El 1 de febrero de 1982 se constituyeron en la Archidiócesis de Sevilla los Tribunales Interdiocesanos de Primera y Segunda Instancia. Se trata de Tribunales Eclesiásticos de Justicia extracanónicos, que se originaron primero en Italia según el Motu Propio 'Qua Cura' de Pío XI, y luego se extendieron a la Iglesia en general, para integrarse finalmente en el actual Derecho Canónico. Este ensayo describe el desarrollo y la naturaleza de estos Tribunales de Justicia, así como su funcionamiento en la Archidiócesis (...) de Sevilla. (shrink)

El campo conceptual en el que nuestra cultura ha cultivado, y aún cultiva, sus ideas acerca de la razón está fuertemente contaminado de representaciones míticas y psicopopulares. Tanto que todavía es necesaria una arqueología crítica de su historia. La historia de los nombres de la razón es la de sus atavismos populares. En ella se descubre que 'naturaleza' es el nombre más querido que la razón se ha dado, lo que ha constituido una fuente de la que aún hoy fluye (...) un sinfín de equívocos a la hora de pensar las relaciones entre la naturaleza y la razón, entre la naturaleza y la cultura. (shrink)

The process of elaborating EU legislation includes the activity of translation. Drafting and translation cannot be considered separately but are rather two complementary activities whose aim is the quality of legislation. In order to achieve the required quality of legislation, one guiding principle is consistency of terminology. This study examines the particular case of two terms in German that appeared in the EC Treaty: Entscheidung and Beschluss. The inconsistent use of the two terms was the source of interpretative problems, as (...) observed in Case C-370/07 Commission v Council. A comparison of the contested provisions in the EC Treaty and the provisions in the Treaty on the Functioning of the European Union shows that the terminological inconsistency has been corrected. After the examination of this case, we elaborate on the impact of terminological consistency on interpretation as reflected in requests for preliminary rulings. (shrink)

En 'La Naturalizacion de la Filosofia' se exploran diversos aspectos de la pretensión naturalista en diferentes campos filosóficos, con sus aciertos y sus limitaciones.

¿Cómo es que un sistema cognitivo del que se dice no habría surgido para conocer, sino para sobrevivir, ha venido a conocer tantas cosas evolutivamente inútiles y -por qué descartarlo hoy- hasta nocivas para la supervivencia de la especie? El saber filosófico despierta, dirán Aristóteles o Hegel, una vez satisfecho lo necesario para la existencia. Puede incluso que la superfluidad sea esencial a la cultura, pues lo superfluo es para el hombre, según la expresión de Voltaire, «cette chose si nécessaire!». (...) Ese desequilibrio entre utilidad natural y uso cultural de la razón avala bien el rechazo a ver en ésta un elemento más de la naturaleza. Aceptarlo obligaría a normalizar su estudio y -consecuencia o premisa inevitable- a naturalizar su concepto. Ambas cosas conllevarían además una incursión, insolente no sólo para el filósofo, de las ciencias particulares en los dominios tradicionales de la filosofía, dominios con tanta acucia conseguidos a lo largo de su historia. No obstante, quienes estén convencidos de que la naturalización de la razón equivale al suicidio de la filosofía, y la rehúsen por ello, deberían sopesar antes las razones por las que habría de ser preferible salvar la filosofía a naturalizar la razón. Tal vez descubran al paso qué ancestral, qué prefilosófica es su idea de la filosofía. (shrink)

Primera parte. Problemas teóricos en torno a la filosofia latinoamericana. A modo de introducción : la historia de las ideas en América Latina -- Breve trazo de un camino -- Crítica de la Crítica de la razón latinoamericana de Santiago Castro-Gómez -- Rafael Gutiérrez Girardot y José Luis Romero : historiografía e identidad latinamericana -- El colonialismo intelectual en América Latina y su crítica -- La historiografía como "carta de batalla" -- El rastacuerismo y nuestra cultura política -- La secularización (...) y la racionalización en hispanoamérica -- Filosofía y crisis -- Segunda parte. Filósofos y filosofías revisitados. El Ariel de José Enrique Rodó : su contexto, sus fuentes y sus críicas -- María Zambrano, José Gaos y la filosofía latinoamericana -- El problema de la recepción del pensamiento de Xavier Zubiri en Colombia -- Ernesto Sábato : crítica de la tecnolatría y religación de lo humano -- Guillermo Hoyos Vásquez...entre nosotros -- Pablo Guadarrama y la filosofía colombiana : un testimonio. (shrink)

