Philosophy has often appropriated the reflexive element of literature disembodying the sensible idea from the text, thus exercising a coercive violence against literature, reduced to a simple epiphenomenon of a meta-literary discourse. Philosophy tends to appropriate the sensitive content of literature as a raw material to be integrated into a broader conceptual framework dissolving, in fact, the tensional truth implicit in the novelistic structure as Lukács put it. Literary experience cannot be reduced to a mere conceptual structure, (...) to a pure speculative form, but must be investigated as a possibility of grasping sensible ideas embodied in the literary space, following a path indicated by Merleau-Ponty. Sensible ideas as literary ideas are given thanks to the textual space as a deforming filter that allows them to be manifested as a singular incarnation, without ever exhausting them in a full manifestation. Literature allows to unsettle the prereflexive dimension thanks to an operative intentionality thus revealing those particular ideas incorporated into the sensible. Two works by Paul Valéry, La soirée avec M. Teste and L’introduction à la méthode de Léonard de Vinci will be examined to test the emergence, flexibility and irradiation of literary ideas in the writing space. In this way we will try to show the narrative modalities of elaboration of an implicit philosophy in literature as the embodiment of sensible ideas in the literary space and, in this way, as the manifestation of an aesthetic logos. (shrink)

This book-length essay introduces and discusses main theoretical positions the author uses in his study of Russian literature of the 19th and 20th centuries. It offers new original approaches, in particular the systematic analysis of anthropological foundations that determine how the idea of the Work is being formed. The author focuses on the specific literary tradition going from Nikolai Gogol, Fyodor Dostoevsky, and Andrei Bely to Andrey Platonov and Oberiu, the group represented by such names as Alexander Vvedensky, Daniil (...) Kharms, Yakov Druskin, Leonid Lipavsky, and Konstantin Vaginov. (shrink)

Demonstrating the importance of the circumstantial writings by Paul Valéry, the present essay points out his very first “commission” on Leonardo da Vinci as emblematic of a new sensitive philosophical reflexiveness. In fact, Valéry kept returning to the great renaissance phenomenon of Leonardo, in his twisted Introduction à la Méthode de Léonard de Vinci, rewritten some 25 years later with Note et digression, as well in his staging of philosophers and artists in Léonard et les philosophes. The dislocations taking place (...) within these texts outline an emphasis on the sensible, which remained almost hidden in Valéry’s well-known promotion of the spirit in art. (shrink)

Contrary to the prevailing view, there is not one, but at least two poetic theories in Paul Valéry: the intellectual, formalist and technical poetics Valéry is usually associated to conflicts with another poetics, which highlights sensitivity, lyricism and subjectivity. The constitutive duplicity of Valéry’s literary theory has probably something to do with the ambiguity of his relationship with Stéphane Mallarmé.

In the present article, I will address the question of whether Paul Valéry’s thought can somehow contribute to the recent debate concerning the philosophy of literature. Firstly, I will focus on the idea according to which philosophy can be meant not only as a literary genre but also as an art of thinking. This allows Valéry to state that the poet, too, has a philosophy insofar as he or she is able to think abstractly by practicing his or her (...) own mind. Secondly, following some remarks of Derrida and Rorty, I will discuss Valéry’s idea according to which the philosopher is a philosopher to the extent that he or she forgets that philosophy has to be written. This will lead me to distinguish the peculiar aesthetics of the philosopher as writer from that of the poet. (shrink)

It is unfortunately a lot easier to raise an arch eyebrow than it is to describe critical terms that might account for the values in idealization while preserving a pluralistic sense of possible canons and their uses. Instead of facing the challenge directly, I shall rely on what I call a contrastive strategy. Were I simply to assert a traditional psychology with its attendant values, I would expose myself to a host of suspicious charges about my pieties and delusions. So (...) I shall begin by concentrating on the limitations I take to be inherent in the empiricism of the critical historicists’ position. If, by deflating idealization, their arguments prove reductive, they should provoke us to ask what it is they reduce. We will find ourselves forced back within the circle of literary and existential expectations I suspect most of us still share. But now we might appreciate the force and possible uses of that training when we measure it against all we cannot do if we accept an alternative stance. That we can measure at all, of course, may emerge as the most significant consequence of this experiment in using contrastive strategies.The subject of self-interest provides us with a clear test among these competing positions, and it establishes some of the psychological concepts we will need if we are to describe the cultural functions canons can serve. Critical historicism concentrates on two basic aspects of self-interest—the desire for power over others and the pursuit of self-representations that satisfy narcissistic demands. Out of these aspects, ideologies are generated and sustained. But this is hardly an exhaustive account of needs, motives, and powers. I propose that at least two other claims seem plausible, each with important consequences for our understanding of the canon—that some people can understand their empirical interests to a degree sufficient to allow them considerable control over their actions and that a basic motive for such control is to subsume one’s actions under a meaning the self can take responsibility for.4 4. I use the term “empirical interests” in what I take to be a Kantian sense. “Empirical” refers to interests one simply accepts as preferences, without any need for justification. These interests invite ideological analysis, since, for Kant, they come essentially from outside as heteronomous rather than autonomous features of a subject’s life. The opposite of “empirical,” in this sense, is interests one tries to rationalize on principles that, at some level, have criteria not selected by the agent and also applicable to some other agents. For a historical account of the concept of interests, see Albert O. Hirschman, The Passions and the Interests: Political Arguments for Capitalism before Its Triumph. For a clear conceptual analysis of problems in attributing all motives to self-interest, see Paul W. Taylor, Principles of Ethics: An Introduction, chap. 3. Charles Altieri is professor of English and comparative literature at the University of Washington. He is the author of Act and Quality: A Theory of Literary Meaning and Humanistic Understanding and Self and Sensibility in Contemporary American Poetry and is presently working on value in ethics and esthetics. His previous contributions to Critical. (shrink)

Sensibilité is in Valéry’s theory the name of a large grasp of functions, involving both perception and creation, and involved both in art and in experience. So far, this key word of Valéry’s aesthetics can be read as the bridge between his conceptions of art and his idea of the self in order to understand the way this author writes and conceives what philosophy can aim to.

