Toponymy on the Periphery: Placenames of the Eastern Desert, Red Sea, and South Sinai in Egyptian Documents from the Early Dynastic until the End of the New Kingdom. By Julien Charles Cooper. Probleme der Ägyptologie, vol. 39. Leiden: Brill, 2020. Pp. xvii + 718. $324.

Historically, deserts have served to distinguish the essential from the superfluous. Therefore, a desert experience has been an excellent lens with which to focus on what really matters and to learn what may be impossible to learn in more stable environments. The desert experience of the ancient Hebrews, as they journeyed from Egypt, land of slavery, to Canaan, land of promise, embodied a number of timeless spiritual truths in the context of an environmental framework where priorities became crystal (...) clear. Three elements of this framework will be presented here as we examine the Jewish people, liberated in a land "that was not sown." First, the desert environment revealed the reality of God. While the portrait of God painted on the sandy canvas of the Sinai Peninsula was incomplete, it served well to reacquaint this wayward people with their Lord. Second, the way in which the Israelites were sustained pictures a specific attribute of God, that of provider. He actively met the needs of His chosen people as a loving father meets the needs of his children. God provided everything from food and water for physical survival to discipline and guidance for healthy spiritual and emotional growth. Finally, their desert experience illustrated that disobeying God caused environmental disaster. The desert they crossed sustained life when the Israelites trusted God but failed to do so when they disobeyed Him. Through the physical experience of wandering in the wilderness, the Hebrews learned a spiritual lesson of faith and saw how their corporate faith affected the quality of the natural environment for the entire nation. This timeless lesson, if applied today would result in significant environmental improvement worldwide. Moreover, brethren, I would not that ye should be ignorant, how that all our fathers were under the cloud, and all passed through the sea; And were all baptized unto Moses in the cloud and in the sea; And did all eat the same spiritual meat; And did all drink the same spiritual drink: for they drank of that spiritual Rock that followed them: and that Rock was Christ. But with many of them God was not well pleased: for they were overthrown in the wilderness. Now all these things happened unto them for ensamples: and they are written for our admonition, upon whom the ends of the world are come. Wherefore let him that thinketh he standeth take heed lest he fall. There hath no temptation taken you but such as is common to man: but God is faithful, who will not suffer you to be tempted above that ye are able; but will with the temptation also make a way to escape, that ye may be able to bear it. I Corinthians 10:1-5,11-13. (shrink)

The biblical story on the miracle of the manna in the Sinai Desert aroused many discussions and interpretations over the generations. The current study focuses on Ibn Ezra’s controversy with Hiwi al-Balkhi on the question of whether the manna was a natural or miraculous phenomenon. The article explores the claims of the two sides in light of the historical evidence and the literature describing the phenomenon of ‘falling manna’ in various areas of the Sinai Desert and (...) Eastern countries. According to Hiwi, the manna that rained down on the Israelites is taranjebin, a semi-liquid resinous sweet secretion of insects (honeydew) that exudes onto plants. Ibn Ezra deals with Hiwi’s claims through a series of refutations and arguments. He argues that the characteristics of the taranjebin do not fit the description of the biblical manna. For example, it does not come down in the Sinai Desert, it appears during a limited season, does not melt in the sun and does not rot during the night, and serves as a medicine rather than as food. Contribution: This article contributes to the understanding of Hiwi al-Balkhi’s identification of the biblical manna as honeydew and Ibn Ezra’s claims against his thesis. It expounds the commentators’ interpretations from a multidisciplinary perspective, such as the reality of harvesting the taranjebin in Iran and North Africa and its uses as food and medicine in the medieval culture. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This paper offers a reading of key passages in Hegel’s Philosophy of Spirit, which can serve as the basis for an argument to discuss the shortcomings of two contemporary readings of Hegel’s notion of ‘second nature’. It investigates two micro-processes which Hegel discusses within his Philosophy of Spirit, the process of transition from sound to speech and the process of transition from natural will to ethical will. Thereby, the text is able to mark the differences between mere habit, second nature (...) of an ethical agent, and self-mediated self-determination of spirit. Second nature is neither a falling back into nature and therefore a limitation of human freedom, nor is it a notion that in itself could explain the process of Bildung as Hegel sees it. Instead, second nature should be understood within the framework of freedom as practical self-determination which allows spirit to relate to itself as other through its product. (shrink)

