This article examines the controversial issue of blasphemy in literature from the viewpoint of reception inside and outside the academia. The thesis of the article is that blasphemy in literature, though inherently related to religion and language, has a plurality of connotations and interpretations (dissidence, intertextuality, critique of colonialism, discursive strategy, alterity/Otherness, ethnicity, subversive text). Consequently, blasphemy in literature is an incentive for fruitful discussions regarding tolerance, freedom of expression, and the re-situation of the (post)modern self in today’s (...) world, dominated by an uncanny admixture of secular and religious values. (shrink)

The trend to centralization of the Mizrahi narrative has become an integral part of the nationalistic, ethnic, religious, and ideological-political dimensions of the emerging, complex Israeli identity. This trend includes several forms of opposition: strong opposition to "melting pot" policies and their ideological leaders; opposition to the view that ethnicity is a dimension of the tension and schisms that threaten Israeli society; and, direct repulsion of attempts to silence and to dismiss Mizrahim and so marginalize them hegemonically. The Mizrahi Democratic (...) Rainbow [The Keshet], the most prominent proponent and representative of this trend, was established in the 1990s with the intention of being a leading civic and political body in Israeli society. While it was the Mizrahi worldview that led to selection of the organization's name and aims, their vision was to be involved in social struggle on behalf of other groups in Israeli society. Since it was established, The Keshet has aimed to function as an assertive, long-term alternative coalition exerting influence, power, and pressure on the Israeli narrative network. And, indeed, the organization has succeeded in disrupting Israeli discourse, principally, by challenging the ideological foundations of the Zionist meta-narrative. Nearing the end of the first decade of the 21st century and nearly a decade since it was established, The Keshet not only represents the most current wave of Mizrahi discourse, it has changed it to such a great degree that it is impossible to ignore its influence. Further, this alternative narrative may have significant potential to advance the internal Jewish discourse so fundamental at this time given the changing Israeli situation and regional conditions. And, while it is possible to view The Keshet and this new narrative as a continuation of the Mizrahi struggle, as a narrative The Keshet's agenda represents a post-colonial perspective and multi-cultural alternative to Zionism as a social vehicle. Amidst all of this, The Keshet continues to offer concrete proposals to change the Jewish character of the state as well as its internal and external relations. One of the primary goals of this study was to examine the rise of the Mizrahi narrative over the last two decades and the new Mizrahi discourse in Israeli society. More specifically, the study sought to attain an in-depth understanding of the central narrative created and represented by The Keshet. An additional goal was to investigate the influence of The Keshet's activity and the narrative it constructed in regard to other narratives. In particular, the study focused on The Keshet's opposition to the central Zionist narrative that infuses civic, political, and academic frameworks in Israel. Accordingly, the primary research questions investigated in the study sought to determine: What has been the influence of the Mizrahi Democratic Rainbow on the Mizrahi narrative in Israel? And, what are implications of such influence for the central Zionist narrative? Methodologically, the study was based on narrative and comparative analyses of texts from different periods of the older and newer Mizrahi narratives. The corpus included two types of texts: First, academic texts and opinion pieces, both philosophical and programmatic in nature, published in magazines, journals, books, as well as position papers; second, all of the texts published by prominent and influential figures who charted the path of The Keshet or led it organizationally and/or intellectually over the last twenty years (e. g., Yehudah Shenhav, Yossi Yona, Moshe Krief among others). All texts were examined by means of philosophical, historical and critical hermeneutic tools. This analysis revealed different levels of Mizrahi and civic discourse in Israel as well as among The Keshet's founders and leading ideologues. The study was based on a three stage process model, developed for purposes of this study, for investigation and analysis of the new Mizrahi narrative as well as other oppositional narratives, in particular opposition to the hegemonic meta-narrative. The stages are: issuing the challenge, dissolution and, liberation; that is, liberation is the measure of the ultimate success of the struggle for narrative change. Such change is not based on success in the field, but rather on a radical, fundamental reversal of thought, discourse patterns, stylistic structures, as well as forms of questioning - in this