There is a consensus that our culture is already "post-metaphysical." Does this mean that the culture has abandoned the philosophy? This question is not separable in fact from the historical-philosophical relationships between science and philosophy. These relationships determine the contemporary metaphilosophical positions, which are analyzed in the first half. The second and third parts address the metaphilosophical question in the light of Heidegger's position on the "end of philosophy." This analysis concludes that the issue " postmetaphysics or postphilosophy?" refers to (...) another question, envisioned but not settled by Heidegger: are the symbolic forms, known until today (religion, art, philosophy, science), a closed set of transcultural universals or an open set, able to admit new elements in the future? (shrink)

Toda cultura lleva inherente una cultura-de-la-cultura por la que contrae compromisos epistémicos, pues cualquier forma de cultura no es compatible con cualquier forma de conocimiento. La cultura ignorante de sus responsabilidades epistémicas es una cultura irresponsable. Se desarrolla esta tesis en torno a tres tópicos (las “dos culturas”, la permeabilidad cultural de la ciencia, el “efecto Hydra”) y se infieren algunas condiciones mínimas de la responsabilidad cultural epistémica.

Kant claims that natural sciences require a “pure part” ,(reiner Teil), which has to be formulated a priori by philisophy. This pure part, is enunciated by Kant in his Metaphysische Anfangsgründen der Naturwissenschaften in relation to Netwon’s Pincipia, whose steps is closely follows. This Kantian Work also represents an instance of classical “foundation” by philosophy in the particular sciences.In this paper the particularities of Kant’s foundation in Newton’s physics come under close scrutiny, and his huge speculative effort on this issue (...) is shown to be equivocant in content, inconsistent in form and probably useless. (shrink)

Kant claims that natural sciences require a “pure part” ,, which has to be formulated a priori by philisophy. This pure part, is enunciated by Kant in his Metaphysische Anfangsgründen der Naturwissenschaften in relation to Netwon’s Pincipia, whose steps is closely follows. This Kantian Work also represents an instance of classical “foundation” by philosophy in the particular sciences.In this paper the particularities of Kant’s foundation in Newton’s physics come under close scrutiny, and his huge speculative effort on this issue is (...) shown to be equivocant in content, inconsistent in form and probably useless. (shrink)

This study resumes the discussion undertaken by Ulpiano Bezerra de Menezes, historian, archaeologist and museologist at the University of São Paulo, the first to “decolonize the history of Art in the Americas”. At the same time, this resumption is in charge of paying homage to this researcher who found the mistakes and gaps left by European scholars who were at the service of Eurocentric colonialism and its Eurocentric culture. However, the central objective of this text is to contribute to (...) this process of decolonization, expanding the discussion that began in the 1980s. To this end, here, the chapter that opens the work História geral da arte no Brasil, edited by Walter Zanini, whose title is Art in the pre-colonial period, and which completes decades. (shrink)

This article explores the recent urban transformations of downtown Cairo, in particular around the area of Mohammed Mahmud Street and Tahrir Square, after a year and a half of violent confrontations between the protesters and the military junta. The article first looks at how these confrontations led to the segregation of the city through the use of buffer-concrete walls, army tanks, check-points and barbed-wire barricades that made life for its inhabitants impossible. The squeezing of Tahrir and its surroundings created mostly (...) a delineated and restricted war zone. This was undertaken after a series of killings and massacres took place. The article reflects upon the explosion of sardonic graffiti and epic murals that followed these events as a vibrant expression of dissenting street art, as well as the creation of a memorial space. (shrink)

At eighty-five, Jacques Maritain, the most distinguished Catholic philosopher of the twentieth century, has written what he offers as his last book, and it turns out to be a shocker. The peasant, as Maritain calls himself in the title, is a man who calls a spade a spade; and a storm of controversy descended immediately on the book's publication in France, as both Right and Left reeled from the force of Maritain's criticism.The Peasant of the Garonne is a sharp attack (...) on the new philosophy, hoping to cool off the fever for change that Maritain believes is imperiling the church's traditional spirituality and even the substance of doctrine. There is sardonic humor in his treatment of Teilhardians, phenomenologists, existentialists, new-style biblical critics, and clerical Freudians, but Maritain is deeply serious in warning that their capitulation to fashioniable trends represents a kind of kneeling before the world. (shrink)

