Cover -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter One: Writing against Theodicy: Secularization in Baudelaire's Poetry and Critical Essays -- Chapter Two: The Mourning of God and the Ironies of Secularization in Baudelaire's Le Spleen de Paris -- Chapter Three: Sublimation and Conversion in Zola and Huysmans -- Chapter Four: The Staging of Doubt: Zola and Huysmans on Lourdes -- Chapter Five: Religious and Secular Conversions: Transformations in Céline's Medical Perspective on Evil -- Conclusion (...) -- Notes -- Bibliography -- Index -- About the Book. (shrink)

It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its "reconstruction." The "reconstruction" in empathy is one- dimensional. "Construction" presupposes "destruction." Almost fourteen years after the death of Jacques Derrida, the least one can say is that his inheritance is as contested and fraught with rivalries, rejections, and appropriations as at the time of the flowering of Deconstruction in American universities in (...) the seventies and eighties. A halt was observed in 1988-89 after the posthumous revelations about Paul de Man's past in Belgium and Derrida's embattled defense of his friend. Today, in France, one often hears that "Derrida a fait l'Ecole mais n'a pas fait ecole," meaning that Derrida passed the entrance examination of the prestigious Ecole Normale Superieure where he taught for a long time, where he met Paul Celan, Louis Althusser, Michel Foucault and many other luminaries, whereas he never had a real "school" in France-no real institutional backing beyond the various Parisian places at which he taught later, or those that he founded like the College de Philosophie; his following constituted of young philosophers, only a few of whom became university professors in their turn and disseminated his teachings. However, the mechanisms of power within the French university remained closed to Derrida until the end; besides, he wanted to prevent the stereotyped reproduction currently observed from master to disciple. (shrink)

This is the first comprehensive study in English of Voltaire's contes philosophiques--the philosophical tales for which he is best remembered and which include his masterpiece Candide. Pearson situates each story in its historical and intellectual context and offers new readings in light of modern critical thinking. He rejects the traditional view that Voltaire's contes were the private expression of his philosophical perplexity, and argues that it is narrative that is Voltaire's essential mode of thought. His book is a witty, lucid, (...) and scholarly guide to the "fables of reason" through which Voltaire's skepticism undermined the contemporary religious and philosophical explanations of human experience. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Ethics of Description: The Anthropological Dispositif and French Modern Travel Writing follows the development of a minor tradition in French literature where metropolitan authors traveling abroad demonstrate their awareness of the ethical conundrums of representing world peoples. During the colonial-modern era, currents of anthropological thought and representational practice are identifiable throughout society, and across literature, the arts, and the sciences. Collectively, they can be theorized as belonging to a dispositif, the anthropological dispositif. The modernization of anthropology serves as (...) an ambivalent interlocutor for the realizations of the writers studied in this book about the difficulties of describing cultural realities that lie largely outside their ken. Anthropology motivates new literary representational strategies that are, alternatively, in keeping with scientific mandates or operate against them. Forty images are analyzed alongside literary works. A postcolonial chapter shows how the ethical awareness of the colonial-modern authors studied have impacted minority self-representation in contemporary France. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950Eva L. CorredorA History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950, by René Wellek; xvii & 458 pp. New Haven: Yale University Press, 1991, $42.50.The seventh volume of René Wellek’s history of modern criticism may well be the most interesting (...) of his eight-volume monumental oeuvre. Devoted to German, Russian, and Eastern European criticism between 1900 and 1950, it exemplifies most strikingly Wellek’s personal battles with critics who were roughly his contemporaries and closest to his own European background. “I should like to think of my History as ‘elucidatory,’ as not ‘argumentative’ or ‘polemical’” (v, xxi), Wellek writes, but he does not shrink from expressing his own critical perspective usually in a gentlemanly humorous or ironical, but occasionally also quite harsh and stubborn fashion. He insists on the importance of individual value judgments in critical analysis, particularly when they are his own: “I do not believe that... my views and those of my contemporaries will be replaced by completely different assumptions” (“Reflections on my History,” The Attack on Literature, Chapel Hill: University of North Carolina Press, 1982, p. 145).Since Wellek rejects the idea of a historical determinism and thinks that “an evolutionary history of criticism must fail” (The Attack, p. 144), he provides less a history than a collection of essays in which he offers succinct appraisals of writers, thinkers and critics both as individuals and as participants in the broader literary movements of the century. He presents “portraits” (p. xv), which he also calls “doxographies” (The Attack, p. 143), containing a vast amount of quotations carefully selected to support the authority of his own views or to let them speak for themselves when he would rather not comment.More than any previous work, this volume embodies Wellek’s will and determination to carry on against all odds even when he can no longer do so on his own. An accident in 1986 left him bedridden and dependent on students and secretaries to help him with his research and writing. He was able to draw on a wealth of previously published essays, some of which had been written more than three decades ago. There are some arguable inaccuracies and shortcomings (his canon includes obscure writers but not Adorno and [End Page 259] again no women writers), and problems with his bibliographies and references. Yet Wellek’s unique talent to assemble in one volume half a century of critical commentary on the literatures of half a dozen different cultures appears intact. So do his well-known critical positions.Among his most interesting essays are those on Spitzer, Auerbach, Ingarden, Bakhtin, and Benjamin, highly erudite men in whose company Wellek enjoys moving. On the other hand, some extraordinarily fertile minds and their enormous influence on the post-1950 critical discourse are often quickly dismissed or treated with unnecessary condescension. Young Roman Jakobson “should be forgotten” (p. 372). Freud’s psychoanalysis “seems forced and mistaken” (p. 79). Heidegger “often ascribes a meaning which seems to me absent in the text itself” (p. 89). Wellek’s low tolerance of any but his own interpretation of Dostoevsky appears repeatedly in this volume: Thomas Mann’s views are called “strange” and “distorted” (p. 12), Freud’s “deeply flawed” (p. 79), Bakhtin’s “simply wrong” (p. 357), and Lukács’s “simply... [those] of Communism” (p. 232). Wellek’s anti-historicism is dramatized in essays on Auerbach and his “historical perspectivism” (p. 132), vs. Spitzer who “always saw that there is a point at which historicism must fail” (p. 144). The vacuum of German criticism during the Nazi period is hauntingly demonstrated. The essays on Walter Benjamin, Bertholt Brecht, and in particular György Lukács reveal best Wellek’s notorious feuds with Marxists. Wellek indulges in a sarcastic critique of the Marxist Lukács’s “doctrinaire limitations” (p. 245) and attempts, wrongfully, to “prove” the Hungarian philosopher’s “exaltation of Socialist Realism” (p. 244). When in the mid-eighties and after much encouragement Wellek finally writes an essay on the early Lukács, he... (shrink)

