In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 405-414 [Access article in PDF] Nihilism in Seamus Heaney Irene Gilsenan Nordin I WISH TO BEGIN WITH THE WORDS of Nietzsche's madman as he makes his famous appearance, running into the crowded marketplace in the bright morning with his lit lantern in his hand, crying out his proclamation of the death of God: "'Where has God gone?' he [cries]. 'I shall tell (...) you. We have killed him—you and I. We are all his murderers.'" He calls out in despair to the bemused and indifferent crowd his rhetorical questions: How were we able to drink up the sea? Who gave us the sponge to wipe away the entire horizon? What were we doing when we unchained the earth from its sun? Whither is it moving now? Away from all suns? Are we not plunging continually? Backward, sideward, forward, in all directions? Is there still any up or down? Are we not straying as through an infinite nothing? 1These words of the madman express the abyss of despair experienced on the realization that God is dead, the state of desolation which articulates what Nietzsche himself understood to be the consequences of the triumph of the Enlightenment. But these words of despair sum up more than that; they sum up the underlying problems of Nietzsche's age, and indeed our age: the basic mistrust of all previously held systems of value; the collapse of all ordering principle; and the erosion of the authority of tradition. In other words, reason has revealed the inadequacy of tradition, and has itself lost the ability to provide us with [End Page 405] any reliable means of evaluation—since any such evaluation must be based on the very principles which are themselves under attack.This stark realization of the absence of all sense of meaning in values previously held to be true leads to the condition that Nietzsche calls "nihilism," (Latin nihil, "nothing"), the condition that he considered to be the central problem of Modernity. This condition, Nietzsche believed, is brought about by the realization of three factors: first, the loss of faith in what he calls a "'meaning' in all events," a loss which contributes to an experience of aimlessness; second, the realization that there is no inherent pattern to the world or to history that can lend universal coherence; and third, the loss of faith in the existence of a stable world of being which can be evaluated according to steadfast, enduring principles. The rejection of these three categories, which Nietzsche terms "aim," "unity," and "being," leads to an experience of a world that appears "valueless," in other words, the experience of nihilism. 2Nietzsche, whose thought was considered by Heidegger to be the "final thought of Western metaphysics," 3 is seen as a heralding voice of postmodernism. 4 In this respect, Nietzsche's "death of God" can be seen to be about the death of modernist philosophical presuppositions, the death of the logocentric metaphysics of presence. But, parallel with the notion of crisis that Nietzsche's announcement of the death of God expresses and the ensuing critique of "metanarratives" which his thought has helped to give rise to, 5 Nietzsche's declaration of crisis can also be seen as a statement of faith. His interpretation of the problems of our age, while on the one hand "negatively" proclaiming the death of God and denying the possibility of shared meaning—or in Lyotard's terms "the consensus of a taste which would make it possible to share collectively the nostalgia for the unattainable" (p. 81), can, on the other hand, be viewed in a more "positive" light. The term "nihilism" itself, as Nietzsche has shown us, is ambiguous, comprising both the concepts of what he termed "active nihilism" and "passive nihilism," which involves a complex interplay between the dual forces of affirmation and negation (WP, p. 22).As the Italian philosopher, Gianni Vattimo, points out, the most general distinction between these forces can be seen in terms of "strength of spirit," where nihilism is considered as both "a sign (Zeichen) of the strengthened power... (shrink)

In 1966, Samuel Beckett wrote, and then abandoned, a short story to which he eventually gave the title Le dépeupleur. In 1970, he completed it to his satisfaction and it was published.1 Two years later, it was issued in an English translation prepared by Beckett himself, who gave it the very different title The Lost Ones. In this story, Beckett is, like Dante, inventing narrative images of a “realm” or “world” in which matters of the utmost existential and moral gravity (...) are at stake.Beckett is frequently interpreted as an existential nihilist—that is to say, someone who, in Nietzsche’s definition, would claim that, with the “death of God,” our moral ideals and values are without any grounding in an ultimate and.. (shrink)

The concept of Nihilism is associated most frequently with twentieth-century movements such as existentialism, postmodernism, and Dadaism. This work shows that a tradition of nihilism in the nineteenth century anticipated these movements. With its origins in Enlightenment science, this tradition had an influence on philosophy, religion, literature, and drama.

Both nihilism and universalism are historical products of Western speculative philosophy. The failure of this philosophy to discover universally valid laws resulted in widespread despair, which at times created a suicidal atmosphere. The other worldly promises offered by dualistic world models made an escape into an alternate world attractive. This paper investigates whether Nietzsche’s proposal to rekindle the fire of life by recovering the Dionysian spirit in creative work is a feasible alternative to nihilistic despair. It goes on to (...) investigate whether a new sense of community and collaborative ethics can be distilled from a renewed engagement with nature. Recent scientific discoveries and experiential evidence could lead to a reformulation of virtue ethics based on naturalistic sources. (shrink)

Against Nihilism compares the writings of Nietzsche and Dostoevsky on key topics such as criminality, Christianity and the figure of the Outsider to reveal the urgency and contemporary resonance of their shared struggle against nihilism.

While the problem of nihilism is derived from a particular historical and intellectual context in Western philosophy, i.e., the pantheism controversy in modern German philosophy and the ideas of Nietzsche, non-Western thinkers also engaged with it and developed responses to it. In this article, I am interested in analyzing Muhammad Iqbal’s (1877–1938), a leading Muslim thinker (a Sufi) from India, engagement with the problem of nihilism and his response to it from a Sufi perspective. Arguing that the existing (...) literature on Iqbal fails to understand the deeper impact of Nietzsche’s ideas on Iqbal’s philosophy and the dramatic role “the problem of nihilism” played in causing changes in Iqbal’s philosophy, or on Iqbal’s intellectual development, in this article, I analyze how Iqbal’s encounter with the ideas of Nietzsche during his study period in Europe between 1905 and 1908 has introduced him to the problem of nihilism in its Nietzschean form, how this led Iqbal to a nihilistic mood/crisis from 1909 to 1913, and then how he later developed a response to nihilism by reconstructing the Sufi cosmology and by revaluating the Sufi values of the pantheistic/persian type of Sufism – the outcome of which is found in his philosophical poem Asrar-i-Khudî (1915). (shrink)

Although both the ancient classical forms of tragedy and the nihilist tendencies of postmodern writing are marked by paralysis and passivity before fate, more religiously influenced periods of English literature are characterised by self-transcending and self-transforming movement beyond tragic impotence. This insight is illustrated briefly through references to Shakespeare's King Lear but it can also be found in Dante and in less explicitly Christian authors. The wisdom of humility exemplified in these literary masterpieces with a religious background embodies an (...) implicit theology of redemption, whereby evil can ultimately be transfigured into good. (shrink)

I argue that mereological nihilism fails because it cannot answer the special arrangement question: when is it true that the xs are arranged F-wise? I suggest that the answers given in the literature fail and that the obvious responses that could be made look to undermine the motivations for adopting nihilism in the first place.

