An examination of the rise in prestige of the Bible as a literary and aesthetic model during the late eighteenth century.

"Kevin Hart and Geoffrey H. Hartman bring together essays by prominent scholars from a range of disciplines to focus on Blanchot's diverse concerns: literature, art, community, politics, ethics, spirituality, and the Holocaust."--Jacket.

Irish literature after Yeats and Joyce, from the 1920s onwards, includes texts which have been the subject of much contention. For a start how should Irish literature be defined: as works which have been written in Irish or as works written in Englsih by the Irish? It is a period in whichideas of Ireland--of people, community, and nation--have been both created and reflected, and in which conceptions of a distinct Irish identity have been articulated, defended, and challenged; a (...) period which has its origins in a time of intense political turmoil. `after Yeats and Joyce' alsosuggests the immense influence of these two writers on the style, stances, and preoccupations of twentieth-century Irish literature. Neil Corcoran focuses his chapter on various themes such as `the Big House', the rural and provincial, with reference to authors from Kinsella and Beckett to WilliamTrevor, Seamus Heaney, and Mary Lavin, providing a lucid and far-reaching introduction to modern Irish writing. (shrink)

Modern scholarship has tended to separate literature and theology. Yet it is impossible to understand the ideas of such Victorian theologians as Hare and Maurice, Keble and Newman without reference to contemporary literary criticism - just as it is impossible to understand criticism of the period (and the sensibility it implies) isolated from its theology. This book is an attempt to reinterpret a whole theological tradition in the light of its members' views on language and poetry, and associated ideas (...) of imagination, myth and symbol. Dr Prickett argues that Coleridge and Wordsworth began a theological revolution by reintroducing to the Anglican Church a mode of thinking that had become submerged, or died out. "Their 'organic' aesthetics, with roots both in England and Germany, carried with them a theory of symbolism and of the unconscious, which, while originally derived from theology, provided an independent and parallel tradition to contemporary 'Paleyite' apologetic. From them Maurice, Keble and Newman were able to draw the conception of an 'idea' as living and creative, and of the Church itself as 'poetic'. (shrink)

How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while its (...) feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

Nevertheless, Marx's essay ["On the Jewish Question"] has a profound bearing upon The Jew of Malta; their conjunction enriches our understanding of the authors; relation to ideology and, more generally, raises fruitful questions about a Marxist reading of literature. The fact that both works use the figure of the perfidious Jew provides a powerful link between Renaissance and modern thought, for despite the great differences to which I have just pointed, this shared reference is not an accident or a (...) mirage. "On the Jewish Question" represents the nineteenth-century development of a late sixteenth-century idea or, more accurately, a late sixteenth-century trope. Marlowe and Marx seize upon the Jew as a kind of powerful rhetorical device, a way of marshalling deep popular hatred and clarifying its object. The Jew is charged not with racial deviance or religious impiety but with economic and social crime, crime that is committed not only against the dominant Christian society but, in less "pure" form, by that society. Both writers hope to focus attention upon activity that is seen as at once alien and yet central to the life of the community and to direct against that activity the anti-Semitic feeling of the audience. The Jews themselves in their real historical situation are finally incidental in these works, Marx's as well as Marlowe's, except insofar as they excite the fear and loathing of the great mass of Christians. It is this privileged access to mass psychology by means of a semimythical figure linked in the popular imagination with usury, sharp dealing, and ruthless cunning that attracts both the sixteenth-century playwright and the nineteenth-century polemicist.1 · 1. Anti-Semitism, it should be emphasized, is never merely a trope to be adopted or discarded by an author as he might choose to employ zeugma or eschew personification. It is charged from the start with irrationality and bad faith and only partly rationalized as a rhetorical strategy. Marlowe depicts his Jew with the compulsive cruelty that characterizes virtually all his work, while Marx's essay obviously has elements of a sharp, even hysterical, denial of his religious background. It is particularly tempting to reduce the latter work to a dark chapter in its author's personal history. The links I am attempting to establish with Marlowe or the more direct link with Feuerbach, however, locate the essay in a far wider context. Still, the extreme violence of the latter half of Marx's work and his utter separation of himself from the people he excoriates undoubtedly owe much to his personal situation. It is interesting that the tone of the attack on the Jews rises to an almost ecstatic disgust at the moment when Marx seems to be locating the Jews most clearly as a product of bourgeois culture; it is as if Marx were eager to prove that he is in no way excusing or forgiving the Jews. Stephen J. Greenblatt is the Class of 1932 Professor of English Literature at the University of California at Berkeley. He is the author of Sir Walter Raleigh: The Renaissance Man and His Roles, Renaissance Self-Fashioning: From More to Shakespeare, Marvelous Possessions: The Wonder of the New World, and the editor of a collection of essays, New World Encounters. (shrink)

Introduction: Ancient & modern : the braid of Cassiodorus -- Tradition, literacy and change -- Church versus scripture : the idea of biblical tradition -- Revolution and tradition -- Re-envisioning the past : metaphors and symbols of tradition -- Inventing Christian culture : Volney, Chateaubriand and the French Revolution -- Herder, Schleiermacher, Novalis and Schlegel : the idea of a Christian Europe -- Translating Herder : the idea of Protestant Reformation -- Keble and the Anglican tradition -- Newman and the (...) development of tradition -- Arnold : taking religion out of religion -- Radical tradition : theologizing Eliot -- Epilogue: Re-energizing the past -- Appendix: Velázquez and the royal boar hunt. (shrink)

Originally published in 1980, this is a study of the 'romanticism' of Coleridge and Wordsworth. Their concern with creativity, and the conditions that helped or hindered their own artistic development, produced a new concept of mental growth - a 'modern' view of the mind as organic, active, and unifying. In particular, we see how their aesthetics evolved from a personal and intuitional need to reaffirm 'value' in their own lives. Their discovery of the fundamental ambiguity of such intuition is discussed (...) in relation to some ideas of Empson, Gombrich, and Ehrenzweig. As well as an essay in criticism, this is a contribution to the history of ideas, drawing together points in the background of philosophical and psychological theory from Hartley and Wesley to John Stuart Mill. Since many of our ideas about imagination, symbolism, and creativity are ultimately derived from Coleridge and Wordsworth, this is a book for students of romantic and modern literature. (shrink)

This book argues for the importance of writing to conceptions of language, technology, and civilization in the early modern era.

