This massive book is an intensive inquest into the fate of the human subject as it passes through the primitive, despotic, passional and capitalist regimes found in Deleuze and Guattari. Emphatic, acerbic, loquacious, impassioned, and marshaling a considerable array of theoretical and literary frameworks--from Schelling, Kantorowicz, Agamben, Hegel, Nietzsche, Badiou, Rosenzweig, Lévinas, Derrida, Blanchot, Kierkegaard, Marx, Lazzarato, Berardi, Zizek and Plotinus to Solzhenitsyn, Pessoa, Fuentes, Dostoyevsky, Kafka, Beckett, Mann, Schreber, Dante, Milton, Shakespeare, Sade, the Midrash and Kabbalah--and cavorting through vast (...) expanses of world history, Bartosz Łubczonok scrutinizes the maladies of pain, resentment, bad conscience, ideology, immiseration, torture, death, depression and suicide that have and continue to afflict humanity, and the possibilities of its vertiginous liberation. All is here: the auto-genesis of God, the Crucifixion, the Holocaust, September 11. The Apotheosis of Nullity is a searing indictment of all forms of oppression and despotism, inclusive of neoliberal capitalism, and far surpasses any usage of Deleuze and Guattari to date. It is relentless. (shrink)

The place of Schopenhauer’s philosophy in the history of contemporary thought and in that of the problematic of nihilism has been relatively unexplored, despite its well-known relation to Nietzsche and Wittgenstein, two of the dominant figures of contemporary philosophy and culture. “The Metaphysics of Nullity”, after an introductory section on the connection of German idealism and nihilism, examines Schopenhauer’s philosophy, and particularly its principle of “self-negation of the will”, as a nihilistic metaphysics that is an outgrowth of traditional conceptions (...) of desire and consciousness which becomes involved in the classical difficulties of self-reflection and self-manifestation. The incoherencies that beset Schopenhauer’s thought are fully examined and their implications are discussed. (shrink)

The place of Schopenhauer’s philosophy in the history of contemporary thought and in that of the problematic of nihilism has been relatively unexplored, despite its well-known relation to Nietzsche and Wittgenstein, two of the dominant figures of contemporary philosophy and culture. “The Metaphysics of Nullity”, after an introductory section on the connection of German idealism and nihilism, examines Schopenhauer’s philosophy, and particularly its principle of “self-negation of the will”, as a nihilistic metaphysics that is an outgrowth of traditional conceptions (...) of desire and consciousness which becomes involved in the classical difficulties of self-reflection and self-manifestation. The incoherencies that beset Schopenhauer’s thought are fully examined and their implications are discussed. (shrink)

One unresolved dispute within Heidegger scholarship concerns the question of whether Dasein should be conceived in terms of narrative self-constitution. A survey of the current literature suggests two standard responses. The first correlates Heidegger’s talk of authentic historicality with that of self-authorship. To the alternative perspective, however, Heidegger’s talk of Dasein’s existentiality, with its emphasis on nullity and unattainability, is taken as evidence that Dasein is structurally and ontologically incapable of being completed via any life-project. Narrativity imports into Being (...) and Time commitments concerning temporality, selfhood, and ethics, which Heidegger rejects. Although both positions find good exegetic support for their conclusions, they can’t both be right. In this article, I navigate a path between these two irreconcilable positions by applying insights derived from recent debates within Anglo-American literature on personal identity. I develop an alternative thesis to Narrativism, without rejecting it outright, by arguing that Dasein can be analysed in terms of what I call narratability conditions. These allow us to make sense of the prima facie paradoxical notion of historicality without narrativity. Indeed, rather than reconciling the two standard positions, I hold that the tension between them says something important about Dasein’s kind of existence. Thus I conclude that while the narrativist question Who ought I to be? is perfectly legitimate within limits, what the existential analysis of the limits on narratability reveals is that no answer to this question can ever be definitive. (shrink)