This collection of essays is unlike others in the field of African studies, for it is based on three very precisely delineated focal points: a particular geographical region, the sub-Sahara; specific modes of cultural production, literature and cinema; and a focus on works of French expression. This three-fold approach to exploring the relationships between power and culture in a non-Western environment greatly contributes to making this book unique from a variety of perspectives: African, Francophone and postcolonial studies, as well (...) as cross-disciplinary, cultural, transnational and diasporic studies. Moreover, the book offers deft and innovative analyses that move beyond the rhetoric of crises on the African continent we so very often hear of, so as to present a critical reflection on the subject at hand that is specific to the sub-Sahara and at the same time intimately linked to global culture, economy and politics. The authors' three-fold approach also presupposes that disciplinary compartmentalization increases power conflicts in academia. If only in part, compartmentalization is the result of antagonistic and competitive relations between specialization and multidisciplinary education. This book is thus a modest attempt at presenting an alternative to excessively fixed and homogeneous academic frontiers while considering that disciplinary expertise remains a must. Keeping in mind that an increasing number of scholars in Anglophone Postcolonial studies and Francophone African studies have been attempting for quite some time now to open interstices and build crossroads that can better connect them to each other, keeping in mind that these scholars work at revealing mechanisms by which any antagonistic discourses can mix, influence, act upon or react to one another, this book seeks to take a constructive step in establishing enduring grounds for multidisciplinary, cross-disciplinary and transnational academic research and collaboration. (shrink)

Study of the influence of Yogavāsiṣṭharāmāyaṇa, work on Vedanta philosophy on religious literature.

Study of the influence of Yogavāsiṣṭharāmāyaṇa, work on Vedanta philosophy on religious literature.

This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...

Introduction -- The muse of paralysis -- Horizon of conquest: Eugene Fromentin's Algerian narratives -- Slow progress: Jean Paulhan and Madagascar -- Frustration: Michel Leiris -- Atopia: Roland Barthes -- The wake of Ulysses.

Against the background of intellectual and political debates in France during the 1950s and 1960s, Daniel Just examines literary narratives and works of literary criticism arguing that these texts are more politically engaged than they may initially appear. As writings by Roland Barthes, Maurice Blanchot, Albert Camus, and Marguerite Duras show, seemingly disengaged literary principles - such as blankness, minimalism, silence, and indeterminateness - can be deployed to a number of potent political and ethical ends. At the time the (...) main focus of this activism was the escalation of violence in colonial Algeria. The poetics formulated by these writers suggests that blankness, weakness, and withdrawal from action are not symptoms of impotence and political escapism in the face of historical events, but deliberate literary strategies aimed to neutralize the drive to dominate others that characterized the colonial project. (shrink)

Evil remains a primary source of inquiry in contemporary literature of French expression, even among its most secular writers. In considering French-speaking authors from France, Belgium, the United States, the Maghreb, and Sub-Saharan Africa, this collection delineates a rich international perspective on some of the most disturbing events of our time. Each essay testifies to the urgency expressed in works of fiction to give an account of human catastrophes, from the Shoah and the Rwandan genocide to the terrorist (...) attacks of September 11, and the ongoing oppression of women in Islamic nations. Themes underlying this volume include an investigation into the origins of evil, its representations in writing, and the ethical responsibilities of authors who write on human suffering. Contemporary fiction on evil confronts us with fundamental questions: Can evil be attributed to intentionality, is evil "subconscious," or is it the result of impersonal forces? Which styles of writing are ethically appropriate or effective for depicting evil? Can we speak of a veritable "poetics of evil" shared by contemporary authors? When does a literary text on evil become "evil"? In providing informed and nuanced answers to these important questions, the scholars engage in crucial theories of psychoanalysis, post-structuralism, and post-modernism, address a number of issues raised by trauma and genocide studies, and draw from critical frameworks in literary theory on testimony, the limits of representing the extreme, and "transgressive" writing. (shrink)

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art - and in particular literature and film - can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo (...) Pasolini and combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Žižek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology. (shrink)

This is an anthology of literary, religious, and philosophical texts from the entire Middle Ages and the early modern age that address already quite explicitly religious toleration and even tolerance.