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

Leslie Stephen (1832–1904) was a writer, philosopher and literary critic whose work was published widely in the nineteenth century. As a young man Stephen was ordained deacon, but he later became agnostic and much of his work reflects his interest in challenging popular religion. This two-volume work, first published in 1876, is no exception: it focuses on the eighteenth-century deist controversy and its effects, as well as the reactions to what Stephen saw as a revolution in thought. (...) Comprehensive and full of detailed analysis, this is an important work in the history of ideas. Volume 2 focuses on eighteenth-century moral philosophy, political philosophy and literature, and on the literary and religious reactions to the revolution in thought. Utilitarianism is discussed at length, as well as the work of thinkers such as Shaftesbury, Mandeville, Burke and Adam Smith. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

Since the heyday of ordinary language philosophy, Anglophone epistemologists have devoted a great deal of attention to the English word ‘know’ and to English sentences used to attribute knowledge. Even today, many epistemologists, including contextualists and subject-sensitive invariantists are concerned with the truth conditions of “S knows that p,” or the proposition it expresses. In all of this literature, the method of cases is used, where a situation is described in English, and then philosophers judge whether (...) it is true that S knows that p, or whether saying “S knows that p” is false, deviant, etc. in that situation. However, English is just one of over 6000 languages spoken around the world, and is the native language of less than 6% of the world’s population. When Western epistemology first emerged, in ancient Greece, English did not even exist. So why should we think that facts about the English word “know,” the concept it expresses, or subtle semantic properties of “S knows that p” have important implications for epistemology? Are the properties of the English word “know” and the English sentence ‘S knows that p’ shared by their translations in most or all languages? If that turned out to be true, it would be a remarkable fact that cries out for an explanation. But if it turned out to be false, what are the implications for epistemology? Should epistemologists study knowledge attributions in languages other than English with the same diligence they have shown for the study of English knowledge attributions? If not, why not? In what ways do the concepts expressed by ‘know’ and its counterparts in different languages differ? And what should epistemologists make of all this? (shrink)

Over the past forty years, scientists have developed models of human reasoning based on the principle that human languages and classical logic involve fundamentally different concepts and different methods of interpretation. In The Emergence of Meaning Stephen Crain challenges this view, arguing that a common logical nativism underpins human language and logical reasoning. The approach which Crain takes is twofold. Firstly, he uncovers the underlying meanings of logical expressions and logical principles that appear in typologically different languages - (...) class='Hi'>English and Mandarin Chinese - and he demonstrates that these meanings and principles directly correspond to the expressions and structures of classical logic. Secondly he reports the findings of new experimental studies which investigate how children acquire the logical concepts of these languages. A step-by-step introduction to logic and a comprehensive review of the literature on child language acquisition make this work accessible to those unfamiliar with either field. (shrink)

Leslie Stephen was a writer, philosopher and literary critic whose work was published widely in the nineteenth century. As a young man Stephen was ordained deacon, but he later became agnostic and much of his work reflects his interest in challenging popular religion. This two-volume work, first published in 1876, is no exception: it focuses on the eighteenth-century deist controversy and its effects, as well as the reactions to what Stephen saw as a revolution in thought. Comprehensive (...) and full of detailed analysis, this is an important work in the history of ideas. Volume 1 contains a thorough discussion of the arguments for and against deism, and of the state of theology at the end of the century. Volume 2 focuses on eighteenth-century moral philosophy, political philosophy, literature, and on the literary and religious reactions to the revolution in thought. It also discusses utilitarianism in depth. (shrink)

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

Disturbed by these acrimonious arguments, the authors - former colleagues and university-press board members - embarked on an ambitious project to reexamine a number of major literary and philosophical works dealing with the liberal arts and education. With their discussions ranging from Plato to Rousseau, from Cicero to Vico, from Erasmus to Matthew Arnold, Sousa and Weinsheimer offer not a history of education philosophy but an examination of the present.

The “affective turn” is by now long established, part of a wider surge of interest in emotion playing out in a range of disciplines. In literary studies, the conversation about how affect theory might help us to interpret literature is still emerging. The goal of the present discussion is to provide a critical overview of work by scholars who draw on the insights of recent theory to read literary texts written in English. At the same time that the (...) discussion offers an appraisal of the current state of scholarship, it also seeks to identify emerging new directions in research. (shrink)

Leslie Stephen was a writer, philosopher and literary critic whose work was published widely in the nineteenth century. As a young man Stephen was ordained deacon, but he later became agnostic and much of his work reflects his interest in challenging popular religion. This two-volume work, first published in 1876, is no exception: it focuses on the eighteenth-century deist controversy and its effects, as well as the reactions to what Stephen saw as a revolution in thought. Comprehensive (...) and full of detailed analysis, this is an important work in the history of ideas. Volume 2 focuses on eighteenth-century moral philosophy, political philosophy and literature, and on the literary and religious reactions to the revolution in thought. Utilitarianism is discussed at length, as well as the work of thinkers such as Shaftesbury, Mandeville, Burke and Adam Smith. (shrink)

_Philosophy Beside Itself _ was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The writings of French philosopher Jacques Derrida have been the single most powerful influence on critical theory and practice in the United States over the past decade. But with few exceptions American philosophers have taken little or no interest in Derrida's work, and the task of reception, (...) translation, and commentary has been left to literary critics. As a result, Derrida has appeared as a figure already defined by essentially literary critical activities and interests. Stephen Melville's aim in _Philosophy Beside Itself _ is to insist upon and clarify the distinctions between philosophy and criticism. He argues that until we grasp Derrida's philosophical project as such, we remain fundamentally unable to see his significance for criticism. In terms derived from Stanley Cavell's writings on modernism, Melville develops a case for Derrida as a modernist philosopher, working at once within and against that tradition and discipline. Melville first places Derrida in a Hegelian context, the structure of which he explores by examining the work of Heidegger, Lacan, and Bataille. With this foundation, he is able to reappraise the project of deconstructive criticism as developed in Paul de Man's _Blindness and Insight _and further articulated by other Yale critics. Central to this critique is the ambivalent relationship between deconstructive criticism and Lacanian psychoanalysis. Criticism—radical self-criticism—is a central means through which the difficult facts of human community come to recognition, and Melville argues for criticism as an activity intimately bound to the ways in which we do and do not belong in time and in community. Derrida's achievement has been to find a new and necessary way to assert that the task of philosophy is criticism; the task of literary criticism is to assume the burden of that achievement. Stephen Melville is an assistant professor of English at Syracuse University, and Donald Marshall is a professor of English at the University of Iowa. (shrink)

