영지주의는 우주와 세계의 근원이자 발현자로서의 순수의식이며 모든 존재의 원천이 자 존재 그 자체의 동일자로서 시간과 공간을 넘어선다. 모든 생명 존재의 내면에 빛나는 존재이기 때문에 근원적이고 궁극적인 일자(一者)이면서 다시 모든 생명체에 내재된 보 편적 신성(神性)”1)을 추구하는 종교사상이다. ‘영지’란 ‘영혼의 지혜’를 의미하며 그리스 어 그노시스(Gnosis)의 번역어이다. 지식을 의미하는 Gnosis는 외부세계에 대한 인식과 배움을 통한 지식을 의미하지 않는다. 본질직관이나 내적 영감(靈鑑)과 같이 개인의 독립 적이고 주체적인 ‘신비체험’에 의해서 체득하여 깨닫는 지식을 의미한다. 그러므로 그노 시스는 인간의 영혼과 우주 만물에 내재하는 신이나 근원적 일자를 체험을 (...) 통하여 통찰 하는 것이다. 근원적 일자(一者)를 ‘영혼’과 ‘지성’을 통해 깨달아 궁극적 절대성으로 회귀하는 영지 주의 구원론이 성립하기 위해서는, 먼저 인간은 이 ‘영혼’과 ‘지성’을 자기의 본질로 삼아 야 한다. 또한 그 ‘영혼’은 순선(純善)하거나 조리(條理)적 완전성을 가진 성선(性善)이어 야 한다. 그리고 그 ‘지성’은 궁극적 일자(一者)의 본체성을 경험과 학습을 통해 후천적으 로 인식하는 것이 아닌, 선험적이고 본래적인 생득성을 가져야 한다. 동아시아의 종교 사상은 이와 같은 영지주의적 성격을 명확하게 나타내고 있다. 대승불 교의 불성론은 인간존재의 본질이 깨달음을 통한 해탈에 이를 수 있음을 보여주고 있고, 유교사상에서도 맹자의 성선론을 기초로 내면의 근원적 순수의식을 통찰하는 수양론을 가 지고 있다. 성리학의 미발(未發)공부론과 양명학의 치양지(致良知) 공부론 등은 동아시아의 영지주의 수행론과 수양론의 성격을 명확하게 나타내고 있는 것이다. (shrink)

It would be difficult to overestimate the influence Hume’s problem of induction exercises on contemporary epistemology. At the same time, the problem of induction has not perceptibly slowed the progress of mathematics and science. This ironic state of affairs, immortalized by C. D. Broad’s description of induction as “the glory of science” and “the scandal of philosophy,” ought in all fairness to give both sides some pause. And on occasion, it does: the mathematicians stop to concede that Hume has not (...) yet been answered, the scientists worry about randomization of experiments, and inductive skeptics stir uneasily in their chairs at the mention of certain mathematical theorems that seem palpably to have bearing on the problem. (shrink)