Abstract: Giorgio Agamben's recent works have been preoccupied with a certain obscure passage from St. Paul's 'Second Epistle to the Thessalonians,' which describes the portentous events that must occur before the Second Coming of Jesus Christ can take place---specifically, the appearance of a 'man of lawlessness' (the Antichrist?) and the exposure of who or what is currently restraining the 'man of lawlessness' from being exposed as the Antichrist: a mysterious agency called the 'katechon.' In 'The Mystery of Evil: Benedict XVI (...) and the End of Days,' this obscure passage is connected with the abdication of Pope Benedict XVI through certain equally obscure references to the fourth century theologian, Tyconius, although the precise connection between these apocalyptic events and their mysterious agents remains obscure. This review attempts to shed some critical light upon this cryptic subject, both by considering the world-historical context of St. Paul's epistle, and by asking what role these apocalyptic figures play in Agamben's political theology. But, to begin with, the review also asks: Who, really, is the Antichrist? a scarcely rhetorical question that demands a sardonic answer. Although various candidates from contemporary politics are proposed, the review finally argues that the Antichrist and the katechon are not specific individuals or worldly institutions, but rather refer to world-historical trends within Western European Christian civilization itself that have resulted in what Friedrich Nietzsche called 'the devaluation of all higher values' and 'the desecration of the Christian moral world-view': an apocalyptic turn of events which Nietzsche equally sardonically referred to in 'The Antichrist.'. (shrink)

Spinoza’s interpretation of the election of the Hebrews in the third chapter of the Theological Political Treatise enraged quite a few Jewish readers of the nineteenth and twentieth centuries. The rise of nationalism, and the demand of loyalty to one’s own genos brought about a certain style of patriotic writing aimed at Spinoza’s “betrayal.” In a series of lectures on the eve of the Great War, Hermann Cohen portrayed Spinoza as a person of “demonic spirt” and as “the great enemy (...) who emerged from our midst.” In a stream of words more akin to shouting than to analytic discourse, Cohen protested against what he took to be the universal complacency regarding Spinoza’s treachery: “When Spinoza, with merciless severity, makes his own nation the object of contempt – at the time that Rembrandt lived on the same street and immortalized the ideal type of the Jew - no voice rises in protest against this humanly incomprehensible betrayal.” Cohen was right in identifying in Spinoza an absence of ethnic patriotism. I, for one, find this absence a virtue rather than a vice, and in this chapter I will argue, inter alia, that in rejecting ethnic normativity Spinoza was consistent with a dominant strand of rabbinic thought. What precisely was so offensive in Spinoza’s words in chapter three of the TTP? A common reading of this chapter suggests that Spinoza presents the election of the Hebrews as merely political and not spiritual in nature, thus downgrading the importance of the election. This reading is not absolutely groundless, but it is highly imprecise, for as we shall shortly see, for Spinoza, God’s (genuine) election of the Hebrews indicates the political weakness of their state, rather than its strength. Apart from pointing out this important corrective, I will also attempt in this essay to evaluate Spinoza’s critique of the election of the Hebrews, the result of which might lead us to some highly unexpected conclusions. In the first section of this chapter I present an outline of Spinoza’s interpretation of the connection between the Hebrews’ belief in being chosen, and the xenophobic nature of their ancient state. In the second section, I discuss Spinoza’s interpretation of the election of the Hebrews in chapter three of the TTP, and show that on Spinoza’s sardonic reading it was nothing but luck which allowed the Hebrew state to survive for a rather long time in spite of its poor political constitution. The third and final part provides a defense of Spinoza’s critique of the notion of chosenness. I will argue, first, that chosenness has never been granted the status of theological doctrine or principle of faith within rabbinic Judaism. I will then point out the significant religious problems with the notion of chosenness, suggesting however two exceptions in which belief in chosenness might still be defensible. I will conclude this section with a discussion of rabbinic views on the conversion of minors, arguing that according to the mainstream rabbinic view, being a Jew is a merit only on the condition that a person is pious, a view which is not far from Spinoza’s own claims in the third chapter of the TTP. (shrink)