This essay in the comparative metaphysic of nothingness begins by pondering why Leibniz thought of the converse question as the preeminent one. In Eastern philosophical thought, like the numeral 'zero' (śūnya) that Indian mathematicians first discovered, nothingness as non-being looms large and serves as the first quiver on the imponderables they seem to have encountered (e.g., 'In the beginning was neither non-being nor being: what was there, bottomless deep?' RgVeda X.129). The concept of non-being and its permutations of nothing, negation, (...) nullity, etc., receive more sophisticated treatment in the works of grammarians, ritual hermeneuticians, logicians, and their dialectical adversaries variously across Jaina and Buddhist schools. The present analysis follows the function of negation/the negative copula, nãn, and dialetheia in grammar and logic, then moves onto ontologies of non-existence and extinction and further suggestive tropes that tend to arrest rather than affirm the inexorable being-there of something. After a discussion of interests in being (existence), non-being and nothingness in contemporary metaphysics, the article examines Heidegger’s extensive treatment of nothingness in his 1929 inaugural Freiburg lecture, 'Was ist Metaphysik?', published later as 'What is Metaphysics?' The essay however distances itself from any pretensions toward a doctrine of Metaphysical Nihilism. (shrink)

A number of different kinds of negation and negation of negation are developed in Indian thought, from ancient religious texts to classical philosophy. The paper explores the Mīmāṃsā, Nyāya, Jaina and Buddhist theorizing on the various forms and permutations of negation, denial, nullity, nothing and nothingness, or emptiness. The main thesis argued for is that in the broad Indic tradition, negation cannot be viewed as a mere classical operator turning the true into the false, nor reduced to the mainstream (...) Boolean dichotomy: 1 versus 0. Special attention is given to how contradiction is handled in Jaina and Buddhist logic. (shrink)

This essay in the comparative metaphysic of nothingness begins by pondering why Leibniz thought of the converse question as the preeminent one. In Eastern philosophical thought, like the numeral ‘zero’ that Indian mathematicians first discovered, nothingness as non-being looms large and serves as the first quiver on the imponderables they seem to have encountered. The concept of non-being and its permutations of nothing, negation, nullity, etc., receive more sophisticated treatment in the works of grammarians, ritual hermeneuticians, logicians, and their (...) dialectical adversaries variously across Jaina and Buddhist schools. The present analysis follows the function of negation/the negative copula, nãn, and dialetheia in grammar and logic, then moves onto ontologies of non-existence and extinction and further suggestive tropes that tend to arrest rather than affirm the inexorable being-there of something., namely, ‘Thinking Negation in Early Hinduism and Classical Indian Philosophy’ ; and ‘Negation, Non-existents, and a Distinctive Pramāṇa in the Nyāya-Mīmāṃsā’ ).After a discussion of interests in being, non-being and nothingness in contemporary metaphysics, the article examines Heidegger’s extensive treatment of nothingness in his 1929 inaugural Freiburg lecture, ‘Was ist Metaphysik?’, published later as ‘What is Metaphysics?’ The essay however distances itself from any pretensions toward a doctrine of ‘Metaphysical’ at ‘Nihilism’. (shrink)

El problema del presente es abordado en su dimensión de realidad dada al hombre. En primer lugar, este articulo ahonda en el carácter impersonal del tiempo y en su condición contradictoria de lugar de entrega de lo dado: al presentarse el presente no hay ni donador ni beneficiario. En segundo lugar, declinando el sentido de la palabra francesa "maintenant", se evidencia el "ahora" como nulidad entre pasado y futuro; como intersticio dual en el que se alcanza y se pierde toda (...) cosa. Apoyándose en la concepción kantiana del tiempo y en la noción de donación de Derrida, el autor indica que el "ahora" es receptividad inmediata, intuitiva y no conceptual: en el presente el hombre se da y se recibe a si mismo. El presente, a la vez que constituye el espacio de la identidad, es también vector de diferencia: al hacerse signo a si mismo de sí mismo, el presente aparece como su propia alteridad. La duración del presente, por expresar la relación del hombre consigo mismo, es signo de alternancia entre llegada y partida; entre muerte y reparación. En fin, se analizan las mutaciones del sentido que se le ha dado a la noción de promesa en la historia de Occidente, entendida como la experiencia de la proyección del ahora hacia el porvenir. The problem of present is analyzed as a reality given to man. First, the impersonal character of time is studied in its contradictory condition of opening place of giving: when present appears, there is not a giver, nor a receiver. In the second place, by considering the etymological sense of the French word "maintenant", it is showed that the "now" is a nullity between past and future, a dual interstice in which everything is reached or lost. Following the Kantian conception of time and the Derridian notion of "donation", the author highlights that the "now" is immediate receptivity, intuitive and not conceptual: in the present, man gives himself to himself and receives himself from himself. The present, at the same time that it constitutes the space of identity, it is also the vector of difference: when it becomes a sign to himself of himself, the present appears as his own alterity. The present duration, as it traduces the relation of man with himself, is a sign of alternation between coming and leaving; between dead and reparation. Finally, the mutations in the meaning of the notion of "promise" in Western history are investigated and understood as the experience of the now projected towards the future. (shrink)

