universal significance in famous romantic tales of the Middle East and the Indian Subcontinent-'Layla and Majnun', 'Heer and Ranjha', 'Sohni and Mahinwal', 'Vis and Ramin', and 'Radha and Krishna'. Moving westward again, Kakar and Ross (...) look at the Greek myth of Oedipus, the Celtic saga of Tristan and Isolde, the tragic drama of Hamlet, the legend of Phaedra and Hippolytus, and a contemporary handling of the love theme in the writings of Vladimir Nabokov. This new edition, published after 25 years of the first edition, includes an Epilogue which re-evaluates the authors' assertions about romantic and erotic love in the context of contemporary psychoanalysis and modern literary theory. (shrink)

This essay results from a common interest in the history of emotions shared by an academic with appointments in philosophy and psychiatry (Charland) and a literary historian (White). Where our interests converge is in the early modern concept of 'the passions,' as explanatory of what we now call mental illness. The task we have set ourselves is to see how this might: (a) be exemplified in a 'case study' of the dramatic revelation of Leontes's jealousy in the first half of (...) William Shakespeare's The Winter's Tale, and his 'cure' which takes sixteen years. Both events have troubled literary critics as implausible, lacking in realistic motivation, and clumsy as narrative devices, but can be explained in terms of theories of the passions ; and (b) open up a greater, modern understanding of irrational, pathological states, their onset and termination, by using as an explanatory model the early modern understanding of passions as revived and refined in the nineteenth century by Théodule Ribot. Janus-like, this chapter faces into the past and the future (our present) via a play written in 1610 that is still performed to receptive audiences today. We hope to show that the theory can illuminate a playtext, and that the play can revivify the theory, and to contend that historical analysis can shed light on modern clinical problems. The particular historical distinction which lies at the heart of our approach derives from early modern terminology offered by Thomas Wright in his book, The Passions of the Minde in Generall (first published in 1601; corrected, enlarged and augmented in 1604), and presented in more modern fashion in the nineteenth century by Théodule Ribot, in his La Psycholgie des sentiments * We dedicate this essay to Philippa Maddern, whose inspiration has generated so much inter-disciplinary research in the history of emotions and has brought so many like-minded scholars into fertile contact—in our cases, linking Western Ontario and Western Australia. (shrink)

Two words, pañcagupta and kuṇḍakīṭa, are found in modern Sanskrit lexicons such as the Śabdakalpadruma, the Vācaspatya, the Sanskrit-Wörterbuch, and A Sanskrit English Dictionary. They are said to signify the Cārvāka philosophy and an expert in the Cārvāka philosophy respectively. Both the words have been taken from some twelfth-century Sanskrit kośas but no example of actual use is available. Nor do they occur in any earlier Sanskrit kośa, such as the Amarakośa and the Halāyudhakośa. The inference is that the words (...) must have appeared in some late philosophical work that was critical of the materialist Cārvāka system of philosophy and the kośakāras found them in the same source. (shrink)

Isaac Newton did more than any other early modern figure to revolutionize natural philosophy, but he was often wary of other aspects of philosophy. He had an especially vexed relationship with metaphysics. As recent scholarship has highlighted, he often denounced metaphysical discussions, especially those in the Scholastic tradition (Levitin 2016). He insisted that he himself was not engaging with the aspect of philosophy that played such a prominent role in the work of his predecessors, especially Descartes, and his critics, especially (...) Leibniz. However, in the Principia and the Opticks, along with correspondence and unpublished manuscripts, Newton expressed views about the gravity of bodies and the power of substances that place his thought squarely within the metaphysical tradition he sought to avoid. Alas, his famous reluctance to engage in disputes left even Newton’s supporters confused about his metaphysical ideas. (shrink)