Neste artigo, demonstrei a relação entre a Memória, a História Oral e o Patrimônio Imaterial Afro-brasileiro. Apontei para os aspectos teóricos e para a práxis de uma História Oral capaz de oferecer algumas bases para a salvaguarda do Patrimônio Imaterial. Para tanto, propus um diálogo dinâmico com diferentes conceitos de Memória, sobretudo conforme compreendida por Joël Candau e Maurice Halbwachs. Apresentei diferentes conceitos em diálogo com autores especialistas em Patrimônio Imaterial, como: Maria Amélia Jundurian Corá, Chiara Bortolotto e Ulpiano (...) Toledo Bezerra de Menses. Além disso, identifiquei procedimentos construídos por José Carlos Sebe Bom Meihy, Suzana Lopes Salgado Ribeiro e Fabíola Holanda no âmbito do Núcleo de Estudos em História Oral – NEHO/USP. Palavras-chave: Memória, História Oral, Patrimônio Imaterial, Teoria. (shrink)

Once upon a time, a scholar, ascetic and relig-ious man named Abu Hamid Ibn Muhammad Ibn Muhammad al-Tusi al-Shafi'i al-Ghazali (AI-Ghazali, 1058-11 II) wrote a worl, called The Incoherence qf the Philosophers, 1\ clever philosopher, Abu AI-\Valid Muhammad Ibn Ahmad Ibn Hushd (Averroes, 112li-1 ID8), responded to this by writing The IlIcolurence (!l the Inroherence. In IVhat is Art;;, Tolstoy refers to the importance of art in order to ridicule itl He notes the attention paid to art, music, theatre, filrn, (...) and books in the press. IIe notes the in\'(~stment of gm'ernments in the support of museums, theatres and the like. He notes the time spent by artists and perlilrmers in learning- their craft. He presents the most sardonic description of an opera rehearsal you will ever read. He describes the eHilrt and money poured into art as "stupefying", "repulsive", "a gigantic absurdity", and "utterly incomprehensible".~ I-Imv can art be so important that a peasant should have to sell his only cow to pay the taxes that maintain the artist-producer in grand luxury~. (shrink)

In the moral vacuum and world of shifting values following World War I, Aldous Huxley was both a sensitive reflector and an articulate catalyst. This work provides a highly illuminating analysis of Huxley's evolution from skeptic to mystic. As Milton Birnbaum shows, in a perceptive interpretation of Huxley's poetry, fiction, essays and biographies--what evolved in Huxley's moral and intellectual pilgrimage was not so much a change in direction as a shift in emphasis. Even in the sardonic Huxley of the 1920s (...) and 1930s, there is a moral concern. In the later Huxley, there are traces of the satirical skepticism which delighted his readers in the decades preceding World War II.A man of letters, a keen observer, seeker of new ways while profoundly knowledgeable in the truths of ancient wisdom, Huxley tried to achieve a symbiotic synthesis of the best of all worlds. In clarifying and interpreting Huxley's intellectual, moral, and philosophical development, Birnbaum touches upon all the subjects that came under the scrutiny of a singularly encyclopedic mind.This book is of great worth to those interested both in Huxley the brilliant satirist and in Huxley the seeker of salvation. In his search, Huxley typified the modern quest for values. Milton Birnbaum's study is an invaluable guide in that journey. His new introduction takes account of research and analysis of Huxley that has occurred since this book's original publication. (shrink)

At War with War visualizes humanity's 5,000-year-long state of conflict, chaos, and violence on a continuous timeline. Seventy pages of stark black-and-white pen-and-ink drawings and woodcuts illustrate history's most notorious battles -- from 3300 BCE to the present day. Interspersed are contemplations on war from historic thinkers, including excerpts from "The Art of War" by Sun Tsu, "The Complaint of Peace" by Desiderius Erasmus, and "The State" by Randolph Bourne. Searing and sardonic, balancing anger and despair with wit and humanity, (...) these raw illustrations follow in the tradition of great social satirists such as Honoré Daumier, Frans Masereel, Felix Vallotton, and Otto Dix. Seymour Chwast is a design legend. As co-founder with Milton Glaser of Push Pin Studios, he led a revolution in graphic design in the 1960s and '70s, producing bold, vibrant work that pushed the limits of nearly every visual medium.Now, he turns his pen and sketchpad toward creating a new book on a subject that has been a personal obsession for nearly six decades: the fight against war, humankind's never-ending scourge. (shrink)