Fertility awareness-based methods of family planning help women to identify the days of the cycle they should avoid unprotected intercourse to prevent pregnancy. Therefore using fertility awareness-based methods influences the timing of sexual activity, which may affect the nature of the sexual relationship. Data are used from the clinical trials of two fertility awareness-based methods to determine the frequency and timing of intercourse during the cycle, and the determinants of coital frequency. The mean coital frequency of study participants was similar (...) to that reported by users of other methods. Results suggest that coital frequency increases with consecutive cycles of method use. At the same time the frequency of intercourse during the identified fertile days and during menses decreases. This evidence implies a behavioural change as couples get more experience using their method and communicating about the fertile days. Coital frequency was also influenced by the method used and by the study sites. Potential differences between the methods and sites that may contribute to this effect are discussed. (shrink)

This essay reviews two recent volumes containing editions of important early quranic codices. One of these is the so-called Sanaa Palimpsest, whose lower text at present remains our only known material witness to a recension of the quranic text that is different from the canonical one; the other is the Codex Amrensis. The essay devotes particular attention to the question of the textual relationship between the Quran’s standard text and that documented by the lower layer of the Sanaa Palimpsest, and (...) to Asma Hilali’s claim that the Sanaa Palimpsest never constituted a full quranic codex but only “a collection of disparate leaves.”. (shrink)

RésuméL'idée d'un “monde des images” situé quelque part entre les mondes immatériel et matériel est un pivot de la spéculation eschatologique dans l'Islam médiéval tardif. Comme cela a déjà été reconnu, le concept a été inauguré par al-Suhrawardī. Cependant, ses fondements plus proprement philosophiques et en particulier la notion d'images “suspendues” – des images dotées d'un statut en quelque manière objectif plutôt que purement mental ou subjectif – méritent d’être davantage clarifiés; et c'est ce que cet article entend faire. Puisque (...) le concept de “formes suspendues”, tout en étant appliqué par al-Suhrawardī à des questions eschatologiques dans le dernier traité de sa Philosophie de l'illumination, apparaît pour la première fois dans une discussion sur la vision spéculaire, j'examine assez en détail la conception avicennienne de la vision spéculaire telle qu'elle est présentée dans le Shifāʾ, ouvrage contre lequel al-Suhrawardī réagit. J'entreprends ensuite une reconstruction détaillée de deux paragraphes de la Philosophie de l'illumination en accordant une attention particulière à la question du statut ontologique des images “suspendues” ou “auto-subsistantes” ainsi qu’à l'idée selon laquelle les miroirs servent non pas de lieux dans lesquels les images résideraient, mais de lieux où elles deviennent manifestes. (shrink)

There are two ways of dealing with Kant's derogatory position on music. Either it is claimed that Kant's opinion is a result of biographical factors, or Kant is regarded as a mere predecessor of a more successful music aesthetics. While the first way mistakes Kant's personal preferences for a philosophical argument about the nature of sound, the second approach underestimates the close connection between his music aesthetics and his whole philosophical system. Against these approaches the article defends the proposition that (...) Kant's (like any other) music aesthetics can only be understood with reference to the concepts of „time“ and „movement“ in order to elucidate the ontology of sound objects. (shrink)

"Hegel’s Philosophical Psychology" draws attention to a largely overlooked piece of Hegel’s philosophy: his substantial and philosophically rich treatment of psychology at the end of the 'Philosophy of Subjective Spirit', which itself belongs to his main work, the "Encyclopaedia of the Philosophical Sciences". This volume makes the case that Hegel’s approach to philosophy of mind as developed within this text can make an important contribution to current discussions about mind and subjectivity, and can help clarify the notion of spirit within (...) Hegel’s larger philosophical project. Scholars from different schools of Hegelian thought provide a multifaceted overview of Hegel’s 'Psychology': Part I begins with an overview of Hegel’s 'Philosophy of Subjective Spirit', which outlines both its historical context and its systematic context within Hegel’s philosophy of subjective spirit. Parts II and III then investigate the individual chapters of the sections on psychology: the theoretical mind and the practical and free mind. The volume concludes by examining the challenges which Hegel’s 'Psychology' poses for contemporary epistemological debates and the philosophy of psychology. Throughout, the volume brings Hegel’s views into dialogue with 20th- and 21st-century thinkers such as Bergson, Bourdieu, Brandom, Chomsky, Davidson, Freud, McDowell, Sellars, Wittgenstein, and Wollheim. (shrink)