A Meta-Philosophy exploration of immanent and non-immanent features of first-order philosophy in terms of the values of non- values or negative values of Radical Scepticism, Nihilism and Minarchy, executed to show how philosophizing is done. -/- It misleadingly seems as if there is no progress in philosophy as, like in visual art, literature and music, each original thinker re-invents the entire discipline, its aims, purposes, values, methods, etc The nature of philosophical tools, methods, techniques and skills will be (...) investigated and applied in terms of radical scepticism. -/- This approach, set of values and attitude restrict the nature and the style of the meta-philosophizing. It will for example prevent the traditional development of a general, all-encompassing and all-inclusive metaphysical system. It also demands the focus on context-specific investigation of questions and the dealing of a particular problem in a certain context. -/- These limits require the re-interpretation of any philosophical tool being employed as well as the underlying assumptions and any pre-suppositions. -/- As far as possible philosophizing as an aspect of the processes of theorizing will be adhered to and realized. In chapter THREE I illustrate many-leveled and multi-dimensional thinking, that are to me as a visual artist as well, of extreme importance. These are the types of things employed by radical skepticism and that should be the form of philosophizing instead of and replacing traditional one-leveled and one-dimensional thinking, argumentation and reasoning. (shrink)

Return to Good and Evil: Flannery O'Connor's Response to Nihilism is a superb guide to the works of Flannery O'Connor; and like O'Connor's stories themselves, it is captivating, provocative, and unsettling. Edmondson organizes O'Connor's thought around her principal concern, that with the nihilistic claim that "God is dead" the traditional signposts of good and evil have been lost. Edmondson's book demonstrates that the combination of O'Connor's artistic brilliance and philosophical genius provide the best response to the nihilistic despair of (...) the modern world—a return to "good and evil" through humility and grace. (shrink)

The presentation of nihilism as a phenomenon integrated in the category of illnesses is very common in the scientific literature. This paper is centered on the fact that nihilism is a major disease of the axiological conscience, an illness that can be diagnosed and treated by the philosopher like a 'physician of culture.'.

This paper is an investigation of metaphysical nihilism: the view that there could have been no contingent or concrete objects. I begin by showing the connections of the nihilistic theses to other philosophical doctrines. I then go on to look at the arguments for and against metaphysical nihilism in the literature and find both to be flawed. In doing so I will look at the nature of abstract objects, the nature of spacetime and mereological simples, the existence (...) of the empty set, the dependence of universals on particulars, and other general questions of ontology. (shrink)

The presentation of nihilism as a phenomenon integrated in the category of illnesses is very common in the scientific literature. This paper is centered on the fact that nihilism is a major disease of the axiological conscience, an illness that can be diagnosed and treated by the philosopher like a ‘physician of culture’.

In this engaging study, Sean Illing examines the impact of Fyodor Dostoevsky and Friedrich Nietzsche on the development of Albert Camus's political philosophy. It innovatively attempt to offer a substantive examination of Camus's dialogue with Nietzsche and Dostoevsky. The connections among these writers have been discussed in the general context of modern thought or via overlapping literary themes. This project emphasizes the political dimensions of these connections. In addition to re-interpreting Camus's political thought, the aim is to clarify Camus's struggle (...) with transcendence and to bring renewed attention to his unique understanding of the relationship between nihilism, ideology, and political violence in the twentieth century. The book focuses on Camus's dialogue with Nietzsche and Dostoevsky for three reasons. First, these are the thinkers with whom Camus is most engaged. Indeed, the problems and themes of Camus's work are largely defined by Dostoevsky and Nietzsche; a full account of this dialogue will therefore enhance our understanding of Camus while also reinforcing the enduring importance of Nietzsche and Dostoevsky. Second, it allows a recasting of Camus' political philosophy as both a synthesis of and a response to Nietzsche and Dostoevsky's projects. Finally, this approach allows for a reassessment of Camus's broader political significance, which I contend has been undervalued in the literature. Ultimately, I argue that Camus remains among the most important moral and political voices of the twentieth century. Although limited, his philosophy of revolt offers a humane portrait of justice and articulates a meaningful alternative to the extremes of ideological politics. (shrink)

This book is our century’s most comprehensive and wise treatment of nihilism in all of its guises, comparing favorably with Rosen, Cavell, and indeed with Spengler. Crosby argues that our culture is genuinely haunted by nihilism expressing itself in the fideism of fundamentalism as well as in the debilitating alienation from all orientation. This results from a one-sided development of Western culture. Unlike most writers on this topic, Crosby acknowledges many sources colluding to frame the culture of (...) class='Hi'>nihilism, including “the death of God,” the objectification of nature, the meaninglessness of suffering in a mechanical universe, the ephemerality of time in a world where value does not accumulate, the arbitrariness of historicized reason, the reduction of value to will, and the alienation of the Cartesian ego. These sources are reviewed in the first two parts of the book with the result that the phenomenon of nihilism becomes understandable. In its third and fourth parts, Crosby provides a critical analysis of the religious and philosophical forces leading to nihilism by discussing authors from the early modern period through Dostoyevsky, Sartre, Russell, and Derrida. He shows that these forces are skewed and impoverished and should not be allowed to determine our situation. The comprehensive attention to detail and the multi-perspectival interpretation demonstrates as well as asserts the richness of the culture that puts nihilism in its place. Part Five, finally, rephrases the criticism of the sources of nihilism in positive ways. Part Four in particular is a tour de force of philosophical argument. Its richness of nuance, plurality of views examined, and adroitness of critical interpretation provide cumulatively a powerful, non-nihilistic reading of the philosophic tradition. The force of the argument derives from its comprehensive, cumulative character. Crosby distinguishes and relates five areas of nihilism: political, moral, epistemological, cosmic, and existential. Throughout the book, he illustrates and examines these as they are expressed in literature and art, in daily life and practical affairs, and in philosophy. The book is richly erudite in its marshalling of consciousness from so many domains. (shrink)