At least for Schleiermacher, religion is life in immediate feeling. Whether or not we agree with him, immediacy can be understood as one essential aspect of feeling that makes feeling congenial as the means by which we tend to express the source of religious experience. Yet in general, immediacy is difficult to define and qualify. Is there a hope for immediacy in seeking “to be delivered from contingency”? Is immediacy expressed in the instantaneity of how qualities of things are given (...) in a “total interpenetration”? Or are “immediacy and mediation” always inseparable, thus leaving any “opposition between them to be a nullity”??[i] Might immediacy entail a threat to faith through the absolutizing of the relative? And finally, would not the absolute insistence upon mediation morph it into a new form of immediacy? It is against the backdrop of these questions that this paper investigates the constellation of roles immediacy might play in religious experience, and it does so through building upon the claims of Jean-Yves Lacoste and Anthony Steinbock in regards to religion. For Lacoste, “feeling” is not an adequate means by which we should give expression to religion, in part because it leaves religion responsive to an all too volitional and intentional account. Lacoste also prefers to conceive relation with the Absolute/God not as an experience, but as a non-experience. Whereas for Steinbock, even though emotions all to often are conceptualized according to sentimentality and solipsism, he undertakes to reveal that they in fact have an inherent inter-personal/Personal or Moral intelligibility. The paper builds up to the final claims that immediacy is a temporal expression of the unconditioned, yet that it is precisely this temporal element in relation to the Absolute that complicates the mediation/immediacy interaction. (shrink)

A combination of uncritical interpretations of Greek art maintained since antiquity, together with Heidegger’s failed attempt to connect Being with Dasein through the Greeks, has misled the feminist agenda into dismissing both Heidegger and the Greeks. The bad blood left by Irigaray has revitalized scholarship which wants to know why the world-disclosive nullity of Being cannot be primordially transgenderous in essence prior to its worldly dispersal into the two sexes. It takes a radical, phenomenological reduction which applies suprasegmental theory (...) to re-chisel and strip the Greek statue from multiple layers of calcified presumptions deposited by millennia of realism, historicism, naturalism, and psychologism, until the inherently absent primordiality which Heidegger searched in vain in order to ground Dasein, the same which feminism would dismiss as phallocracy if it was not transgender, becomes literally visible. Two fifth century monumental works, the female Euthydikos Kore and the male Blonde Youth, are re-discovered in the reduction, and the prosody that is their faces lets the two genders reunite into something like a dark song. (shrink)