A fundamental concept of a philosophy of music is that of sound. Any investigation of this concept has to be ontologically as well as epistemically adequate. The main proposition of the article is that sounds can only be understood ontologically if we take into consideration their main characteristic of being strictly shapeless and lacking content, an insight that we can learn from Kant. In contradiction to Kant, sounds can be epistemologically characterized as objects that can only be re-presented if the (...) hearer co-presents their temporal extension. The argument is developed through a discussion of the work of P. F. Strawson, G. Evans, R. Scruton, and H. Riemann. (shrink)

This paper argues that the passages on practical spirit within Hegel's 'Psychology' are able to enrich the picture of Hegel's account of intentional action by providing us with a genuine discussion of 'subjective action.' This kind of intentional activity is not yet part of moral or legal philosophy, and it is neutral as regards the question how an action becomes actually manifest in the world as a 'deed', potentially causing unintended consequences. Instead, subjective action consists in the teleological, end-pursuing action (...) of an agent acting on drives and wilfully choosing ends, which are practical as the causa finalis of an agent's doing. Thus, the 'Psychology' investigates intentional action from the first-personal perspective of the mental activity of the subject. It is legitimately part of subjective rather than objective spirit and its socially mediated normativity is psychological rather than moral. (shrink)

Name der Zeitschrift: Archiv für Geschichte der Philosophie Jahrgang: 98 Heft: 3 Seiten: 272-301.

This article focuses on questions of pure fact-of-the-matter and asks whether two omniscient judges may disagree over the legal answer to a straightforward question of a matter of fact. There are approaches to legal theory among some western and Jewish philosophers of law whereby at least superficially it is possible that two or more contradictory legal statements regarding a given reality can be equally correct. The article provides a critical analysis of three different models derived from the Jewish legal literature, (...) and reviews the contributions of Jewish sources to the understanding of the phenomenon of disagreements concerning matters of fact. (shrink)

This article proposes to interpret Surah 97 based on research undertaken in the framework of the Corpus Coranicum project. The first part scrutinizes Christopn Luxenberg’s seriously flawed argument that Surah 97 can be understood as a Qur’anic hymn on the Nativity of Jesus if some of its key expressions are read against the semantic background of Syriac, while the remainder of the article endeavours to develop a more tenable understanding of the text. This involves an attempt to date Surah 97 (...) relative to other Qur’anic texts and to detect possible additions to it. In addition, the article discusses the meaning and reference of its most central term, laylat al-qadr. Finally, special attention is given to the question whether the text might not, in spite of the circularity of Luxenberg’s reading, contain implicit references to the Nativity. (shrink)

Terror may have dire implications for the public’s behavior. According to Kirschenbaum (J Homel Secur Emerg Manag 3(1/3):1–33, 2006), in order to minimize the expected impact of a terror incident the public has to adopt a “survival strategy”. According to the underlying research hypothesis of the study, the longer the terror incidents continue, the more the public accepts the possibility that it will be in this situation for the long term; therefore, the extent of its deviation from its ordinary consumer (...) behavior steadily declines after each terror incident. By using daily trade data and an Event Studies econometric methodology, we found the existence of an adaptation trend among the consumer public. Thus, over time, the Israeli public internalized the realization that if it wishes to sustain a reasonable standard of living, it must minimize the disparity between its consumer economic behavior before a terror event and its behavior afterwards. Announcing more assassinations of terrorists was found to calm the public’s fears, when fears are judged by a return to more normal consumption patterns. Another finding is the existence of variance in the pace of this adaptation as a dependency of the type of good consumed: consistently, the adaptation is faster in regard to non-durable goods than to durable goods. This outcome is subject to interpretation, since durable goods may be viewed as “half-consumption goods, half-capital goods,” it stands to reason that capital goods would be more strongly affected than consumption goods. (shrink)