The first few chapters of Caesar's Bellum Civile are notoriously untrustworthy. Much has been done by Nissen, Schmidt and others towards re-telling the story more truthfully, but our accounts are not yet fully satisfactory. Caesar's statement that he met the tribunes only after crossing the Rubicon is at first sight startling and does not accord with the story as told by Plutarch and Appian; for both of these historians make much of the fact that Caesar exhibited the tribunes upon their (...) arrival to his army, thus stirring the soldiers to action. Plutarch and Appian are evidently following Pollio, who was with Caesar on the day of crossing: they ought therefore to furnish testimony of some weight. Suetonius makes no direct statement about the matter, but the order of events as given by him seems to place him in agreement with the statement of the Bellum Civile. We have therefore Pollio, Plutarch , and Appian against the words of the Bellum Civile and Suetonius; or, more simply, Pollio against Caesar, both of whom were eye-witnesses of what occurred that day. Pollio, moreover, is the critic who questions the veracity of these very commentaries. Our acceptance of one side or the other can, therefore, hardly depend upon preponderance of authority. It will be a question of probability and probability I think we shall find resting with Plutarch and Appian. The only objection against adopting this conclusion at once, is that it seems to assume that Caesar has falsified to his own disadvantage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 493 La Trinite Creatrice. By GILLES EMERY. Paris: Vrin, 1995. Pp. 590 (paper). It was only a question of when, not if, the late rejection of Thomism in Catholic circles would be followed by the next tum toward the thought of the Angelic Doctor. This movement is already underway, and on the European continent two groups of young Dominicans are playing prominent roles. In Toulouse, though he (...) only assumed its editorship in 1991, S.-T. Bonino already has made the venerable Revue thomiste indispensable reading again. Two recent thematic issues are especially noteworthy: "Autour d'Etienne Gilson" (94 [1994): 355-553) and "S. Thomas et l'onto-theologie" (95 [1995): 1-192). Bonino's own bulletins et recensions are erudite and lively, and he is very clear about the present situation: After the decline of the last decades, Thomism is searching for a new 6lan, a new look, and not without success:... the corpse of Thomism is stirring again. Though the new look is not yet complete, one feature is set: One common point unites all now approaching the works of St. Thomas, whatever their ultimate goals: the necessity to put Thomistic doctrine into serious historical perspective.... Historical-doctrinal study of St. Thomas is opening the possibility of an authentic revival of Thomism. (Revue thomiste 95 [1995]: 485-6) While Anglo-Americans approaching Aquinas from neoscholastic or analytic perspectives might not be so enthusiastic about history, Fr. Bonino is simply correct. For evidence, he turns to the historical work of the other group of Dominicans, at Fribourg. Chief among them is J.-P. Torrell, whose masterful 1993 biography, Initiation d saint Thomas d'Aquin, is now in English, and was accompanied by a Festschrift for the eminent professor of theologyOrdo sapientiae et amoris, ed. C.-J. de Oliveira. Not least among Torrell's contributions has been to direct the thesis of Gilles Emery-La Trinite creatrice. One paragraph of Emery's helpful general conclusion reveals three dominant themes in his important work: In virtue of the nexus mysteriorum, faith in the Trinity clarifies faith in the creative and saving activity of God, while the doctrine of creation in its turn clarifies our approach to the mystery of the Trinity. It is this mutual clarification and support among the articles of faith that we mean by speaking of the "function" of the theme of the creative Trinity. The unity of the Trinity in its works ad extra constitutes a fundamental rule of the trinitarian theology of our scholastics. But it does not exhaust their theological discourse on the subject of God as creator. To arrive at a balanced doctrine, trying to give all the aspects of the mystery their due, one must add to the rule of unity a second rule, which completes it: the procession of the divine persons is the origin of the procession of creatures. (519) Emery's primary theme is captured in the title-The Creative Trinity. Creation involves not only the one God as efficient cause bestowing existence 494 BOOK REVIEWS on a multitude of creatures (rule 1), but also the Trinitarian multiplicity within God as exemplar cause of the procession of creatures (rule 2). The neoscholastics ignored rule 2, separating creation (which was turned over to the philosophers) from Trinity (the exclusive domain of the theologians). This too neat division oflabor produced unhappy consequences: a doctrine ofcreation with no role for the Trinity, and a doctrine of the Trinity with no function in creation. What can be called Emery's Trinitarian theme is a corrective for such mistakes. To understand this side of creation rightly, Emery situates Aquinas's thought in relation to Albert and Bonaventure, on whom he heavily depends. This is his hi,storical theme. From the development of these two principal themes there gradually emerges a third, less overt, but in the long run of signal importance for the new look of Thomism-what might be called the integration theme, uniting reason and revelation in Aquinas's theology. To break through the crust that had built up around Aquinas's genuine doctrine of creation Emery turns to history. Limiting himself to the Scriptum super libros Sententiarum, he finds the Trinitarian... (shrink)

