Selon les auteurs le nouveau "College" d'enseignement supérieur devra être petit démocratique, auto-administré et résidentiel ; son but sera de créer une authentique communauté de culture, de connaissances académique et d'économie. Les collèges Ruskin, Bauhaus et Black Mountain sont décrits comme précurseurs.

Levinas ahead of his time--and himself--on politics, postcolonialism and globalization, animals and the environment, and science and technology.

Abstract In this essay I show that while Levinas himself was clearly reluctant to extend to nonhuman animals the same kind of moral consideration he gave to humans, his ethics of alterity is one of the best equipped to mount a strong challenge to the traditional view of animals as beings of limited, if any, moral status. I argue that the logic of Levinas's own arguments concerning the otherness of the Other militates against interpreting ethics exclusively in terms of human (...) interests and values, and, furthermore, that Levinas's phenomenology of the face applies to all beings that can suffer and are capable of expressing that suffering to me. Insofar as an animal has a face in Levinas's sense through which it is able to express its suffering to me, then there is no moral justification for refusing to extend to it moral consideration. 1. (shrink)

To be beneficent, that is, to promote according to one's means the happiness of others in need, without hoping for something in return, is every man's duty. Immanuel Kant, The Metaphysics of Morals Almost everyone agrees that we have a moral duty to pull out a drowning child from a shallow pond even if this means getting our clothes muddy. But what are the limits of the duty of beneficence? In “Famine, Affluence and Morality”, which first appeared in 1972, (...) class='Hi'>Peter Singer attempted to specify those limits in terms of the following principle: “if it is in our power to prevent something bad from happening, without thereby sacrificing anything of comparable moral importance, we ought, morally, to do it.” Singer went on to use this principle to argue that we ought to be doing all we can to prevent Third World hunger. At the same time, he challenged the well-established Western moral viewpoint that makes it an act of charity rather than a duty for a relatively affluent individual to give money to help feed the world's poor. Singer left open the question of whether the traditional distinction between duty and charity should be redrawn or abolished altogether, although he insisted that giving to others who are starving, even at the cost of giving up luxuries such as new clothes or a new car, is not an act of charity, but a duty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editors’ Introduction“Between the Bible and the Philosophers”: ShakespearePeter Atterton (bio) and Sean Lawrence (bio)It is not clear when Levinas first read Shakespeare, but we do have some clues. The first complete translation of Shakespeare’s works into Russian, Levinas’s mother tongue, appeared between 1865 and 1868. These volumes doubtless graced the shelves of his family’s bookstore in Kovno (now Kaunas), in Lithuania, then part of the Russian empire. Kovno (...) served as capital of one of three губернии gubernias (provinces), but also as the de facto center of Lithuanian intellectual life. The family bookstore catered to the highbrow tastes of government officials and served the needs of teachers and students at the local lycée. One also imagines that it fired the literary imagination of the young Levinas, who taught himself to read Russian at a young age. However, it would have been highly unusual for one so young, even for one as precocious as Levinas, to have read Shakespeare recreationally and self-educationally during this period (1906–1915). It probably was not until he entered the lycée in Kharkov, in Tsarist Ukraine, where his family emigrated at the beginning the Great War, or after his family’s return in 1920 to Lithuania, where Levinas attended the Hebrew lycée in Kovno, that Levinas read Shakespeare for the first time. We know that Russian gymnasiums and technical schools assigned Shakespeare.1 His gymnasium education, between the ages of eleven and seventeen, is therefore the latest point by which Levinas could have read Shakespeare for the first time, though we do not know what or how much.He certainly acknowledged Shakespeare’s influence on his early thought. In an interview broadcast on Radio France Culture in February 1981, Philippe Nemo asked Levinas what were “the first great books” he encountered, “the Bible or the philosophers?” Levinas answered by saying that he read the Bible while very young but only began to read philosophy with any seriousness at university. He proceeded, however, to volunteer a third category of great books, [End Page 1]between the Bible and the philosophers, the Russian classics—Pushkin, Lermontov, Gogol, Turgenev, Dostoyevsky and Tolstoy, and also the great writers of Western Europe, notably Shakespeare, much admired in Hamlet, Macbeth and King Lear.2If we treat this as a chronology, then Levinas would have first read Shakespeare at some time “between” the age of six, when he began reading the Bible and other Hebrew texts with a private tutor, and the age of seventeen, when he enrolled at the University of Strasbourg.A polyglot, Levinas could have read Shakespeare in English as well as in Russian translation, but also in French, German, or Hebrew translation. For that matter, he could have read it in Lithuanian translation.3 We don’t know which French edition he read first or drew upon most closely.4 In Time and the Other, he follows the translation of Émile Montégut for Macbeth but for Romeo and Juliet, as noted in Sean Lawrence’s article, he does not repeat verbatim any of the major translations. When he quotes Shakespeare in English, he follows an original spelling edition. In the notebooks that he kept during imprisonment, and part of which we have translated here, Levinas appears to quote Shakespeare in English from memory, but incorrectly.This error notwithstanding, the Carnets de captivité show the imprisoned Levinas reading widely in English. Perhaps he expected a victory by the anglo-phone powers, or perhaps he practiced a sort of defiance in reading the language of his captors’ enemies, or perhaps he sought to strengthen his understanding of one of the European languages he had neglected in the precocity of his youth. Besides Shakespeare, we find him reading D. H. Lawrence’s Lady Chatterley’s Lover and Charles Morgan’s Sparkenbroke within our selection. Elsewhere in the notebooks, he refers to Arthur Conan Doyle, Charles Dickens, L. Ryder Haggard, Maurice Baring, Millen Brand, Pearl Buck, and Edgar Allan Poe.5 His references range from the cursory—in the case of Brand’s The Outward Room, it consists only of its title and author—to the surprisingly detailed and suggestive. After reading... (shrink)