Hegel’s “Philosophy of Spirit” applies two different notions of ‘social practice’ – one as a condition of possibility for intentional action and another one as the living actuality within which an action is initiated and takes place. Both notions go hand in hand with their own logically distinct form of normativity – social normativity and the normativity of right. Whereas the first one can already be understood from the standpoint of subjective spirit, the second notion is at home in objective (...) spirit or Hegel’s Rechtsphilosophie. Stressing this distinction has consequences not only for a more differentiated account on Hegel’s philosophy of action, but also for an interpretation of ethical life – which should not be equated with the first notion of social practice. In order to mark the importance of ethical life for Hegel’s Rechtsphilosophie, the relevance of objectivity for objective spirit needs to be highlighted, which according to Hegel cannot be derived from a process of inner transformation of changing attitudes of the acting subject towards the norms of her action. (shrink)

In this article we examine the association between national welfare regime and the propensity of middle–aged and older individuals with adult children of their own to provide social support to aged parents. Using data from mature adults (50+) in 26 European countries, we examine whether older and younger generations compete for the time resources of the middle “sandwiched” generation, and whether national policy context shapes this competition. Contrary to expectations, we found that sandwich generation members were less likely to provide (...) support to their parents in Conservative–Mediterranean and East European regimes, but more likely to do so in universalistic Social–Democratic regimes. This evidence supports the hypothesis that well–developed welfare states “crowd–in” family support to older individuals. Middle generation members who provided social support to their adult children tended to provide to their older parents as well. This was particularly true in the two regimes where resources and public benefits tend to be more generous and may be interpreted as state benefits that reduce intergenerational competition. Findings are discussed in terms of the capacity of state policies to shape the allocation of family resources to older adults where extended family lineages have become the norm. (shrink)

Le temps est venu de tourner le regard vers la ville de Sarajevo, l’œil cette fois apaisé : exit les discours idéologiques, les surenchères journalistiques dans la qualification de l’horreur et la pollution intellectuelle des années 1990. Et que voit-on ?Sarajevo n’est ni cette ville d’Europe, martyre des Temps modernes, martyre d’un..

Some thinkers argue that our best scientific theories about the world prove that free will is an illusion. Others disagree. The concept of free will is profoundly important to our self-understanding, our interpersonal relationships, and our moral and legal practices. If it turns out that no one is ever free and morally responsible, what would that mean for society, morality, meaning, and the law? Just Deserts brings together two philosophers – Daniel C. Dennett and Gregg D. Caruso – to debate (...) their respective views on free will, moral responsibility, and legal punishment. In three extended conversations, Dennett and Caruso present their arguments for and against the existence of free will and debate their implications. Dennett argues that the kind of free will required for moral responsibility is compatible with determinism – for him, self-control is key; we are not responsible for becoming responsible, but are responsible for staying responsible, for keeping would-be puppeteers at bay. Caruso takes the opposite view, arguing that who we are and what we do is ultimately the result of factors beyond our control, and because of this we are never morally responsible for our actions in the sense that would make us truly deserving of blame and praise, punishment and reward. These two leading thinkers introduce the concepts central to the debate about free will and moral responsibility by way of an entertaining, rigorous and sometimes heated philosophical dialogue. What emerges is a clear account of the latest thinking on free will, and what is at stake for our moral and legal practices. (shrink)

The blameworthy deserve blame. So runs a platitude of commonsense morality. My aim here is to set out an understanding of this desert claim (as I call it) on which it can be seen to be a familiar and attractive aspect of moral thought. I conclude with a response to a prominent denial of the claim.

Desert-realists maintain that those who do wrong without an excuse deserve blame. Desert-skeptics deny this, holding that though we may be responsible for our actions in some sense, we lack the kind of responsibility needed to deserve blame. In two recent papers, Randolph Clarke advances an innovative defense of desert-realism. He argues for deserved-guilt, the thesis that the guilty deserve to feel guilt. In his 2013 paper, Clarke suggests two strategies for defending deserved-guilt: the fitting-guilt strategy and (...) the good-guilt strategy. In his 2016 paper, Clarke issues a challenge to the desert-skeptic: he calls on them to provide a non-desert based account of guilt’s fittingness. In the first two thirds of the paper, I respond to Clarke’s challenge to the desert-skeptic, showing that guilt felt by the guilty is alethic-fitting, reason-fitting, and value-fitting. None of these notions of fittingness, I argue, are desert based. In the last third of the paper, I show how the work done in previous sections affords us the tools to finely diagnose the failures of both the fitting-guilt and the good-guilt strategies. Here, I draw on one of Clarke’s own insights—namely, that desert is intimately connected to the value of justice. I propose that showing that guilt is fitting, or again non-instrumentally good, fails to show that it is deserved because to show that it is deserved one must show that guilt is fitting or good in a sense that implicates justice. (shrink)