The first few chapters of Caesar's Bellum Civile are notoriously untrustworthy. Much has been done by Nissen, Schmidt and others towards re-telling the story more truthfully, but our accounts are not yet fully satisfactory. Caesar's statement that he met the tribunes only after crossing the Rubicon is at first sight startling and does not accord with the story as told by Plutarch and Appian; for both of these historians make much of the fact that Caesar exhibited the tribunes upon their (...) arrival to his army, thus stirring the soldiers to action. Plutarch and Appian are evidently following Pollio, who was with Caesar on the day of crossing: they ought therefore to furnish testimony of some weight. Suetonius makes no direct statement about the matter, but the order of events as given by him seems to place him in agreement with the statement of the Bellum Civile. We have therefore Pollio, Plutarch, and Appian against the words of the Bellum Civile and Suetonius; or, more simply, Pollio against Caesar, both of whom were eye-witnesses of what occurred that day. Pollio, moreover, is the critic who questions the veracity of these very commentaries. Our acceptance of one side or the other can, therefore, hardly depend upon preponderance of authority. It will be a question of probability and probability I think we shall find resting with Plutarch and Appian. The only objection against adopting this conclusion at once, is that it seems to assume that Caesar has falsified to his own disadvantage. (shrink)

Baruch Spinoza’s philosophy of mind stirs up the disputes about the nature of body-mind relations with its rigorous and naturalistic monism. The unity of body and mind is consequential of his metaphysics of the substance, but the concept of the unity of the mind and its idea rightfully confuses Spinoza’s commentators. Many have been tempted to interpret this as a possible account of consciousness, but it still has not yet been fully understood. This paper attempts to introduce an interpretation of (...) the concept of ideas of ideas with regards to consciousness based on strict ontological monism, conceptual dualism, and self-similarity architecture, which concludes in distinguishing mental and psychic reality. While we might attribute mental reality, or mentality, to every extended thing, psychic reality is constituted by conscious ideas. And it seems to follow from Spinoza’s theory that the more ‘psychic’ the mind is, the more it knows God. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Not only our conscious expectations, wishes and intentions are directed towards the future, but also pre- or unconscious tendencies, hunches and anticipations. Using a term of Ernst Bloch, they can be summarized as thenot-yet-conscious. This not-yet-conscious mostly unfolds spontaneously and without plan; it is not directly anticipated or aimed at, but rather comes to awareness in such a way that the subject is, as it were, surprised by itself. Thus it gives rise to phenomena such as the striking, the coincidental, (...) the new, and the improvised, which are particularly important for understanding creative and therapeutic processes. The paper aims at providing a general phenomenological framework for the understanding of not-yet-conscious dynamics and their unfolding in different contexts. To this end, the structure of the not-yet-conscious is examined in light ofprotention, in which the phenomenon is fundamentally to be located. I propose to describe the general structure of protention as a future-directed horizon of graded probabilities, i.e., as a “protentional cone”. This cone is fed by current experiences and bodily tendencies and is focused to varying degrees by attention. This results in either more focused or rather defocused states of anticipation, the latter giving space to the not-yet-conscious as a meaning “in statu nascendi”. On this basis, selected manifestations of the not-yet-conscious are analyzed, including extemporaneous speech, artistic improvisation and creativity, bodily meaning implicates, decision-making, and meaningful coincidence. (shrink)

This article gauges the progress that sociologists of gender and sexuality have made in employing the insights of queer theory by examining four recent monographs that have utilized aspects of queer theory in their empirical work: Rupp and Taylor, Seidman, Bettie, and Schippers. The article uses the insights of queer theory to push the monographs in an even “queerer” theoretical direction. This direction involves taking more seriously the nonnormative alignments of sex, gender, sexuality, resisting the tendency to essentialize identity or (...) conflate it with the broad range of gender and sexual expression and treating the construction of intersectional subjectivities as both performed and performative in nature. The analysis of these texts also insists that a queer sociological theory situate its emphasis on discursive power more firmly in economic, political, and other institutional processes. Ethnographic methods are proposed as the most useful way of combining queer theory with sociological analysis. (shrink)

Rien, c’est ce qu’il faut: supporter l’insupportable rien. Maurice Blanchot Subjectivity is undoubtedly a central area of philosophical investigation. In 1984 Emmanuel Levinas (1906–95) described h...