The paper concentrates on an appreciation of W.V. Quine’s thought on meaning and how it escalates beyond the meaning holism and confirmation holism, thereby paving the way for a ‘meaning nihilism’ and ‘confirmation rejectionism’. My effort would be to see that how could the acceptance of radical naturalism in Quine’s theory of meaning escorts him to the indeterminacy thesis of meaning. There is an interesting shift from epistemology to language as Quine considers that a person who is aware of (...) linguistic trick can be the master of referential language. Another important question is that how could Quine’s radical translation thesis reduce into semantic indeterminacy that is a consequence of his confirmation methord. Even I think that the notion and the analysis of meaning became hopelessly vague in Quine’s later work. I further argue on Quine’s position of meaning that I call, following Hilary Putnam, ‘meaning nihilism’. It seems to me that Quine had no belief like ‘meaning consists in’, or ‘meaning depends on’ something. Through this argument, I would like to challenge the confirmation holism that was foisted by Fodor on Quine’s thesis. My attempt would be to scrutinize Putnam’s point of view that Quine was neither a confirmation holist nor a meaning holist. I think that both Putnam and Quine denied the concept of constitutive connection of meaning as a second grade notion not only from the realm of semantic, but also from the perspective of epistemology. So, linguistic meaning cannot be formed by any sample of its uses. For Quine, the concept of meaning in metaphysics is heuristic and need not be taken seriously in any ‘science worthy’ literature. (shrink)

The paper concentrates on an appreciation of W.V. Quine’s thought on meaning and how it escalates beyond the meaning holism and confirmation holism, thereby paving the way for a ‘meaning nihilism’ and ‘confirmation rejectionism’. My effort would be to see that how could the acceptance of radical naturalism in Quine’s theory of meaning escorts him to the indeterminacy thesis of meaning. There is an interesting shift from epistemology to language as Quine considers that a person who is aware of (...) linguistic trick can be the master of referential language. Another important question is that how could Quine’s radical translation thesis reduce into semantic indeterminacy that is a consequence of his confirmation method. I think that the notion and the analysis of meaning became hopelessly vague in Quine’s later work. I further argue on Quine’s position of meaning that I call, following Hilary Putnam, ‘meaning nihilism’. It seems to me that Quine had no belief like ‘meaning consists in’, or ‘meaning depends on’ something. Through this argument, I would like to challenge the confirmation holism that was foisted by Fodor on Quine’s thesis. My attempt would be to scrutinize Putnam’s point of view that Quine was neither a confirmation holist nor a meaning holist. I think that both Putnam and Quine denied the concept of constitutive connection of meaning as a second grade notion not only from the realm of semantic, but also from the perspective of epistemology. So, linguistic meaning cannot be formed by any sample of its uses. For Quine, the concept of meaning in metaphysics is heuristic and need not be taken seriously in any ‘science worthy’ literature. (shrink)

In this paper, I will use the performance of Hope Coming On as a catalyst to talk about the relationship between hope and nihilism. These seemingly opposed concepts rely on one another, in a sense, for their meaning. If everything was perfectly wonderful with the world, we could not be tempted with nihilism. But we would also not need hope, which is the desire for something better.

In lieu of an abstract, here is a brief excerpt of the content:Response and Rejoinder DOES PHILOSOPHY NEED LITERATURE? a critical response by Hugh Mercer Curtler In the second issue of this journal,1 Jesse Kalin argues most provocatively that "philosophy needs literature" because the latter is capable of "rehearsing and exhibiting," as philosophy is not, "the moral construction of one's own life, namely that part of it in which concern and value" are involved (p. 182). Two of John (...) Barth's novels— The Floating Opera and The End of The Road—are used as examples and, according to Kalin, provide evidence for his thesis that philosophical novels present a certain kind of philosophical material in the only way it can be presented. More specifically, Kalin claims that these two novels (1) are both about nihilism, (2) advance the philosophical argument that nihilism is false, and (3) present this argument in a way it could not otherwise be presented. In Kalin's words, "the philosophical argument of these two novels cannot be presented in the normal non-literary mode exemplified by the essay and journal article" (p. 178). I shall examine each of these claims in turn. To say that Barth's novels are "about" moral nihilism is either trivially true or wrong-headed. If Kalin means that the novels "have to do with" moral nihilism, this is^ certainly true but not very significant. We might also say The End of The Road is about illegal abortion, the delights of teaching in a community college, or the trials and tribulations of a bachelor in a small town in Maryland. It appears, then, that Kalin has something more in mind; namely, that the point of the novel is an examination of moral nihilism. That this is indeed Kalin's intention would seem apparent from the second claim listed above: that Barth's novels argue that moral nihilism is "false." I shall examine the question ofwhether these novels "argue" the falsity of moral nihilism in a moment, but first I must raise an objection to the prior claim that such is the point of the novel. A novel does not make a point; it makes a great many points, it 110 Hugh Mercer Curtler111 provokes thought and raises questions, it suggests possibilities, it states truths (plural), and above all else it presents dramatically. That is to say, insofar as the novel is a work of art it does these things, and it is primarily a work of art. In terms of the contents of the novel, what we find is a host of images, thought fragments, figures, suggestions, hints, bits and pieces, and —if the novelist is a good one, like Barth—some valuable insights. If the novelist is a great one, then the insights are profound and worthy of repeated examination and reflection, although we may not always be able to make out precisely what the novelist has said; the novelist is a master of disguises and sleight of hand. The way of saying things is for him quite often more important than what is said. It is clear I share with Kalin very few assumptions about the nature of literature, or poetry, and its relationship to philosophy. With regard to his central claim that the "argument" of Barth's novels is (1) philosophical and (2) incapable of being presented in another form, I shall argue that because (2) is true (1) must be false. To prepare the way, I shall begin with a brief examination of the nature of "argument" as it applies in our present context. Kalin states that the argument presented by Barth in the novels is a "literarily advanced exhibitionary argument" (p. 180). What does it mean, though, to say the novel "argues" at all? Kalin surely does not contend that Barth is arguing philosophically in the manner of, say, Gilbert RyIe or even Kalin himself, hence his characterization of the argument as "exhibitionary." Barth's "argument," we must assume, seeks to persuade rather than to prove in any narrow logical sense of that term. Persuasion, in turn, is intuitive rather than reasoned, as suggested by Kalin's insistance that the argument cannot be separated from its literary form. As Kalin would have it, the novelist creates a... (shrink)