In The Uprising: On Poetry and Finance, Franco ‘Bifo’ Berardi unfolds a political and clinical diagnosis of contemporary society, stating that the crisis we experience today is a permanent state of absent social autonomy and political agency. This crisis is not solely economic but is caused by semio-capitalism impacting all spheres of human life, affecting sensibility in particular—the linguistic and physical-sensuous link between the individual and the world. Taking up the term sensibility as a bodily basis of experience and as (...) an aesthetic notion, in this article I will explore the relation between individual and collective bodies, the crisis as a suspension of change, and literature, focusing on the Danish poet Ursula Andkjær Olsen’s 2017 lunatic and fragmented novel of love and economy The Crisis Notebooks, but also with reference to some of her other work. I argue that the bodily experience of crisis, as expressed in this novel, leads to an inhibited social sensibility but also, paradoxically, to a radical openness towards the world. With reference to the Danish literary scholar Anne Fastrup’s interpretation of French vitalism’s idea of sensibility in The Movement of Sensibility, I suggest that a more ambiguous, material notion of both a constructive and a destructive sensibility is crucial for its understanding, and hence—for an understanding of the relationship between body and crisis as expressed in The Crisis Notebooks. Finally, I suggest that an aesthetic notion of sensibility can provide a prism through which relations between today’s financial mechanisms and a sociocultural experience of crisis are rendered visible—if not sensuous—and it is from here that alternatives to the crisis can be found, felt, formulated or fabulated. (shrink)

The article investigates to what extent metaphysics may shape literary criticism and in how far a discursive mode of thought may mould critical concepts. these issues are discussed in the context of t s eliot's early criticism. the first part of the article shows how eliot envisaged the assembling of speculative ideas inside literary criticism. the second part offers an analysis of the parallelism between the key terms of eliot's criticism and the philosophical concepts gathered from his (...) dissertation of f h bradley. this leads to an assessment of the precise nature of eliot's criticism as the cognitive elucidation of the transition from artistic sensibility to artistic expression. (shrink)

Attracting philosophers, politicians, artists as well as the educated reader, Edmund Burke’s Philosophical Enquiry, first published in 1757, was a milestone in western thinking. This edited volume will take the 250th anniversary of the Philosophical Enquiry as an occasion to reassess Burke’s prominence in the history of ideas. Situated on the threshold between early modern philosophy and the Enlightenment, Burke’s oeuvre combines reflections on aesthetics, politics and the sciences. This collection is the first book length work devoted primarily to (...) Burke’s Philosophical Enquiry in both its historical context and for its contemporary relevance. It will establish the fact that the Enquiry is an important philosophical and literary work in its own right. (shrink)

Literary translation, especially poetic translation, is one of the rare domains where aesthetic, literary, and technical fields meet. This characteristic makes it the sort of work where a number of theoretical and practical problems converge. It is necessary to approach the issue on three essential planes. The first is theoretical: translation is an operation defined by rules; the second, functional: translation is a practical procedure, which is to say an a posteriori task; the third, specific: poetic translation is (...) itself a poetic activity.Let us begin with the last. From the point of view of literary creation, there is actually no specific difference between the original text and that of the translation. For poet and translator alike take part in a creative act, each laboring according to his means and tastes. For each of them linguistic competence and poetic competence are essential. Indeed, the act of translating is based on a “task of purification of words and ideas” which requires the application of mental effort on the one hand to the problems and the constraints of the poetic art as such, and on the other hand, to the descriptive and analytic nature of language, which is also music. Which is to say that one should not see translation as a simple operation of a lexical order. Nor should one forget that each language requires a specific lexical classification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Romanticism and Coleridge’s Idea of HistoryMichael John Kooy*Romantic historiography is widely understood in methodological terms as a subjectively determined treatment of the human past, according to which historical knowledge is grounded in imaginative activity. That ambition was amply fulfilled in Scott’s historical novels, as Georg Lukacs once demonstrated. 1 Writing in broader terms, Hayden White characterized that whole creative enterprise as an “effort at palingenesis,” the striving to recreate (...) or relive the past in individual consciousness. 2In more recent years, as the approach to the period has become more historicist, criticism has begun to separate the historical and the aesthetic aspects of this romantic sensibility, usually emphasizing one at the expense of the other. The result has been a standoff in critical thinking about the way Romanticism represents the past. One side is occupied by some new historicists who claim to find a precedent for their own methodology among prominent figures of the period. Heyne, Wordsworth, and Keats, it turns out, not only were engaged actively in their own contemporary history, but they also demonstrated in their sophisticated evocation of the past the impossibility of overcoming historical difference by reference to natural law. 3 Arguments advanced on the other side of the controversy insist that the Romantics were not nearly such good historicists as supposed. In these accounts, often allied to post-structuralism, the aesthetic absolutism implicit in the high romantic argument is undiminished by the burgeoning historical consciousness in the period. Indeed, Romanticism’s aesthetic [End Page 717] retrieval of the past appears to be an instance of how subjectivity, rather than admit its own historicity, again asserts mastery over the object through its own self-will. 4Each of these accounts commands a considerable following, and a peace between them seems unlikely, indeed undesirable. On one matter they do agree, though, and that is in their distrust of Coleridge. His historiography—the notion that ideas make history and that the way to get at these ideas is aesthetically—is too idealist for today’s historicists and too monumentally subjective for the post-structuralists. I think both judgments are hasty. Coleridge, more than most contemporaries, reflected for many years upon the difficulties that arose in his own attempts to interpret historical knowledge (which appeared as a subjective, aesthetic construct) in systematic terms (as the reflection of natural order); and a good look at the record will show that his thought is not quite so anti-historical as some believe, and his subjective approach not nearly so absolutist.The goal of this essay is to rehabilitate Coleridge’s idea of history, considering what it tells us about Romanticism and how it foreshadows current debates about methodology. 5 More specifically, I want to show how in different contexts Coleridge treats, with varying degrees of success, history as an ideational field that is both created and then interpreted by an inquiring subject. First, at the literary and cultural level, history is conceived as the object of imaginative reconstruction, where subjectivity provisionally orders the mass of material according to an idea found nowhere within history itself. Here the anti-positivist bias of Coleridge’s idealist historiography dominates a project that is, both in orientation and achievement, not so much cognitive as aesthetic. Secondly, at the level of religion, history is conceived in mythic terms, the past being revealed only symbolically to the discerning inquirer who must interpret the Christian mythos as recorded in the inspired biblical account of the nation of Israel. Here it is the application of certain interpretive or hermeneutic strategies that determines success or failure. Finally, as a single idea, history is conceived as the process of humanity seeking consciousness of itself, and this Coleridge expresses in a narrative of universal proportions, beginning in apostasy and ending in grace. Here teleology dominates, but as Coleridge discovers, this providential [End Page 718] history is a story that cannot be fully told, thought, or even, it turns out, imagined. It can only be postulated as an idea of reason or, in religious terminology, held as an article of faith. In a curious return to aesthetics Coleridge argues that for the grand historical narrative, just as for art... (shrink)