case of taken-for-granted racist mechanisms. However, the principal change is in achieving a deep, inner de-legitimization of the signifiers, categories, and reproductions of all manner of mockery that are based on immoral colonialist processes that are reinforced by regimes of fear and intimidation whose self-destruction began upon their very creation. This three stage model charts the course of the oppositional Mizrahi narrative from: accounting for the past (passing judgment on the so-called historic colonialist Zionism) to writing a new (pure Mizrahi) history and creation of a Mizrahi-Arab identity separate from the Ashkenazic, identified as Zionist. Contemporary post-colonialist discourse is integral in these stages. Such a perspective has been transformed by transitions from - binarism to hybridity, Orientalism to Occidentalism, the politics of "liberation" to "constructive" politics, from the history of consciousness to the history of change, as well as from nationalist to post-nationalist questions. Fundamentally, according to this approach, political and other struggles for the emerging narrative of Mizrahi (or Arab) history seek to centralize it in society and weave it amidst the models of multiculturalism. Undertaken in parallel, the central characteristics of all these stages are borrowed from countries in which the need for national reconciliation led to renunciation of apartheid and racist policies and historical judgment of the hegemony supported by racist leaders. In addition, these three moves were undertaken in Keshet and its ideologues by means of substantive symbolic violence directed at the hegemonic Ashkenazic discourse, which included creation of hatred of it, use of stereotypes the opposite of oppressive discourse, and adoption of an arrogant point of view toward it. This stands in stark contrast to the claims of the self-proclaimed new Mizrahi stance of a discourse established on purely ethical grounds that sought to cleanse itself of these very same oppressive elements. The model developed for and demonstrated in this study allows for analysis of oppositional narratives in which the libratory stage evolves into a form of entrapment, as appears to be occurring to the new Mizrahi discourse. This conclusion is based on the observations shared by many Keshet proponents including leading intellectuals who worked on the manifestos that were the subject of criticism from the Zionist camp. The study identified and defined the following six interwoven strata, which for purposes of explication are each discussed in a separate chapter: The first chapter presents a general theoretical discussion of the issue of the narrative and the inter-narrative struggle that has become central and applicable in various ways in the latest generation (e. g., anthropologically, hermeneutically, and philosophically). The analysis surveys different discussions in the inter-narrative struggle and locates them in the contexts, relations, and meanings derived from, representing, and indeed reproducing the narrative of national identity. The second chapter includes a historical survey of the older Mizrahi struggle that existed prior to the ascendance of the new Mizrahi narrative. Initially, Mizrahi discourse focused on expressing the ethnic protest that grew in years to follow. These feelings of discrimination and social distancing of the immigrants from Islamic countries gave birth to expressions of protest, the most prominent of which were Wadi Salib and the Black Panther Movement's various activities. The research literature contains many explanations for the exacerbation of the ethnic problem and creation of a situation that could not be ignored. The consensus academic view reached at the end of the 1970s identified a number of primary factors for this situation: the existence and extensive numbers of different ethnic groups; the relative or absolute segregation of frameworks within which members of these ethnic groups lived and acted; and the significant overlap between socio-economic status and feelings of discrimination retained by members of the Mizrahi group due years of neglect by the Ashkenazic establishment, the strengthening of Mizrahi social, cultural, and political power, as well as the emergence of a Mizrahi elite that identified with Mizrahi problems. The severe consequences of feelings of discrimination were expressed in a long series of events, such as: rioting by residents of the Rehovot Sharayim neighborhood in 1956; events of Wadi Salib in Haifa in 1959; and a chain of activities involving the Black Panthers in the 1970s. Protest was also an aspect of the "tent movement" in the 1970s and 1980s. Political activities were advanced by the Tami Movement that competed in the election for the 10th Knesset in 1981 and the Shas Movement that has continued to garner political power since being found in 1984. The 1980s and 1990s were characterized as the era of radical consciousness of Mizrahi discourse as well as by the rise to power, in consecutive order, of the political parties – Tami, Shas, and the Mizrahim HaHadashim [the New Mizrahi]. The latter party laid the foundations of