Recasting French literary history in terms of the cultures and peoples that interacted within and outside of France's national boundaries, this volume offers a new way of looking at the history of a national literature, along with a truly global and contemporary understanding of language, literature, and culture. The relationship between France's national territory and other regions of the world where French is spoken and written (most of them former colonies) has long been central to discussions (...) of "Francophonie." Boldly expanding such discussions to the whole range of French literature, the essays in this volume explore spaces, mobilities, and multiplicities from the Middle Ages to today. They rethink literary history not in terms of national boundaries, as traditional literary histories have done, but in terms of a global paradigm that emphasizes border crossings and encounters with "others." Contributors offer new ways of reading canonical texts and considering other texts that are not part of the traditional canon. By emphasizing diverse conceptions of language, text, space, and nation, these essays establish a model approach that remains sensitive to the specificities of time and place and to the theoretical concerns informing the study of national literatures in the twenty-first century. (shrink)

How does modern writing in French grapple with the present absence and absent presence of lost loved ones? How might it challenge and critique the relegation of certain deaths to the realm of the unmournable? What might this reveal about the role of the literary in the French and francophone world and shifting conceptions of the nation state? Essays from the Revolution to the present day explore these questions from a variety of perspectives, bringing out the ways in (...) which mourning blurs the boundaries between the personal and the historical, the aesthetic and the ethical, the self and the other, and ultimately reasserting its truly critical resonance as a concept. (shrink)

Dialogue is a recurring and significant component of Indian religious and philosophical literature. Whether it be as a narrative account of a conversation between characters within a text, as an implied response or provocation towards an interlocutor outside the text, or as a hermeneutical lens through which commentators and modern audiences can engage with an ancient text, dialogue features prominently in many of the most foundational sources from classical India. Despite its ubiquity, there are very few studies that explore (...) this important facet of Indian texts. This book redresses this imbalance by undertaking a close textual analysis of a range of religious and philosophical literature to highlight the many uses and functions of dialogue in the sources themselves and in subsequent interpretations. Using the themes of encounter, transformation and interpretation - all of which emerged from face-to-face discussions between the contributors of this volume - each chapter explores dialogue in its own context, thereby demonstrating the variety and pervasiveness of dialogue in different genres of the textual tradition. This is a rich and detailed study that offers a fresh and timely perspective on many of the most well-known and influential sources from classical India. As such, it will be of great use to scholars of religious studies, Asian studies, comparative literature and literary theory. (shrink)

Why do Americans, and so often, American writers, profess moral sentiments and yet write so little in the traditionally "moralistic" genres of maxim and fable? What is the relation between "moral" concerns and literary theory? Can any sort of morality survive the supposed nihilism of deconstruction? Jefferson Humphries undertakes a discussion of questions like these through a comparative reading of the ways in which moral issues surface in French and American literature. Humphries takes issue with the "amoral" view of (...) deconstruction espoused by many of its detractors, arguing that the debate between the theory's advocates and opponents comes down to two opposing literary and moral traditions. While the American tradition views morality as a rigid system capable of being enforced by injunctions along the lines of "Thou shalt" and "Thou shalt not," the French tradition conceives of morality as a function of a relentless and unsentimental pursuit of truth, and finally, an admission that "truth" is not a static thing, but rather an ongoing process of rigorous thought. (shrink)

French philosopher Michel de Certeau wrote about seventeenth-century mysticism, religion and pluralism, architecture, everyday life, and the history of anthropology. But because critics of his works have tended to fragment it into hermetic compartments, dealing only with what is relevant to their own fields, the expansiveness of his ouevre has suffered damaging distortions in the secondary literature. This special issue of _South Atlantic Quarterly_ provides the first comprehensive view of his complete work, with contributors evaluating his weaknesses as (...) well as his strengths. With articles that engage directly—as well as theoretically—with de Certeau, this collection corrects a long-standing imbalance in the criticism by covering works from two periods about which little is known in anglophone circles: his early books on religious history and his midlife histories of mysticism and possession. It also includes critiques from queer theory and feminist theory, as well as comparative readings that assess de Certeau alongside his famous contemporary, Michel Foucault. With articles by an international array of scholars who address both the secular and the religious thinker, this special issue is the most definitive study to date of this important twentieth-century thinker. _Contributors. _Jeremy Ahearne, Frederick C. Bauerschmidt, Ian Buchanan, Philippe Carrard, Claire Colebrook, Tom Conley, Verena Andermatt Conley, Catherine Driscoll, Carla Freccero, John Frow, Richard Terdiman, Timothy Tomasik, Marie-Claire Vallois, Graham Ward. (shrink)

Furthermore, it is not easy for most of us to accept a philosophy however well reasoned which refuses exterior reality to all we see, hear and touch about us. It is such philosophy that gives point to Valery's boutade: 'Philosophy pretends not to ...