When, in the early 1980s the ideas of post-structuralism seemed rampant within academic critical theory, the appearance of the flawed English translation of Mikhail Bakhtin's central essays on the novel seemed to offer a very promising alternative perspective.1 Bakhtin's model of discursive relations promised to guard the specificity of discourse from being obscured by a web of determinations, while allowing the development of an account of the operations of power and resistance in discourse that could avoid the nullity of (...) Derrida's hors-texte and the irresponsible semiotic hedonism of the later Barthes. Marxist theorists such as Raymond Williams, Terry Eagleton and Allon White immediately and effectively seized upon the translated work of the Bakhtin circle to bolster their arguments, but, as translations of the earlier and later philosophical material appeared, it became apparent that the relationship between work of the circle and the Marxist tradition was very problematic. With this, the American anti-Marxist Slavists – some of whom had been responsible for certain of these translations – moved onto the offensive, arguing that Bakhtin's work was fundamentally incompatible with, and in principle hostile to, Marxism. Occasionally, they went further, arguing that Bakhtin was quite unconcerned with politics and questions of power, being an ethical, or even a religious philosopher before all else. The Americans did have a point. Bakhtin certainly was not a Marxist and the Marxism of some of his early colleagues and collaborators was of a rather peculiar sort. Furthermore, the key problematic area was indeed Bakhtin's ethics which, it became ever more apparent, underlies his most critically astute and productive work and serves to blunt its political edge. Important points of contact between the work of the Bakhtin circle and Marxist theory do persist, however, as Ken Hirschkop and Michael Gardiner, among others, have continued to register. In this article, examining some of the sources of Bakhtin's philosophy, which have only just been revealed in the new Russian edition of his work, we shall analyse the features of Bakhtin's ethics that stifle the political potential of dialogic criticism, and we will suggest ways in which that potential may be liberated. (shrink)

This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger's notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its ultimate (...) consequence, where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō, where concepts such as "the place of nothingness" and "pure experience" can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

While many recent readings of The Heat of the Day (1948) address Bowen’s indeterminate and unsettling prose style as a mirror or even an enactment of the destructive, nullifying forces at work in Blitz-weary London, this article posits that those same stylistic elements as well as the novel’s depictions of unstable subjectivities work against nullity to create complexly rendered regenerations, including two surreally conceived pregnancies. This article also suggests that the tensions often noted in Bowen’s negotiations between fictional realism (...) and what critics have classified as the hallucinatory or surreal can be better understood by exploring Bowen’s spiritual beliefs, which she elucidates in numerous nonfiction pieces. The provocative liminality of the material and the spiritual in The Heat of the Day offers a compelling critical space from which to further explore Bowen’s prolific hybrid creations and the ontological, epistemological, and metaphysical mysteries they engender. (shrink)

Abstract`Authority', `competence' andother related concepts are determined on the basis ofthe concept of law as a dynamic order of norms. Thenorms which regulate the processes of norm creationestablish empowerments (Ermächtigungen). Thematerial domain of validity of the empowering norm iscalled `competence'. The concept of `person' inrelation to empowering norms yields the concepts of`organ' and `authority'. The spatial domain of thevalidity of these norms is the spatial or territorialjurisdiction. This paper analyses the basic norm andits legal functions; it considers the irregularity oflegal (...) acts and norms, as well as the legalconsequences thereof, namely nullity and annulment.Additionally, the Kelsenian `Tacit AlternativeClause' is criticized and a possible solution to theproblem of irregular norms is offered through newdefinitions of the existence, validity and legitimacyof norms. (shrink)

`Authority', `competence' and other related concepts are determined on the basis of the concept of law as a dynamic order of norms. The norms which regulate the processes of norm creation establish empowerments (Ermächtigungen). The material domain of validity of the empowering norm is called `competence'. The concept of `person' in relation to empowering norms yields the concepts of `organ' and `authority'. The spatial domain of the validity of these norms is the spatial or territorial jurisdiction. This paper analyses the (...) basic norm and its legal functions; it considers the irregularity of legal acts and norms, as well as the legal consequences thereof, namely nullity and annulment. Additionally, the Kelsenian `Tacit Alternative Clause' is criticized and a possible solution to the problem of irregular norms is offered through new definitions of the existence, validity and legitimacy of norms. (shrink)

Among the political changes brought about by the First World War was the formation of new countries, including Latvia. This in turn resulted in a strong need for the first national legislative acts and thus a substantial amount of effort to develop Latvian legal terminology which dates back to the beginning of the 19th century. The purpose of the paper is to study the development of Latvian terminology of marriage in the 20th century through analysis of the relevant body of (...) laws. The paper focuses on marriage-related terms extracted from the major legislative acts governing the institution of marriage in the 20th century. The present study adopts the qualitative research approach which constitutes data collection and data analysis. For the purposes of a comprehensive and efficient analysis of the extracted legal terms, marriage terms are divided into the following five thematic groups: 1) engagement; 2) entering into marriage; 3) nullity of marriage; 4) dissolution of marriage ; and 5) consequences of dissolution or nullity of marriage. The paper suggests that the core of the Latvian terminology of marriage has remained stable, as entering into marriage is a solid procedure where two interested parties give notice to a public or religious institution in order to officially register their relationship. Similarly, both parties often feel the need to terminate this relationship just as officially. This stability of fundamental processes contributes to terminological continuity. (shrink)