the new radical Mizrahi discourse from which emerged such cultural activities as: Iton Aher [A Different Newspaper]; Bimat Kivon Aher [Another Direction Forum]; Efir'yon journal; the Halah Organization for Education in Neighborhoods, Development Towns, and Villages; Kedma; the newspaper – Patish [Hammer]; and, eventually the establishment of Keshet. The third chapter presents an examination of the materialization of the inter-narrative struggle in the case of Israel, with a specific focus on The Keshet and the new Mizrahi narrative advanced by it and intellectuals. The Keshet ideology is examined in the context of its grounding in post-colonial thought, especially that of Edward Said; the directions proposed by Ella Shohat and her followers; the central thinkers of the narrative in Israel in the last decade; and the harsh critique leveled at the Ashkenazic-Zionist narrative. The practical steps proposed for implementation within the multicultural model are also examined. Here the effort to reduce the centrality of Zionism while revealing its oppressive mechanisms was undertaken in parallel with use of these mechanisms in order to create a Mizrahi space with broad margins inclusive of alternative forms of Israeli identity in the Middle East and in conjunction with Arabs within and beyond Israel. Mizrahi traditionalism is examined in the fourth chapter in two particular respects. First, the criticism of the new Mizrahi narrative leveled by the renewed view and, second, the implications of the alternative in terms of creating a Mizrahi space that does not oppose Zionism. Rather, in opposing the post-colonialist perspective, this renewed traditionalist perspective criticizes as well as values Zionism. This space seeks to be both Jewish and Mizrahi. It does not detach itself from nationalist Zionism but rather views itself as a continuation of this tradition and, accordingly, is an effort to develop a next stage in its development. For example, an essential dimension of the traditionalist perspective, "commitment," is considered in this stage to be a fertile basis for dialogue with the past and as an anchor for contemporary interpretation of Mizrahi and other Jews' identities in Israel. The fifth and sixth chapters deal with all of the vectors of criticism directed at the new Mizrahi narrative, including its ideological foundations, philosophical stance, as well as intellectual and practical basis in the Israeli sphere in the face of Palestinian nationalism. These vectors of criticism from within and beyond The Keshet deal with issues, such as, the meaning of the movement's activities and the narrative that it offers regarding questions of Israeli identity, Israeli collective memory, and Mizrahi self-perception. At the same time, it must confront the capitalist neo-liberal narrative in a global world and thrive in a context in which it must make itself manifest amidst oppositional narratives. The final chapter presents a comprehensive, critical analysis of the new Mizrahi narrative. It does so by means of a theoretical model that examines it as an oppositional narrative – one that seeks to challenge the hegemonic meta-narrative, to dissolve the boundaries of the narrative discourse, and to propose liberation and redemption that may led to entrapment amidst a changing, a-dichotomous realities (e. g., global economic development in the face of Zionist nationalisms that display ideological strength as well as development of the sense of being an Israeli that maintains its vitality and continuity while being constituted by sectors that challenge being a Mizrahi, such as co-ethnic subjects. The Keshet's influence is dramatic and extends in a number of central directions. Its political activity and non-entry into the domains of the Israeli parliament granted the movement significant power in civic discourse and contributed to changing the persona of the Mizrahi discourse; for example, from political-party struggles over budgets and obtaining shares of the regime to changing the face of Israeli society and the centrality of the Mizrahi narrative. This change included deconstructing the Ashkenazic narrative and constructing comprehensive Ashkenazic-Zionist guilt, as evident in the Ehud Barak's request for collective forgiveness. This was accomplished through the participation of leading members of Keshet who appeared in prominent intellectual forums and engaged in lively discourse - principally in academic, social, and media domains. Such participation gave new meaning to various aspects of Israeli society while establishing different models of multiculturalism. The rise of the new Mizrahi narrative is a significant marker in the inter-narrative struggle as it represents a desire for separate or hybrid identities. And, the deep probing of the narrative constructed by leaders of The Keshet and those who identify with the movement produced a number of clear ways to distinguish it from the old Mizrahi struggle, whose history was portrayed through social protests, in a manner similar to linear vectors marked with wars and elections. The old Mizrahi struggle selected the traditional tactical struggle