Psychoanalysis has, in the very nature of its object, an interest in and difficulty with the concept of place as well as an interest in and difficulty with the logic of place, topology. The Unconscious can thus seem to give rise to a certain prospect of mathesis or formalization; and such formalization, achieved, would offer a ground for the psychoanalytic claim to scientific knowledge relatively independent of empirical questions and approaching the condition of mathematics. This might then seem to have (...) been Lacan’s wager in organizing the researches of his école around works of theoretical elaboration rather than clinical study; certainly some such notion must underlie Miller’s claim to be “axiomatic.”1In this paper I want to explore some of Lacan’s formalizations as they are unfolded in the seminar Encore. 2 I will in effect be looking at the place of place or places in psychoanalysis—in particular, I will be looking at the place of jouissance in Lacan’s psychoanalysis and at the places of what Lacan punningly calls jouis-sens. The joint problematic here might be called one of “enjoymeant,” combining the logic of pleasure with the pleasure of logic. For Lacan, questions of jouissance, however punned, are questions of unity and selfhood, so in examining the reciprocal play of pleasure and sense I will be examining how Lacanian psychoanalysis secures itself in place. This last topic touches implicitly in Encore on questions of legacy and inheritance, so in the end I will also have something to say about the limits Lacan’s formalizations would impose on our enjoyment of Freud. I should note in advance that Encore, Lacan’s seminar of 1972-73, is an extraordinarily compact and involuted text, even by his standards, and of a corresponding richness, weaving sustained meditations on such figures as Georges Bataille, Roman Jakobson, Kierkegaard, and Aquinas with “mathemystical” digressions on sexuality, discourse, Borromean knots, and the like. The reading offered here is perforce schematic. 1. By and large the evidences of the Lacanian clinic are closed to us in consequence of Lacan’s insistence on theoretical elaboration. But it should not go unremarked that much of the work of Lacan’s school seems to have focused on areas traditionally recalcitrant to psychoanalytic treatment—alcoholism, retardation, and psychosis—and that such an emphasis is responsive to traditional empirically minded critiques of the limits of psychoanalysis.2. It should perhaps be noted in this context that the project of a genuinely public presentation of Lacan’s seminars seems to have been abandoned in favor of the more circumscribed circulation of texts through the Lacanian journal Ornicar? Stephen Melville is assistant professor of English at Syracuse University. He is the author of Philosophy Beside Itself: On Deconstruction and Modernism and is currently completing a series of essays on postmodern art and criticism. (shrink)

If we think about comedy in terms of stock characters, Shakespeare provides some startling examples. Here, for instance, are two hypothetical casts: A jealous husband, a chaste wife, an irascible father, a clever malicious servant, a gullible friend, a bawdy witty maid; A pair of lovers, their irascible fathers, a bawdy serving woman, a witty friend, a malicious friend, a kindly foolish priest. Both of these groups represent recognizable comic configurations, though in fact they are also the casts of Othello (...) and Romeo and Juliet. Being able to see them in this light, I think, reveals something important about how both these tragedies work. Much of their dramatic force derives from the way they continually tempt us with comic possibilities. We are told in a prologue that Romeo and Juliet are star-crossed, but if inevitability is a requisite of tragedy, neither play will qualify for the genre: they are the most iffy dramas in the Shakespearean canon. At innumerable points in both plays, had anything happened differently, the tragic catastrophe would have been averted. Othello particularly teases the audience in this way—as the famous story about the man who leapt from his seat, furious at the impending murder of Desdemona, and shouted "You fool, can't you see she's innocent?" reveals. The story is no doubt apocryphal , but the point is that it is unique to this play: there are no similar tales of spectators leaping up to rescue Cordelia, to save Gloucester from blinding, to dash the asp from Cleopatra's hand. Stephen Orgel, professor of English at Johns Hopkins University, is the author of The Jonsonian Masque, The Illusion of Power, and the coauthor of Inigo Jones. The editor of Jonson's Complete Masques and of Jonson's Selected Masques , he is currently writing a book on the idea of theatrical genres in the Renaissance. (shrink)

We have seen that we cannot de-tense a sentence like (15) simply by changing its verb, since the tense of such a sentence is determined by a temporal adverb. More importantly, we have seen that de-tensing is a process of removing certain temporal restrictions from the truth-conditions of tensed sentences, and that tensed and tenseless forms of a verb do not differ in sense. Once we understand this, and once we realize that it is an historical accident that the tense (...) of sentences in English if often indicated by means of the grammatical device of inflecting verbs, tensed verbs no longer seem to be the sort of item that needs to be purged from ordinary language in constructing its tenseless analogue. Indeed, although the distinction between tensed and tenseless verbs may still be of philosophic interest, this distinction hardly seems to deserve the pivotal role assigned to it in the literature. (shrink)

Although this issue of the JSE, as usual, contains a diverse cocktail of interesting papers, two of those papers are sufficiently out of the ordinary to deserve a few comments. In this issue, we fearlessly address—for the second time in the JSE’s history—one of the thorniest and most interesting topics in English literature—namely, the debate over Shakespeare authorship. As some current SSE members are undoubtedly aware, many have challenged the orthodox view that the works of Shakespeare were written (...) by the person traditionally identified as the author—that is, William Shaxpere of Stratford-upon-Avon. SSE stalwart (and my editorial predecessor) Peter Sturrock tackled the topic in the JSE in 2008 (Sturrock 2008), and then several years later followed that up with a book on the subject (Sturrock 2013). What Sturrock did brilliantly was to demonstrate how one can invoke Bayesian probability theory to challenge the orthodoxy in a compelling way. For this issue, we reprint that paper and combine it with a penetrating new work on the subject by David Roper. Roper approaches the matter from a different angle than that adopted by Sturrock. He draws on the science of cryptography to argue that the true author of the Shakespeare works was Edward de Vere, the 17th Earl of Oxford. (This is also the conclusion emerging most naturally from Sturrock’s book.) Roper argues that Sixteenth-Century techniques of using codes and ciphers were both common and quite well-developed, and that these permitted concealing secret messages within apparently innocent passages of prose or poetry. Moreover, Roper marshals a great deal of historical evidence for the claim that de Vere and others had good reason to conceal de Vere’s authorship of the works attributed to Shaxpere. So I hope our readers will enjoy this excursion into what should be largely unfamiliar territory for most of them. I know I learned a great deal from these papers, and I’m pleased that the JSE can make a scientific contribution to this venerable debate. As I see it, the papers by Sturrock and Roper together constitute a fascinating and impressive full frontal assault on the orthodox view. (shrink)