This paper interrogates some prominent post-Marxist engagements with St Paul’s messianism by reading them in the theological context of the anti-historicist revival of Pauline eschatology in the twentieth century. In both readings, the means through which the critique of historicism is delivered is the revival of the eschatological core of Paul’s proclamation. Paul is read as inaugurating a “new world” of freedom, love and redemptive hope as opposed to the “old world” of oppression, sorrow, death and despair. And yet, it (...) is exactly in such an apocalyptic reading of Pauline eschatology that both philosophical and theological critiques of historicism, despite protestations to the contrary, remain prisoners to the aporias of a historicist temporality. The symptom of the philosophers’ residual parasitism on historicism is expressed as antinomian negativism, while in the case of the theologians it can take the form of a self-assured Church triumphalism. (shrink)

In this article I discuss Martha Nussbaum’s cosmopolitan educational ideal and its theoretical underpinnings. I argue that, in spite of its merits, it overlooks the historical-relational dimension of cross-cultural encounters and the impediments posed by unresolved historical conflicts to the goal of cultural reconciliation. I suggest a rehabilitation of the historical-relational dimension by applying the insights of Paul Ricoeur to this context. My steps comprise a description of Nussbaum’s position, an exploration of its shortcomings, an interpolation of Ricoeur’s ideas and (...) some concomitant suggestions. (shrink)

Volume 2 of Josef Pieper's three-part autobiography is here presented for the first time in English translation. The volume represents not just a simple continuation of a seamless story. The first volume dealt with Pieper's life from his birth in 1904 to the time of World War 2. The current volume deals with the post-war years, 1945-1964, offering a personal documentation of the institutional rubble through which an emerging academic and philosopher had to find his way. This included finding work, (...) re-establishing himself in the family home, completing his academic education, and beginning to teach philosophy in a climate of despair and disillusionment. In this context, the quintessential Pieper emerges. His positive philosophy of being, firmly based on Plato and Thomas Aquinas, finds extraordinary resonance with students, who flock to his lectures in surprising numbers -- seeking and finding a positive way forward. His dedication to training teachers sees him declining higher academic posts in Germany in favor of work which, though less lucrative and more obscure, he considered more fruitful. These years are also marked by his fiercely independent stance over against the Catholic hierarchy -- despite his staunch adherence to the tradition values of Christianity. His popularity as a philosopher and teacher quickly spread to America, where he was invited to teach at famous universities. His fame led to further travels -- to Switzerland, England, France, Spain, India, China, Saigon, and Thailand. Such travels enriched his thinking and nourished the open-mindedness of the Western philosopher. (shrink)

In this article I discuss Martha Nussbaum’s cosmopolitan educational ideal and its theoretical underpinnings. I argue that, in spite of its merits, it overlooks the historical-relational dimension of cross-cultural encounters and the impediments posed by unresolved historical conflicts to the goal of cultural reconciliation. I suggest a rehabilitation of the historical-relational dimension by applying the insights of Paul Ricoeur to this context. My steps comprise a description of Nussbaum’s position, an exploration of its shortcomings, an interpolation of Ricoeur’s ideas and (...) some concomitant suggestions. (shrink)