The academic community in the West tends to be suspicious of Russian philosophy, often relegating it to another category, such as “ideology” or “social thought.” But what is philosophy? There is no simple universal definition, and many thinkers consider it impossible to formulate one. The most credible attempt is nominalistic: philosophy is the practice in which Plato and Aristotle were involved. As Alfred North Whitehead wrote, “The safest general characterization of the European philosophical tradition is that it consists of a (...) series of footnotes to Plato.”If so, then Russian thought needs to be understood as an important part of the Western philosophical heritage, given that it offers perhaps the most elaborate set of footnotes to Plato's most mature and comprehensive dialogues: the Republic and the Laws. The status of ideas in Russian philosophy mirrors Plato's vision of them as ontological and political entities, “laws,” or ideal principles—as distinct from mere epistemic units or tools of cognition. The Platonic tendency to integrate and implement religious, philosophical, and political teachings culminated in twentieth-century Russia. In the Soviet state, perhaps more than anywhere else in history, philosophy became a supreme legal and political institution, acquiring the power of a suprapersonal, universal reason. Hence thought itself, in the moment of its triumph, became a prisoner in the social structures that Soviet ideocracy erected on a philosophical foundation. In discussing Russian philosophy, we inevitably consider the practical application of Platonic conceptions by the Soviet ideocracy to a state in which philosophy was called upon to rule.According to Sergei Averintsev, the emphasis on Platonism in the Russian intellectual tradition is nothing to be proud of; it should rather be lamented and repented. Despite the obvious Platonic preferences of Russian thinkers (from Ivan Kireyevsky to Aleksei Losev), Averintsev asks whether even now we might be able to reorient the tradition toward Aristotle instead—toward a more secular, tolerant, and analytic philosophy of human nature. “If Plato is the first utopian,” Averintsev writes, “Aristotle is the first thinker to look the spirit of utopia right in the eye and overcome it.... Aristotle's technique of thought is more neutral toward religion than is Plato's ecstasy.” Characteristically, the name index to the Palgrave Handbook of Russian Thought contains almost twice as many mentions of Plato as of Aristotle.Each national tradition has its own “strange attractor,” as they say now in complexity theory. English empiricism, French rationalism, German Idealism, American pragmatism... However stereotypical these generalizations are, they help to clarify the nations’ distinctive contributions to philosophy. Where does Russia stand in this row? I think that Caryl Emerson is correct to pinpoint, among the most distinctive features of the Russian intellectual tradition, the striving for “wholeness” (tselostnost’). Many Russian thinkers seem to evade definitive and particular “isms,” preferring to find ways of complementing (and thus diluting) those that are on offer. Faced with the claims for rationalism, for example, the Russian response tends to be that true rationality is or should be coupled with fullness of feeling. The characteristic Russian “ism” is at best “holism,” at worst “totalitarianism,” and is usually directed against Western thought. Kireyevsky declares: There [in the West] is a bifurcation [razdvoenie] of the spirit, a bifurcation of thoughts, a bifurcation of the sciences, a bifurcation of the state, a bifurcation of estates, a bifurcation of society, a bifurcation of family rights and duties, a bifurcation of morality and the heart.... In Russia, on the contrary, there is a predominant tendency toward the wholeness of the inner and the outer, of public and moral being.Vladimir Solovyov held that the goal of all knowledge was to comprehend “total unity” and to overcome all kinds of unilateralism, which he referred to as “abstract elements” (otvlechennye nachala). These one-sided elements included Realism, rationalism, empiricism, and positivism, all of which had been advanced by Western philosophical movements.Reading the Handbook, I was struck by how steadily, from one thinker to another, the concept of “unity” is reiterated in various synonyms and contexts: “all-unity,” “wholeness,” “totality,” “integrity,” “edinstvo,” “tsel'nost,’” “tselostnost,” “sobornost,” and so forth. Russian thinkers endeavor not to create something original and special but to unify everything that has already been done and known. Consider opponents, like the Slavophiles and Westernizers; take Petr Chaadaev and Vissarion Belinsky, Kireyevsky and Alexander Herzen, Dostoevsky and Solovyov—all are united by this “super-idea,” proclaiming its embodiment to be the all-embracing vocation of the Russian people. At the same time, they sharply reject all “private principles” and “trashy certainty” (Belinsky's driannaia opredelennost’)—anything that restricts and divides individuals or nations. All these forms of privacy and particularity must be overcome on the way to a universal whole that is even greater in scale than Western Catholicism. According to this logic of totality, we would be better off left with nothing than to be content with the particular and the limited. The first original Russian thinker, Chaadaev (1794–1856), makes the salto mortale of declaring Russia a country that has given nothing to the world, then proclaiming that Russia's destiny is to rise above the rest of the world and resolve all its contradictions. From nothing to everything: such are the philosophical foundations for the totalitarian aspiration of Russian thought, which eventually expressed itself in the revolutionary movements and communist experiments of the twentieth century.As is well known, Russian literature is considered in the West a far more powerful and original expression of philosophical ideas than Russian philosophy as such. Characteristically, then, almost half of the Handbook, its entire second part, is devoted to the dialogue of Russian philosophy with literature and art. As M. N. Forster remarks in the Handbook's concluding essay: “It is natural to wonder why this striking asymmetry between relatively modest achievements in pure philosophy and spectacularly high achievements in literature came about.” To the literary focus of Russian philosophy, we can add a political focus. At least a third of part one of the Handbook is devoted to Russian political and revolutionary philosophy, to Lenin and other Marxists, to Ivan Ilyin, and so on. In this context, both literature and politics assumed philosophical dimensions, often overshadowing philosophy itself.Bertrand Russell lamented that the system of philosophical categories in the West featured mostly nouns (being, consciousness, idea, matter, substance, and so forth), omitting adjectives, verbs, prefixes, and other parts of speech. This criticism should be applied to the category philosophy itself. Why the noun philosophy rather than the adjective philosophical, which can be applied to many areas of activity and creativity, including literature and politics?In Russian intellectual history, the philosophical, rather than philosophy, is the predominant category. The state, ideology, economics, politics and geopolitics, literature, art, warfare, space exploration—all these spheres in Russia and the USSR have been and remain abundantly philosophical, subordinated to certain philosophical tasks, though philosophy as such has never been as developed and sophisticated as in the West. As a discipline, Western philosophy “outsourced” itself to Russian disciples, leaving it to Dostoevsky and Tolstoy, Lenin and Trotsky, to test in literary and political practices a host of Western philosophical ideas, from those of Plato, Rousseau, and Hegel to those of Feuerbach, Marx, and Nietzsche.Likewise, the verb to philosophize is used in ways unusual and awkward in the West. “It is characteristic of the Russian people to philosophize [filosofstvovat'],” as Nikolai Berdyaev observed: “An illiterate Russian peasant likes to pose questions of a philosophical nature—about the meaning of life, about God, about eternal life, about evil and untruth, about how to realize the Kingdom of God.” The philosophical and philosophizing, as attributes and actions of the state and society, overpowered philosophy as a noun—as an academic discipline, if you will. Russian philosophy has had a very modest impact on the West, but the impact of the philosophical has been immense. Nineteenth-century Russian literature influenced Western culture with its philosophical interrogations and existential dilemmas, just as, in the twentieth century, the USSR influenced the West with the philosophical ideas (Marxism, materialism, dialectics, collectivism, socialism, communism) that determined Soviet ideology, politics, and economics.In the USSR of the 1920 and 1930s, for instance, philosophy as an independent academic subject was in a subdued position, as a servant of party ideology. But, meanwhile, the sphere of the philosophical spread to such distant domains as theater (Stanislavsky), physiology (Pavlov), and agriculture (Michurin), with all such activities glorified and sponsored by the state as “philosophically correct”—as faithful to “materialism” and “Realism.” Paradoxically, in the quintessentially philosophical state that was the USSR, the state of philosophy, with the repression of all independent thought and thinkers, was miserable. The fateful and often disastrous originality of Russian philosophy consisted precisely in its dissemination to other areas, in an act of kenosis or self-transcendence that can be viewed both as an aggressive philosophical appropriation of politics, economics, ideology, and literature—and as philosophy's sacrificial devotion to the world beyond its professional boundaries.So there are three features that make Russian thought relevant and dangerous: its Platonic utopian aspiration; its spirit of totality; and its tendency to transcend the boundaries of academic philosophy and to philosophize society, politics, and life in general. Russian philosophy has not been as good at explaining the world as at changing it, sometimes ethically and poetically, sometimes violently and aggressively. Teachers and students of Russian culture should be deeply motivated to draw more attention to the philosophical in Russia and to raise its status in the Western academy. In my view, we would do better service to Russian philosophy if we are frank enough to qualify it as dangerous, sometimes very toxic and addictive, fraught with totalistic tendencies. This philosophy is the voice of the “underground,” both in the Dostoevskian and Leninist senses.At the same time, however, the antidotes concocted in the Russian metaphysical laboratory are of enormous value: the Russian versions of personalism, existentialism, secular and religious liberalism, neorationalism, culturology, conceptualism, and postmodernism. These movements, which counteract totalization, need to be studied precisely because they were cooked up and tested under the same extreme conditions in which the most dangerous intellectual poisons have been produced. (shrink)