This book is a detailed study of how Plato constructs his seminal philosophical dialogue, the _Phaedo_, as a unique tragedy, a poetic masterpiece whose structure is organic and symmetrical. Plato's mental Odyssey leads to the internal drama of the _Phaedo_ plot. The analysis examines how Plato's literary art overcomes the philosophical problem of the separation of Ideas from sensible things. And it traces literary and philosophical offspring of the mental Odyssey, including Joyce and Proust.

Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short (...) answer to my initial question comes at the end. Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished. According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology. Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some who do have this inclination manage to produce excellent works of art; and many artists active in the period in question have not worked with the assumptions Benedetti criticizes. Whatever one thinks about Benedetti's Foucauldian premises about authorship, her book is highly informative, engaging, and replete with astute comments on a wide range of European literary and artistic movements and critical trends. With a keen eye for significant detail, she writes elegantly and discusses many fascinating examples, including interesting, lesser-known Italian ones. A variety of perspectives on authorship are presented.. (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in (...) sublime effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

Perfect Harmony and Melting Strains assembles interdisciplinary essays investigating concepts of harmony during a transitional period, in which the Pythagorean notion of a harmoniously ordered cosmos competed with and was transformed by new theories about sound - and new ways of conceptualizing the world. From the perspectives of philosophy, literary scholarship, and musicology, the contributions consider music's ambivalent position between mathematical abstraction and sensibility, between the metaphysics of harmony and the physics of sound. Essays examine the late medieval and (...) early modern history of ideas concerning the nature of music and cosmic harmony, and trace their transformations in early modern musico-literary discourses. Within this framework, essays further offer original readings of important philosophical, literary, and musicological works. This interdisciplinary volume brings into focus the transformation of a predominant Renaissance worldview and of music's scientific, theological, literary, as well as cultural conceptions and functions in the early modern period, and will be of interest to scholars of the classics, philosophy, musicology, as well as literary and cultural studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Authorship Redux:On Some Recent and Not-So-Recent Work in Literary TheoryPaisley LivingstonThe Empty Cage: Inquiry into the Mysterious Disappearance of the Author, by Carla Benedetti, translated by William J. Hartley, 232 pp. Ithaca: Cornell University Press, 2005, $52.50Literature, Theory, and Common Sense, by Antoine Compagnon, translated by Carol Cosman, 224 pp. Princeton: Princeton University Press, 2004, $41.00The Death and Resurrection of the Author?, edited by William Irwin, 237 pp. (...) Westport, Connecticut: Greenwood Press, 2002, $32.95.Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short answer to my initial question comes at the end.Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality [End Page 191] that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished.According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology.Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some [End Page 192] who do... (shrink)

In his Enquiry Edmund Burke overturned the Platonic tradition in aesthetics and replaced metaphysics with psychology. His revolutions in method and sensibility influenced later philosophers and literary and artistic movements from the Gothic novel to Romanticism and beyond. This new edition guides the reader through Burke's arguments.