Hoy se vive una grave crisis de valores. A la inmensa mayoría de la humanidad le resulta difícil saber lo que es correcto de lo que no lo es. Es una costumbre utilizar los principios bioéticos expuestos por Beauchamp y Childress, autonomia, no maleficencia, beneficencia y justicia, mismos que deben estar dentro de la ética y del derecho y más aún en la biojurídica. En ese sentido, el presente trabajo realiza un breve recorrido desde la sindéresis, la regla de oro, (...) los principios éticos: mal menor, doble efecto, totalidad, libertad y responsabilidad, sociabilidad y subsidiariedad en conjunción con los principialistas; por último los que debe utilizar la biojurídica ya reconocidos por Ulpiano junto a sus dos pilares: de prevención y precaución.Today there is a serious values crisis. The vast majority of humanity finds it difficult to know what is right from what is not. It is frequent to use the bioethical principles set out by Beauchamp and Childress: autonomy, non maleficence, beneficence and justice, that are a must in ethics and law and more so in biojuridics. In that sense, this paper provides a short view from the good judgment, the golden rule, and the ethical principles: the lesser evil, double effect, completeness, freedom and responsibility, sociability and subsidiarity in conjunction with the principlism and finally those who must use the already recognized by Ulpian biojuridics with the two pillars of prevention and precaution. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.2 (2000) 88-112 [Access article in PDF] Milton's Aesthetics Of Eating Denise Gigante It is not a little curious that, with the exception of Ben Jonson (and he did not speak gravely about it so often), the poet in our own country who has written with the greatest gusto on the subject of eating is Milton. He omits none of the pleasures of the palate, great or small. (...) In his Latin poems, when young, he speaks of the pears and chestnuts which he used to roast at the fire with his friend Diodati. Junkets and other "country-messes" are not forgotten in his "Allegro." The simple Temptation in the Wilderness, "Command that these stones be made bread" (which was quite sufficient for a hunger that had fasted "forty days"), is turned, in Paradise Regained, with more poetry than propriety, into the set out of a great feast, containing every delicacy in and out of season. The very "names" of the viands, he says, were "exquisite." And in Paradise Lost, Eve is not only described as being skilful in paradisaical cookery ("tempering dulcet creams"), but the angel Raphael is invited to dinner, and helped by his entertainers to a series of tid-bits and contrasted relishes--Taste after taste, upheld with kindliest change. --Leigh Hunt, "Eating Songs" The title of an old play gives us a direct taste and surmise of its inwards, as the first lines of the Paradise Lost smack of the great Poem. --John Keats, "On 'Retribution, or the Chieftain's Daughter'" That Milton's Romantic readers should invoke the "taste" of his epic poetry suggests an awareness beyond the anecdotal. For as this essay will show, Milton complicates the category of physiological taste in such a manner as to form the ground for the possibility of aesthetic taste, which emerges as a distinct discourse in the early years of the eighteenth century. This is not to say that Milton is the only source for this dubious meaning-in-transition. But precisely how, prior to the interventions of Shaftesbury, Hutcheson, Hume, and the entire tradition of post-Miltonic theorists of taste, is one to read Adam's darkly sardonic postlapsarian remark: "Eve, now I see thou art exact of taste... And Palate call judicious" [PL IX.1017-20]? Critics have observed Milton's "ruthless and relentless pressure on 'taste,'" the fact that the word and its variants appear thirty times in Book IX of Paradise Lost alone [Ricks 69]. What I would like to suggest is that just as Milton is a seminal figure for the eighteenth-century aesthetic preoccupation with the sublime, 1 he is theoretically situated at the origins of the more generic thing called taste as well. [End Page 88]Of course Milton himself was aware of the epistemological implications of taste, whereby the Latin sapere can mean both "to taste" and "to know." 2 The fruit whose "mortal taste" was the source of all our woe did, after all, grow on the tree of knowledge, knowingly described by Satan as "precious of all Trees / In Paradise, of operation blest / To Sapience" [PL I.2, IX.795-97]. So too, when Adam calls Eve "exact of taste," he adds "of Sapience no small part" [PL IX.1018]. Throughout Paradise Lost and Paradise Regained, Milton plays with the epistemological connotation of taste, incorporating it even into the 1671 companion piece of the latter, Samson Agonistes, whose blind hero declares, "The way to know were not to see but taste" [1091]. At the time Milton was writing, however, taste was philosophically connected not only to knowledge and pleasure, but to morality as well. At the origins of the British empirical discourse of taste, Anthony Ashley Cooper, third Earl of Shaftesbury, inheriting this link between epistemology, aesthetics, and ethics, inquires: "Will it not be found... that what is beautiful is... true; and what is at once both beautiful and true is, of consequence, agreeable and good?" [2: 268-69]. For Milton as for Shaftesbury, the beautiful was the true was the good, and access to these ideals was bound up with the philosophic complexity... (shrink)