Discussions of the sources for Levinas’s philosophy have tended to focus on Greece and the Bible to the neglect of his Russo-Lithuanian cultural heritage. Almost no work has been done examining the impact of Russian literature on Levinas’s thinking. The present essay seeks to overcome this neglect by examining the influence that Dostoyevsky in particular exerted on the development of Levinas’s philosophy. I am aware that the notion of “influence” is philosophically vague, and not something whose truth can easily be (...) ascertained. Might there be nothing more than simply a confluence between the thinking of Dostoyevsky and that of Levinas? Could it be that Levinas was attracted to the work of Dostoyevsky because he found there what he was already looking for? Although Levinas credits Dostoyevsky with introducing him to philosophy, it would be facile to draw the conclusion that St. Petersburg occupies as important a place in Levinas’s intellectual itinerary as Athens or Jerusalem. Dostoyevsky provided neither an ontology nor any of the “pre-philosophical experiences” (EI 24) on which, according to Levinas, all philosophical thought rests. But he did give Levinas a way to think about art, religion, and, most importantly of all, ethics after the Holocaust, an event that more than any other, according to Levinas, demonstrated the absolute failure of philosophical theodicy. It was Dostoyevsky, I submit, rather than the Bible, the Greeks, or Kant who taught Levinas that the moral imperative, addressed to the singular existing individual, supersedes the religious imperative, whose validity is placed in question by the suffering of innocents and the absence of the all-powerful and providential God of theism. (shrink)

In section 48 of Being and Time, Heidegger quotes from chapter XX of Der Ackermann aus Böhmen, a late medieval prose poem written in Early New High German, circa 1400: “As soon as a man comes to life, he is at once old enough to die.” In this paper, I provide the context for the quotation. I also suggest that Heidegger’s interest in Der Ackermann cannot be explained solely in terms of his believing the poem was the source of the (...) quotation on page 245 of Being and Time. I offer a justification for this claim by showing that Heidegger’s discussion of death in Being and Time employs three important images: “debt,” “inheritance,” and “ripeness” – all of which can be found in chapter XX Der Ackermann. I show these “borrowings” to be at once a reference to the context of the Christian/humanist heritage to which they belong and a part of the newly evolving Daseinsanalytik. (shrink)