This chapter addresses the question whether the notion of ownedness or authenticity in Being and Time can serve as a model for social change. To answer this question, I build on the late Dreyfus’s understanding of owned Dasein as a “world transformer”, Butler’s understanding of contingent foundations, and Kyle Stroh’s conception of owned Dasein in the plural, in order to develop a notion of social ownedness. In my reading, ownedness concerns primarily the transparency of ontological structures on the part of (...) the owned self, including a proper understanding of the role of the anyone. The owned self realizes that the anyone remains the foundation of intelligibility, but understands it as a contingent foundation and thereby contests its absolutization and the tendency of conformism. After an interpretation of Heidegger’s remarks on “nullity” and “abyss of ground “ in relation to Butler’s theory of post-foundationalism, and a discussion of “historicality” in relation to Butler’s notion of performativity as iterability, I offer a reinterpretation of the figure of the “world transformer” and end with a proposal on how to understand social ownedness. (shrink)

Blanchot often evoked the silence required for literary writing, a silence which he says must “be imposed” on a pre-existing and indistinct murmur of language. Likewise, he evokes this murmur itself as an originary ground of all speech, including literary speech. Less often recognized are the ways in which he also locates this murmur in the realm of public speech and everyday language, the rumor of speech spoken by no one and by everyone, a realm which he in turn links (...) with the exigencies of publication and publicity that bear on the literary work within modern societies marked by mass media and technically mediated communication. Blanchot himself thus points to an unexpected convergence, in these sonic images of impersonal murmuring flows of language, between literary language per se, and a language that is traditionally considered inauthentic, empty, superficial, a chattering nullity. This essay attempts to press on this border by showing Blanchot’s anxious, and probably futile, attempts to maintain the distinction he so profoundly and rigorously effaces. As literature is threatened by the indistinction of language from which it originates, it reveals an unexpected convergence with the leveling modes of language marked by mass media and by technicity in general. (shrink)

This essay in the comparative metaphysic of nothingness begins by pondering why Leibniz thought of the converse question as the preeminent one. In Eastern philosophical thought, like the numeral 'zero' (śūnya) that Indian mathematicians first discovered, nothingness as non-being looms large and serves as the first quiver on the imponderables they seem to have encountered (e.g., 'In the beginning was neither non-being nor being: what was there, bottomless deep?' RgVeda X.129). The concept of non-being and its permutations of nothing, negation, (...) nullity, etc., receive more sophisticated treatment in the works of grammarians, ritual hermeneuticians, logicians, and their dialectical adversaries variously across Jaina and Buddhist schools. The present analysis follows the function of negation/the negative copula, nãn, and dialetheia in grammar and logic, then moves onto ontologies of non-existence and extinction and further suggestive tropes that tend to arrest rather than affirm the inexorable being-there of something. After a discussion of interests in being (existence), non-being and nothingness in contemporary metaphysics, the article examines Heidegger’s extensive treatment of nothingness in his 1929 inaugural Freiburg lecture, 'Was ist Metaphysik?', published later as 'What is Metaphysics?' The essay however distances itself from any pretensions toward a doctrine of Metaphysical Nihilism. (shrink)