identified usually with social and political movements that seek to change political, social, and economic reality - from the bottom up. Their primary demand was to change decisions as well as the division of social goods and resources. Hence, this older period of struggle was not aimed at opposing the ideological foundations of the hegemonic narrative nor did it seek to undermine in a radical manner the unique nature of the state of Israel as a revolutionary solution for the problems of the Jews according to the Zionist approach, as a national home for the Jewish people, and recognition of the right to an preferred and meta-definition of Jewish nationalism. In contrast, the top down struggle advanced by the new narrative is part of an ideological movement led by the educated that is assertive and ground in post-colonialist theory. Accordingly, it was critical of the techniques and mechanisms of oppression as well as sought to attack the Zionist ideological foundations and to reveal its racist operations and the regimes that have preserved it so efficiently for many years. The uniqueness of this narrative is the intellectual offensive that continues to be advanced and, in parallel, development of the discourse struggle in Israel concerning the justification for Zionism and the concrete political proposal that Jews reject the taken-for-granted status of it as an ideology. This new narrative recognizes the historic difficulties of subversion as an emancipatory and, principally, moral effort. In addition, the new Mizrahi narrative shares the foundations and narrative of Palestinian victimization. In its radical version, the new Mizrahi narrative seeks to connect to the Palestinian narrative in order to create a new space here. According to this version, this action will take place gradually. The first stage will be characterized by opposition to Western European, Ashkenazic Zionism. The Eurocentric Zionism will surrender in the second stage, to be followed in the last stage by creation of a coalition of Jews and Arabs that will be establish through concrete actualization of the refugee status and victimization that is shared by both Palestinians and Mizrahim (whether as Mizrahim or Jewish-Arab). Not a speculative academic exercise, the goal sought by this narrative is delineate and to achieve a multicultural model in which equality, liberty, and social justice will overcome the nationalism and colonialism of either side; that is it will be neither Zionist nor Jewish. Thus, this approach stresses what is shared (e.g., acceptance of the Arab space and not a rejection of it; the legitimacy of the Arab language and culture). This is part of detachment from and historic judgment of the colonialist Zionist enterprise. This possibility includes moral elements that remove the evil and harm caused by Zionism for many years as well as inner cleansing – primarily among Ashkenazim – of attitudes towards Jews and non-Jews. Though, in this regard, it should be noted that, to date, the new narrative has not made similar claims that Palestinians undergo a similar process. The assumption seems to be that this should be tested, that the coalition proposed is a possibility that will be recognized by the Palestinians, and that they are prepared to undergo a similar, shared moral process that involves negating the state of Israel as a Jewish, Western state, a state of the Jewish people, and not only for those who live within it. These Mizrahi thinkers conducted a significant move through deconstruction and substitution of the Eurocentric narrative with a multi-cultural proposal that is optimistic and even attractively naïve. Today, they acknowledge that they did not take into account Palestinian nationalist violence directed to citizens, the traditionalist alternative, and widespread opposition within the Mizrahi community toward what is perceived to be Mizrahi seclusion. They also did not take into account the harsh criticism rendered by young and educated Mizrahim who claim that they were born into a complex, multi-dimensional, multi-layered identity that includes internalization of the language of the West and rules of the game of this complex identity. And, though they are critical of some of its values, this makes it difficult to mount internal emotional opposition to the West and to the globalization contained within this world. Hence, this more familiar world is preferred over the values of the Mizrahi-Arab alternative, particularly in regard to problems in the domains of democratic citizenship, stance taken toward women, and freedom of speech. Further, educated Mizrachim reject the post-colonialist perspective and are stridently critical of its dichotomization. They claim that such a division is irrelevant in a world in which older ideologies have collapsed and new spheres – such as cyberspace and others – are open to them in which they can present themselves with an Israeli identity that is not categorized as necessarily Mizrahi. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Narrative Ontology by Axel HutterFrank SchalowHUTTER, Axel. Narrative Ontology. Translated by Aaron Shoichet. Cambridge: Polity Press, 2022. xiii + 296 pp. Cloth $69.95; paper, $26.95Where postmodernism has dominated the language of contemporary philosophy, there is a need to develop an alternative discourse to address perennial philosophical issues. In Narrative Ontology, Axel Hutter proceeds along this path by introducing narration or a form of storytelling to reinscribe "the three (...) ideas that have belonged since time immemorial to the heart of philosophical reflection: freedom, God and immortality." Hutter's defense of his thesis is twofold. First, he distinguishes narration as a temporal enactment embodied in telling a story, the scope of which is sufficiently universal as to found a new understanding of history, its alpha and omega. Second, he appeals to the biblical account of the tribulations of Jacob and Joseph as retold in the narrative style of Thomas Mann's novel Joseph and His Brothers. "The first reason a philosophical enquiry seeks to connect with Thomas Mann is that he himself accommodates a reciprocal illumination of philosophy and literature by situating his own way of thinking and working in explicit proximity to philosophy." "The second reason this philosophical enquiry seeks to connect with Thomas Mann is that he accommodates a narrative ontology of meaning, by contemplating, in his way, the same fundamental question."Along with an introduction, Hutter divides his book into three parts. In Part One ("The Stories of Jacob"), Hutter undertakes a precise explication of Mann's novel, in order to illustrate how ontology can be reconstituted as a narrative event that redefines "being" as a foundational act of history. "Jacob's sentences give expression to the hope that God can preserved the possibility of the future even if it seems to be destroyed in the fire of death." Form (that is, the narrative style) and content (that is, the interwoven meanings of the biblical text of Jacob as told and retold) are united. "This characterizes how Thomas Mann reads the original text.... The manner of his reading is articulated, in fact, in the Joseph novel itself.... Thus, a complex intertwining of narrative levels of meanings emerges: the inner meaning of the original story consists in a narrative ontology in which being is understood—in a sense that is still in need of elucidation—narratively and historically: as (hi)story. For an adequate understanding, this original story is re-narrated by Thomas Mann himself with the explicit intention of raising the original meaning of the story, its narrative ontology, clearly into consciousness."In Part Two ("Time and Meaning"), Hutter explores the thematic and methodological implications of narration as an attempt to infuse meaning into history and, conversely, through its own self-illustration, to chart the course of what is historical, that is, the transmission of future [End Page 143] understanding through the recovery of the past. Thus, storytelling renders history concrete, and, reciprocally, history challenges the narrator to plumb the depths of its greatest mysteries. According to Hutter, the Joseph novel embodies Mann's effort to meet this challenge. Storytelling is a way of preserving the past, but only under the condition of welcoming the promise of the future. "Yet the story that the Joseph novel narrates concretely is the story of Abraham and his blessing that is handed down to his descendants. In the peculiarly timeless omnipresence of this story, the tradition of the figure of Abraham is joined with the prophecy of the blessing that is not only promised to Abraham but to all his heirs."In Part Three ("The Stories of Joseph"), Hutter examines the dynamic of conversion or the transformative movement from self-love to compassion. He appeals to these spiritual elements to check the nihilistic tendency to exalt the individual both as the center of freedom and as the ground of social relations. Another kind of bond is necessary to overcome the abyss of meaninglessness, which is prefigured in ancient times and becomes most evident today in postmetaphysical forms of nihilism. "The 'whole theology' of the Joseph novel revolves around the Abrahamic covenant between God and human being—a covenant that, as already stated, implies a theory of... (shrink)

At the intersection of modern cultural and political history, security studies and debates about freedom of expression and international human-rights law, this article aims to contribute to a better understanding of political cartooning and its implications in multicultural societies of Europe, which have shifted in a geographical, cultural, normative, communicational, political and many other respects through the last two centuries. Through comparison of the Serbian cartoons from late nineteenth-century Croatia and the recent Danish cartoons of the Prophet Mohammad, the (...) article reveals that both modern and postmodern European cartoons have been centred around equally discriminatory narratives: a 'clash of civilizations' and 'racialization of religion'. Since open racial stereotyping in cartoons became illegal in the postmodern international regulations, traditional discriminatory practices of cartooning