This article surveys the numerous philosophical themes Levinas attributes to Shakespeare’s Macbeth. Detailed discussions are provided of the face as the temptation to commit violence and its prohibition, of the there is as the impossibility of an exit from existence, of the foundational role of con­science in ethics, and of the nature of the tragic hero who seeks to postpone the inevitability of death. I argue that it is only by treating the face as in some sense provoking violence can (...) we hope to understand how the character Macbeth finds it possible to murder Duncan while looking him in the face. This reading requires us to see him as ethically ambivalent, as one might expect from a play in which “nothing is but what is not.” The essay concludes with a brief reflection on why Macbeth manages to evoke our pity, even though we know him to be a murderer. (shrink)

Our essay begins with a story of a disagreement between a senior Aboriginal elder and an eminent Australian environmental scientist about whether two plants are the same or different. This highly specific disagreement, which occurred in the context of an attempt to exchange knowledge about land management, brings into focus what is involved in developing a philosophically sophisticated postcolonial dialogue as part of knowledge and culture work with Yolŋu Aboriginal Australians. We propose an Australian comparative empirical philosophical inquiry (ACEPI) as (...) an intervention located in such encounters to prolong the possibilities for “doing difference” before forming concepts, through which a specific “going on together” becomes possible. We explain why we aspire to dialogue and recognize the worth of ontic discomfort, which might offer resources for ontic innovation. We also briefly discuss a project using a contrived analytic archive of Yolŋu texts, generated over the past twenty-five years. (shrink)

The Continental Ethics Reader is the first comprehensive anthology of classic writings on ethics and moral philosophy from the major figures in Continental thought. The carefully selected readings are divided into five sections: Phenomenology and Hermeneutics, Existentialism, Critical Theory, Postmodernism, Psychoanalysis and Feminism. All of the authors and their writings are introduced and placed in philosophical context by the editors. The Continental Ethics Reader is an ideal point of entry to the most pressing issues and most important thinkers of the (...) Continental tradition, and provides a thorough and much needed introduction to the field. (shrink)

Animal Philosophy is the first text to look at the place and treatment of animals in Continental thought.

In Democracy and the Claims of Nature, the leading thinkers in the fields of environmental, political, and social theory come together to discuss the tensions and sympathies of democratic ideals and environmental values. The prominent contributors reflect upon where we stand in our understanding of the relationship between democracy and the claims of nature. Democracy and the Claims of Nature bridges the gap between the often competing ideals of the two fields, leading to a greater understanding of each for the (...) other. (shrink)

The purpose of this paper is to examine whether anonymous reporting channels are effective in detecting fraud against companies. Fraud, which comprises predominantly asset misappropriation, represents a key operational risk and a major cost to organisations. The fraud triangle provides a framework for developing our understanding of how ARCs can increase detection of fraud. Using publicly listed company survey data collected by KPMG in Australia—where ARCs are not mandated—we find a positive association between ARCs and reported fraud. These results indicate (...) that ARCs are effective in detecting fraud. Additional analysis reveals that small firms derive the greatest benefit from adopting ARCs. We also find that independent boards do not directly influence the detection of fraud, but companies with independent boards detect more fraud because they implement ARCs. (shrink)

One central question of metaethics concerns whether there are any moral facts. I argue that morality as such is characterized by a number of distinctive features, and that metaphysical naturalists should believe that there are moral facts only if there is a plausible naturalistic explanation of the existence of facts which exemplify those features. I survey three prominent (and very different) naturalistic moral theories—the reductive naturalism of Peter Railton, Frank Jackson’s analytic descriptivism, and Christine Korsgaard’s Kantianism—and argue that none (...) of them has the resources to explain the existence of genuine moral facts. (shrink)

