In 1736, an 80-year-old Edmond Halley, dignified by the academic robes of his alma mater, Queens College Oxford, sat down at the brush of transplanted Swedish artist Michael Dahl for his final official portrait.1 By the time he posed for Dahl, Halley occupied a rank of distinction among practical philosophers of the early Enlightenment. His manifold achievements included authorship of the first catalogue of stars in the Michael Dahl, “Dr E Halley, Aged 80.” © The Royal Society. southern hemisphere, the (...) laying of actuarial foundations for life insurance and annuities, his correct prediction of the return in 1758, 1835, and 1910 of a bright periodic comet that today bears .. (shrink)

We appreciate Meynen’s examination of ethical implications of using neurotechnologies to decode neural data and make inferences about cognitive processes. Here, we address three issues that we beli...

In section I, I lay out key components of my favoured non-cognitivist interpretation of Mill's metaethics. In section II, I respond to several objections to this style of interpretation posed by Christopher Macleod. In section III, I respond to David Brink's treatment of the well-known ‘competent judges’ passage in Mill'sUtilitarianism. I argue that important difficulties face both Brink'sevidential interpretationand the rivalconstitutive interpretationthat he proposes but rejects. I opt for a third interpretative option that I call thepsychological interpretation. This interpretation makes (...) sense of otherwise difficult aspects of chapter IV ofUtilitarianism. In section IV, I offer some reasons for rejecting Nicholas Drake's claim that Mill is ultimately best characterized as a Humean constructivist. If we accept Drake's suggestion that Mill's non-cognitivism is compatible with his being a constructivist, I argue, we should view Mill as putting forward a distinctively Millian form of constructivism rather than a Humean one. (shrink)

Ziel dieses Bandes ist es, die Aktualität der Kritischen Theorie Adornos, Horkheimers und Habermas' für die heutige Zeit auszuloten. Es geht einerseits darum, die erkenntnistheoretischen Grundlagen der Kritischen Theorie neu zu überdenken, andererseits darum, neue Varianten dieser Theorie auf Gesellschaft, Kultur und Politik anzuwenden. Vor allem Bereiche wie Wissenschaftstheorie und Medienwissenschaft haben in den letzten Jahrzehnten neue Entwicklungen durchgemacht und fordern den kritischen Geist heraus. Mit Beiträgen u.a. von Roger Behrens, Wolfgang Detel, Udo Göttlich, Hans-Herbert Kögler, Gerhard Schweppenhäuser, Heinz Steinert, (...) Christine Resch und Tanja Thomas. (shrink)

Most studies examining gene-environment effects on self-regulation focus on outcomes early childhood or adulthood. However, only a few studies investigate longitudinal effects during middle childhood and adolescence and compare two domains of early caregiving. In a longitudinal follow-up with a sample of N = 87, we studied the effects of differences in the DRD4 tandem repeat polymorphisms and two domains of early maternal caregiving quality on children’s personality development using Block’s California Child Q-Set at age six and age 12 and (...) on problem behavior at ages six and seven. Early maternal regulation quality predicted later ego-resiliency and aggressiveness. In addition, significant gene-environment interactions revealed that children with the 7+ DRD4 tandem repeat polymorphism and poor maternal regulation quality in infancy showed lower scores in ego-resiliency and higher scores in ego-undercontrol and CCQ aggressiveness. In contrast, children who had experienced effective maternal regulation in infancy showed a comparable level in personality traits and problem behavior as the DRD4 7- group independent of the levels of maternal regulatory behavior. Similarly, longitudinal caregiving × DRD4 interactions were found for behavior problems in middle childhood, especially for oppositional-aggression, inattentive-hyperactivity, and social competence. Early caregiving effects were only found for maternal regulation quality, but not for maternal responsiveness. Effective early maternal regulation in infancy can moderate the negative effect of DRD4 7+ on children’s self-regulation in middle childhood and adolescence. However, maternal responsiveness has no comparable effects. It seems relevant to consider several dimensions of early caregiving and to also measure the environment in more detail in gene-environment studies. (shrink)

"This book is an augmented and updated translation by the author of Theorie des Subjekts: Subjectiviteat und Identiteat zwischen Moderne und Postmoderne, Teubingen, Francke-UTB, 2010 (3rd ed.)"--Title page verso.