have shifted towards subtle, 'liquid' racism. This decodes some of the twelve Danish cartoons as ambiguous strategies of racialization of Muslim immigrants in Europe but also as hate speech which is illegal in the European Union, and member states of the Council of Europe. The author concludes that the most current European and international regulations of hate speech, whether concerning offline media or online media, actually protect free speech. While a truly clear-cut regulation of liquid racism might remain problematic in Europe due to the lack of a universally accepted definition of hate speech, neither strict legal regulations nor different definitions of hate speech could diminish the role of political cartooning as a viable free speech platform in the multicultural landscape of Europe. Ultimately, what diminishes its viability is the enduring lack of diversity in the creation of visual satire, which could and should reflect the multicultural reality of communities, politics and societies in Europe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dmitry Khanin THE POSTMODERN POSTURE Postmodernists—the sectarians ofour day—proclaim that the old kingdom of historical narrative and historical subject has perished, and is now being replaced by a new one of ahistorical discourses and ahistorical characters. According to these prophets, "history" is anyway just changes in ways of talking about history. Anyone who does not agree with the ahistoricity of the postmodern world oudook may be accused—and tried on (...) the spot—of defending the cause of the totalitarian Reason against the most liberating movement of today. This postmodernist abuse of history is paradoxical, since the very notion of history coming to its end and giving way to the ahistorical kingdom of freedom and merry debauchery is itself a very old idea, even a mythological one. The description ofhistory as marching toward its own demise relies on a whole tradition which portrays history as a drama. Aristode's conception of tragedy as a sequence of actions culminating in a dénouement has no doubt shaped this view of historical process. Christian and other religious millenarians have announced the end of history already many times. Yet another notorious instance of such eschatological daydreaming is the futurology of Karl Marx, who envisaged the kingdom of communism as occupying this same ahistorical space. A rather obsolete idea, perhaps, but it seems still to attract postmodernists, though they give it a characteristic twist, since they sincerely believe theory, discourse, écriture (i.e., theoretico-symbolical activity) are much more important than any actual historical contentprocesses and events. One of the most notable spokesmen for this approach is Arthur Danto, who insists that world history evolved in a good Hegelian manner until the theorists came to understand that history depends on their Philosophy and Literature, © 1990, 14: 239-247 240Philosophy and Literature texts much more than theorists themselves depend on historical processes and events.1 Many theoreticians working in an otherwise Marxist tradition similarly are glad to assert with FredricJameson that we must say farewell to Marx's positivistic illusion that history is driven by laws disguised as economic forces.2 In the epoch of "late capitalism," says Jameson, consumption gains the upper hand over production and becomes the mainspring of history. Of course, in light of recent doings in Europe I am tempted to ask if we owe it to postmodernists—and their ahistorical, inconsistent, and generally confounding claims about history lying in ruins—that the Berlin Wall actually is in ruins and Vaclav Havel is president of Czechoslovakia. Even more daring theorists may now declare an era of "very late capitalism." Here it will not be merely the mass media that act transformatively on society (as McLuhan claimed), but rather consumer goods themselves, like state-of-the-art washing machines or French perfumes, which create a new aura of intellectual discourse. TL· Postmodern Scene: Excremental Culture and Hyper-AesÜietics, a book by two Canadian authors, Arthur Kroker and David Cook, promotes such a sea change in the theoretical landscape and along the way presents a joyous recapitulation ofthe latest fads in postmodern thinking. The new apostolic generation ofpostmodern critics seems to enjoy the beautiful new things that can be bought for bucks, worrying at the same time that bucks may be losing some of their purchasing power. Like Hari-Krishnas dancing in the street they luckily possess a sort of happy consciousness which also recalls their puritanical great grandfathers who regarded profligacy as the greatest sin and much preferred saving to spending. In what follows I want to draw a portrait of this new postmodern posture. A few main assumptions underlie Kroker's and Cook's wake for postmodernism, which, in its peculiar genre of philosophic obituary, epitomizes and thus prepares for future oblivion views which were exceedingly popular in the preceding decade. First of all, the authors adopt Baudrillard's equation of Marx and Nietzsche: "Marx and Nietzsche shared a deep and common affinity in meditating upon historical (Christian) and materialistic (capitalist) expressions ofthewill ofpower."3 From Baudrillard's perspective Marx appears as a pathetic romantic who tried to defend the "referential illusion" by renaturalizing concrete labor even though its entirely abstract character was brilliandy revealed in Das Kapital. Baudrillard... (shrink)