Excerpt from Everyday Ethics A successful book on methods of teaching ethics will improve in the schoolroom the art of instruction in the most difficult province of study and practice. Ethics relates to all manner of deeds and habits of doing which concern one's fellow men, either as private individuals or as members of institutions - members of the social whole. One may conduct himself in such a manner as to obstruct the actions of his fellow men and thereby reduce (...) their labours and strivings to a nullity, more or less, according to his power and skill. Or, on the other hand, he may act in such a manner as to reenforce their labours and strivings and increase the net product of human endeavour. The fact that there are rational objects to be achieved by humanity - name them collectively as the conquest of nature for man's use and the peaceful combination of man with men to the end that each individual may share in the experience of all individuals - these objects ought to be the common aim of all rational beings: this fact furnishes the basis and norm of ethics. It makes evident the Source of Power. The individual who promotes the twofold end of civilisation increases the aggregate power of mankind and at the same time shares in that power. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 375 7he Westminster Dictionary of Christian Ethics. Edited by JAMES F. CHILDRESS and J mrn MACQUARRIE. Philadelphia: The Westminster Press, 1986. Pp. xvii + 678. $29.95. This is a second, revised edition of The Dictionary of Christian Ethics, prepared by John Macquarrie and published in 1967. This new edition follows Macquarrie's conception of a dictionary, but expands it. It includes several subject areas, basic ethical concepts, biblical (...) ethics, theological ethics, philosophical ethics, non-Cbistian ethics; psychological, 8ociological, political, and other relevant concepts; and articles on substantial issues such as war and abortion. The criterion for selection, as stated by the editor, was the importance of the topic for Christian ethical reflection. The aim was to indicate both what is agr.eed upon and what is controversial. About 40% of the entries from the first edition have been included. These are generally updated so as to include recent developments. The selection of subjects, the way in which they are treated and the list of contributors, reflect the ecumenical character of contemporary Christian ethics. The dictionary includes a host of valuable contributions. Readers who consults the work will no doubt evaluate the entries in terms of their particular purposes. This reviewer found most useful the entries which expla~ned particular basic concepts, for example Autonomy; those dealing with schools of thought, for example, Platonic Ethics, Marxist Ethics, or the contribution of particular traditions, for example, Jewish Ethics, Puritan Ethics, Official Roman Catholic Social Teaching, Eastern Orthodox Christian Ethics, and the many entries dealing with Biomedical Ethics and peace issues. 'rhere are a number of articles on topics which are most important, but for which it is often difficult to find a succinct and comprehensive treatment; such are the contributions on "Embodiment," and " Feminist Ethics." There are a number of useful entries on urg.ent contemporary questions such as Energy and Environmental Ethics. Practical questions such as the care of the aged and the ethics of counseling are also addressed. Each article has a short bibliography appended. Numerous cross-references to other relevant entries are most helpful in providing complementary information. There is a thorough index of names. The dictionary is not conceived as a compendium of the accepted or " official " ethical teachings of churches or religious traditions. Mention could be made, however, of the entry on " Official Roman Catholic Social Teaching." '¥here such teachings exist, they am usually indicated. There are some cases where the churches and/or traditions clearly differ. The approach which is most helpful to ethical debate is to acknowledge such differences clearly, with an appropriate statement of the relevant teaching. The editor himself (James F. Childress), in his own contributions, fol- 376 BOOK REVIEWS lows this p1'0cedure. Some Roman Catholic readers may find the articles on Abortion and Contraception, while excellent in other ways, less satisfactory in this respect. The general focus seems intended to be " middle of the road "; more conservative or radical groups may find their views insufficiently represented. No doubt some of the positions presented would be disputed by Christian ethicists. But the treatment of difficult points is balanced and fair. There are, unfortunately, some inaccuracies. The following examples deserve mention. In the article on Nullity, the Roman Catholic annulment is wrongly equated with papal dissolution of the marriage bond. In the article on Virtue, it is said that St. Thomas held that along with the infused supernatural virtues there are "infused natural virtues." St. Thomas spoke ratht>r of infused theological virtues and infused moral virtues (I. II, Q.63, 3.) In the article on deterrence, it is stated that the strategy of "mutual assured destruction ", dating from the 1960s, still provides the framework of American deterrence strategy. This point would be challenged by some representat.ives of the military, who claim that M.A.D. has not been policy for some years. The same article interprets the U.S. Bishops' Pastoral Letter, The Challenge of Peace. as basing its (conditional) acceptance of nuclear deterrence on the distinction between threatening to do an immoral aet without intending to do it, and threat coupled with the intent. That is, deterrence is aceepted as a "bluff." This is not a correct reading... (shrink)

: This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger’s notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its (...) ultimate consequence, where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō , where concepts such as ‘‘the place of nothingness’’ and ‘‘pure experience’’ can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)