Leonhard Euler (1707–1783) treated in his study „De motu vibratorio tympanorum [6], published in 1766, the theory of the vibrating rectangular and circular membrane mathematically in such a comprehensive way that little more had to be added, considering today's standards. However, he omitted to interprete his results physically. Therefore his uncomparable work found little recognition, especially in the field of musical accoustics.

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 247-248 [Access article in PDF] Christ and Buddha: Weaving a Path for the New Millennium Thomas G. Hand, S.J.Mercy Center, Burlingame, CAThis dialogue conference/retreat was held at Mercy Center, Burlingame, CA, August 10-15, 1999. Well over the stated limit of 150 people joined a faculty of ten in presentations, discussions, sharing, meditation, and rituals. The conference was born primarily out of the personal and social (...) need for dialogue felt by Sandi Peters, who joined the program staff of Mercy Center after three years spent at Insight Meditation East, Barre, Massachusetts.Besides Peters as presider, the faculty members were: representing the Buddhist side--Nigel Edmonds (Mahayana and Christianity), Chris Phillips (Theravada), Ven. Thubten Chodron (Vajrayana), Rev. Heng Sure (Chinese Mahayana), and Patrick Thornton (Theravada and Christianity); representing the Christian side--Thomas G. Hand, S. J. (Catholic), Kevin Hunt, OCSO (Cistercian monk), Roshi Jinne Richardson (Zen and Christianity), and Rev. Shari Young (Episcopal and Zen).In a well-received keynote talk, Thomas Hand offered as the basis for the whole dialogue "The Primacy of Experience" in both traditions. The major themes were: (1st day) "The Challenges of Buddhist-Christian Dialogue," (2nd day) "The Language and Symbols of the Traditions," (4th day) "Weaving a Path for the New Millennium" as a joint venture of the two traditions together. On the third day, participants engaged in "Practice--East and West," including presentations geared toward practice both then and there and in the future.One marked difference between this conference and those that Mercy Center put on from 1985 to 1988 was the quality of the participants. In the earlier conferences, many were seekers and intellectual questioners. This year, besides such qualities, the participants were sincere practitioners. In fact, a great many were practicing in both traditions. They often classified themselves as Buddhist Christians or as Christian-root Buddhists. The greater depth of dialogue that has developed in less than fifteen years was clearly apparent. What is more, the sharing and insights of both Buddhist and Christian presenters seemed to have become increasingly relaxed, articulate, and vital. Their presentations were met with much deeper understanding and enthusiasm by all the participants. [End Page 247]Besides the presentations, participants deeply appreciated the chi kong and tai chi sessions, the daily meditation together, the day of practice, the tea ceremony, and the closing ritual. In a word, the conference was holistic dialogue.Those of dual practice were especially happy to find that they are not alone, that many are coming together to weave a new Path for the new millennium.Tapes are available. Contact Sandi Peters at (650) 340-7486.... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving seconds (...) too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

I examine two arguments for the conclusion that thinking is not a physical process. James F. Ross argues that thinking is determinate in a manner that nopurely physical process can be. Peter Geach argues that thinking is a basic activity that, unlike basic physical processes, cannot be assigned a precise position in time. I present two objections to Ross’s argument. I then show that even if Geach’s argument avoids these objections, it is vulnerable to two other objections. I conclude (...) that neither argument establishes the immateriality of thinking. (shrink)

While histories of literature and philosophy have till now presented Calcidius as if he were no more than a secondhand mediator of Platonic thought, Peter Dronke, in The Spell of Calcidius, shows that this judgement must be radically revised. Calcidius' commentary (probably of the early fourth century) on Plato's Timaeus is a deeply individual work, which was able to inspire a fresh way of looking for truth, of searching for a world-picture that was not ready-made, among exceptional thinkers across (...) eight centuries. The spell Calcidius cast was intellectual freedom, a Christian's refusal to make Christian propaganda, a spirit of open enquiry. After the discussion of some key cosmological motifs in Calcidius himself and in Boethius, there follow chapters on the brilliant transformations of Calcidian thought in the ninth century by Eriugena and others; on the odi et amo towards Calcidius of Manegold of Lautenbach in the eleventh century; and on the ardent assimilation of his thought in the early twelfth by “us who love Plato”, as William of Conches proclaimed. The final chapter shows how in Bernardus Silvestris' epic, the Cosmographia (1147/8), the daring uses of language and speculation begun by Calcidius find their culminating creative renewal. (shrink)