When we, from a Nietzschean perspective, read through the history of philosophical thinking about friendship, we find that the idealization of friendship leads inevitably to the problem of nihilism. This confronts us with the question whether friendship is still possible under nihilistic conditions. Nietzsche himself claims on the one hand that in our nihilistic condition only something like friendship can save us, but on the other hand that friendship itself has been unmasked and has become impossible by these very (...) conditions. It seems we are struck in the nihilistic paradox of not being allowed to believe in the possibility of what we cannot do without. Literary imagination since the 19th century seems to make us even more skeptical. Maybe Beckett provides an illustration of a way out that fits well with Nietzsche’s claim that only “the most moderate, those who do not require any extreme articles of faith‘ will be able to cope with nihilism. We might extend this to a moderate concept of friendship: in an age in which the great ideal of friendship erodes together with all ideality, we can only survive as long as we know that we’re not alone. Maybe that’s friendship: no perfection, no virtuosity, no lofty ideal, but simply this: to know that one is not all alone. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John R. Boly NIHILISM ASIDE: DERRIDA'S DEBATE OVER INTENTIONAL MODELS DERRIDA'S PHILOSOPHY, or perhaps antiphilosophy, emerges from phenomenological thought. But to a great extent, he has been permitted to define that emergence on his own terms, particularly in his writings on Hegel, Husserl, and Heidegger. This is, of course, highly questionable. It in effect licenses Derrida to become a revisionist historian of his own origins. So I propose (...) a variation. Instead of placing phenomenology against Derrida's backdrop, I want to question his deconstructive project in its relation to the phenomenological venture. The difficulty with this is apparent. What would such a venture be? Even posing the question raises problems in that it presupposes an impossible vantage, an uninvolved point from which to look down in serene mastery at a game rigged in advance. Yet perhaps a synoptic point ofview may be indulged in for a while, provided no one forgets its provisional nature. In that case, the phenomenological venture includes four moments. 1. Suspension (or epoche). Human beings cannot perceive reality in itself. They can only experience meaning through the operations of intentionality, which may be thought of as the exclusions, selections, and combinations of a mediating system. This truism is no less terrifying for being so true, and every mediating system bears within itselfan impulse towards protective closure, an impulse to veil its own forming activity. Such closure eventually encrusts a mediating system and hardens into what Marxists call ideology, the early Barthes called myth, or contemporary response theorists call repertoire. Suspension involves a questioning attentiveness that remains within the closure it questions. Every fact is reconsidered, as factum, a deed brought forth through a process ofmaking. The consequently bracketed "fact" is both sacred object, granting reflexive ac152 John R. Boly153 cess to its formative process, and utter pretension, trying to conceal that process and thereby promote itself as fact rather than facture, origin rather than product. Phenomenology begins with a questioning of that pretension. Like a difficult child, it is perplexed at the self-evident and wonders at the obvious. 2.Reduction. Yet this questioning attentiveness takes only a first step. Suspension disenchants or disillusions, but it does not advance toward an understanding of the intricate patterns through which meaning emerges from the infinite possibilities of perception. That is the task of reduction, to which Husserl assigned two phases, the eidetic and the transcendental.1 In the eidetic phase, phenomena are released, so far as this is possible, into a preflective and preconceptual mode, as pure perceptions still awaiting the activity of mediation. Here, phenomena are boundless as well as exhilarating in their semantic potential. This return to primary perception, however, generates an opposing phase, the transcendental reduction, which traces the way in which mediating systems or what John Wild called versions of the life-world, select and arrange a potentially infinite semantic potential into actual meanings.2 Eidetic and transcendental phases work together, as inseparable antagonists within a continuous dialectic of disclosure. Because these two phases oppose one another, reduction involves a continuous interplay between energy and order, dynamism and system, with the result that it tirelessly traces patterns in the life-world, yet does so only to modify and transform those patterns through the very act of its tracing. Efforts to set the patterns of a life-world into a stable structure at the same time set free their infinite possibilities.3 The eidetic phase of the reduction thus provides a relentless semantic pressure that qualifies, elaborates, and eventually disperses every order of the transcendental phase. Yet without the revealing provocation of such inadequate orders, the eidetic phase would become incoherent and lapse into a speechless nihilism. Though it enacts a comic drama, reduction is the central task of the phenomenological venture, which halts the instant it is denied access to the intentional realm of the life-world. 3.Opening. So important is this access that it generates a separate moment, which pauses to meditate on the conditions of such access. The issues that arise here dominated Heidegger's thought after Being and Time, and they are among the most abstruse yet important concerns of phenomenology. How can models of intentional patterning be... (shrink)

Both nihilism and universalism are historical products of Western speculative philosophy. The failure of this philosophy to discover universally valid laws resulted in widespread despair, which at times created a suicidal atmosphere. The other worldly promises offered by dualistic world models made an escape into an alternate world attractive. This paper investigates whether Nietzsche’s proposal to rekindle the fire of life by recovering the Dionysian spirit in creative work is a feasible alternative to nihilistic despair. It goes on to (...) investigate whether a new sense of community and collaborative ethics can be distilled from a renewed engagement with nature. Recent scientific discoveries and experiential evidence could lead to a reformulation of virtue ethics based on naturalistic sources. (shrink)

Both nihilism and universalism are historical products of Western speculative philosophy. The failure of this philosophy to discover universally valid laws resulted in widespread despair, which at times created a suicidal atmosphere. The other worldly promises offered by dualistic world models made an escape into an alternate world attractive. This paper investigates whether Nietzsche’s proposal to rekindle the fire of life by recovering the Dionysian spirit in creative work is a feasible alternative to nihilistic despair. It goes on to (...) investigate whether a new sense of community and collaborative ethics can be distilled from a renewed engagement with nature. Recent scientific discoveries and experiential evidence could lead to a reformulation of virtue ethics based on naturalistic sources. (shrink)