In this provocative new examination of the philosophical, moral and religious significance of literature, Michael Weston explores the role of literature in both analytic and continental traditions. He initiates a dialogue between them and investigates the growing importance of these issues for major contemporary thinkers. Each chapter explores a philosopher or literary figure who has written on the relation between literature and the good life, such as Derrida, Kierkegaard, Murdoch and Blanchot. Challenging and insightful, Philosophy, Literature and the Human (...) Good is ideal for all students of philosophy and literature. (shrink)

Why have poets played such an important role for contemporary philosophers? How can poetry link philosophy and political theory? How do formal considerations intersect with philosophical approaches? These essays seek to establish a dialogue between poetry and philosophy. Each essay contributes to our understanding of the relationships between theory and lived experience while providing new insight into important poets such as Charles Baudelaire, Stéphane Mallarmé, Victor Hugo, and others. The broad range of metaphysical, phenomenological, aesthetic, and ethical approaches announce important (...) new paths for a reinvigorated study of lyric poetry in the decades to come. (shrink)

Dilemma one, Between the theoretical concepts and authorial intention -- Dilemma two, Good manners and eristic -- Dilemma three, Between strangeness and familiarity -- Dilemma four, Between scholarly research and faith.

Investigates the relationship between philosophy and fiction in the 16th century, especially in French vernacular writing. The texts under consideration treat one or more branches of learning, including metaphysics and alchemy but also contain an element of fiction.