In this account of his mature thinking, Peter Marshall develops a dynamic and organic philosophy for the coming millennium which he calls liberation ecology. Liberation ecology is holistic in viewing the world as a harmonious whole and all beings and things as interwoven threads in nature's web. It is intuitive in recognizing intuition as the main source of knowledge and the imagination as the great organ of morality. It is ecological in seeing human beings as fellow voyagers with other (...) species in the magnificent odyssey of evolution. Above all, it is libertarian in seeking to release humanity, society and nature from their existing burdens so that they can unfurl and realize together their full potential. Exploring our strengths and possibilities, this book presents the ideas and values needed to ride the winds of change at this crucial stage in our development and in the history of the world. It provides a new philosophy for a new era, an uplifting and inspired vision which combines ancient wisdom and modern insights, reason and feeling, science and poetry, myth and the marvellous. It offers a guide for the future on how to rive in the most fulfilling way and how to create a genuinely free and sustainable society in harmony with nature. (shrink)

Peter Vanderschraaf. Reputational Enforcement of Covenants.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Cambridge Companion to Bertrand RussellPeter H. DentonNicholas Griffin, editor. The Cambridge Companion to Bertrand Russell. New York: Cambridge University Press, 2003. Pp. xvii + 550. Cloth, $75.00. Paper, $26.00.It is a daunting task to conceive of a single companion to Bertrand Russell, who in life as in thought was never content with a single anything. Nicholas Griffin has brought his customary expertise to the project, and in (...) snaring fourteen other contributors to this volume, has produced a welcome addition to an academic's library of Russell materials.The shape of the volume, its contents and its presentation, however, unfortunately reflect the lopsided nature of current Russell studies. One hopes for a companion volume that has the breadth of the earlier volume edited fifty years ago by Paul Schilpp, but in vain. This book is overwhelmingly about Russell before 1918, almost entirely about philosophy of mathematics, epistemology and logic, and several of the pieces easily could have been included in a festschrift for Frege instead.What is included is well done, but to call it "the most convenient and accessible guide to Russell available" is to speak in comparative terms. To be fair, it sets out to focus on a narrow definition of Russell's contributions to modern philosophy, and the contributors accomplish this task. Ian Grattan-Guinness writes on "Mathematics in and behind Russell's Logicism, and its Reception," a subject that continues into "Bertrand Russell's Logicism" by Martin Godwyn and Andrew D. Irvine. The roots of analytic philosophy are of primary concern in this volume, so Richard L. Cartwright explores "Russell and Moore, 1898-1905" and Michael Beaney relates "Russell and Frege." "The Theory of Descriptions" by Peter Hylton sets up two pieces on "Russell's Substitutional Theory" (Gregory Landini) and "The Theory of Types" (Alasdair Urquhart), while Paul Hager's "Russell's Method of Analysis" leads into "Russell's Neutral Monism" (R.E.Tully) and "The Metaphysics of Logical Atomism" (Bernard Linsky).The next portion of the book expands the intellectual focus somewhat, with "Russell's Structuralism and the Absolute Description of the World" by William Demopoulos—perhaps [End Page 349] the best in a series of good papers—and "From Knowledge by Acquaintance to Knowledge by Causation" by Thomas Baldwin. Approaching the end of the book, Anthony Grayling's essay on "Russell, Experience, and the Roots of Science" remains firmly planted in the pre-1918 milieu, though his tentative commentary on Human Knowledge at least glimmers the extension of Russell's intellectual life into the post-Great War period.Effectively the entire second half of Russell's life is left to the final contributor, Charles Pidgen, for commentary. Author of Russell on Ethics, much of Pigden's short essay here ("Bertrand Russell: Moral Philosopher or Unphilosophical Moralist?") somewhat plaintively directs the reader to his book for an elaboration of why Russell is worth reading after 1918, at least on the subject of ethics. Of the other authors, only Hager (317) observes the extent to which Russell's post-War work mistakenly has been ignored.The book concludes with a selective bibliography. The audience, for the most part, is a specialist one, with only some essays accessible to the general reader. On that score, Griffin's introduction and his own essay, "Russell's Philosophical Background," are easily the most readable. At the risk of quibbling, I was disturbed by the uneven production of the book, as each author set his own standard for footnotes, endnotes and bibliography (creating a jumble of styles). Even within individual contributions, there are a number of inconsistencies in notation as well as typographical errors.By the end, I was left hoping there might be a second companion volume for Bertrand Russell, one that reflects what he spent the last fifty years of his life thinking, writing, and doing. In the absence of such material (which is of far greater popular interest today just as it was in Russell's lifetime), this book by itself is more of a companion to current Russell studies than to Bertrand Russell himself.Peter H. DentonThe University of WinnipegCopyright © 2004 Journal of the History of Philosophy, Inc.... (shrink)