Abstract A growing number of theorists have argued that toleration, at least in its traditional sense, is no longer applicable to liberal democratic political arrangements—especially if these political arrangements are conceived of as neutral. Peter Jones has tried make sense of political toleration while staying true to its more traditional (disapproval yet non-prevention) meaning. In this article, while I am sympathetic to his motivation, I argue that Jones’ attempt to make sense of political toleration is not successful. Content Type Journal (...) Article Pages 1-6 DOI 10.1007/s11158-012-9177-3 Authors Peter Balint, The University of New South Wales, Canberra, ACT 2602, Australia Journal Res Publica Online ISSN 1572-8692 Print ISSN 1356-4765. (shrink)

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. -/- Emmanuel Alloa retraces the history of Western attitudes (...) toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices. (shrink)

The essays gathered here recommend the work of Ernest Bloch as a challenge to older models of historical materialism and utopian emancipation and give specific examples of how Bloch's work can contribute to current debates about utopia, nationalism, collective memory, and the complex relationship between ideology and everyday life.

The prolepsis in Denis Villeneuve's Arrival emphasises the cyclical nature of the film's narrative and anchors human reproduction as a central theme. Pregnancy, the pregnant body, and the physical, experiential nature of birth, commonly heavily gendered in film, are misleading focal points in the narrative. The presence of the unborn as a subtext in the film problematises Iris Marion Young's notion of pregnant embodiment as a subjective lived-body experience. The viewer is encouraged to empathise with the complexity of birth, life, (...) and death as part of Louise's lived-body experience, but is finally confronted with the uncertainty of maternity, pregnancy and the unborn. When Barbara Duden calls the unborn foetus a “not-yet”, she describes the process by which the foetus achieves a legal status, and the precarious nature of ascribing life or personhood. The prolepsis, which punctuates the main narrative, emphasises the reversibility and irreversibility of life that does “not-yet” exist. Import... (shrink)

This article explores and discusses Tim Burton's film Edward Scissorhands by applying a Georg Simmel/Ernst Bloch analysis. Aside from each of the philosophical approaches serving as insightful analyses of the symbolism and narrative of the film, it is also theoretically useful to compare and unpack the similarities and differences in aspects of both Simmel's and Bloch's philosophical ideas and metaphors, influenced by their collaboratory experiences; Bloch became associated with Georg Simmel in 1908. The association and friendship with Simmel lasted until (...) 1911; at this time Bloch became increasingly disillusioned with Simmel's apparent inability to commit to any particular philosophical position. Correspondence finally drew to a close when Simmel openly supported the war policy of Imperial Germany in 1914. The influences of many of Simmel's ideas in relation to the development of Bloch's philosophy are implicitly noticeable in the cross-referencing of similar ideas, metaphors and themes. This article will suggest and tentatively work through aspects of some similarities and differences. The aim of this comparison and contrast of Simmel in relation to Bloch via Edward Scissorhands, will also serve to highlight Bloch's philosophical departure from Simmel's fragments. By exploring and discussing Simmel's essays 'The Aesthetic Significance of the Face', 'The Ruin' and 'The Stranger,' in the context of Edward Scissorhands, I will suggest that the film can be seen as a particularly poignant and effective cultural metaphor of not only the problematic nature of human ideals, but also urban ennui and disconnectedness. By comparison, the Blochian treatment of Edward Scissorhands will emphasise the Gothic, the radical stridency of Youth, and, potential utopian possibilities that are, so far, 'Not-Yet'. These frameworks will suggest that Edward Scissorhands be understood as a beautiful-monster, a cultural refraction of the utopian incognito of Not-Yet articulated future possibilities. (shrink)

Is there a fundamental human tendency to believe in something larger than the small, personal life? Janet Dallett discusses some of Jung's most complex ideas to allow readers to feel synchronicity, individuation and numinosity. Grounded in scientific observation and an understanding of the psyche, Dallett's true stories are drawn from case histories and her own experiences.