The efforts to prove God's existence in the history of thought have been one of the fundamental problems of philosophy and theology, and even the most important one. The evidences put furword to prove the existence of God constitute the center of philosophy of religion’s problems not only philosophy of religion, but also the disciplines such as theology-kalam and Islamic philosophy are also seriously concerned. When we look at the history of philosophy, it is clear that almost all (...) philosophers are interested in the evidence in favour of and against the existence of God. Especially in recent times, religious experience has often been regarded as evidence of the existence of God. Studies in the field of religious and mystical experience have put forward many arguments concerning the use of religious experience as evidence. However, this study has been limited to experience of sense and pure consciousness claims rather than examining all of these arguments. In this study firstly, the analogy between experience of sense and religious experience will be deal with, and then claims that conciousness can be emptied by a number of methods which are defended by mystics. In addition, it will be tried to defend the opinion that the mystical experiences which are the common point of the two approaches are valid. The main emphasis of the article will be that these arguments can be used as evidence for the existence of God.Summary: Religious experience - which has not been considered as one of the classical evidences regarding the existence of God before being popular by recent studies – is started to be called one of the arguments. The most important reason for not arguing religious experience among the evidences of God’s existence is that it is a personal experience and therefore contains subjective perspectives. However, many researchers, who refuse to accept the criticism raised against religious experience with restricting to subjectivity, emphasized the importance of religious experience by highlighting the objective aspects of such experiences. This emphasis was not only on its significance, but also on the fact that it had a cognitive feature and thus it could provide evidence for the existence of God. The argument of religious experience is generally defined as an effort for demonstrating to existence of God with reference to several feelings such as spiritual experiences of human in face of creator and sacred Being, encounter with God, uniting, and annihilating selfness in Him. The emergence of such efforts, especially after the XVIIIth century, indicates that the history of the evidence does not go back much earlier. However, even if notas evidence, it is possible to extend the traces of religious and mystical experience to the history of religions such as Buddhism and Hinduism. Considering a great amount of the previous literature focused on religious experience in the West, It is easily seen that such research is still new. The main purpose in addressing such a controversial issue is to make the argument on the religious experience more current and to show whether the religious experience would be able to use as evidence for the existence of God.First title of this study comprises many different claims such as Walter T. Stace’s The Argument from Unanimity Richard Swinburne’s The Principle of Credulity, William P. Alston’s Perceiving God, John Hick’s Experience-as. However, instead of briefly giving out very different claims, the study chooses to focus on two arguments which are less discussed and can be given in more detail. The first is the argument based on the analogy between the religious experience and the sense experience. The fundamental point of this argument is sense experience. With reference to the similarities between the sense experience and the religious experience, it can be argued that religious experience is also cognitive and may function as an evidence for the existence of God. In other words, being perceptual and noetic, namely cognitive, of sense experience is addressed as a similar side of religious experience. Whether it is imaginary or real, eventually, it is necessary for an experience to have an object and being experience of something. Therefore, the religious experience includes the perception of a Transcendent Being that is beyond and in excess of the individual who experiences. Perception of the sense experience will definitely be different from the perception of religious experience. Researchers who think that the five sense organs do not run the perception of Sacred Beings, identified broader and various meanings for the perception. Thereby, in this approach, where the semantic field of perception is expanded, it was contended that human beings were able to perceive the transcendent, eternal, and unlimited God, and this can be explained in the epistemological sense. In order to use religious experiences as an evidence for the existence of God, it is necessary to determine whether such experiences are caused by God rather than something else. This raises the issue of the validity of religious experience. The researchers in this area have propounded various criteria to identify whether religious experience is existed or not. Experiences, which do not meet the criteria, are not considered existed even if they claim to be religious experience.The second is the argument that discusses whether it is possible to suggest an evidence for the existence of God by utilizing pure consciousness events. In general, this argument claims that the consciousness gets clear, and thus, mystic or Sufi experiences the Divine One with pure consciousness by discharging consciousness from all sensual contents and removing it from secular desire and wishes. The argument, which claims the experience of Divine One is direct, therefore uninterpretable, and experienced by pure consciousness, believes clearing the consciousness of mystics from sensual qualities such as seeing, hearing, and tasting. It is stated that it is possible for mystics to empty their sensory images and get rid of them, and thus, their desires and wishes could be lost. Especially, the thinkers who are connected with the philosophy of perennialism and defend this approach, thought that people, who have distinct religion, culture, and beliefs in different parts of the world and in various time periods, had the same experience and considered such experiences were universal by suggesting that this similarity could be called as common essence.Even though the claim which offers that the events of pure consciousness are the same everywhere have been criticized in many respects, the advocates of this approach have argued that the experience has the common essence, but the interpretation is different. This relationship, which was tried to be established between experience and commentary, caused a lot of work for both the thinkers who put forward the claims of pure consciousness and the researchers who opposed it. However, examining the relationship between experience and interpretation requires serious studies in socio-psychological, cultural and religious fields. Therefore, in order not to exceed the limits of the article, the relationship between experience and interpretation is briefly mentioned.While discussing two arguments, the main claims of the arguments were addressed, and the criticisms directed to this argument were not discussed as much as possible. However, some fundamental criticisms have been mentioned shortly for a better understanding of the discussion. Since such western-oriented claims mostly were deployed in a western context, the study excluded the comparison of the claims across different cultures. (shrink)

Trude Dijkstra discusses how Chinese religion and philosophy were represented in printed works produced in the Dutch Republic between 1595 and 1700. By focusing on books, newspapers, learned journals, and pamphlets, this study sheds new light on the cultural encounter between China and western Europe in the early modern period. Form, content, and material-technical aspects of different media in Dutch and French are analysed, providing new insights into the ways in which readers could take note of Chinese religion and (...) philosophy. This study thereby demonstrates that there was no singular image of Chinese religion and philosophy, but rather a varied array of notions on the subject. (shrink)

French culture is unique in that philosophy has played a significant role from the early-modern period onwards, intimately associated with political, religious, and literary debates, as well as with epistemological and scientific ones. While Latin was the language of learning there was a universal philosophical literature, but with the rise of vernacular literatures things changed and a distinctive national form of philosophy arose in France. This Very Short Introduction covers French philosophy from its origins in the sixteenth (...) century up to the present, analysing it within its social, political, and cultural context. Beginning with psychology and epistemology, Stephen Gaukroger and Knox Peden then move onto the emergence of radical philosophy in the eighteenth century, before considering post-revolutionary philosophy in the nineteenth century, philosophy in the world wars, the radical thought of the 1960s, and finally French philosophy today. Throughout, they explore the dilemma sustained by the markedly national conception of French philosophy, and its history of speaking out on matters of universal concern. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable. -- Provided by publisher. (shrink)

Cefalu offers the first sustained assessment of the ways in which recent contemporary philosophy and cultural theory -- including the work of Giorgio Agamben, Alain Badiou, Eric Santner, Slavoj Žižek, and Alenka Zupancic -- can illuminate Early Modern literature and culture. The book argues that when selected Early Modern devotional poets set out to represent subject-God relations, they often encounter some sublime aspect of God that, in Slovenian-Lacanian terms, seems "Other" to himself. This divine Other, while sometimes presented directly as (...) a void or empty place, is more often filled in and presented instead as some form of divine excess. While Donne, and to a lesser extent Traherne, disavow those numinous aspects of God that might subsist beneath such excesses, Crashaw, and especially Milton, attempt to represent the intimate relationship between any creature’s and God's intrinsic alterity. Cefalu introduces new ways of theorizing not only seventeenth-century religious ideologies, but also the nature of Early Modern subjectivity. (shrink)

While individuals presented in central texts of the period are indeed often alone or separated from others, Yousef regards this isolation as a problem the texts attempt to illuminate, rather than a condition they construct as normative or ...