The Generalized Poisson Distribution (GPD) adds an extra parameter to the usual Poisson distribution. This parameter induces a loss of homogeneity in the stochastic processes modeled by the distribution. Thus, the generalized distribution becomes an useful model for counting processes where the occurrence of events is not homogeneous. This model creates the need for an inferential procedure, to test for the value of this extra parameter. The FBST (Full Bayesian Significance Test) is a Bayesian hypotheses test procedure, capable of providing (...) an evidence measure on sharp hypotheses (where the dimension of the parametric space under the null hypotheses is smaller than that of the full parametric space). The goal of this work is study the empirical properties of the FBST for testing the nullity of extra parameter of the generalized Poisson distribution. Numerical experiments show a better performance of FBST with respect to the classical likelihood ratio test, and suggest that FBST is an efficient and robust tool for this application. (shrink)

This article casts its attention on acts of supplication in institutional settings. The article focuses upon institutions geared towards the provision of care, that is, sites that are designed to provide services to those in need. The article claims that every act of supplication is an act of violence deployed upon the supplicant by his/her interlocutor and the institution more broadly. This is not violence of an overt type; it is tacit and subtle and takes root at the very essence (...) of the supplicant, that is, his/her being. The article draws on Jacques Derrida’s provocative reading of the impossibility of the gift, an analysis that is indebted to Marcel Mauss’ exposition of the gift as obligatory and, thus, an existential nullity. Drawing upon both theorists, the article theorizes the violence of the gift and proceeds to read the violence in/of care/caring. The article explicates the grounding of this violence and how it is written into each request for care. (shrink)

Fazemos uma digressão a respeito dos números transreais, a transmatemática, o infinito nos transreais e o nullity. Uma discussão sobre as novidades que os transreais trazem à matemática e sobre o desafio de serem aceitos pelo meio acadêmico. Propomos uma interpretação contextual para as operações aritméticas entre números transreais, discutimos o fato desses números terem nascido na computação e não na matemática e divagamos sobre a introdução dos novos números: infinito e nullity.

In reference to the paradoxical classification of art in Kafka’s Josefine story, religious aspects of the artist’s performances and their effect on the audience are scrutinized. The leading question is to what extent it evokes an allusion to the primal scene of divine revelation, following Stéphane Mosès’ commentary in his readings of the Bible. Josefine’s singing with a “nothing of a voice”, reduced to “the slightest of nullities”, the zero-point of signification, nevertheless affects an experience of presence and community that (...) touches the listeners’ entire being. From the perspective of the artist, her song recitals are manifestations of supreme art of which she claims a soteriological significance in respect of her audience who belongs in Kafka’s portrayal obviously to the Jewish people. Around such a tension between maximal restraint of an utterance (the voice onset of the aleph of the word anokhi/i) and all-encompassing meaning (the name of God and all Commandments whose acceptance is constitutive for the Jewish people) circle the theological exegeses of the Sinai-scene (esp. Ex. 20,1) in the tradition of Rashi and Maimonides, in modernity e.g. of Gershom Scholem in dispute with Walter Benjamin on Kafka. It will be shown that the depicted paradoxes of Josefine’s art performances unfold the mentioned tension as an original literary reflection on revelation and language under the conditions of modernity. (shrink)