After decades of marginalization in the secularized twentieth-century academy, moral education has enjoyed a recent resurgence in American higher education, with the establishment of more than 100 ethics centers and programs on campuses across the country. Yet the idea that the university has a civic responsibility to teach its undergraduate students ethics and morality has been met with skepticism, suspicion, and even outright rejection from both inside and outside the academy. In this collection, renowned scholars of philosophy, politics, and religion (...) debate the role of ethics in the university, investigating whether universities should proactively cultivate morality and ethics, what teaching ethics entails, and what moral education should accomplish. The essays quickly open up to broader questions regarding the very purpose of a university education in modern society. Editors Elizabeth Kiss and J. Peter Euben survey the history of ethics in higher education, then engage with provocative recent writings by Stanley Fish in which he argues that universities should not be involved in moral education. Stanley Hauerwas responds, offering a theological perspective on the university’s purpose. Contributors look at the place of politics in moral education; suggest that increasingly diverse, multicultural student bodies are resources for the teaching of ethics; and show how the debate over civic education in public grade-schools provides valuable lessons for higher education. Others reflect on the virtues and character traits that a moral education should foster in students—such as honesty, tolerance, and integrity—and the ways that ethical training formally and informally happens on campuses today, from the classroom to the basketball court. _Debating Moral Education_ is a critical contribution to the ongoing discussion of the role and evolution of ethics education in the modern liberal arts university. _Contributors_. Lawrence Blum, Romand Coles, J. Peter Euben, Stanley Fish, Michael Allen Gillespie, Ruth W. Grant, Stanley Hauerwas, David A. Hoekema, Elizabeth Kiss, Patchen Markell, Susan Jane McWilliams, Wilson Carey McWilliams, J. Donald Moon, James Bernard Murphy, Noah Pickus, Julie A. Reuben, George Shulman, Elizabeth V. Spelman. (shrink)

Narrated in the first person, Peter Carey’s novel about the life of Australian bushranger Ned Kelly incorporates other aspects of speech derived both from Carey’s personal experience and from the editorial process. Kelly's voice is toned down to some extent by virtue of the latter, introducing expressions Kelly himself would not have used. Identifying these elements, along with the specific attributes of Kelly’s own speech, enjoins a diversity of cultural and social groupings that intersect and, in some (...) instances, compete with or contradict one another. Shifts in speakers might be signalled by textual markers or by adopting different expressive qualities and speech patterns, which may or may not include a change in grammatical person. In this novel, at one instance, a shift in person is apparent, but I want to argue, not necessarily a shift in the identity of the speaker because, although the grammatical voice shifts, its qualitative features are largely unaltered. The shift nonetheless introduces a significant change. Paradoxically, as far as literary theory is concerned, the subjective qualities produced through voice mean that stylisations of speech may be indicative of character point of view, rather than what is understood to be narrative voice, because they might function in narrative as inflections of speech that do not correspond to the established voice of the grammatically instanced speaker—offering a focalised perspective instead. The shift in True History presents problems in these terms, however: the point of view instanced here is clearly that belonging to the speaker, though the voice is Kelly’s, for the narrator’s point of view determines the generality of the descriptive terms where once these were specific and personal. Had the novel been narrated wholly in third person, an unproblematic reading of Kelly’s point of view, suggested by the use of his voice, would be possible. But the shift undermines this—Kelly’s point of view gives way to another, instanced in the shift that takes place in narrative voice. Carey, in other words, inverts the convention. This is not an instance of free indirect style or discourse, where grammatical mood is at odds with the speaker’s position and tenses align with the implicated subject position of another. The same features of voice that might identify character point of view must, in absence of any disparity of mood or tone, function in respect to narrative voice to convey something of its speaker’s subjectivity, and this seems apparent here: the speaker shares Kelly’s subjective emotional and intellectual perspective, but no longer occupies the subject position. Carey’s voicing of the bushranger therefore complicates distinctions between voice and point of view by revealing qualitative features of voice to be important to the question of who is speaking the narrative. (shrink)