"Spanning many historical and literary contexts, Moral Imagination brings together a dozen recent essays by one of America's premier cultural critics. David Bromwich explores the importance of imagination and sympathy to suggest how these faculties may illuminate the motives of human action and the reality of justice. These wide-ranging essays address thinkers and topics from Gandhi and Martin Luther King on nonviolent resistance, to the dangers of identity politics, to the psychology of the heroes of classic American literature. Bromwich demonstrates (...) that moral imagination allows us to judge the right and wrong of actions apart from any benefit to ourselves, and he argues that this ability is an innate individual strength, rather than a socially conditioned habit. Political topics addressed here include Edmund Burke and Richard Price's efforts to define patriotism in the first year of the French Revolution, Abraham Lincoln's principled work of persuasion against slavery in the 1850s, the erosion of privacy in America under the influence of social media, and the use of euphemism to shade and anesthetize reactions to the global war on terror. Throughout, Bromwich considers the relationship between language and power, and the insights language may offer into the corruptions of power.Moral Imagination captures the singular voice of one of the most forceful thinkers working in America today"--. (shrink)

This state of the art collection offers fresh perspectives on why intersections between literature, religion, and ethics can address the fault lines of modernity and are not necessarily the cause of modernity's 'faults.' From a diverse cohort of scholars from around the world, with appointments in comparative literature and other disciplines, the essays suggest that the imagined hegemony of a Judeo-Christian Western project is neither exclusively true nor productive. However, the essays also suggest that elements of the Western religious (...) traditions are important vectors for understanding modernity's complicated relationship to the past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 211-222 [Access article in PDF] Criticism and the Terror of Nothingness C. Jason Lee DESTINY IS OFTEN ANOTHER NAME for narrative, it being the order we retrospectively find in scattered events. It is traditionally the role of the storyteller to create a believable narrative, with the reader investing attention into believing the story while the critic dissects the results to ascertain whether the (...) magic works. As Wallace Stevens put it, "we orchestrate a whole history and then imprison ourselves in the score, as if someone else had written it." 1 In the author's note to the second edition (1962) of Wise Blood (1949) Flannery O'Connor makes the point that her novel is a comic novel, yet its comedy does not lessen the depth of understanding it offers concerning the complexity of freedom. 2 The obsession with fate and destiny that swamps her characters, leads the reader into a gothic nightmare where humans in their attempt to re-create themselves dig themselves further into the graves of their dead relatives. For O'Connor free will does not mean one will but many wills conflicting in one man, and she explains the integrity of the central character of Wise Blood, Hazel Motes, as stemming from his vigorous attempts to rid himself of the "ragged figure who moves from tree to tree in the back of his mind."This figure is the Jesus of his grandfather, and it is also the religious preoccupation of the Deep South. Destiny has shaped his features and his character in the mold of his grandfather, and whomever he meets believes he too is a preacher. After establishing the Church Without Christ, like many sons attempting to shake off their origin, Hazel Motes realizes that his new way of behaving is in some sense being controlled [End Page 211] by his past and that he must shake off all vestiges to possess freedom. One might argue that, by eventually blinding himself, Hazel Motes is behaving as a soul who has given into the temptation of purgation, as if this is destiny. But it can be argued that this act is going against destiny, as it is an act that is perhaps trying to persuade God of something, despite the Oedipal connotations.Questioned by his landlady why he blinded himself he says to pay, and when asked to pay for what, he replies it does not matter what. Mrs. Flood is frightened of death, particularly death being one long blind existence, and Hazel Motes is a reminder to her of her destiny. This can be read as a judgment on life also. Yet she eventually decides to take care of him, for both altruistic and materialistic reasons, believing that his widow would inherit his war pension. Mrs. Flood, her name evocative of apocalyptic occurrences and Old Testament punishment, is a critic of the text; the text in this instance is nothing written but rather Motes himself. It seems that Hazel Motes, his name a reference to taking the mote out of one's own eye before you try and take the splinter out of another's, is punishing himself for his previous denial of Christ and for his sins, such as fornication, as with Mrs. Watts the prostitute and Sabbath Hawks, and murder, but also something more primal.After trying desperately to break the curse of his biological inheritance, his wise blood, just like the character Enoch Emery, it forces him to once again take on roles that deny him freedom. Hazel Motes may seem to a contemporary reader as a caricature, the mad preacher/antipreacher of the American South, but as V. S. Pritchett puts it, Hazel Motes is "entirely real" (p. viii). His self-blinding is part of his further alienation from the world, the world he has come back to after the "Great War." O'Connor shows how this watershed in human history was so devastating, Motes's new theology entirely rational. After having an insight into the world in reality through war, Hazel Motes is now "going to do some things... (shrink)

Definition in the genre of travel writing has a special status: the discovery of otherness leads to a new relationship between language and the world. In this genre, written by lexicologists who are often amateurs, the definition of an absent reality evolves between analogy, approximation and invention.