The complementary deaths of the thinking subject and of the citizen subject -- Producing a Marxist concept of liberation -- Postpolitical politics and global capitalism -- The exacerbation of uneven development : analysis of the current -- The possibility of a new state I : delinking -- Models of liberation I : the politics of identity -- Models of liberation II : the politics of subjectivity -- Models of liberation III : the politics of the event -- Models of liberation (...) IV : the religious transcendent -- Models of liberation V : nomad politics -- The possibility of a new state II : Heterotopia -- Prospects for the new political subject and liberation. (shrink)

According to a libidinally charged slogan, Social Networking Services are meant to give "people the power to share and make the world more open and connected." But does the digital act of sharing personal information – invested in so many of the New Social Media – make such internet domains a public realm? What characterizes actually the public according to classical political theory, and what sort of performances become visible in digital fora under the banners of interactivity, friendship and an (...) alleged dissolution of boundaries? Against the background of increasingly elastic borders between things considered private and spaces declared public as well as of a remarkable spectrum of modes of sharing – ranging from disclosing daily trivia to collectively expressing political dissent – our contribution will examine the ambivalence of sharing in Social Net-working Services, not least in Facebook, in terms of a paradoxical nexus of passions and risks. (shrink)

When it comes to injustice, especially racial injustice, rage isn't just an acceptable response-it's crucial in order to fuel the fight for change. Anger has a bad reputation. Many people think that it is counterproductive, distracting, and destructive. It is a negative emotion, many believe, because it can lead so quickly to violence or an overwhelming fury. And coming from people of color, it takes on connotations that are even more sinister, stirring up stereotypes, making white people fear what (...) an angry other might be capable of doing, when angry, and leading them to turn to hatred or violence in turn, to squelch an anger that might upset the racial status quo. According to philosopher Myisha Cherry, anger does not deserve its bad reputation. It is powerful, but its power can be a force for good. And not only is it something we don't have to discourage, it's something we ought to cultivate actively. People fear anger because they paint it in broad strokes, but we can't dismiss all anger, especially not now. There is a form of anger that in fact is crucial in the anti-racist struggle today. This anti-racist anger, what Cherry calls Lordean rage, can use its mighty force to challenge racism: it aims for change, motivates productive action, builds resistance, and is informed by an inclusive and liberating perspective. People can, and should, harness Lordean rage and tap into its unique anti-racist potential. We should not suppress it or seek to replace it with friendly emotions. If we want to effect change, and take down racist structures and systems, we must manage it in the sense of cultivating it, and keeping it focused and strong. Cherry makes her argument for anti-racist anger by putting Aristotle in conversation with Audre Lorde, and James Baldwin in conversation with Joseph Butler. The Case for Rage not only uses the tools of philosophy to articulate its arguments, but it sharpens them with the help of social psychology and history. The book is philosophically rich and yet highly accessible beyond philosophical spheres, issuing an urgent call to all politically and socially engaged readers looking for new, deeply effective tools for changing the world. Its message will resonate with the enraged and those witnessing such anger, wondering whether it can help or harm. Above all, this book is a resource for the activist coming to grips with a seemingly everyday emotion that she may feel rising up within her and not know what to do with. It shows how to make sure anger doesn't go to waste, but instead leads to lasting, long-awaited change. (shrink)