The present collection of essays brings into dialogue Pier Paolo Pasolini (1922-1975) and Rainer Werner Fassbinder (1945-1982) by comparing their cultural and intellectual legacy. Pasolini and Fassbinder are amongst the last radical filmmakers to have emerged in Europe. Born in Italy and Germany, they inherited a traumatic social and political past which is reflected in their works through a number of similarly articulated and unresolved tensions: high and popular cultures, theatre, literature and cinema, ideology and narration, major and minor (...) codes of expression. The essays in this book examine the uncompromising character of Pasolini's and Fassbinder's films. Constantly oscillating between utopia and nihilism, these works invite us to reconsider subjective and collective questions which from today's perspective seem lost forever. (shrink)

Nishitani was a Japanese student attending Heidegger's Freiburg lectures on Nietzsche's nihilism in the late 1930s. As a young thinker he absorbed western philosophy and literature, focusing especially on the growing tide of nineteenth- and twentieth-century voices expressing the collapse of traditional Western values and the advent of nihilism. Recognizing that the phenomenon of nihilism encompasses our human situation in a way that transcends any particular cultural tradition, the self-overcoming of nihilism became fundamental to his (...) lifetime philosophical project. A progressively deepening understanding of the role of the Mahayana Buddhist tradition in comprehending the possibility of a breakthrough beyond nihilism culminated in the 1961 publication of what may be Nishitani's magnum opus: Religion and Nothingness. (shrink)

Disputing the common misconception that nihilism is wholly negative and necessarily damaging to the human spirit, John Marmysz offers a clear and complete definition to argue that it is compatible, and indeed preferably responded to, with an attitude of good humor. He carefully scrutinizes the phenomenon of nihilism as it appears in the works, lives, and actions of key figures in the history of philosophy, literature, politics, and theology, including Nietzsche, Heidegger, Camus, and Mishima. While suggesting that (...) there ultimately is no solution to the problem of nihilism, Marmysz proposes a way of utilizing the anxiety and despair that is associated with the problem as a spur toward liveliness, activity, and the celebration of life. (shrink)

The concept of sovereignty and laicism still being instrumented into different projection to that’s which have been conceived and used for through the french revolution and the old regime. This article is not to discuss that, but to delight how another concept deduced from it becomes antagonistic with it in the French context. Laicity referred to the French V constitution, or the act of 1905, it’s not what it appear, and mostly known in the french literature, this article is (...) to reject all that, and go toward an etymological construction of the concept into the french politics since XV century. Then to examination who and how the old regime, and the XIX century have been involved with the religious beliefs then to answer the questions: does the revolution have been laic or atheist? The answer is useful to go forward the examination of the french act of the separation of the State from the churches of 1905, and to determine if that act has been laic or atheist. The questions of how the idea of laicism has been reversed into the interwar period thus to the 1958 constitution to be developed in a further work, but the conclusion proposed here is the evidence of constitutional inter-contradiction and reversed usage of the concept which is being instrumented today further then a constitutional idolatry, but a constitutional nihilism. (shrink)

Like most goods‐producing sectors in the West, modern health‐care systems have been profoundly changed by globalization and the neoliberal policies that attend it. Since the 1970s, the role of the welfare state has been considerably reduced; funding and management of health systems have been subjected to wave upon wave of reorganization and assimilated to the private sector. At the same time, neoliberal policy has imposed the notion of patient empowerment, thus turning patients into consumers of health. The literature on (...) nursing has accordingly reported on the significant repercussions on all aspects of the profession, from delivery of care and treatment, through training for new nurses, to legislated policy reforms regarding the role and responsibilities of modern nurses. In light of these developments, this paper analyses and theorizes about the way the injection of neoliberal policy is linked to and affects the practice of nursing. Drawing on a number of Nietzschean arguments, we begin with an exploration of the complex effects of neoliberalism, bureaucratization, and technocratization on the health system and the practice of nursing. Our main theoretical point here is that neoliberal policy engenders and promotes a neoliberal tide, which results in the conversion of the values that drive modern nursing practice. We then examine this tide in the light of Nietzsche's concepts. Starting with an analysis based on the ontology of the will to power, we show that nurses are dominated by neoliberal values embedded in technocratic and bureaucratic ideologies. Finally, we argue that the application of neoliberal policy constitutes a form of domestication from which one might potentially be freed through the Nietzschean concept of transvaluation of values. This transvaluation, as its freeing from some of the neoliberal tide, may be accomplished in accordance with a hierarchy of specific life‐affirming values for nursing culture and practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Laughing at Nothing: Humor as a Response to NihilismWill SlocombeLaughing at Nothing: Humor as a Response to Nihilism, by John Marmysz. 209 pp. Albany: SUNY Press, 2003; $54.50 cloth, $17.95 paper.Nihilism has become a (relatively) more popular theme in academia in recent years. Aside from the revival of standby texts such as Goudsblom's Nihilism and Culture and Rosen's Nihilism, there has been a glut (...) of books in areas as diverse as economics (Ritzer's The Globalization of Nothing), theology (Cunningham's Genealogy of Nihilism), and theory (Clemen's The Romanticism of Contemporary Theory). John Marmysz's contribution, Laughing at Nothing, is a refreshing change inasmuch as he invites us to laugh at nihilism and, in effect, to laugh with him at much of the scholarly work on nihilism. Primarily philosophical in tone, Laughing at Nothing is an academic treatise on nihilism and humor, an exploration of contemporary American culture, and a plea for understanding in a hostile environment.Marmysz is determined, as few others are, to see a positive potential in nihilism. Although he never uncovers a "positive" nihilism, he is willing to accept the idea that nihilism may be a valuable cultural concept. In his introduction, he stresses the fact that most critics of nihilism "underplay the constructive and positive role of nihilism in both individual and collective human history" (p. 10). This book attempts to undermine such trite interpretations of nihilism; evident from his observation that, "too often scholars proceed to draw conclusions about nihilism itself on the basis of philosophies that are, in fact, very poor models" (p. 11). This is an important point, and one to which I will return.All exegeses on nihilism must include a history of the concept to orient the reader within the given intellectual milieu, and Marmysz's is no exception. Moving comfortably from late eighteenth-century debates between Friedrich Jacobi and Johann Fichte to contemporary theories by Michael Gillespie, Cornel West, Yukio Mishima, and Karen Carr, Laughing at Nothing guides the reader through the intricacies of the arguments in three brisk chapters without [End Page 449] ever sacrificing clarity. This is no mean feat given the task that Marmysz has taken upon himself: to summarize more than 200 years of history and avoid the pitfalls of saying that nihilism is an aspect of modernity is a significant achievement (and one for which I am grateful).For most readers, however, the most important part of Laughing at Nothing will be Marmysz's own definition of nihilism, which is essentially thwarted idealism: "The full impact of the problem of nihilism strikes only when an individual passionately desires ultimate meaning, value, and purpose, but believes those things to be out of reach" (pp. 84-85). There are thus two elements to a nihilistic worldview: an idealized desire for a better world coupled with a belief that this can never be realized—"the real world is denigrated in comparison to the ideal, and the ideal is believed to be hopelessly out of reach" (p. 85). This, for Marmysz, is the basis of a "nihilistic incongruity," upon which the solution—humor—is founded.After Marmysz's treatment of a history of nihilism, it is unsurprising that his discussion of humor is as accomplished, skilfully navigating theories of Kant, Freud, Bergson, and Morreall. Marmysz's treatment of "incongruous" humor is impressive, basing itself on the idea that "humor allows us to confront incongruities and, instead of being overwhelmed by them, to understand them in an unusual and original fashion" (p. 152). For this reason, humor creates "the capacity to make incongruities unthreatening and to interpret them in a manner that produces amusement" (p. 153). This is, of course, critical to avoid the potential problems of nihilistic incongruity. Through an analysis of jokes, and the application of different theories about humor, Marmysz demonstrates that the "solution" to nihilism is disarmingly simple: we must learn to laugh at ourselves. Marmysz writes: "Nihilism reminds us that humans are not gods, and that despite all our accomplishments and wonders of civilization, humans cannot alter the fact that they only possess a finite amount of mastery and control over their own destinies... (shrink)