This book is of considerable interest to philosophers. Bruns studies poetry from two perspectives: as hermetic and as orphic. In the first, a poem is considered as a self-sufficient whole, admirable and analyzable in itself, the world-reference of its words suspended; in the second, a poem is considered much as Heidegger takes the work of poets, as establishing a world in which meaning can be found, as instituting a condition in which words and being are indistinguishable. Of the book’s eight (...) chapters, six are devoted to the hermetic and two, the last two, are concerned with the orphic. The literary theories and opinions of the Russian Formalists, the Prague Structuralists, Wallace Stevens, Valéry, Barthes, and Foucault are presented as the first modern move towards a hermetic sense of poetry; the literary object is considered as determined by a system of pure relations. The movement is further studied in a chapter on Mallarmé and his attempt to isolate the book and writing from any worldly context, to employ the physical and spatial character of words written on a blank page as the ultimate setting for what is stated; even syntax begins to evaporate, leaving spatial constellation as the principle of order. The hermetic is further intensified in Flaubert and Joyce. Bruns uses Jakobson’s opposition of metaphor and metonymy as a framework here; metaphor is the process of substituting one word or unit of language for another, metonymy the process of annexing other units to the one we have; it works in combination, association, syntax, and the linkage of sentences. Metaphor is normally dominant in poetry, metonymy in narration and prose. But in the prose of Flaubert and Joyce, metaphor comes to prevail. In Flaubert there still remains room for metonymy and its narrative element, but in Joyce metonymy is overwhelmed by metaphor. The extreme is reached in Finnegan’s Wake, where the principle of substitution, metaphor, reaches beyond the replacement of one word by another, into replacements among parts of words: "eventide," for example, blends with "Eve," and completely new words are formed which are, however, parasitic on established words, as the writer attempts to control that which classically remained beyond his free manipulation, the very establishment of words out of phonemic units. The writer tries to move in an area of the subconscious calculus, to insert his choices beyond the limits of what he seemed forced to take for granted. In all this the linguistic object and not the world becomes more and more the writer’s theme, and the last step is reached in the chapter on Beckett. Bruns describes various transformations of language found in Beckett’s work, and concludes with Lessness, in which all syntax is dissolved and no ordering principle seems to remain; correlatively, the speaker of such surrealistic discourse also loses his identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beastly Vagueness in Charles Sanders Peirce and Henry JamesMegan M. QuigleyIn 1878, Charles Sanders Peirce closed the first section of "How to Make our Ideas Clear"—an article that William James later declared a "birth certificate of Pragmatism"—on a strangely anecdotal note.1 Using what would become known as the pragmatic method to demolish the notion of Grand Ideas ("Our idea of anything is our idea of its (...) class='Hi'>sensible effects"), Peirce also included a lesson from an "old German story":Many a man has cherished for years some vague shadow of an idea, too meaningless to be positively false; he has nevertheless, passionately loved it, has made it his companion by day and by night, and has given to it his strength and his life, leaving all other occupations for its sake, and in short has lived with it and for it, until it has become, as it were, flesh of his flesh and bone of his bone; and then he has waked up some morning to find it gone, cleaned vanished away like the beautiful Melusina of the fable, and the essence of his life gone with it. I have myself known such a man.(WCSP, p. 261)The story of the fled Melusina (a half-woman, half-serpent who gives birth to monsters) acts ostensibly as a warning against the danger inherent in "vague" ideas. "A vague shadow of an idea" can sap the life-blood out of a young man and, therefore, Peirce asserted, we must strive to be clear. But Peirce's anecdote did more than further his argument; it was an autobiographical aside—so personal, in fact, that he ordered the passage to be deleted in all future printings of his essay.Melusina was not just an allusion to a mythological figure; it was also a reference to the middle name of his wife, Harriet Melusina Fay. Since his schooldays, Peirce's friend and, later, wife, whom he called [End Page 362] "Zina," had been his constant companion and even the scribe for his fervent aspirations. Under the title "Theories of C. S. Peirce, 1854" she had transcribed his ambitious declaration: "My life is built upon a theory: and if this theory turns out false, my life will turn out a failure" (Brent, p. 51). By the mid 1870s, Peirce's theory, "passionately loved... his companion by day and by night," was finally being elucidated in his articles; however, Melusina herself had "cleaned vanished away," after two decades of intimacy, leaving Peirce in Paris to what his friend Henry James described as "a very lonely and dreary existence." Peirce's inclusion of an anecdote about his own loneliness—"I have myself known such a man"—is poignant even as it reveals his anger. Melusina is both a monster and "beautiful," and with her disappearance, Peirce has lost, "the essence of his life." The personal allusion also highlights the anxiety in the young Peirce's writing. What if his theories came to nothing, remained merely vague, and he lost his whole life and his wife to a misguided dedication? And how ironic would that be given that the idea itself aimed to explode the fallacy of grand ideas? Such an irony was not lost on his main companion during the winter of 1875, Henry James.In the following pages I aim to demonstrate that Charles S. Peirce's anxiety acted as a germ for the beast of John Marcher in James's late story, "The Beast in the Jungle." "More than any of Henry James's tales," Paul Lindholdt writes, "'The Beast in the Jungle,' has prompted source studies and psychoanalytic discussions by critics striving to identify" John Marcher.2 Eager to diagnose the relationship between Marcher and May Bartram, critics have sought both autobiographical and literary sources for Marcher's character.3 Strangely, however, no one has noted the connection between Peirce and Marcher, an omission that is especially odd given the critical attention directed at the relationship between the story and pragmatism. Since Richard Hocks's Henry James and Pragmatistic Thought highlighted the pragmatic tendencies of James's story and called Marcher the "anti-pragmatist" hero, "an epitome of William's... (shrink)

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of "sensible ideas," from Claudel, his conjoining of birth and knowledge as "co-naissance," from Valéry came "implex" or the "animal of words" and the "chiasma of two destinies." Literature also provokes the questions of expression, metaphor, (...) and truth and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or "figuratives" that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression. (shrink)

The rise of private standards, including those involving multi-stakeholder processes, raises questions about whose interests are served and the kind of power that is exerted to maintain these interests. This paper critically examines the battle for ideas—the way competing factions assert their own narratives about value chain relations, the role of standards and related multi-stakeholder processes. Drawing on empirical research on the horticulture and floriculture value chains linking Kenya and the United Kingdom, the analysis explores the framing of sustainability (...) issues, especially around labor issues and good agricultural practice, and the choice of response with respect to private standards and multi-stakeholder initiatives since the late 1990s. We identify four competing narratives currently in play: a dominant global sourcing narrative, a pragmatic development narrative, a broader development narrative and a narrative we term potentially transformative. This last narrative is currently emerging through the unpacking of narratives in relation to the framing of sustainability problems and solutions, and in terms of legislative, executive and judicial governance. The paper contributes to emerging understanding of power in value chains, moving beyond material power to a consideration of how ideational power is exerted and resisted. (shrink)