Obscurity is not the worst failing, and it is philistinism to pretend that it is. In a series of brilliant essays written over the last fifteen years Stanley Cavell has consistently argued that more important than the question whether obscurity could have been avoided is whether it affects our confidence in the author. Confidence raises the issue of intention, and I would have thought that the primary commitment of a psychoanalytic writer was to pass on, and (if he can) to (...) refine while passing on, a particular way of exploring the mind. Indeed this is how Lacan himself proposes that his work should be judged. “The aim of my teaching,” he writes, “has been and still is the training of analysts.” For decades now Lacan has been insisting that the nature of this commitment has been systematically obscured, particularly in North America. Training has become “routinized”, and analysis itself has become distorted into a process of crude social adaptation. There is much here to agree with. Yet two questions must be raised. Has Lacan devised a more effective method of training analysts? And, would one expect this from his writings? Neither question gets a favourable answer. All reports of his training methods, over which he has now brought about three distinct secessions within the French psychoanalytic movement, are horrifying. 13 It is now, I am told, possible to become a Lacanian analyst after a very few months of Lacanian analysis. And what pedagogic contribution could we expect from a form of prose that has two salient characteristics: it exhibits the application of theory to particular cases as quite arbitrary, and it forces the adherents it gains into pastiche. 14 Lacan's ideas and Lacan's style, yoked in an indissoluble union, represent an invasive tyranny. And it is by a hideous irony that this tyranny should find its recruits among groups that have nothing in common except the sense that they lack a theory worthy of their cause or calling: feminists, cinéastes , professors of literature. Lacan himself offers several justifications for his obscurity, about which he has no false modesty. At times he says that he is the voice, the messenger, the porte-parole , of the unconscious itself. Lacan's claim stirs in my mind the retort Freud made to a similar assult upon his credulity and by someone who had learned from Lacan. “It is not the unconscious mind I look out for in your paintings,” Freud said to Salvador Dali, “it is the conscious.”. (shrink)

Rien, c’est ce qu’il faut: supporter l’insupportable rien. Maurice Blanchot Subjectivity is undoubtedly a central area of philosophical investigation. In 1984 Emmanuel Levinas (1906–95) described h...

One of the major divides in contemporary philosophy of consciousness is on whether phenomenal consciousness requires some form of self-consciousness. The disagreement revolves around the following principle (or something in the vicinity): : For any subject S and phenomenally conscious mental state C of S, C is phenomenally conscious only if S is aware of C. We may call the relevant awareness of one’s own mental states “inner awareness” and the principle “Inner Awareness Principle” (IA). In a paper recently published (...) in this Journal, Stoljar (2021) puts forward a massive theoretical criticism of IA. He addresses many extant arguments for IA, and argues, for each of them, that it is unpersuasive. In this paper, I focus on what strike me as the two most compelling arguments in Stoljar’s list: the argument from memory and the argument from attention. I argue that Stoljar’s objections to them can be rebutted; accordingly, those arguments promise to constitute the steadiest theoretical ground for IA. (shrink)

Taiwan is considered to be one of the most progressive countries in Asia but has no asylum law. Does it need one? Many in Taiwan, including officials and politicians, claim that the regulations that are currently in place are sufficient. There are, however, some people in Taiwan who require protection, and the government is not able to respond effectively in the absence of an asylum law. The author has identified several different groups in Taiwan that would benefit from an asylum (...) law — from Hong Kong protesters facing persecution, through Chinese dissidents or descendants of the ROC army from the Thai-Myanmar border region, to Turkish people with revoked passports; grouped into two major categories — persons from the PRC, Tibet, Hong Kong, and Macau and persons from other countries. The draft of the asylum law has been sitting in the Parliament for 14 years, and the reason for it not yet having passed is the “China Factor.” The Taiwan-China relationship thus cannot be disconnected from this issue, and the article discusses the three most common concerns with regard to this in the Taiwanese society. While these are legitimate concerns, they could be solved by adopting a dual asylum system dealing with group 1 and group 2 separately. Compared to UN member countries, Taiwan is on its own when it comes to the asylum issue, although adopting an asylum law is part of a broader push to bring Taiwan’s legal system in line with international human rights law. The article provides a comprehensive description and analysis of the refugee situation in Taiwan; it is based on document studies and interviews conducted in Taipei in autumn 2020. (shrink)