This paper traces the historical roots of the “mad scientist,” a concept that has powerfully shaped the public image of science up to today, by investigating the representations of chemists in nineteenth-century Western literature. I argue that the creation of this literary figure was the strongest of four critical literary responses to the emergence of modern science in general and of chemistry in particular. The role of chemistry in this story is crucial because early nineteenth-century chemistry both exemplified modern (...) experimental laboratory research and induced, due to its rapid growth, a ramification and fragmentation of knowledge that undermined former ideals of the unity of knowledge under the umbrella of metaphysics and religion. Because most writers considered contemporary chemistry an offspring of “wrong alchemy,” all four responses drew on the medieval literary figure of the “mad alchemist” to portray chemists. Whereas early writers considered the quest for scientific knowledge to be altogether in vain, later writers pointed out the narrow-minded goals and views specifically of chemistry. A third response moved that criticism to a metaphysical and religious level, by relating chemistry to materialism, nihilism, atheism and hubris. The fourth response, the “mad scientist,” elaborated on the hubris theme by attaching moral perversion to the “mad alchemist.”. (shrink)

Very Little... Almost Nothing puts the question of the meaning of life back at the centre of intellectual debate. Its central concern is how we can find a meaning to human finitude without recourse to anything that transcends that finitude. A profound but secular meditation on the theme of death, Critchley traces the idea of nihilism through Blanchot, Levinas, Jena Romanticism and Cavell, culminating in a reading of Beckett, in many ways the hero of the book. In this second (...) edition, Simon Critchley has added a revealing and extended new preface, and a new chapter on Wallace Stevens which reflects on the idea of poetry as philosophy. (shrink)

I argue that Nietzsche embraces a conception of science that falls between the two dominant interpretations in the literature. Many thinkers in the continental tradition claim that Nietzsche believes science should be either reconceived or overcome altogether by another discourse, such as art, because it is nihilistic. They maintain that Nietzsche regards science as nihilistic because it either presumes that the world is some way it is not or functions on the erroneous assumption that truth rather than art is (...) best for humanity. By contrast, most analytic commentators contend that Nietzsche has a positive rather than nihilistic conception of science, so he does not hold that the discipline should be either reinterpreted or superseded. They claim that for Nietzsche science represents the way the world is and uncovers truths that are important for humankind. I argue for the middle position that Nietzsche has a positive conception of science, scientific constructivism, which he develops in response to nihilistic conceptions of science, particularly scientific realism. Scientific constructivism helps overcome nihilism because it correctly captures the nature of scientific investigation. Affirming constructivism thus allows inquirers to commit to the scientific project without deceiving themselves about the nature of the objects of inquiry. (shrink)

The 'death of man', the 'end of history' and even philosophy are strong and troubling currents running through contemporary debates. Yet since Nietzsche's heralding of the 'death of god', philosophy has been unable to explain the question of finitude. Very Little...Almost Nothing goes to the heart of this problem through an exploration of Blanchot's theory of literature, Stanley Cavell's interpretations of romanticism and the importance of death in the work of Samuel Beckett. Simon Critchley links these themes to the (...) philosophy of Emmanuel Levinas to present a powerful new picture of how we must approach the importance of death in philosophy. A compelling reading of the convergence of literature and philosophy, Very Little...Almost Nothing opens up new ways of understanding finitude, modernity and the nature of the imagination. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 21-39 [Access article in PDF] Capability and Language in the Novels of Tarjei Vesaas Catherine Wilson I THOUGH RELATIVELY UNKNOWN to English-speaking readers, Tarjei Vesaas (1897-1970) is recognized as one of the great Scandinavian novelists and literary innovators of the last century. His oeuvre is substantial, extending to thirty-four volumes published between 1923 and 1966, many of them translated into English and European (...) languages. He was one of four nominees for the 1964 Nobel Prize in literature, and he received a number of other awards and citations in the course of his life. At the same time, his work has failed almost entirely to generate a secondary literature going beyond plot summary, stylistics, and moral approval, and even that literature remains strongly regionalized. 1 Vesaas wrote in nynorsk or "New Norwegian," the minority language of the country created from south-central dialects and distinct from the official, bureaucratic bokmal. He settled permanently on a farm in the remote Telemark district of Norway and assumed no role in European culture as critic or essayist, refusing to discuss his own work in literary or philosophical terms. As a result, analytic and comparative studies have proved difficult to launch.The present essay is intended to provide one such analytical study, addressed specifically to the philosophical themes of ethical resignation, the precariousness of communication, and inwardness. These are familiar themes in twentieth-century literature. In his study of the "literary conquest of the void," R. M. Adams shows how Moravia, Musil, and Beckett amongst others make use of devices of paralysis, immobility, exhaustion, and incomprehension that have their origins in the romantic literature of the nineteenth century, notably in Baudelaire [End Page 21] and Gogol. 2 Literary modernism rejected certain nineteenth-century conventions of plot and character, but did not abandon the fascination of the preceding century with nihilistic themes. Vesaas's work demands to be read in this literary context. The novels, at once semirealistic and highly stylized, deal almost exclusively with rural people and their struggles against the elemental forces of nature. The main characters are often children and adolescents who suffer some degree of helplessness. Simple contrasts are posed: warmth and cold; loss and retrieval, childbirth and death. Agricultural cycle motifs abound. The choice of protagonists and the dominance of vitalistic and biological themes pose the threat of sentimentality and preciousness, but it is avoided by the ubiquity of devastation and destruction in the moral landscape. According to Randi Brox's note in the Dictionary of Scandinavian Literature, the early novels in particular "advocate as the highest goal in life an accepting, contented attitude toward the human condition." 3This judgment reflects what might be termed a judicial-theological picture of fiction. On this view, a novel constitutes a testing ground for discovering what sort of world we live in and what pursuits are possible and worthwhile. Various alternatives are set up as hypotheses, and novels prove and disprove them through narrative demonstrations of the causal effects of adopting them. False theories of the human world and untenable values are subject to refutation. This template is surprisingly useful, not only with respect to the nineteenth-century novel, with its apparent tendency to confident judgment, but even to modern fiction. Moravia, for example, can be seen to be awarding divergent roles to characters and allowing the qualities they represent to struggle for supremacy. 4Yet poststructuralist and postmodernist criticism have cast doubt on the notion that, to the extent that they are important, such contests can ever be decided, and it is increasingly clear that the greatest nineteenth-century novelists, Hardy and Eliot, did not regard the hierarchy of values as settled and demonstrable. Persons, we are coming to understand, are more plausibly seen as sites of conflict; thus fictional representations of persons are repositories of opposing values. Vesaas's novels reflect such an understanding of persons and values, and so the judicial-theological template is inapplicable.The critical view that Vesaas's novels are essentially instructions in adaptation is untenable, because the goal of... (shrink)