In this essay, I want to explore the possibility that the success of narrative in stimulating empathy comes from the relation that narrative bears to emotion—where emotion is a kind of proto-narrative that possibly accounts for the structure and range of narratives themselves —and that our familiarity with emotions as micro-narratives results in the motivation of narrative. That is, the resolution of events occurs in terms of feeling rather than other forms of closure, since other forms of closure represent literal (...) endings as, quite simply, the cessation of events whereas emotion achieves its end by being felt or translated in empathetic terms and in ways that endure beyond the formality of the fictive event that ends the narrative. I will be using Kim Scott’s Benang: From the Heart (1999) and Peter Carey’s Jack Maggs (1997) to discuss narrative and emotions, or the role of emotion in motivating narrative events and the role of narrative in conveying and stirring emotion in the reader. (shrink)

The editors cull the works of 11 noted French and German philosophers for their contributions to the debate about what animals are like and how we should relate to them. Each selection gives the gist of the philosopher's view followed by a noted scholar's comments. The result, as Peter Singer notes in his merciless Foreward, is that most of the Continentals have had almost nothing of interest to say on the topic.

In 1972, the young philosopher Peter Singer published "Famine, Affluence and Morality," which rapidly became one of the most widely discussed essays in applied ethics. Through this article, Singer presents his view that we have the same moral obligations to those far away as we do to those close to us. He argued that choosing not to send life-saving money to starving people on the other side of the earth is the moral equivalent of neglecting to save drowning children (...) because we prefer not to muddy our shoes. If we can help, we must--and any excuse is hypocrisy. Singer's extreme stand on our moral obligations to others became a powerful call to arms and continues to challenge people's attitudes towards extreme poverty. Today, it remains a central touchstone for those who argue we should all help others more than we do. As Bill and Melinda Gates observe in their foreword, in the age of today's global philanthropy, Singer's essay is as relevant now as it ever was. This attractively packaged, concise edition collects the original article, two of Singer's more recent popular writings on our obligations to others around the world, and a new introduction by Singer that discusses his current thinking. (shrink)

A historical investigation of the exclusion of Africa and Asia from modern histories of philosophy.

This reissue of his collection of early essays, Logico-Linguistic Papers, is published with a brand new introduction by Professor Strawson but, apart from minor ...

Panentheism is the position that the world is in some sense ‘in’ God, and God ‘in’ the world, without the world being identical to God. Thus, it tries, like what I call mainstream theism and against pan- theism, to protect the transcendence of God, while giving greater emphasis to his immanence in creation than the former. I aim to explicate an approach that I call Orthodox Panentheism. The word ‘orthodox’ is to be read in two ways. First, the picture is (...) derived from the writings of some of the most important figures in Eastern Christian thought, so that it is Orthodox in the ‘big “O” sense’. Second, I hope to show that it is a legitimate Christian picture of the God–world relation which is both distinctive and worthy of being called ‘panentheism’ – an orthodox panentheism in the ‘little “o” sense’. (shrink)

Does strolling through an art museum, admiring the old masters, improve us morally and spiritually? Would government subsidies of "high art" (such as big-city opera houses) be better spent on local community art projects? In What Good are the Arts? John Carey--one of Britain's most respected literary critics--offers a delightfully skeptical look at the nature of art. In particular, he cuts through the cant surrounding the fine arts, debunking claims that the arts make us better people or that judgements (...) about art are anything more than personal opinion. Indeed, Carey argues that there are no absolute values in the arts and that we cannot call other people's aesthetic choices "mistaken" or "incorrect," however much we dislike them. Along the way, Carey reveals the flaws in the aesthetic theories of everyone from Emanuel Kant to Arthur C. Danto, and he skewers the claims of "high-art advocates" such as Jeannette Winterson. But Carey does argue strongly for the value of art as an activity and for the superiority of one art in particular: literature. Literature, he contends, is the only art capable of reasoning, and the only art that can criticize. Language is the medium that we use to convey ideas, and the usual ingredients of other arts--objects, noises, light effects--cannot replicate this function. Literature has the ability to inspire the mind and the heart towards practical ends far better than any work of conceptual art. Here then is a lively and stimulating invitation to debate the value of art, a provocative book that will pique the interest of anyone who loves painting, music, or literature. (shrink)