Several years ago, in a brilliant contribution to the Collection Archives Series, Michel de Certeau wove together a large number of seventeenth-century documents pertaining to the famous episode of demonic possession among the Ursuline nuns of Loudun.1 One of the principal ways in which de Certeau organized his disparate complex materials into a compelling narrative was by viewing the extraordinary events as a kind of theater. There are good grounds for doing so. After all, as clerical authorities came to acknowledge (...) the incidents of possession and treat them accordingly, they ceased to be isolated, private events occurring inside the convent walls and were transformed instead into public spectacles performed for a populace deeply divided between Catholics and Huguenots. Once or twice a day the nuns were taken from their needlework or tranquil meditations and led in small groups through the streets of the town to a church or chapel, where spectators had already gathered. At first these spectators were local townspeople, many of whom must have been acquainted with or even related to the nuns, but, as word of the possession spread, crowds of the curious arrived not only from the region but from all over France and from as far away as England and Scotland. The inns of the town were filled with these visitors who traveled to Loudun expecting to witness events there that were at once beyond nature and yet performed on schedule: repeatable, predictable, and—in their bizarre way—decorous.At the appointed times, beneath the expectant gaze of the crowd, the possessed women would ascend a scaffold, be loosely tied to low chairs, and begin to manifest their symptoms. From within each of the tormented bodies, a particular devil would arise and be constrained by the exorcist to identify himself. If a nun were possessed by more than one demon, the exorcist could dismiss one supernatural voice and demand that another come forth and occupy the tongue of the writhing woman. If the demon refused to cooperate in the interrogation, the presiding priest would solemnly remove the Holy Sacrament from the pyx and hold it up to the mouth of the possessed while the priests and spectators would assist by chanting the Salve Regina. This would provoke screams and violent contortions. Submitting to irresistible spiritual pressure, the devil would then be compelled to speak, confirming the Christian mysteries and the power of the Catholic church. “On stage,” writes de Certeau, “there are no longer human beings; in this sense, there is no longer anyone—only roles” . And these “roles” in turn are revealed to be the hidden truths that underlie the masks of ordinary life; more accurately, the ceremony has the power to convert ordinary life into mere masks, precisely so that these masks may be stripped away to reveal the inward drama of spiritual warfare. The demons appear at first to dominate that drama, forcing their wretched and unwilling hosts to manifest the power of darkness, but a spectacular ecclesiastical counterforce transforms the tragedy into a comedy in which the devil confesses that he has been vanquished by Jesus Christ. 1. See Michel de Certeau, La Possession de Loudun, Collection Archives Series, no. 37 ; all further references to this work, abbreviated PL, will be included in the text . On the relationship between exorcism and theater in this period, see also Henri Weber, “L’Exorcisme à la fin du seizième siècle, instrument de la Contre Réforme et spectacle baroque, » Nouvelle revue du seizième siècle 1 : 79-101. Stephen Greenblatt, the Class of 1932 Professor of English at the University of California, Berkeley, is a founder and editor of Representations. His most recent book, Renaissance Self-Fashioning: From More to Shakespeare, received the British Council Prize in the Humanities. He is presently completing a study of Shakespeare and the poetics of culture. “Marlow, Marx, and Anti-Semitism,” his previous contribution to Critical Inquiry, appeared in the Winter 1978 issue. (shrink)

This paper investigates the influence of contrastive stress in resolving potential semantic ambiguities. The sentences under investigation contain the focus operator only. Sentences with only have three main properties: (a) some sentential element is typically in focus, (b) the speaker presupposes that a set of alternatives to the focus element (the contrast set) has previously been introduced in the context; and (c) the speaker makes the assertion that the focus element has some unique property which other members of the reference (...) set lack. Previous literature on focus has concluded that stress plays a role in the interpretation of only-sentences in many natural languages, including English (Rooth, 1992). In processing terms, this suggests that contrastive stress could immediately determine which NP bears the semantic focus (and therefore the NP that presupposes a contrast set in the context). On this scenario, the processing cost associated with contrastive stress should be no greater than the cost associated with neutral stress. (shrink)

The _Platform Sutra_ comprises a wide range of important Chan/Zen Buddhist teachings. Purported to contain the autobiography and sermons of Huineng (638-713), the legendary Sixth Patriarch of Chan, the sutra has been popular among monastics and the educated elite for centuries. The first study of its kind in English, this volume offers essays that introduce the history and ideas of the sutra to a general audience and interpret its practices. Leading specialists on Buddhism discuss the text's historical background and (...) its vaunted legacy in Chinese culture. Incorporating recent scholarship and theory, chapters include an overview of Chinese Buddhism, the crucial role of the _Platform Sutra _in the Chan tradition, and the dynamics of Huineng's biography. They probe the sutra's key philosophical arguments, its paradoxical teachings about transmission, and its position on ordination and other institutions. The book includes a character glossary and extensive bibliography, with helpful references for students, general readers, and specialists throughout. The editors and contributors are among the most respected scholars in the study of Buddhism, and they assess the place of the _Platform Sutra_ in the broader context of Chinese thought, opening the text to all readers interested in Asian culture, literature, spirituality, and religion. (shrink)