The paper focuses on the character of the literary and contends that if, instead of accepting the legitimacy of the question “what is literature?” and trying to answer it, one were to subject the question itself to a critical scrutiny—i.e. in order to lay bare what the question presupposes about the literary—it becomes obvious that any attempt to answer the question by uncritically accepting the legitimacy of the puzzle it puts forward can only give rise to contradictions. For the (...) question requires and presupposes for an answer an ontologically independent foundation, and the latter, given its immutability, requires the positing of a reality/representation disjunction—where the latter of the pair permits of and accommodates the experience of change—thereby ensuring that representation, too, requires a foundation, which, due to the impossibility of a foundation being the foundation of its other, that is, mutability, ends up undermining the very possibility of a disjunction, and, hence, the coherence of the foundationalist enterprise. Given that the problem of incoherence is bound to recur in all attempts to explain the literary in a foundationalist framework and given that the logic of foundationalism is one with the logic of nihilism—for the incoherence necessitates the denial of the possibility of literature—a release from the contradictions and a reinstatement of the reality of literature can come about only if one is awakened to the incoherence of the foundationalist undertaking. The resulting turn away from foundationalist thinking to differential thinking—where the incoherence of the demand for coherence is grasped and the reality of time reinstated—sheds light on the twining of the destinies of the literary and the philosophical: if philosophy as differential thinking awakens us to the displacement of being in the flow of time, literature sets into work the displacement of meaning in the functioning of language. This confirms that not only are the attempts to unearth a ground for the literary a mistake, but denying the reality of the literary event—i.e. upon failing to find a ground—is equally a mistake. (shrink)

Strauss's critique of Heidegger's philosophy aims at a recovery of political philosophy, which he saw as threatened by Heidegger's radical historicism; for Strauss, philosophy as a whole could not survive without political philosophy, and his return to the classical tradition of political philosophy, while inspired by the work of Heidegger, was directed against what he saw as the nihilism that was its consequence. Here I wish to examine a dimension of Strauss's critique which, though hinted at, remains neglected or (...) unexplored by Strauss: that is, how the critique of Heideggarian historicism should naturally link with Strauss's frequent attention to the issue of the ancient 'quarrel between philosophy and poetry'. It has often been observed by other commentators that through Heidegger's work, philosophy appears liable to be supplanted by contemporary literature, whether poetry or philosophy. As some of Strauss's explicit statements extend his definition of what falls under the category of 'poetry' in the modern age to contemporary novels and poetry, this aspect of Heidegger should have commanded more of his attention. Endurance of the quarrel between philosophy and poetry becomes through the prism of Strauss's work the confrontation of political philosophy with literature, particularly the novel form. It was not so much the rise of modern, non-teleological natural science that threatened the endurance and dignity of philosophy, then, but the rise of modern literature; the critique of historicism, when viewed in the light of the enduring 'quarrel', should lead one to a consideration of a crucial issue which remained oddly neglected, or was only hinted at, by Strauss. (shrink)

As philosophical and scientific arguments for free will skepticism continue to gain traction, we are likely to see a fundamental shift in the way people think about free will and moral responsibility. Such shifts raise important practical and existential concerns: What if we came to disbelieve in free will? What would this mean for our interpersonal relationships, society, morality, meaning, and the law? What would it do to our standing as human beings? Would it cause nihilism and despair as (...) some maintain or would it rather have a humanizing effect on our practices and policies, freeing us from the negative effects of belief in free will? In this chapter we consider the practical implications of free will skepticism and argue that life without free will and basic desert moral responsibility would not be as destructive as many people believe. We argue that prospects of finding meaning in life or of sustaining good interpersonal relationships, for example, would not be threatened. On treatment of criminals, we argue that although retributivism and severe punishment, such as the death penalty, would be ruled out, preventive detention and rehabilitation programs would still be justified. While we will touch on all these issues below, our focus will be primarily on this last issue. -/- We begin in section I by considering two different routes to free will skepticism. The first denies the causal efficacy of the types of willing required for free will and receives its contemporary impetus from pioneering work in neuroscience by Benjamin Libet, Daniel Wegner, and John-Dylan Haynes. The second, which is more common in the philosophical literature, does not deny the causal efficacy of the will but instead claims that whether this causal efficacy is deterministic or indeterministic, it does not achieve the level of control to count as free will by the standards of the historical debate. We argue that while there are compelling objections to the first route—e.g., Al Mele (2009), Eddy Nahmias (2002, 2011), and Neil Levy (2005)—the second route to free will skepticism remains intact. In section II we argue that free will skepticism allows for a workable morality, and, rather than negatively impacting our personal relationships and meaning in life, may well improve our well-being and our relationships to others since it would tend to eradicate an often destructive form of moral anger. In section III we argue that free will skepticism allows for adequate ways of responding to criminal behavior—in particular, incapacitation, rehabilitation, and alternation of relevant social conditions—and that these methods are both morally justified and sufficient for good social policy. We present and defend our own preferred model for dealing with dangerous criminals, an incapacitation account built on the right to self-protection analogous to the justification for quarantine (see Pereboom 2001, 2013, 2014a; Caruso 2016a), and we respond to recent objections to it by Michael Corrado and John Lemos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way in (...) which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