Angesichts von Zweifel und Verzweiflung, von Furcht und Angst - jeweils verstanden als existentielle Grundbefindlichkeiten des Menschen - werden Haltungen gelingenden Lebens gesucht. Die Ethik bietet Tugenden als Wege zu einer gelingenden Lebensfuhrung an. Die Beitrager dieses Buches suchen nach Entwurfen, die die Verbindung des Tugendgedankens mit dem naturlichen Glucksverlangen des Menschen zu ermoglichen helfen und erortern, welche Bedeutung dabei Mut, Gelassenheit und Weisheit zukommt. Dabei werden ideengeschichtliche Entwurfe in heutigen Problemkontexten auf ihre Gultigkeit hin gepruft. Mit Beitragen von Martin (...) Ebner, Markus Enders, Friedrich-Wilhelm von Herrmann, Stephan Herzberg, Hubert Irsigler, Margit Kopper, Matthias Kossler, Jean-Luc Marion, Peter Reifenberg, Ralf Rothenbusch, Gerd Theissen, Klaus Viertbauer und Gunther Wenz. (shrink)

This paper is the eulogy which was delivered by Dr. Peter A. Redpath (Senior Fellow, Center for the Study of The Great Ideas) on the occasion of the funeral of Ronald “Max” Weismann (1936–2017) on 06 May 2017 at St. John Chrysostom Church, Chicago, USA.

D. W. Winnicott is increasingly recognized as one of the most important psychoanalysts since Freud, but the relevance of his Independent version of object relations theory to psychoanalytic literary criticism has not been sufficiently appreciated. As Peter L. Rudnytsky notes, "There must be ten literary critics conversant with Lacan's ecrits for every one who has read Winnicott's Playing and Reality." Transitional Objects and Potential Spaces begins to redress this imbalance. The title and subtitle of this collection highlight three of (...) Winnicott's key concepts: transitional objects, potential space, and the use of an object. Because Winnicott is unique in respecting the integrity of art as an autonomous human activity while continuing to insist on its infantile origins, he may be said to offer the first adequate psychoanalytic account of aesthetics. This volume is organized into three sections: The Analytic Frame, Literary Objects, and Cultural Fields. Beginning with Winnicott's "The Location of Cultural Experience," it features essays by a distinguished group of contributors, including Marion Milner and two current leading members of the British Psycho-Analytical Society, Christopher Bollas and Patrick J. Casement, as well as such eminent critics as Richard Poirier, Murray M. Schwartz, Ellen Handler Spitz, and Madelon Sprengnether. Transitional Objects and Potential Spaces makes a timely and persuasive case for the power of Winnicott's ideas. In defining for the first time an independent tradition of psychoanalytic criticism, it will reorient future work in literary and cultural studies. (shrink)

Translated and edited by Peter D. Arnott, this classic and highly popular edition contains two essential plays in the development of Greek tragedy-_Oedipus the King and Antigone_-for performance and study. The editor's introduction contains a brief biography of the playwright and a description of Greek theater. Also included are a list of principal dates in the life of Sophocles and a bibliography.

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 65 Heft: 2 Seiten: 239-266.

This book is a follow-up to _Inside Schools_. It reviews the position of ethnography in educational research in the light of current issues and of the author's own research over the past ten years. Starting from an analysis of teaching as science and as art, Peter Woods goes on to review the general interactionist framework in which his own work is situated, and how this relates to postmodernist trends in qualitative research. The approach is illustrated through reference to the (...) author's own personal history and research career, and his recent research on creative teaching, critical events, and his teachers reactions to school inspections. How to represent such research is a central feature, and includes a consideration of the tools used in that task and how they relate to the ethnographer's self, whatever forms of representation are selected, however, the audiences' own concerns will guide them in their interpretation of the work. Prominent themes include: * the person of the ethnographer in research * the art of teaching and new ways of representing it, while not forgetting the science of teaching and of research * research for educational use, and the uses of educational research * collaborative work between researchers and teachers The issues covered include such matters as research purposes, research design, research careers, access, data collection, data analysis, truth criteria, the relationship between theory and research methods, writing-up, and dissemination. (shrink)