In a small literary gem full of sardonic wit, brilliant insights, and provocative criticism Witold Gombrowicz discusses Kant, Hegel, Schopenhauer, Kierkegaard, Sartre, and Heidegger in six "one-hour" essays—and addresses Marxism in a "fifteen-minute" piece. "Who hasn't wished for a painless way to find out what the big shots of philosophy—Hegel and Kant, Nietzsche and Sartre—thought of the human condition? It has never been easy reading such formidable thinkers, and most explainers and textbooks either get it wrong or massacre the language. (...) So imagine my pleasure in opening Witold Gombrowicz's _Guide to Philosophy in Six Hours and Fifteen Minutes_, an exceptional effort at summarizing concepts in bold, declarative sentences.... [This book] is like the course in philosophy you wish you had taken."—David Lehman, _Bloomberg News_ "A must for every reader of Gombrowicz."—Denis Hollier, New York University. (shrink)

Søren Kierkegaard, the nineteenth-century Danish philosopher rediscovered in the twentieth century, is a major influence in contemporary philosophy, religion, and literature. He regarded Either/Or as the beginning of his authorship, although he had published two earlier works on Hans Christian Andersen and irony. The pseudonymous volumes of Either/Or are the writings of a young man and of Judge William. The ironical young man's papers include a collection of sardonic aphorisms; essays on Mozart, modern drama, and boredom; and "The Seducer's Diary." (...) The seeming miscellany is a reflective presentation of aspects of the "either," the esthetic view of life. Part II is an older friend's "or," the ethical life of integrated, authentic personhood, elaborated in discussions of personal becoming and of marriage. The resolution of the "either/or" is left to the reader, for there is no Part III until the appearance of Stages on Life's Way. The poetic-reflective creations of a master stylist and imaginative impersonator, the two men write in distinctive ways appropriate to their respective positions. (shrink)

In a small literary gem full of sardonic wit, brilliant insights, and provocative criticism Witold Gombrowicz discusses Kant, Hegel, Schopenhauer, Kierkegaard, Sartre, and Heidegger in six "one-hour" essays—and addresses Marxism in a "fifteen-minute" piece. "Who hasn't wished for a painless way to find out what the big shots of philosophy—Hegel and Kant, Nietzsche and Sartre—thought of the human condition? It has never been easy reading such formidable thinkers, and most explainers and textbooks either get it wrong or massacre the language. (...) So imagine my pleasure in opening Witold Gombrowicz's _Guide to Philosophy in Six Hours and Fifteen Minutes_, an exceptional effort at summarizing concepts in bold, declarative sentences.... [This book] is like the course in philosophy you wish you had taken."—David Lehman, _Bloomberg News_ "A must for every reader of Gombrowicz."—Denis Hollier, New York University. (shrink)

Witold Gombrowicz, novelist, essayist, and playwright, was one of the most important Polish writers of the twentieth century. A candidate for the Nobel Prize in Literature in 1968, he was described by Milan Kundera as “one of the great novelists of our century” and by John Updike as “one of the profoundest of the late moderns.” Gombrowicz’s works were considered scandalous and subversive by the ruling powers in Poland and were banned for nearly forty years. He spent his last years (...) in France teaching philosophy; this book is a series of reflections based on his lectures. Gombrowicz discusses Kant, Hegel, Schopenhauer, Kierkegaard, Sartre, and Heidegger in six “one-hour” essays and addresses Marxism in a shorter “fifteen-minute” piece. The text—a small literary gem full of sardonic wit, brilliant insights, and provocative criticism—constructs the philosophical lineage of his work. (shrink)