This essay is a study of the writer William Golding’s distinctive ways of generating what one might call a sense of reality in his novel Darkness Visible, which appeared at a point in the history of English literature at which the project of literary RealismLiterary realism found itself in a condition of modernism. I understand this condition as one in which one’s relation to history has become an undismissable problem: in the case of Golding’s novel, this relationship is (...) at once to the history of England, the history of religion, and the history of literature. Exploring these links involves exploiting resources from the philosophy of Wittgenstein, and from work I have previously published on J.M. Coetzee’s exemplification of modernist realism in literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Elizabethan Bacchae STEPHEN ORGEL Euripides’s Bacchae, with its antic hero and celebration of the joys of revenge, would seem to be especially relevant to Elizabethan drama, an ancestor of The Spanish Tragedy or Hamlet. In fact, however, it seems to have been practically unknown to the Elizabethans. With the new ProQuest version of EEBO (Early English Books Online) it is now possible to search early (...) class='Hi'>English books for specific references; so I paired the name Euripides with books printed in England before 1640 to see what came up. I got 474 hits. Many of these, of course, were duplicates, appearing in works that were issued in multiple editions—the actual figure, however, was still something over three hundred. Most of those, however, were cases in which Euripides’s name simply appears in a list of famous ancient authors. Citations which actually quoted Euripides for the most part indicated no knowledge of the work cited, but were only bits of wisdom that might have come from any of the multitude of collections of aphorisms and moral stories throughout the period. There was only one English edition of a play of Euripides in Greek, The Trojan Women, published by John Day in 1575— continental editions were, of course, easily obtainable, but it must be to the point that English publishers did not see a sufficient market to produce them domestically; and there were no subsequent editions of Day’s Trojan Women. As for The Bacchae, I found only a single case where I believe it is being cited, and in a context, moreover, that indicates some familiarity with the play. John Bishop’s Beautiful Blossoms, a collection of historical anecdotes published in 1577, recounting the history of Demetrius, king of Macedonia, says, “Then fled Demetrius unto Thebes, where one scoffingly applied vnto him that verse arion 28.3 winter 2021 64 the elizabethan bacchae of Euripides: he came vnto the Dyrcean springs, and Ismenus, his divine and goodly fourme and shape being chaunged in to a mortall.”1 This is a version of a bit of Dionysus’s opening speech, I am here at the springs of Dirce, the river Ismenos, Changing my shape from divine to mortal... There is no reason to assume that John Bishop (about whom I can learn nothing) knew the play, but he is certainly citing someone who did. The play, then, to the Elizabethans was either practically unknown or deliberately ignored. It was not translated into English until the 1780s, and then two translations were published within a year of each other—for the English, it was an enlightenment and romantic text. Schlegel’s Lectures on Dramatic Art and Literature (delivered 1806, published 1846) and Nietzsche’s Birth of Tragedy (1872) were the works that established The Bacchae as the quintessential Greek tragedy, though for Nietzsche, ironically, the two destroyers of the Greek tragic sense, the two great cultural villains, were Euripides the ironist and Socrates the arch-rationalist. But Nietzsche sees Euripides, at the end of his life, having a major change of heart, realizing that Dionysus was simply too powerful to be expunged from art and society; and The Bacchae was thus the fullest expression of this tragic truth. The problems with this argument are manifold: Euripides the ironist is quite evident in The Bacchae, so it hardly represents a change of heart; and the claims of the irrational are fully present in his earlier plays, for example, in Hippolytus, where all the poetic energy is in expressing the uncontrollable violence of passion, and the virtues of morality and self-control are meagre indeed. The essay was soundly refuted in its own time, and Nietzsche withdrew and recanted it. Its celebrity is a modern phenomenon: whatever its historical defects, it speaks to the dangerous attractions of unreason. There is a perverse element in Nietzsche’s argument, too: Dionysus, as the embodiment of revelry, is surely as essential Stephen Orgel 65 to comedy as to tragedy; and one could press this further. At the end of The Symposium, Socrates tells Agathon and Aristophanes, tragic and comic dramatists, that their arts (or crafts: the word is techne) are essentially the same. Heavy weather has... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 341-362 [Access article in PDF] Virgin Father and Prodigal Son Stephen Brockmann I IN BOTH THE UNITED STATES and Germany—as well as in much of the rest of the Western world—the baby-boom generation now holds a controlling position in politics, economics, and culture. The election of Bill Clinton (born in 1946) to the Presidency signaled the generational shift in the United States (...) as early as 1992, and that shift was confirmed by the election campaign of 2000, in which both candidates, Al Gore (born in 1948) and George W. Bush (born in 1946), in spite of their differences, represented the same generation. In Germany the political shift in generations did not occur until 1998, when Gerhard Schröder (born slightly before the beginning of the German baby boom, in 1944) defeated Helmut Kohl (born in 1930).Significantly, Kohl is a member of the generation of Germans born during the 1930s and reared during the years of the Third Reich but too young to have played any significant role, either negative or positive, during the Nazi era. No member of this generation born in the 1930s ever became President in the United States, where the generation of World War Two veterans dominated national politics from Eisenhower to George Herbert Walker Bush. However what in America is a "silent generation" has been, in Germany, the generation most closely identified with the success of the Federal Republic of Germany: these were the so-called Flakhelfer (antiaircraft helpers) who had been children during the war. Kohl therefore famously referred to them as having the "grace of late birth," meaning that they, unlike the war veterans, were presumably untouched by any form of collective guilt for Nazi crimes against humanity. Whereas in the United States the Presidency was transferred directly from the World War Two veterans to [End Page 341] baby boomers—and in the case of the two Bush presidencies, literally, albeit indirectly, from father to son—in Germany the transition from the World War Two veterans (particularly former Chancellor Helmut Schmidt) to the baby boomers was interrupted by a long period of domination by the in-between generation of Flakhelfer.In both countries the baby-boom generation represents a significant shift in sensibilities and encompasses the generation involved in student protest and oppositional social movements in the 1960s and 1970s. In the United States these included the anti-Vietnam War movement, the feminist and gay-rights movements, the sexual revolution, the civil-rights movement, and the ecological movement, as well as, on the extreme fringes, terrorist groupings such as the Weather Underground and a great many religious sects and cults. In Germany the baby boomers formed many parallel groups and movements, including antiwar, feminist, ecological, and gay segments, as well as a proliferation of sectarian Marxist political groupings (so-called K-Gruppen, with the "K" meaning "Kommunist"). In the United States, Bill Clinton was an antiwar protester in the 1960s and 1970s, while both Gerhard Schröder and his Green Foreign Minister Joschka Fischer (born in 1948) had participated in left-wing political movements during the same period.In both West Germany and the United States the heyday of protest movements in the 1960s and 1970s signaled a generational split, with younger people—the very generation that is now in power in the two countries—accusing their elders of Machiavellian cynicism, imperialism, patriarchy, and worse. Such accusations can be recalled by the formerly popular slogans "Hey, hey, LBJ, how many kids did you kill today?" in the United States and "Unter den Talaren der Muff von tausend Jahren" ("under the academic regalia the stench of a thousand years") in Germany. The latter slogan was a reference not just to a generalized stodginess on the part of elderly German academics but to Hitler's invocation of a "Thousand-Year Reich;" German students were none-too-subtly suggesting that many of their professors had once been Nazis.The difference in these two slogans—one referring to past and the other to present sins—corresponds to a major distinction between the two baby... (shrink)

Leslie Stephen was an English biographer, and a writer on philosophy, ethics and literature. He was educated at Eton, King's College, London, and then Trinity College in Cambridge, where he remained as a fellow and a tutor for his entire career. He was also a keen mountaineer, taking part in first ascents of nine peaks in the Alps. He served as the first editor of the Dictionary of National Biography and in 1871 he became editor of the (...) Cornhill Magazine. During his eleven-year tenure he wrote two successful books on ethics, of which this work, published in 1882, was one. It was widely adopted as a standard textbook on moral philosophy, and became one of the most influential publications on the ideas of evolutionary ethics that had been inspired by Darwin's theory of evolution by natural selection. (shrink)

Leslie Stephen was an English biographer, and a writer on philosophy, ethics and literature. He was educated at Eton, King's College, London, and then Trinity College in Cambridge, where he remained as a fellow and a tutor for his entire career. He was also a keen mountaineer, taking part in first ascents of nine peaks in the Alps. He served as the first editor of the Dictionary of National Biography and in 1871 he became editor of the (...) Cornhill Magazine. During his eleven-year tenure he wrote two successful books on ethics, of which this work, published in 1882, was one. It was widely adopted as a standard textbook on moral philosophy, and became one of the most influential publications on the ideas of evolutionary ethics that had been inspired by Darwin's theory of evolution by natural selection. (shrink)