A groundbreaking new look at the story of America At the heart of the nation's spiritual history are audacious and often violent scenes. But the Puritans and the shining city on the hill give us just one way to understand the United States. Rather than recite American history from a Christian vantage point, Peter Manseau proves that what really happened is worth a close, fresh look. Thomas Jefferson himself collected books on all religions and required that the brand new (...) Library of Congress take his books, since Americans needed to consider the "twenty gods or no god" he famously noted were revered by his neighbors. Looking at the Americans who believed in these gods, Manseau fills in America's story of itself, from the persecuted "witches" at Salem and who they really were, to the persecuted Buddhists in WWII California, from spirituality and cults in the '60s to the recent presidential election where both candidates were for the first time non-traditional Christians. One Nation, Under Gods shows how much more there is to the history we tell ourselves, right back to the country's earliest days. Dazzling in its scope and sweep, it is an American history unlike any you've read. (shrink)

Peter Alexander: It is presumably admitted that laws, whether causal or not, are universal in form; they are appropriately stated in universal categoricals or unrestricted hypotheticals. I assume that this is not at issue in the question set. I take our question to be this: given that causal laws are universal statements, can they be said to be about, to apply to, to hold for, individual things? -/- Peter Downing: Mr. Alexander maintains that there are 'irreducibly singular' causal (...) statements, and that from this it follows that causal laws need not be purely general. The view that there are irreducibly singular causal statements appears to commit Alexander to rejecting two theses: (i) that singular causal statements are analysable into statements containing specific generalizations, [...] (ii) That singular causal statements are analysable into statements containing incompletely specified generalizations [...]. Thesis (i) is, I think, clearly false. [...] Thesis (ii), however, is not easily refuted. (shrink)

The visual arts operated as a touchstone for French philosopher Jean-François Lyotard, influencing his thinking on everything from epistemology to politics. Building on the recent publication of a bilingual, six-volume edition of his writings on contemporary art and artists, this special issue of_ Cultural Politics_ provides a focus on Lyotard’s aesthetics. The issue includes a review of Lyotard’s writings on art, a discussion of his early figural aesthetics, and an essay on Lyotard’s little-known work, _Pacific Wall_, as well as two (...) essays on Lyotard and music. Two previously untranslated works by Lyotard himself are also featured: the influential article “Argumentation and Presentation: The Crisis of Foundations” and the interview “What to Paint?,” given at the time of the publication of the book of the same name. Painter Leon Phillips, whose work embodies many of the attributes of painting that were most important to Lyotard, is the featured artist for the issue. Throughout, the contributors argue for the primary importance of aesthetics in understanding Lyotard’s thought. Peter W. Milne is Assistant Professor in the Department of Aesthetics at Seoul National University. (shrink)

Cultural Writing. Memoir. ECOLOGY OF BEING is a philosophical memoir by Peter White. ECOLOGY OF BEING offers new approaches to the fundamental human task of finding one's way in the world. It is a valuable guide for locating true measures of meaning for oneself and for sharing life's real abundance with others. "ECOLOGY OF BEING describes how human nature, purpose and destiny relate to the quality of existence. It explains not what to do but how to be. It offers (...) a context for understanding the immense implications of being"--from the Preface. "Peter White's ECOLOGY OF BEING is beautifully, lyrically written, with a depth of insight, a humility, and a wisdom that are moving. More important, this book is timely, a powerful call to understand the self-and the responsibilities of love-in new and transforming ways. A must read for anyone who cares about our future as individuals and as a society"-- David Lynn. (shrink)

Peter Vardy explains the philosophic process that has led to post-modernism - with its rejection of a single truth - and charts the political, social, environmental and personal consequences of undermining the distinction between truth and falsity.

In their own words, many of the world's foremost mathematicians discuss the art and practice of their work in this book, which shines a light on some of the issues of mathematical creativity. It is neither a philosophical treatise nor the presentation of experimental results, but a compilation of reflections from top-calibre working mathematicians. This approach highlights the creative aspects of the field, illustrates the dramatic variation by individual, and hopes to express the vibrancy of creative minds at work. Organised (...) alphabetically, this book is meant for a general audience and is best read by browsing. It can be used as a supplementary text in mathematics history and mathematics education courses. (shrink)