Wellek is surely right in arguing that the New Critics did not intend to behave as formalists, but I think he needs to explain why they came so close to doing so in spite of themselves. One explanation may lie in a sphere Wellek mentions but might have probed even more fully, the long-standing Romantic and modernist revolt against the culture of science, positivism, and utilitarianism. In Culture and Society, 1780-1950 , Raymond Williams argues that the Romantic reaction against industrial-utilitarian (...) society led to a specialization of literature that attenuated literature's claims in a self-defeating way. Instead of contesting the realm of objective knowledge, the defenders of literature conceded this territory to science and commerce, either celebrating literature for its very freedom from such knowledge or claiming for it some alternate form of knowledge that could not be made rationally respectable. One could argue that the same pattern of misplaced reaction is seen in the New Criticism, that its revolt against the utilitarian, "Platonic" drives of science and positivism took the form of an attempt to divest literature of objective "truth of correspondence." Having equated this kind of truth with the most reductive forms of scientism, moralism, and propagandizing, the New Critics made it difficult to justify their own ambitious claims for the humanistic knowledge embodied in literature. Their way of reacting against the depravities of technological culture continues to be a common one today and can even be found in such adversaries of the New Critics as the cultural revolutionaries, the phenomenologists, and the deconstructionists—all of whom express the paradigms of our modern "adversary culture." It is an understandable and even perhaps an admirable reaction, but it has led to distortions in our conception of the humanities—one of which is the aggravation of that very dissociation of sensibility into scientific and poetic components that we all say we want to have done with. Gerald Graff, chairman of the English department at Northwestern University, is the author of Poetic Statement and Critical Dogma and, most recently, Literature against Itself: Literary Ideas in Modern Society. He responds in this article to René Wellek's "The New Criticism: Pro and Contra," published in Summer 1978 in Critical Inquiry. (shrink)

Even as the philosopher can show us how to treat an object conceptually as a work of art, by regarding it in some context, so Cavell constantly implies that there are parables to be drawn about the way we treat the objects of our consciousness and the subjects of parts of it. But this special sort of treatment—like projective imagination itself—is not fancy or wit but more like a kind of epistemological fabling that is close to what Shelley called, in (...) A Defense of Poetry, "moral imagination." What is so powerful—and yet elusive of the nets of ordinary intellectual expectation—in The Claim of Reason is the way in which the activities of philosophizing become synecdochic, metonymic, and generally parabolic for the activities of the rest of life itself. It is the way in which the large , unphilosophical, "poetic," or "religious" questions are elicited from their precise and technical microcosms that makes so much of this book poetical, but not "literary," philosophy. When he writes of how tragedy "is the story and study of a failure of acknowledgment, of what goes before it and after it—i.e., that the form of tragedy is the public form of skepticism with respect to other minds"; or when, after brilliantly adducing The Winter's Tale in his consideration of Othello, he confronts the magic of Hermione's statue coming to life, he observes that "Leontes recognizes the fate of stone to be the consequence of his particular skepticism," the reader can perceive the kind of vast fiction in which minds, bodies, the privacy of insides, dolls, statues, and other representations figure as agents and elements. It will take longer to understand, I think, the imaginative significance of the earlier portions of the book. The philosophers who find its terrain familiar tend to have little patience with poetry; the reader whose sensibility is "literary" may be unable to distinguish between the arguments and examples, and the meta-arguments and examples, of the discussions of Wittgensteinian and Austinian method. Both kinds of readers should keep at it. John Hollander, a distinguished poet and critic, is professor of English at Yale. The author of The Untuning of the Sky: Ideas of Music in English Poetry, 1500-1700, Vision and Resonance: Two Senses of Poetic Form, and The Figure of Echo, his books of poetry include Spectral Emanations and Blue Wine and Other Poems. (shrink)

It is fortunate for the community in which she lives that one of the things about which Elinor Dashwood cares a great deal is the social duty of “general civility”—the practice, in Hume’s words, of “gentle usage.” The heroine of Sense and Sensibility is respectful and considerate toward others, whether or not these are dearly loved family members or comparative strangers. According to Karen Stohr, throughout the novel, “Elinor is the exemplar of moderation, propriety and moral rectitude,” and the reader’s (...) assessment is seemingly quite straightforward: we can rest assured that although others may be unscrupulous, self-aggrandizing, and/or self-deceiving, Elinor Dashwood is virtuous from beginning to end.1.. (shrink)

Tous les êtres humains sont égaux devant la loi. Tous ont des droits fondamentaux qui les protègent contre la torture, la mise à mort et l'asservissement. Tous jouissent du statut juridique de personne, par opposition à celui de simple chose susceptible d'être appropriée. Cela vaut pour les membres de l'espèce Homo sapiens sans exception, mais pour aucun autre animal. Une telle discrimination est-elle juste ?