At the age of eighty-four, Thomas Hobbes wrote an autobiography in Latin elegaics. Unsurprisingly, it was not as widely read as his two great philosophical works, Leviathan and Behemoth, in which he laid out a set of sociopolitical theories that enraged many of the philosophers and moralists of Europe. In this comprehensive biography, first published in 1904, Sir Leslie Stephen charts the character and changes of Hobbes' thinking, from the scholasticism of his early Oxford education, to his later devotion (...) to geometry and deductive science. With an emphasis on personal influences, Stephen sets Hobbes and his work in the historical context of Hobbes' often difficult patrons, the Civil War, and the Restoration, providing an insight into the life of the eminent philosopher and into the tenets of early twentieth-century biographical writing. An interesting text for students of both philosophy and English literature. (shrink)

This article aims to challenge and expand notions of health, health care and health promotion, particularly in relation to smoking, via a consideration of the autobiographical literary work of the English playwright, Simon Gray. Gray died in 2008, having written a series of reflective autobiographical books, The Smoking Diaries. Gray was a lifelong smoker, perpetually trying to give up his habit. This article introduces Gray’s diaries and their reflections on life, death, health care and smoking. It then enquires what (...) can be learned about contemporary health care practices and assumptions from Gray’s work. Finally, it reflects on the limits of views of health and health promotion when considered in the light of a fully lived life. In the life under consideration, health care risks are very differently understood to those prevalent in the medical community. Literary approaches to thinking about smoking are thus seen to place health and health care in broader, richer, and less instrumental perspectives than those that are common amongst contemporary health professionals and institutions. (shrink)

Kerry Laird, a literature and composition professor who does not have tenure, is in his first year at Temple. He said that, as a student and instructor, he always enjoyed the way professors use their office doors to reveal bits of their personality and to challenge students with cartoons, artwork, and various phrases. So when he started at Temple, he put a cartoon up showing Smokey the Bear, a girl scout and a boy scout and the tag line: (...) “Kids — don’t fuck with God or bears will eat you.” He received a complaint and decided that he understood why the college “might not want the f word” in the hallway, and so he decided to put up something else. (shrink)

The eagerly-awaited second volume of The Cambridge Translations of Medieval Philosophical Texts will allow scholars and students access for the first time in English to major texts in ethics and political thought from one of the most fruitful periods of speculation and analysis in the history of western thought. Beginning with Albert the Great, who introduced the Latin west to the challenging moral philosophy and natural science of Aristotle, and concluding with the first substantial presentation in English of (...) the revolutionary ideas on property and political power of John Wyclif, the seventeen texts in this anthology offer late medieval treatments of fundamental issues in human conduct that are both conceptually subtle and of direct practical import. Special features of this volume include copious editorial introductions, an analytical index, and suggestions for further reading. This is an important resource for scholars and students of medieval philosophy, history, political science, theology and literature. (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)

In lieu of an abstract, here is a brief excerpt of the content:Religious Pluralism and Christian TruthJoseph S. O’Leary has been named recipient of the 1998 Frederick J. Streng Book Award for his 1996 volume, Religious Pluralism and Christian Truth. Dr. O’Leary was born in Cork, Ireland, in 1949. He studied literature, theology, and philosophy in Maynooth, Rome, and Paris. After teaching briefly in the United States (University of Notre Dame and Duquesne University), he moved to Japan in 1983. (...) He has worked in association with the Nanzan Institute for Religion and Culture and currently teaches English literature at Sophia University (with special emphasis on Joyce and the modernist period) and a course on Japanese values at International Christian University.He has been working on a trilogy in fundamental theology that has taken on an increasingly interreligious character. The first volume is Questioning Back: The Overcoming of Metaphysics in Christian Tradition (Minneapolis: Winston/Seabury, 1985), reviewed in Buddhist-Christian Studies in 1987; a French version is in preparation. The second volume appeared first as La verite chretienne a l’age du pluralisme religieux (Paris: Cerf, 1994) and then as Religious Pluralism and Christian Truth (Edinburgh University Press, 1996). Joseph O’Leary is also coeditor of Heidegger et la question de Dieu (Paris: Grasset, 1980) and Buddhist Spirituality (vols. 8 and 9 of World Spirituality, New York: Crossroad, 1993 and 1999).Terry Muck: Why did you write this book?Joseph O’Leary: My earlier book, Questioning Back: The Overcoming of Metaphysics in Christian Tradition, advocated deconstruction of the Greek and Hebrew elements in Christian theology—the need for a radical retrieval of the tradition in the spirit of Heidegger’s “step back” from metaphysical systems to the original phenomena. In Religious Pluralism and Christian Truth, I broadened the horizon to see all religion as historical, cultural constructs growing and changing through mutual interaction. Living in Japan brought me a liberating sense of historical and cultural relativity and with it the sense that the Christian tradition should be thought of as an essentially incomplete project, always reaching out to other traditions in search of a fuller vision.But that discovery did not mean giving up on the Christian tradition.No. Rather than sitting back and enjoying the pluralism, I found myself more and more concerned with the question of truth. Followers of Jacques Derrida assured me that “truth” has been exposed as a historical myth. Struggling with Derrida I found rather a recontextualization of the value of truth. Moreover, the “situated truth” (always relative to a given context in culture and praxis) of historically formulated dogmatic propositions turned out to be quite defensible despite Derrida’s demolition [End Page 239] of notions of truth as totality (Hegel) or truth as presence (Heidegger). Christianity has nothing to fear from opening itself up to its historical relativity. Buddhism has long accepted the provisionality of all religious expressions. I focused especially on the notion of skillful means and on the theory of the two truths (conventional and ultimate) in Madhyamaka Buddhism.What does this “opening up” do to traditional Christian doctrines?The notion of God is not only compatible with such a relativized view of the status of religious language, but demands it. The biblical discourse about God consists in a constant deconstruction of old images of God by new ones. As for the role of Jesus Christ, Incarnation is an ongoing event in that the historical significance of Jesus is still unfolding. The uniqueness of Jesus resides not in some ontological amalgamation of divinity and humanity but in the specifics of his historical role. God’s Word is spoken in other ways elsewhere, indeed is spoken in all things, and its specifically “fleshly” (human and historical) and “eschatological” manifestation in the unfolding of the Jesus story should not be divorced from these wider contexts.How have these ideas been received?The most flattering response has come from the Society for Buddhist-Christian Studies in granting me the Frederick J. Streng Book Award. Streng’s book, Emptiness, which I read in Pittsburgh in 1982, opened my eyes to the world of Madhyamaka thought.Any criticisms?Predictably, the book has come under fire from two opposing camps. The Revue Thomiste reviewer claimed that I could... (shrink)