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

Beauvoir's Ethics of Ambiguity suggests that if existentialism is vulnerable to accusations of solipsism and nihilism, this is because Sartre failed to approach ambiguity from the proper angle. Of all the forms of ambiguity described in this text, the most troubling conjoins human separateness with connection. From the essays of the 1940s to her lectures on literature during the 1960s, Beauvoir struggles to articulate the ethics of this form of ambiguity. Her refusal to deny the “anti‐social” aspect of (...) existence finds echoes in today's tensions between feminists and queer theorists. (shrink)

What could Wittgenstein's body of texts contribute to the rapidly growing literature on life's meaning? This book not only examines Wittgenstein's scattered remarks about value and 'sense of life' but also argues that his philosophy and his 'way of seeing' has far reaching implications for the way current strands in the literature (naturalism, supernaturalism, and nihilism) approach the question of life's meaning. Hosseini argues that Wittgenstein's method of doing philosophy would suggest that the focus should be shifted (...) from finding the metaphysical and theoretical conditions of a meaningful life to an anthropological observation of the ways we enquire about life's meaning. Some of the ideas that Hosseini explores and examines are the relation between meaning in life and 'world-picture', the precedence of life over the intentional pursuit of meaning, the absence of doubt in everyday life, the rejection of theoretical dichotomy between the great and ordinary meaning, and the confessional nature of our enquiry into life's meaning. (shrink)

The path taken by German philosophy in the twentieth century is one of the most exciting and controversial in the history of human thought, by turns radical and conservative and secular and religious. In this outstanding introduction, German Philosophy in the Twentieth Century: Dilthey to Honneth--the third and final volume in his trilogy, Julian Young examines the work of eight German philosophers and theologians of the period. He shows how they engaged with profound existential questions about individual and collective lives, (...) criticised the increasing rationalisation and mechanisation characteristic of modernity, and committed themselves to varying forms of liberalism, socialism and democracy. Young introduces and assesses the thought of the following figures: Wilhelm Dilthey, the encroachment of the natural sciences upon the study of humanity and his distinction between 'explanation' and 'understanding'; Karl Jaspers, existentialism, the challenge of nihilism and the turn to theology; Edith Stein, our understanding of other people and the philosophy of empathy from a phenomenological standpoint; Paul Tillich, philosophical theology and the 'theonomous' life; Martin Buber, Recovering the 'I-Thou' relationship in the face of modernity and religious socialism; Hans Jonas, responsibility, selfhood and threats to humanity in the twentieth century; Erich Fromm, the 'art of loving' as a bulwark against totalitarianism and the replacement of capitalism by communitarian socialism; Axel Honneth, contemporary Hegelianism and the ethics and politics of recognition. Lucidly and engagingly written, German Philosophy in the Twentieth Century: Dilthey to Honneth is essential reading for students of German philosophy, phenomenology and theology and will also be of interest to students in related fields such as literature, political theory and sociology. (shrink)

The Mahayana tradition in Buddhist philosophy is defined by its ethical orientation--the adoption of bodhicitta, the aspiration to attain awakening for the benefit of all sentient beings. And indeed, this tradition is known for its literature on ethics, which reflect the Madhyamaka tradition of philosophy, and emphasizes both the imperative to cultivate an attitude of universal care (karuna) grounded in the realization of emptiness, impermanence, independence, and the absence of any self in persons or other phenomena.This position is morally (...) very attractive, but raises an important problem: if all phenomena, including persons and actions, are only conventionally real, can moral injunctions or principles be binding, or does the conventional status of the reality we inhabit condemn us to an ethical relativism or nihilism? In Moonpaths, the Cowherds address an analogous problem in the domain of epistemology and argues that the Madhyamaka tradition has the resources to develop a robust account of truth and knowledge within the context of conventional reality. The essays explore a variety of ways in which to understand important Buddhist texts on ethics and Mahayana moral theory so as to make sense of the genuine force of morality. (shrink)

Although Critchley’s main title promises “very little,” indeed “almost nothing,” his subtitle—“death, philosophy, literature”—announces his grander themes. Critchley’s concern is nothing less than the question of the meaning of human life. At issue is “the radical ungraspability of finitude, our inability to lay hold of death and to make of it a work and to make that work the basis for an affirmation of life”. In addressing this question, Critchley’s premise is the so-called “death of God,” the realization that (...) all attempts to find a redemptive meaning to human life in a divine source or ground outside life and humanity have become untenable. For Critchley, this is at once a personal conviction and a sign of the times, a mark of a ubiquitous nihilism that defines the modern landscape, and which, in its radicalness, puts into question the very meaning of philosophy in its confluence with literature. “For me,” Critchley writes, “philosophy begins from the literal incredibility of the claim [to meaning outside finitude], that the possibility of a belief in God or some God-equivalent, whether vindicated by faith or reason, has decisively broken down. Of course the proper name for this breakdown is modernity and the task of philosophical modernity... is the thinking through of the death of God in terms of the problem of finitude”. He thus claims that “a response to the question of the meaning of life... must be sought within life”. (shrink)

The paper sets out to prove that Leszek Kołakowski remained under a considerable influence of Friedrich Nietzsche’s ideas, which is evidenced by the way he poses and solves theoretical problems as well as his critical and often ironical detachment from the modern culture. He devoted a great deal of attention to nihilism, and searched for mythical conditioning of the thinking of the man of today; from the late 1950s, he was a follower of the philosophy of freedom and opposed (...) philosophical and historical determinism. He rejected systemic thinking and any fundamentalism in science. (shrink)