Are inequalities of income created by the free market just? In this book Serena Olsaretti examines two main arguments that justify those inequalities: the first claims that they are just because they are deserved, and the second claims that they are just because they are what free individuals are entitled to. Both these arguments purport to show, in different ways, that giving responsible individuals their due requires that free market inequalities in incomes be allowed. Olsaretti argues, however, that neither argument (...) is successful, and shows that when we examine closely the principle of desert and the notions of liberty and choice invoked by defenders of the free market, it appears that a conception of justice that would accommodate these notions, far from supporting free market inequalities, calls for their elimination. Her book will be of interest to a wide range of readers in political philosophy, political theory and normative economics. (shrink)

In this paper, I explore the idea that someone can deserve resentment or other reactive emotions for what she does by attention to three psychological functions of such emotions – appraisal, communication, and sanction – that I argue ground claims of their desert. I argue that attention to these functions helps to elucidate the moral aims of reactive emotions and to distinguish the distinct claims of desert, as opposed to other moral considerations.

Although Sinai 357 is one of the longest and best-preserved early alphabetic inscriptions from Serabit el-Khadem, these characteristics have not made it any easier to interpret. Most scholars read it as a command from a mining foreman to one of his subordinates, but this reading creates logical and contextual problems. To avoid these problems, I read Sinai 357 as a votive inscription to the Hurrian deity Teššob that employs language similar to first-millennium Northwest Semitic dedicatory inscriptions. Such a (...) reading reflects cultural and linguistic contact between speakers of Egyptian, Hurrian, and a Northwest Semitic language at the site of Serabit el-Khadem. (shrink)

Outside of philosophy, the idea that workers deserve to be paid according to their productive contributions is very popular. But political philosophers have given it relatively little attention. In this paper, I argue against the attempt to use this idea about desert and contribution to vindicate significant income inequality. I claim that the inegalitarian invocation of reward according to contribution fails on its own terms when the following condition holds: the size of each worker's contribution depends on what others (...) only together do. When workers only together make another more productive, that is not reflected in the sum of their own contributions. Thus reward according to contribution recognizes individual accomplishments without recognizing their dependence on collectives, dependence that is, in complex economies, ubiquitous. (shrink)

Justice requires giving people what they deserve. Or so many philosophers – and according to many of those philosophers, everyone else – thought for centuries. In the 1970’s and 1980’s, however, perhaps under the influence of Rawls’s (1971) desert-less theory, desert was largely cast out of discussions of distributive justice. Now it is making a comeback. In this chapter I consider recent research on the concept of desert, arguments for its requital, and connections between desert and (...) other distributive ideals. I suggest that desert-sensitive theories of distributive justice, though they face obstacles, have a promising future. (shrink)

Building Better Beings: A Theory of Moral Responsibility argues that the normative basis of moral responsibility is anchored in the effects of responsibility practices. Further, the capacities required for moral responsibility are socially scaffolded. This article considers criticisms of this account that have been recently raised by John Doris, Victoria McGeer, and Michael Robinson. Robinson argues against Building Better Beings’s rejection of libertarianism about free will, and the account of desert at stake in the theory. considers methodological questions that (...) arise from the account of desert, providing some additional resources for thinking about these issues within the framework of the account. McGeer objects to the particular mode of justification used to motivate the prescriptive aspect of the account. This article presents replies to each of these lines of response. (shrink)

I will argue that a desert-based justification for treating a person in a certain way is a justification that holds this treatment to be justified simply by what the person is like and what he or she has done, independent of (1) the fact that treating the person in this way will have good effects (or that treating people like him or her in this way will have such effects); (2) the fact that this treatment is called for by (...) some (justified) institution or practice; or (3) the fact that the person could have avoided being subject to this treatment by choosing appropriately, and therefore cannot complain of it. I will explore the implications of this understanding of desert for the role of desert-based justifications of blame, punishment, and economic reward. (shrink)