This article surveys the classic and contemporary literature on the nature and limits of freedom of expression (or free speech). It begins by surveying the main philosophical justifications for free speech, before moving to consider the two most discussed topics in the free speech literature: hate speech and pornography. The article offers some brief reflections on the large number of arguments which have been offered on these topics. Three newer battlegrounds for free speech are examined at the end: no (...) platforming, fake news and online shaming. (shrink)

<I>The Last Book of Postmodernism comprises set of essays written on and about 'postmodernism' and education. It is written in an apocalyptic tone that treats themes of religion and spiritualism, drawing on poststructuralist sources of inspiration, to contrast the present 'postmodern condition' and the philosophical significance and historical influence of Nietzsche's statement 'God is dead.' The book considers the meaning of the 'end' of Christendom and the prospect of global spirituality. It also considers the 'end' of literature and the beginning (...) of user-generated cultures and the implications of this shift for education and the philosophical model of dialogue that has dominated the humanities in the West. It charts the 'end' of philosophy and the rise of 'body' criticism, the promise of the Enlightenment, the relation between education, power and freedom, geophilosophy and the pedagogy of the concept, and the narrative turn as a basis for a new critical language for educational studies. Finally, the book considers post-postmodernism and the 'end' of the linguistic turn in educational theory. (shrink)

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This chapter examines the historical emergence of secularism through movements, debates and legal formulations to explain specific features that the concept has acquired in the context of India. The first part examines the tensions between the theoretical narratives of Indian constitutionalism and the practices of politics that lead to the acceptance of three essential conditions of secularism: (a) the state shall have no religion; (b) there shall be no discrimination on the ground of religion; and (c) the individual shall (...) have the freedom to practice, profess and propagate religion. This is followed by the approach towards secularism found in writings of Nehru, Gandhi and Ambedkar. The diversity of religious identities and the widespread religious prejudice, identity conflict and inter-religious strife are main worries of these nationalist ideologues. The third part of this chapter focuses on the ill-defined meaning of secularism that does not accurately reflect the conceptual shifts made by the modern legal system, in which interests of many religious and cultural groups within Indian society are accommodated. The final section critically examines the claim that secularism is a state-led exercise in the following domains: rights of religious denominations, gender justice and social justice. An overview of the legal literature, including pronouncements of the judiciary, shows that secularism is also the domain of experts, bureaucrats and professionals. The history of court decisions about what constitutes a religious practice that is protected by law reveals considerable variation and arbitrariness; it raises questions of group rights in a liberal polity, the limits of cultural accommodation and the conceptions of difference left behind in the realms of family and civil society. (shrink)

This chapter contains sections titled: Mill on Liberty Khomeini v. Rushdie Fukuyama Giving Up on the Arab World The Limits of Free Speech The Deontological and Utilitarian Justifications for Free Speech Clifford on the Duty to Critique Freedom of Speech and Philosophers on the Index Intolerance not Restricted to Islam Giniewski v. France Freethought under Fire People Are not Being Insulted for Having a Religion Racism without Race Social Criticism not Identical with the Urge to Provoke Flemming Rose on (...) Why He Published the Danish Cartoons The Theory of Evolution: Too Controversial to Defend? Is There Another Way to Discover the Truth than by Free Discussion? (shrink)