What did it mean to keep a secret in early medieval England? It was a period during which the experience of secrecy was intensely bound to the belief that God knew all human secrets, yet the secrets of God remained unknowable to human beings. In Bonds of Secrecy, Benjamin A. Saltzman argues that this double-edged conception of secrecy and divinity profoundly affected the way believers acted and thought as subjects under the law, as the devout within monasteries, and as readers (...) before books. One crucial way it did so was by forming an ethical relationship between the self and the world that was fundamentally different from its modern reflex. Whereas today the bearers of secrets might be judged for the consequences of their reticence or disclosure, Saltzman observes, in the early Middle Ages a person attempting to conceal a secret was judged for believing he or she could conceal it from God. In other words, to attempt to hide from God was to become ensnared in a serious sin, but to hide from the world while deliberately and humbly submitting to God's constant observation was often a hallmark of spiritual virtue. Looking to law codes and religious architecture, hagiographies and riddles, Bonds of Secrecy shows how legal and monastic institutions harnessed the pervasive and complex belief in God's omniscience to produce an intense culture of scrutiny and a radical ethics of secrecy founded on the individual's belief that nothing could be hidden from God. According to Saltzman, this ethics of secrecy not only informed early medieval notions of mental activity and ideas about the mind but also profoundly shaped the practices of literary interpretation in ways that can inform our own contemporary approaches to reading texts from the past. (shrink)

Articles, chiefly on Hindu religious literature and Indian philosophy.

This study is an important contribution to the intellectual history of Victorian England which examines the religio-aesthetic theories of some central writers of the time. Dr Fraser begins with a discussion of the aesthetic dimensions of Tractarian theology and then proceeds to the orthodox certainties of Hopkins' theory of inscape, Ruskin's and Arnold's moralistic criticism of literature and the visual arts, and Pater's and Wilde's faith in a religion of art. The author identifies significant cultural and historical conditions (...) which determined the interdependence of aesthetic and religious sensibility in the period. She argues that certain tensions in the thought of Wordsworth and Coleridge - tensions between poetry and religion, rebellion and reaction, individualism and authority - continued to manifest themselves throughout the Victorian age, and as society became increasingly democratic, religion in turn became increasingly personal and secular. (shrink)

Ṣāliḥ bin ʿAbd al-Quddūs of Persian origin was born in Basra, the crossroad of religions and teachings with its socio-cultural, scientific and intellectual structure. He grew up in a family that values religion, politics and literature. Rich scientific background and cross-cultural integration of Basra significantly influenced his scientific and intellectual development. However, in historiographical sources, he is an intellectual who has come to the fore with his literary identity. His ‘sectarian’, ‘political’, ‘wise’ (ḥikami), ‘didactic’ and 'gnomic' poems form the main (...) theme of his literary writings. Various titles have been attributed to him by the authors of history and biography. "Master of poets, street preacher, storyteller, theologian and philosopher" are a number of them. Before the translation of philosophical works, he became one of the important representatives of the 'literary theology', the dialectical technique of the period. Thus, besides his poetic and literary identity, he is mentioned as one of the six theologians of Basra. Over time, he was able to attract the attention of the political power with his theoretical and literary works for both theo-political and social adjustment. However, he was not understood adequately, and his poems did not attract the necessary attention since philosophical/wise expressions were widely found in them. In his poems, it is possible to see every tone of hope and hopelessness. He reflects hope, rights, justice, equality, freedom, moral virtues, but more often; despair, death, transience of the world, ascetism and distancing from people. For this reason, he is also referred to as the "poet of despair." From this point of view, his call to the life of ascetism was interpreted as dualism. The opinions of Ṣāliḥ calling for social adjustment, justice and equality were perceived as a threat by the political authority and he was killed with the accusation of heresy. Although it is generally accepted that he was executed due to heresy, there is much speculative information about the subject. Of two examples are that he subjected to ethnic discrimination due to his Persian origin, and that he was a philosopher of dualism and a follower of Manichaeism. However, the reason for the murder of Ṣāliḥ was neither his theological choice nor ethnic origin. His poetry, which motivated social morality, intellectual development, freedom and social enlightenment, turned him into a threat to the political power. It would appear that his opposition to Arab nationalism and privilege in the ranks of Šuʿūbiyya, a populism movement and his demand that justice and equality should spread throughout all layers of society, caused political prosecution. In this process, the rule chose the easiest way to silence any opposing voice by implementing the accusation of heresy. The concept of heresy, especially with the Abbasids, quickly turned away from its religious concerm and changed into a political notion. As a result, academic discussions conducted at the scientific and intellectual level in Basra were moved to a practical arena by politics, and the dose of criticism and violence increased. First of all, with its scientific and bureaucratic elements, the state embarked on an intellectual and actual struggle with heretical teachings, which aims to distort the essential principles of Islam by dissimulation (taqīyya). Although this political attitude towards heresy, which aims to break down Islamic values, can somehow be considered reasonable, the area of accusation of heresy expanded in time; causing every opposing movement to be evaluated within this scope. However, when the main theme of his poems is examined, the first point, attracting attention is his call to believe in God, the truth of the hereafter, reckoning consciousness, responsibility, justice, equality, freedom, etc. In fact, referring to the Qur’ān and ḥadīth in his poems already proves that he was a Muslim. Nevertheless, his poems were sometimes interpreted and presented as an evidence of his heresy and whenever he was found stating the right, his statements were found invalid because of accusation of dissimulation. Considering all these facts, this article will make a logical consistency analysis of the information and narrations about Ṣāliḥ. It will also examine the validity of the accusations of heresy against him, based on his literary discourses, religious identity and political attitude. As a result, it will determine whether the negative (theological) attribution to him is really an accusation or truth by an analytical inference. (shrink)