A strange fusion of history and autobiography, this study ranges across the themes of sound and silence, solitude and desert, community and home, combining the past and the present, the historical and the personal, in a unique way. Driven by the conviction that “our sounding world deeply shapes our sense of place and of who we are,” Haines-Eitzen, a scholar of early Christianity, seeks to understand how early monasticism was shaped by the soundscape of the Middle Eastern deserts, but (...) also what it means to orient ourselves to a place through listening. Drawing on her field recordings of desert sounds (recorded in the deserts of Israel and North America and made available in the book through barcodes that can be scanned), Haines-Eitzen argues that hearing the nuances of desert sounds requires a “deep listening” founded on inner quietness, and she evokes this state through tales of the Desert Fathers, who spent decades in the deserts of the Middle East trying to cultivate this inner disposition. Their spiritual quest, according to Haines-Eitzen, was shaped by the “acoustic ecology” of the desert—the ever-present sounds of wind, thunder, water, animals, and even humans; their stories, preserved in early monastic sources, “reveal how monks became part of the natural history of the desert, [and] how they were shaped by their experience of desert sounds.”As an academic study of early monasticism (though I am not sure if the book was intended as such), Sonorous Desert is lacking in critical ways, and the monastic sources do not receive the attention and rigorous treatment they deserve. The monastic test cases examined serve as stepping stones in the author's own quest for inner quietness. But the reader who overcomes initial bewilderment over the book's methodology and style does gain something important: a new sensitivity to “the acoustics of solitude”—to the “striking acoustical paradox of the noisy and silent desert.” The Near and Middle Eastern deserts, far from being empty and silent, were (and still are) richly resonant and sonorous. Not only their landscapes but also their soundscapes helped to shape the religious quest of Christian monks, in late antiquity and beyond. By making us aware of and sensitive to the sonority of early monastic texts, Sonorous Desert contributes to a richer and more holistic view of early monastic spirituality. (shrink)

The blooming desert or ‘El desierto florido’ in Spanish, is a millenarian climate pattern caused by El Niño that warms the surface waters in the eastern tropical Pacific Ocean and creates the conditions for rain in the Altiplano and the Atacama Desert, north of Chile. After some millimeters of abundant rain, a rich biotic community emerges, and in a matter of hours or days, the driest surface on Earth becomes an impressive colorful habitat for more than two hundred (...) different species of eye-catching flowers that host the desert biotic life. Unfortunately, this breathtaking display of colors coexists with less appealing but equally astonishing landscapes. The Atacama Desert harbors the largest accumulation of discarded clothing worldwide and the largest pools of lithium mining which require vast amounts of water for their production. Every year, approximately 56,000 tons of used clothing, predominantly consisting of fast fashion polyester products, water-intensive cotton fabrics, and equally polluting material scraps, are deposited, forming toxic mountains of waste. This article presents an interpretation of these distinct landscapes as interconnected realities of the dump that illustrate the impact of biocultural semiocides, whereby the loss of relationships and meanings with Earth materials is shaped by glocal forces. By making this argument, the article contends that the Atacama region replicates the conditions of the Earth as a global dumping and solastalgia, namely ‘the pain caused by the loss of solace and the sense of desolation connected to one´s home and territory.’. (shrink)

In this article, I argue that Michael Moore’s (1997), and other similar formulations of desert retributivism – viz., the theory that holds punishment to be justified because of the deserved suffering it imposes on guilty offenders – are epistemically problematic. The argument draws on John Dewey’s inchoate critique of retribution, and on Dewey’s more general contention that the justification of ethical judgments and principles proceeds ex post – viz., that it depends on the experiences elicited by acting on those (...) judgments and principles. Based on Dewey’s ex post take on justification, I more specifically argue that, given its commitment to moral naturalism and to coherentism, Moore’s version of desert retributivism is epistemically unwarranted. This is because we have evidentially grounded reasons to think that many of the retributive judgments that underlie the principle of retributive justice are not clearly supported ex post in the relevant, desert retributivist sense. (shrink)

The description for this book, Desert, will be forthcoming.

According to what we could call the "liberal" theory of distributive justice, people do not deserve the money they are able to make in the market for contributing to the economy. Yet the standard arguments for that view, which center on the fact that persons have very limited control over the size of their contributions, would also seem to imply that persons cannot deserve admiration, appreciation, esteem, praise and so on for these and other contributions. The control asymmetry is this: (...) the first conclusion of these arguments is acceptable but the second not. This paper is an effort to defend that claim, but without appeal to the notion of control. (shrink)