The paper asks for the preconditions and the consequences of the emergence of aesthetics in and for philosophy. The question is: what does it mean for philosophy to engage the question of the aesthetic? My answer will be: it means nothing less than putting philosophy in question. Or, more precisely: by engaging the question of the aesthetic, philosophy puts itself in question. In order to show this, I will refer to a brief passage in the Phenomenology of the Spirit and (...) then attempt to turn it against what I take it to be Hegel’s own intention. The paper attempts to sketch this argument in three brisk moves by (1) distinguishing a philosophy of the “poetic” from a philosophy of the “aesthetic”; (2) describing the aesthetic as “regressive” and “(self-)reflexive”; and (3) sketching the paradoxical place of aesthetics within philosophy.  . (shrink)

RESUMEN El artículo examina las limitaciones de un enfoque de restitución de derechos de pro piedad con resonancias en el derecho civil y su forma de narrar el sujeto propietario y la cosa-bien apropiada, para abordar las experiencias de daño sufridas por campe sinos desplazados y despojados en Colombia. Esa narración reafirma la separación entre personas y cosas, estrecha la potencialidad significativa de las relaciones entre campesino y tierra, y limita el campo interpretativo del daño y la reparación, donde las (...) experiencias de quienes son dañados no son escuchadas. ABSTRACT The article examines the limitations of the restitution of property rights approach, with its repercussions for on civil law, and its way of narrating the subject-owner and the thing-good appropriated, in order to address the experiences of harm suffered by displaced and dispossessed peasants in Colombia. Such narration reaffirms the separation between persons and things; reduces the significant potentiality of the relations between peasants and land; and limits the interpretive field of harm and reparation since the experiences of those harmed are not heard. (shrink)

People can come to seem to us more beautiful the better we get to know their personalities. Some have taken this to show there is a moral kind of beauty. According to the moral beauty view, moral personality traits realise moral beauty in people. Here I present a problem for the standard articulation of the moral beauty view, namely that it is not a logical truth that people inherit the beauty of their virtues. I call this the ‘inheritance problem’. I (...) present an alternative articulation of the moral beauty view that does not give rise to the problem. On this alternative articulation, the moral beauty view is not as revisionary as it is standardly taken to be. (shrink)

Introductory students regularly endorse naïve skepticism—unsupported or uncritical doubt about the existence and universality of truth—for a variety of reasons. Though some of the reasons for students’ skepticism can be traced back to the student—for example, a desire to avoid engaging with controversial material or a desire to avoid offense—naïve skepticism is also the result of how introductory courses are taught, deemphasizing truth to promote students’ abilities to develop basic disciplinary skills. While this strategy has a number of pedagogical benefits, (...) it prevents students in early stages of intellectual development from understanding truth as a threshold concept. Using philosophy as a case study, I argue that we can make progress against naïve skepticism by clearly discussing how metadisciplinary aims differ at the disciplinary and course levels in a way that is meaningful, reinforced, and accessible. (shrink)

The wake of the financial crisis has inspired hopes for dramatic change and stirred visions of capitalism’s terminal collapse. Yet capitalism is not on its deathbed, utopia is not in our future, and revolution is not in the cards. In Capitalism on Edge, Albena Azmanova demonstrates that radical progressive change is still attainable, but it must come from an unexpected direction. Azmanova’s new critique of capitalism focuses on the competitive pursuit of profit rather than on forms of ownership and patterns (...) of wealth distribution. She contends that neoliberal capitalism has mutated into a new form—precarity capitalism—marked by the emergence of a precarious multitude. Widespread economic insecurity ails the 99 percent across differences in income, education, and professional occupation; it is the underlying cause of such diverse hardships as work-related stress and chronic unemployment. In response, Azmanova calls for forging a broad alliance of strange bedfellows whose discontent would challenge not only capitalism’s unfair outcomes but also the drive for profit at its core. To achieve this synthesis, progressive forces need to go beyond the old ideological certitudes of, on the left, fighting inequality and, on the right, increasing competition. Azmanova details reforms that would enable a dramatic transformation of the current system without a revolutionary break. An iconoclastic critique of left orthodoxy, Capitalism on Edge confronts the intellectual and political impasses of our time to discern a new path of emancipation. (shrink)