John Wyclif has too frequently been described as "Morning Star of the Reformation" and only recently begun to be studied as a fourteenth-century English philosopher and theologian. This work draws on recent scholarship situating Wyclif in his fourteenth-century milieu to present a survey of his thought and writings as a coherent theological position arising from Oxford's "Golden Age" of theology. Lahey argues that many of Wyclif's best known critiques of the fourteenth-century Church arise from his philosophical commitment to an (...) Augustinian realism evocative of the thought of Robert Grosseteste and Anselm of Canterbury. This realism is comprehensible in terms of Wyclif's sustained focus on semantics and the properties of terms and propositions, a "linguistic turn" characterizing post-Ockham philosophical theology. Arising from this propositional realism is a strong emphasis on the place of Scripture in both formal and applied theology, which was the starting point for many of Wyclif's quarrels with the ecclesiastical status quo in late fourteenth-century England. This survey takes into account both Wyclif's earlier, philosophical works and his later works, including sermons and Scripture commentary. Wyclif's belief that Scripture is the eternal and perfect divine word, the paradigm of human discourse and the definitive embodiment of truth in creation is central to an understanding of the ties he believes relate theoretical and practical philosophy to theology. This connection links Wyclif's interest in the propositional structure of reality to his realism, his hermeneutic program, and to his agenda for reform of the Church. Lahey's survey also highlights Wyclif's rejection of Bradwardine's determinism in favor of a model of human freedom in light of God's perfect foreknowledge, and also explores the relation of Wyclif's spatiotemporal atomism to his rejection of transubstantiation. This is the first book-length, comprehensive survey of Wyclif's thought, and will be of interest to students of later medieval theology, philosophy, history, and literature. (shrink)

John Wyclif has too frequently been described as "Morning Star of the Reformation" and only recently begun to be studied as a fourteenth-century English philosopher and theologian. This work draws on recent scholarship situating Wyclif in his fourteenth-century milieu to present a survey of his thought and writings as a coherent theological position arising from Oxford's "Golden Age" of theology. Lahey argues that many of Wyclif's best known critiques of the fourteenth-century Church arise from his philosophical commitment to an (...) Augustinian realism evocative of the thought of Robert Grosseteste and Anselm of Canterbury. This realism is comprehensible in terms of Wyclif's sustained focus on semantics and the properties of terms and propositions, a "linguistic turn" characterizing post-Ockham philosophical theology. Arising from this propositional realism is a strong emphasis on the place of Scripture in both formal and applied theology, which was the starting point for many of Wyclif's quarrels with the ecclesiastical status quo in late fourteenth-century England. This survey takes into account both Wyclif's earlier, philosophical works and his later works, including sermons and Scripture commentary. Wyclif's belief that Scripture is the eternal and perfect divine word, the paradigm of human discourse and the definitive embodiment of truth in creation is central to an understanding of the ties he believes relate theoretical and practical philosophy to theology. This connection links Wyclif's interest in the propositional structure of reality to his realism, his hermeneutic program, and to his agenda for reform of the Church. Lahey's survey also highlights Wyclif's rejection of Bradwardine's determinism in favor of a model of human freedom in light of God's perfect foreknowledge, and also explores the relation of Wyclif's spatiotemporal atomism to his rejection of transubstantiation. This is the first book-length, comprehensive survey of Wyclif's thought, and will be of interest to students of later medieval theology, philosophy, history, and literature. (shrink)

The eagerly-awaited second volume of The Cambridge Translations of Medieval Philosophical Texts will allow scholars and students access for the first time in English to major texts in ethics and political thought from one of the most fruitful periods of speculation and analysis in the history of western thought. Beginning with Albert the Great, who introduced the Latin west to the challenging moral philosophy and natural science of Aristotle, and concluding with the first substantial presentation in English of (...) the revolutionary ideas on property and political power of John Wyclif, the seventeen texts in this anthology offer late medieval treatments of fundamental issues in human conduct that are both conceptually subtle and of direct practical import. Special features of this volume include copious editorial introductions, an analytical index, and suggestions for further reading. This is an important resource for scholars and students of medieval philosophy, history, political science, theology and literature. (shrink)

The Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition, emphasizes diagnosis and statistically significant commonalities in mental disorders. As stated in the Introduction, “[i]t must be admitted that no definition adequately specifies precise boundaries for the concept of ‘mental disorder’ ” (DSM-IV, 1994, xxi). Further, “[t]he clinician using DSM-IV should ... consider that individuals sharing a diagnosis are likely to be heterogeneous, even in regard to the defining features of the diagnosis, and that boundary cases will be difficult to (...) diagnose in any but a probabilistic fashion” (DSM-IV, 1994, xxii). This article proposes that it may be helpful for clinicians to study narratives of illness which emphasize this heterogeneity over statistically significant symptoms.This paper examines the recorded experiences of unusually articulate sufferers of the disorder classified as Major Depression. Although sharing a diagnosis, Hemingway, Fitzgerald, and Styron demonstrated different understandings of their illness and its symptoms and experienced different resolutions, which may have had something to do with the differing meanings they made of it.I have proposed a word, autopathography, to describe a type of literature in which the author's illness is the primary lens through which the narrative is filtered. This word is an augmentation of an existing word, pathography, which The Oxford English Dictionary, Second Edition, defines as “a) [t]he, or a, description of a disease,” and “b) [t]he, or a, study of the life and character of an individual or community as influenced by a disease.” The second definition is the one that I find relevant and which I feel may be helpful to clinicians in broadening their understanding of the patient's experience. (shrink)