A Brilliant Introduction To The Essence Of Living Hinduism The Thirteen Principal Upanisads, Sanskrit Texts In The Religious Traditions Of The Vedas, Lie At The Heart Of Hinduism. Devoted To Understanding The Inner Meaning Of The Religion, They Explicate Its Crucial Doctrines Rebirth, The Law Of Karma, The Means Of Conquering Death And Of Achieving Detachment, Equilibrium And Spiritual Bliss. They Emphasize The Perennial Search For True Knowledge Especially That Of The Connection Between The Self And The Transcendental Absolute. In (...) This Translation, Marked By Empathy And Erudition, Valerie Roebuck Approaches The Upanisads As Belonging To The Tradition Of 'Sruti', Literature Which Is Heard, As Distinct From 'Smriti', Which Is Remembered. Seeking To Reveal The Intent Of The Authors, She Attempts To Represent What, In Fact, Constitutes The Original Text. Care Is Taken To Exclude Later Accretions Of Commentaries. The Invocations Included Underline The Traditional Recitation Of These Texts, And The Literary Devices Repetitions, Dialogue And Word Combat, Riddles, Paradoxes And Word Play Used By The Sages To Express Their Teachings. This Accurate And Exceptional Rendering, While Making Accessible To The Modern Reader Something Of The Beauty And Variety Of The Original Language, Reaffirms The Place Of The Upanishads As One Of The Most Profound Works Of World Literature. This Authentic And Nuanced Rendering Makes Accessible To The Modern Reader Something Of The Beauty And Variety Of These Ancient And Rich Texts Of Hinduism. The Upanisads Belong To The Tradition Of Literature That Is Heard Rather Than Remembered , And In Her Translation Roebuck Seeks To Reveal The Intent Of The Authors And Arrive At 'The Original' Text. (shrink)

In trying to characterize the relationship between psychology and neuroscience, the trend has been to argue that reductionism does not work without suggesting a suitable substitute. I offer explanatory extension as a good model for elucidating the complex relationship among disciplines which are obviously connected but which do not share pragmatic explanatory features. Explanatory extension rests on the idea that one field can "illuminate" issues that were incompletely treated in another. In this paper, I explain how this "illumination" would work (...) between psychology and neuroscience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.4 (2003) 330-352 [Access article in PDF] Liberal Irony, Rhetoric, and Feminist Thought: A Unifying Third Wave Feminist Theory Valerie R. Renegar School of Communication San Diego State University Stacey K. Sowards Department of Communication Studies California State University, San Bernardino The meanings of a feminist movement and feminism have changed significantly over the past hundred years. From the women's suffrage movement, to the Supreme Court (...) decision in Roe v. Wade, to the 1980s label "feminazi," feminist theories and movements have emphasized many different issues for a variety of reasons. In part, it is these differences that make identification with feminist principles and practices so difficult. As part of the new generation of feminists, we are often left wondering if we are good enough as feminists, if we do enough as activists, and what it is that we really stand for. Many of us have grown up with the benefits and the victories of the feminists in the second wave and feel a responsibility to continue to seek the end of oppression. However, our experiences as feminists and young women often leave us feeling angry, hopeless, and confused as to where we are supposed to go, how we are supposed to get there, and what battles we are supposed to wage as part of a feminist movement. Resolving these tensions and questions will allow us to better understand and articulate what it is that we want and need in a feminist theory. Recent and ongoing division within and among feminist movements and theories, lack of consensus, in-group fighting, and a focus on singular women's theories and issues have created problems and a lack of solidarity that is counterproductive to feminism as a whole."Third wave feminism" is a term used to describe feminists who were born in the 1960s and 1970s. Although not universally recognized as a discrete wave of feminism, the third wave is increasingly distinguishing itself in both popular culture and academic writing. 1 We believe that third wave feminism is an emerging movement that currently lacks an overarching or coherent philosophy of praxis. While this type of unifying philosophy is not necessarily required by a movement, we believe that the presence of such a theory, in the instance of third wave feminism, would be highly [End Page 330] beneficial since it could provide direction and explain the motives of young feminists who are still in the process of developing and defining their feminist beliefs and actions. Often the philosophy of a movement is not apparent until the movement is well established or has accomplished its goals. Third wave feminists, however, are in a unique position to simultaneously create and embrace a coherent philosophy while developing their feminist ideas and practices. In this essay, we argue that Richard Rorty's notion of liberal irony, as interpreted by third wave feminist experience, is a coherent philosophy of thought and action that will center the emerging feminist movement and allow it to prosper.For us, a rhetorical theory constructed from Rorty's liberal irony and pragmatism, together with various third wave feminist theories, provides the sort of solution that addresses many of our concerns about the direction of feminist theory. Rorty's philosophy of liberal ironism is compelling but has received scant attention from feminist or rhetorical theorists. A few feminist philosophers have examined a pragmatist feminism, but have largely focused on the early pragmatists, ignoring Rorty's liberal ironism entirely or discussing it only in the larger context of pragmatism (Aboulafia 1993; Hart 1993; Leffers 1993; Pappas 1993; Rooney 1993; Shuler and Tate 2001; Seigfried 1996; Sullivan 2001; Upin 1993). Donna Haraway (1990), although not dealing directly with irony from a pragmatist perspective, notes that language politics are strongly associated with feminist struggles. She argues that feminists can utilize ironic methods to negotiate identities that "seem contradictory, partial, and strategic" (197). An ironic perspective recognizes the exclusion inherent in naming and allows contradictory fusions of identity to emerge. In this way, irony blurs the boundaries of language... (shrink)

The aim of the book is to encourage discussion among experts on De ira, a text of philosophical nature, by reading it page by page, from a philosophical, philological, and literary perspective (a multidisciplinary choice which is the conditio sine qua non of all judicious research on Seneca). Moreover, the way in which each of these close readings is conducted adds an additional value: they each deal with a section of the text, presenting all the data necessary for its (...) understanding. All together, they cover the whole work. Each of them is also an attempt at a global interpretation of the treatise, examined through the particular framing of the textual passage around which the “Lectures plurielles” are conceived. Around this “polyphonic” analysis of the text, we have built a structure that aims to offer the reader a complete reference work on all the issues of the De ira. Sources, manuscript tradition, images, political and philosophical concepts, posterity – in short, all the aspects that a traditional commentary of the text would not have allowed us to distinguish so clearly – find their place here. This book is therefore aimed at specialists as well as students or anyone interested in the thought of emotions in antiquity. (shrink)