The article makes a critical assessment if Heidegger’s conception of an authentic life. After presenting a number of social reasons which account for the current expansion of anthropological problems within philosophy, the author observes that the criticism of contemporary philosophical anthropologies – first and foremost of existentialism – is one of the fundamental tasks confronting the marxist philosophy. The reason for the critical studies on existentialism rests not only in the fact of its dealing with certain problems arising in definite (...) social circun1stances, which, incidentally, marxism has to face too, but also because the problems of the philosophy of man are an integral part of Marxism itself, and have so far been rather neglected. The author further presents the basic tents of Heidegger’s philosophy, his conception of atheism, the thesis of human solitude and the necessity of making choice without a chance of learning beforehand anything about the things to be chosen. He lays the main stress on the problems of an „authentic life”. As Heidegger put it, the authentic life is nothing else but our courage to face the whole truth about our existence. An authentic man is he who „realises that he is a nonentity, and from that position evaluates his whole life”. Only the authentic man is free in the full meaning of the word, „since he knows that all he has achieved will eventually be blotted out, that he is alone and condemned to death”. Therefore, terror and anxiety constitute the essence of our existence. Understanding of the essence of death and conscious acceptance of fear and the necessity of choice determine our freedom. Living through our existence, understood as being-to-death, delivers us from the non-authentic life. That is how – concludes the author – rebelling against the bourgeois-style life, which strips a man of his identity is reduced to the dimension of the deliverance within an individual consciousness – „an apparent deliverance”, as Marx put it while criticizing Stirner’s nihilism, to which Mounier added the term „the alienation of Narcissus” – the deliverance which emancipates an individual not only from „conformism resulting from living in a community”, but also life understood as a realisation of life itself through social expression. What only remains is the sense of nullity of one’s own existence. That is how the rebellion turned into a self-contradicting value – freedom became synonymous with the alienation of inter-human ties. The alienation of individuals, the sense of absurdity of everything that surrounds them, and questioning and subsequent rejection of all social value and forms – all this has been advanced to the rank of a virtue, and recognized as the hallmark of freedom and the „authentic life”. (shrink)

This article is a logical continuation of the Henri Lombardi and Franz-Viktor Kuhlmann article [9]. We address some classical points of the theory of valued fields with an elementary and constructive point of view. We deal with Krull valuations, and not simply discrete valuations. First of all, we show how to construct the Henselization of a valued field; we restrict to fields in which one has at one's disposal algorithmic tools to test the nullity or the valuation ring membership. (...) It is therefore a work that differs as much in spirit as in field of application from that of Mines, Richman and Bridges , who address the framework of Heyting fields and discrete valuation. We show then in a constructive way a batch of classical results in Henselian fields, notably factorization criteria and Krasner's Lemma. We conclude by a construction of the inertia field of a valued field. (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

The article deals with the issue of initial impossibility of performance of an obligation and the influence of such impossibility of performance on the validity of the legal transaction that establishes such an obligation. The legal doctrine convincingly demonstrates that for Roman lawyers the rule Impossitionbilium nulla obligatio est merely meant that nobody can be obliged to perform something that cannot be performed; however, it did not necessarily follow that a contract establishing such an obligation was void. Modern civil codifications (...) overlook another significant feature of the Roman law – the uncontested application of the principle Impossibilium nulla obligatio est only in case of stipulatio, whereas modern contract law has its origins in the Roman law of consensual contracts. (shrink)

Lietuvos, kaip ir kitų Europos valstybių, teisės aktai numato bendrovės visuotinio akcininkų susirinkimo sprendimų teisėtumo užtikrinimo priemonę – tokių sprendimų pripažinimo negaliojančiais institutą. Civiliniame kodekse išvardijami teisiniai šio instituto taikymo pagrindai. Kita vertus, visuotinio akcininkų susirinkimo sprendimų pripažinimo negaliojančiais pagrindų sistemos skirtingose valstybėse skiriasi. Šiame straipsnyje siekiama pateikti bendrą įstatymo numatytų bendrovės visuotinio akcininkų susirinkimo sprendimų pripažinimo negaliojančiais pagrindų Lietuvos teisėje apžvalgą, minėtų pagrindų sistemą lyginant su užsienio valstybių teisiniu reglamentavimu.

This article deploys and extends Ulrich Beck’s critique of ‘zombie categories’ :261–277, 2001) to consider how conjugal relationships are brought into being before the law. The argument presented here is that sexual performatives relating to marriage—and especially, in this instance, consummation—continue to produce a kind of social-legal magic, even as the social flesh of their enactment is rotting. Rules concerning annulment relating to wedding ceremonies, consent, disclosure, and consummation demonstrate that certain frameworks of conjugality involve a kind of corporeal magic (...) animating the privileged place of heterosexual marriage. Thus, rules and regulations pertaining to weddings continue to produce and protect heterogendered, sexually dimorphous bodies, even though this privileging is—or at least, is becoming—socially obsolete. (shrink)