"... some very serious critiques of French existential phenomenology and post-structuralism... the contributors offer some refreshingly new insights into some tried and 'true' philosophical texts and more recent works of literary theory." -- Philosophy and Literature "By bridging the gap between 'analytic' and 'continental' philosophy, the authors of The Thinking Muse: Feminism and the Modern French Philosophy largely overcome the cultural polarity between 'male thinker' and 'female muse'." -- Ethics "These engaging essays by American Feminists bring toether feminist philosophy, (...) existential phenomenology, and recent currents in French poststructuralist thought. The editors provide an excellent introductory overview, making this an ideal book for courses in feminist theory and philosophy and modern French thought." -- Philosopher's Index "The concerns raised in this volume are substantial.... a solid addition to the canon of American feminist philosophy." -- Philosophy and Literature "... a forum for feminist appropriations of existential and post-structuralist philosophy." -- Canadian Philosophical Reviews Marking a radical shift in the traditional philosophical separation between muse (female) and thinker (male), The Thinking Muse revises the scope and methods of philosophical reflection. These engaging essays by American feminists bring together feminist philosophy, existential phenomenology, and recent currents in French poststructuralist thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:F. R. Leavis (Modern Cultural Theorists)Stephen OgdenF. R. Leavis (Modern Cultural Theorists), by Anne Samson; x & 196 pp. Toronto: University of Toronto Press, 1992, $45.00 cloth, $16.95 paper.If it is an overstatement to say that the waves of change currently disturbing the teaching of English in universities originated from the splash made by F. R. Leavis at Cambridge beginning in 1933, Anne Samson’s account of (...) the theorist’s influence scarcely admits it. Her chapter titles—“Leavis and the Growth of English Studies,” “English as a University Subject,” “Literary ‘Theory’ and Constituting the Canon”—indicate not only the range of issues connected with F. R. Leavis’s name but also his significant involvement in their genesis.Samson’s book portrays Leavis as the efficient cause in the establishment of university English as a critical, or more accurately a diagnostic, enterprise. At an early professional cost (he was denied faculty appointment at Cambridge for five years), Leavis helped cut English curricula free from philology, languages, and classical studies; a responsibility Samson partially excuses by connecting Leavis’s motivating principles back through Matthew Arnold to Dickens and Carlyle and even to one “Reverend H. J. Rose, a leading figure in the founding of King’s College, London... declaring in a sermon delivered in 1826 that literature teaches ‘the wisdom of men better and wiser than ourselves’ and prepares for the ‘examination of those moral and intellectual truths which are not only the worthiest exercise of our reason, but most concern our future destiny’” (p. 12).This moralism Samson sees as the central and redeeming principle in Leavis’s system. Specifically, she identifies the Condition of England debate—over the state of culture and economics in a “‘technologico-Benthamite world’” (p. 63)—as the key to Leavis’s literary criticism, his influential journal Scrutiny, and his wide-ranging reform endeavors. “Literature mattered to Leavis because he believed it to be the means, above all others, of combating the ills of a mechanised, constantly changing world and of restoring the heritage of those dispossessed by the machine” (p. 3).Professionally asserting the primacy of criticism over scholarship, then in his writings making no distinction between the literary and the social, Leavis ultimately refused any separation between literature and life. Samson carefully [End Page 360] traces this development in Leavis’s general theory in order to bring out its easily-overlooked implication for the social position of a literary academic. She quotes this crucial passage from Leavis: “The critic... is as much concerned with the health of the mind as any doctor with the health of the body. To set up as a critic is to set up as a judge of values... For the arts are inevitably and quite apart from any intentions of the artist an appraisal of existence” (pp. 15–16). No longer a mere scholar, or the type of irrelevant empiric Leavis so hated in the person of C. P. Snow, the Leavisite theorist is the grand physician diagnosing all society’s ills. Literary artists and their writings, so far from forming the most important part of literature, become perfectly irrelevant—“quite apart”—with the medicocritic prescribing universally “of existence.”Samson’s treatment of Leavis is analytical, though enjoyably and consistently biographical. For instance, her final, and largest, chapter shows the moralist model of the literary critic (the “judge of values”) in action by detailing the history of Leavis’s complete reversal of estimation between T. S. Eliot and D. H. Lawrence. Leavis originally gave Eliot “hero-worship” (p. 162) and dismissed Lawrence as “mechanical” (p. 157). But concurrent with Eliot’s progress to Anglo-Catholicism, Leavis’s moral judgments overturned and, true to type, he increasingly censured Eliot’s writings by diagnosing problems in the man, while he grew to idolize Lawrence; ironically for “rescuing life from... inner mechanisation” (p. 169).Such inconstancy, here expressed in every word, Samson sees as an historical mark of character which places Leavis among the “Great Men of Ideas” (p. 172).Stephen OgdenSimon Fraser UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

This work is the latest contribution to the Clarendon Later Ancient Philosophers series edited by Jonathan Barnes and A. A. Long. As with the earlier volumes (John Dillon's Alcinous, The Handbook of Platonism , R. J. Hankinson's Galen, On the Therapeutic Method Books I and II, Richard Bett's Sextus Empiricus, Against the Ethicists , and D. L. Blank's Sextus Empiricus, Against the Grammarians ), D(obbin) provides an introduction, an English translation, and a critical commentary predominantly focused on the philosophical (...) content of the text of an author from the period ranging from the first century BC to the fifth century AD. A bibliography of a dozen earlier editions of E(pictetus), a painstaking bibliography of secondary literature, an index nominum, a generous index locorum, and a brief subject index are also included. Overall this edition maintains the high standards characteristic of the CLAP series. (shrink)

The essays in this book criticise the new positivism in education policy, whereby education is systematically reduced to those things that can be measured by so-called 'objective' tests. School curricula have been narrowed with an emphasis on measurable results in the 3 R’s and the ‘quality’ of university departments is now assessed by managerial exercises based on commercial audit practice. As a result, the traditional notion of liberal arts education has been replaced by utilitarian productivity indices.

An increasing number of contemporary scientists, philosophers and theologians downplay their professional authority and describe their work as simply 'telling stories about the world'. If this is so, Stephen Prickett argues, literary criticism can be applied to all these fields. Such new-found modesty is not necessarily postmodernist scepticism towards all grand narratives, but it often conceals a widespread confusion and naïvety about what 'telling stories', 'description' or 'narrative', actually involves. While postmodernists define 'narrative' in opposition to the experimental (...) 'knowledge' of science, some scientists insist that science is itself story-telling ; certain philosophers and theologians even see all knowledge simply as stories created by language. Yet story telling is neither innocent nor empty-handed. Prickett argues that since the eighteenth century there have been only two possible ways of understanding the world: the fundamentalist, and the ironic. (shrink)

Reading fiction for pleasurable is robustly correlated with improved cognitive attainment and other benefits. It is also in decline among young people in developed nations, in part because of competition from moving image fiction. We review existing research on the differences between reading/hearing verbal fiction and watching moving image fiction, as well as looking more broadly at research on image/text interactions and visual versus verbal processing. We conclude that verbal narrative generates more diverse responses than moving image narrative., We note (...) that reading and viewing narrative are different tasks, with different cognitive loads. Viewing moving image narrative mostly involves visual processing with some working memory engagement, whereas reading narrative involves verbal processing, visual imagery and personal memory (Xu et al 2005). but Attempts to compare the two by creating suggest that existing research is flawed by attempts to create equivalent stimuli and task demands face a number of challenges, and we discuss these difficulties in comparative approaches. We then investigate the possibility of identifying lower level processing mechanisms that might distinguish cognition of the two media, and propose a focus on internal scene construction and on working memory as foci for future research. Although many of the sources we draw on are focussed on English speaking participants in European or North American settings, we also cover material relating to speakers of Dutch, German, Hebrew and Japanese in their respective countries, and studies of a remote Turkish mountain community. (shrink)