Over the last 30 years, the publicly visible “otherness” embodied by the Muslim population in the member states of the European Union has sparked movements of transnational public discussions mainly driven by the fear of the collapse of “national cohesion.” This paper engages theoretically with the idea that these debates have become an ordinary trap for European publics, France being the main illustration in the text. It is more specifically concerned with the discussions surrounding the recent ban on the wearing (...) of the full veil in French public space, asking: what does the omnipresence of public discussions about religious otherness reveal of the national culture of citizenship? What are the epistemological and political implications of the evaluation of daily individual experiences as criminal in secular contexts? The text develops some speculative readings of the public experience arising from the visibility of Islamic religious signs and the capital attached to their visibility. (shrink)

In two experiments we tested the hypothesis that the mechanisms that produce belief bias generalise across reasoning tasks. In formal reasoning (i.e., syllogisms) judgements of validity are influenced by actual validity, believability of the conclusions, and an interaction between the two. Although apparently analogous effects of belief and argument strength have been observed in informal reasoning, the design of those studies does not permit an analysis of the interaction effect. In the present studies we redesigned two informal reasoning tasks: the (...) Argument Evaluation Task (AET) and a Law of Large Numbers (LLN) task in order to test the similarity of the phenomena concerned. Our findings provide little support for the idea that belief bias on formal and informal reasoning is a unitary phenomenon. First, there was no correlation across individuals in the extent of belief bias shown on the three tasks. Second, evidence for belief by strength interaction was observed only on AET and under conditions not required for the comparable finding on syllogistic reasoning. Finally, we found that while conclusion believability strongly influenced assessments of arguments strength, it had a relatively weak influence on the verbal justifications offered on the two informal reasoning tasks. (shrink)

The notion of “expression”, which infuses the whole Leibnizian thought, originates, at least partially, from mathematics, for it appears explicitly in the corpus of the author, after his Parisian initiation to modern mathematics. The crucial point then consists in drawing the path that leads Leibniz from his first mathematical works about quadrature of the circle, differential calculus and series, and his discovery of perspective projection, to the notion of “expression”. Then, many mathematical elements seem to be inscribed in the very (...) nature of “expression”: the idea of transformation and preservation, of relationship between finite and infinite, or still of envelopment and development. Now, it turns out that these elements, if they are considered merely in their mathematical dimension, are sometimes more problematic than enlightening when the question is grasping what “expression” means in its metaphysical instances, and consequently that “expression” cannot be reduced to a mere mathematical notion. (shrink)

In Furnishing the mind, I argued that concepts are couched in representational formats that are indigenous to sensory systems. I called this thesis "concept empiricism," because I think it is was a central tenet of the philosophical program defended by classical British empiricists, such as Locke and Hume. I still think that concept empiricism is true, and more empirical evidence has accrued since the book went to press. That's the good news. The bad news is that able critics have marshaled (...) a variety of powerful arguments against empiricism. Sarnecki and Markman and Stilwell have devised a battery of challenging objections. Their commentaries are charitable and incisive. They represent my proposals accurately, and they raise serious worries. I cannot do justice to everything they say in this response, but I will try to indicate where I would make concessions and where I would dig in my heels. I will begin with a few introductory remarks to motivate empiricism, and then address objections. (shrink)

Résumé — Cet article étudie la manière dont Alexandre analyse le monde sensible, en ses structures constitutives et quant aux principes tenus pour être à l’origine ses opérations fondamentales que sont l’altération et le mélange. En premier lieu, il s’agit de voir quels sont les critères pour qu’un étant soit un « corps ». Ensuite, je montre les facteurs mobilisés par Alexandre pour expliquer les caractéristiques de ces corps, leur activité et leur passivité réciproques. Prenant pour point de départ (...) la définition du corps prêtée dans le De anima aux stoïciens comme matière ou composé matériel, j’essaie de dégager, pour le projet d’Alexandre lui-même, le sens de cette étrange reconstruction doxographique. Celui-ci tiendrait à l’orientation résolument « anti-matérialiste » et « anti-réductionniste » de son analyse du sensible : pour lui, ni la constitution ni l’opération des corps ne peuvent être ramenées à leurs conditions nécessaires que sont, respectivement, la matière et le contact physique. À l’exact opposé de la physique stoïcienne, l’aristotélicien développe ainsi sa théorie du sensible en référence aux principes intelligibles et incorporels donnant les véritables fondements à la cohérence du monde corporel, entendue au double sens de la polarité et de la sélectivité réglant les relations entre corps. Pour finir, j’étudie un problème particulier de cosmologie où Alexandre met en application ce programme. Je montre alors l’originalité d’un « naturalisme » qui, de fait, s’est avéré stimulant pour les néoplatoniciens dès Plotin autant qu’ensuite pour les Médiévaux en quête d’une philosophie satisfaisant aux exigences implicitement posées à l’enquête rationnelle par les religions révélées. Et ce serait, en somme, parce que les corps d’Alexandre sont déjà plus que des corps et parce que la physis aristotélicienne devient avec lui plus qu’une pure « nature », que sa physique a pu devenir la référence obligée des penseurs ultérieurs, à qui elle a fourni le cadre de ce qu’on pourrait appeler une approche méta-physique du monde sensible.Corps, matière et contact.— This paper addresses Alexander’s theory of the sensible world, and of the most important sorts of change within it, such as alteration and blending. First, I overview the minimal requirements for an item to be considered a « body » according to Alexander. Then, I determine which factors explain the physical characteristics of the bodies and their mutual interactions . I also examine why Alexander does not find the Stoic account of material bodies to be satisfactory and, I consider Alexander’s strange construal of the Stoic body as a « stuff » composed either of matter, or of matter and qualities. The solution to these questions lies in the « anti-materialist » and « anti-reductionist » orientation of Alexander’s physics : according to him, neither the constitution nor operation of bodies can be reduced to their minimal and necessary conditions . Thus, his position is the exact opposite of the Stoic view : the essence of bodies and their changes can only be understood by reference to the incorporeal and intelligible principles that ultimately form the very factors responsible for the specific « coherence » of the sensible world . Finally, I will examine a specific problem Alexander solves by emphasizing the non-corporeal causes of the natural world. And I will show that his position leads him to a special type of « naturalism », which was particularly exciting for the Neoplatonists and, later, highly consonant with the medieval approaches to accounting for the causes of sensible things. Because bodies are, for Alexander, more than mere bodies, his physics becomes not only the common point of reference for Plotinus and his followers in Late Antiquity and Middle Ages, but also an important point of departure for what we might call a metaphysical approach to the sensible world. (shrink)

In this article the author notes that Russian phenomenology has a long history that has contributed to European progress in philosophy. He presents the main ideas of Gustav Shpet, a well-known Russian thinker and original follower of Husserl. The heart of Shpet's positive philosophy is a special, skeptical state of mind—hermeneutic phenomenology. This positive philosophy, with its synthesis of hermeneutics and phenomenology, opposes Kant's negative, relativistic thought. In his work, Shpet focuses on the concept of a text. A text's (...) meaning is objective and grasped via the nonpsychological methods of hermeneutics. Language largely determines the development of the human spiritual world, and so the problematics of language merge with the problematics of consciousness. Because texts are human products that express the influence of linguistic consciousness, our understanding of texts should be based on the analysis of language consciousness. Shpet characterizes the whole culture as a sign-symbolical, objectified expression of the human spirit. (shrink)

This chapter presents the text of a lecture on Alexander Pope's literary satire Dunciad given at the British Academy's 2010 Warton Lecture on English Poetry. This text discusses the difficulty of Samuel Johnson in interpreting Pope's couplet in the Dunciad which depicts the Sea of Azov and the river that flows into it. It suggests that analysing the process through which Pope shaped this couplet can help provide a better understanding of the wider significance of the couplet's structure and (...) Pope's work more generally. (shrink)

In this paper, I discuss the view defended by Manuel Rebuschi, Maxime Amblard, and Michel Musiol that schizophrenia is not entirely irrational but that the rationality of disordered discourse can be accounted for from the first-person point of view—which, by their account, is not wholly introspective but is rather defined by a certain use of the charity principle, by contrast with what they call third-person approaches. I argue in favor of the idea of continuity between the two points of view: (...) ordinary and schizophrenic. On the basis of this claim, I propose a hypothesis for understanding what Rebuschi et al. call the interactional deficiency of schizophrenic conversations, and I make further exploratory suggestions of ways of understanding the so-called rationality of schizophrenic discourse, notably in relation to the complex notions of “context” and “meaning”. (shrink)

Background: Studies on autistic strengths are often focused on what they reveal about autistic intelligence and, in some cases, exceptional and atypical reasoning abilities. An emerging research trend has demonstrated how interests and strengths often evident in autism can be harnessed in interventions to promote the well-being, adaptive, academic and professional success of autistic people. However, abilities in certain domains may be accompanied by major limitations in others, as well as psychiatric and behavioral issues, which may challenge their inclusion in (...) support programs. Objectives: To provide an in-depth, pragmatic, real-life example of the psychological and psychiatric management of interests and strengths in an autistic adolescent. Method: An autistic teenager, C.A., with above-average calendar calculation and musical abilities, received psychiatric, neuropsychological, and language standardized and clinical assessments, combined with a measurement of his musical and calendar calculation abilities. C.A. and his parents then received psychiatric and psychological support over a 14-month period, targeting their perceptions of C.A.’s interests, strengths, and co-occurring difficulties. Results: C.A. had a verbal IQ within the intellectual disability range and a non-verbal IQ in the low mean range. Modest calendar calculation, absolute pitch, and matrix abilities coexisted with severe receptive and expressive language disorder. The discrepancy between his abilities in areas of strengths and his limitations in other domains led to anxiety, frustration, and sometimes behavioral issues. Displacing the focus from academic performance to interests, as well as promoting the use of his strengths to develop new skills independently of their short-term adaptive benefits yielded positive effects on C.A.’s self-assessment, quality of life, and behavior at follow up. Discussion: The appealing idea that abilities mostly found in autistic people, such as calendar calculation, can be directly harnessed into academic achievement and lead to paid employment may have detrimental effects, especially when such abilities are modest and associated with other limitations. These abilities should be primarily used to maximize well-being and quality of life, independently of their short-term adaptive function, which may or may not be positive. (shrink)

This article discusses the development of John Scottus Eriugena’s teaching on the spiritual body. In his early treatise De praedestinatione, as well as in the Periphyseon, John Scottus understands the spiritual body as ethereal or aerial. This conception tacitly assumes that men and angels are connatural. Moreover, Eriugena’s angelology and demonology compel him to localize Hades in the air—a teaching in which he follows a well-established ancient and Christian tradition. John Scottus is influenced by ideas of Origen and Gregory (...) of Nyssa in maintaining that there are two different kinds of human bodies; the interpretation of the biblical “coatsof skin” as the earthly human body plays an important part in this. According to Eriugena, the soul in a sense creates an earthly body for itself. In later passages from the Periphyseon, he abandons the idea of individual subtle bodies, accepting a complete transformation of body into spirit at the resurrection. However, he remains ambiguous on this point as his position would contradict Christian doctrine. The Periphyseon culminates in a paraphrase of a section from Ambigua ad Iohannem XXXVII. In the light of the latter text, the nature of the eight gradual unifications from the epilogue of the Periphyseon becomes clear. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is the level (...) to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is the level (...) to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)