The essay opens with some background information about the period in which J.S. Mill wrote. The discussion revolves around the concept of blasphemy which Mill considered to be highly problematic. Tagging unpopular views as ‘blasphemous’ amounted to abuse of governmental powers and infringed on the basic liberties of the out-of-favour speakers. The discussion on blasphemy sets the scene to the understanding of Mill's concerns, his priorities and consequently his emphasis on the widest possible liberty of expression. Section 2 presents the (...) Millian principles that are pertinent to his philosophy of free speech: liberty and truth. Section 3 analyzes Mill's very limited boundaries to freedom of expression, asserting that the consequentialist reasoning had led Mill to ignore present tangible harm. It is argued that democracy is required to develop protective mechanisms against harm-facilitating speech. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Narratives and the Meaning of NationalismLloyd KramerThe vast, expanding literature on nationalism may well defy every generalization except a familiar, general theme of intellectual history: texts about nationalism have always drawn their perspectives and passions from the evolving political and cultural contexts in which their authors have lived. Modern accounts of nationalism show the unmistakable traces of political, military, and cultural conflicts in every decade of the (...) twentieth century—from the era of nationalist rivalries before World War I to the redefinitions of gender, literature, and history that have emerged in contemporary postmodernism, postcolonialism, and multiculturalism.This connection between the texts of nationalist scholarship and the modern contexts of politics and culture suggests why historical narratives of nationalism have become part of the history of nationalism itself. Nationalism’s scholarly interpreters cannot easily separate themselves from the objects of their analysis, and their interpretations are often as diverse and fragmented as the nations they describe. This essay enters the debate on nationalism, describes recurring themes in the historical literature, and replicates a key characteristic of the historiography by stressing that the complexity of nationalism and its interpreters resists every simplifying, comprehensive definition. Histories of nationalism provide a striking example of how the history of ideas never reaches a point of uncontested closure and never finally escapes the political and cultural contexts in which all historical narratives are produced.Like most analysts of nationalism, I assume that it is one of the decisive forces in modern history and that its significance demands careful, critical analysis. It also calls for always incomplete definitions, one of which can be drawn from the German historian Peter Alter. Nationalism is “both an ideology and a political movement which holds the nation and sovereign nation-state to be crucial indwelling values, and which manages to mobilize the political will of [End Page 525] a people or a large section of the population.”1 Nationalist ideas are thus a distinctive form of modern thought that shapes the political actions and cultural identities of individuals as well as groups. The meanings of nationalism and national identity typically depend on various dichotomies that define the nation in terms of its differences from other places or people—the dynamic process of identity formation that has received wide attention in contemporary cultural studies. My own view of the “oppositional” structures in nationalist thinking coincides with the concise description by Peter Sahlins: “National Identity is a socially constructed and continuous process of defining ‘friend’ and ‘enemy’.... National identities... do not depend on the existence of any objective linguistic or cultural differentiation but on the subjective experience of difference.”2 Sahlins thus assumes that something called national identity is “there,” but he also insists that national consciousness is a “constructed” identity. Nationalism, in short, does not express or reflect a natural, primordial reality.The assumption that nationalisms are historical rather than natural phenomena shapes most of the scholarly literature, so that the study of nationalism leads to historical analysis rather than to biology or physical geography. Although there have been countless historical studies of nationalism in different periods, cultures, and conflicts,3 my discussion will refer to a small number of narratives that have made especially significant theoretical claims about the nature of nationalism. There is of course no way to analyze such theories without exclusions and generalizations, which I shall provide by focusing mostly on works about Europe and dividing the patterns of historical analysis into the following broad categories: (1) the description of nationalism as a central component of modernization, reflecting and also shaping intellectual, cultural, economic, social, and political transitions from premodern to modern history; (2) the claim that nationalisms are modern religious movements, related to but also displacing earlier religions; (3) the argument that nationalism is a linguistic, literary construction that depends on new forms of communication, intellectuals, and narratives; (4) the description of nationalism as a discourse of gender and ethnicity that shapes individual identities and also expresses anxieties about sexuality, culture, and respectability; and (5) the argument that nationalisms can be divided into categories (good/bad, Western/Eastern, [End Page 526] political/cultural) and phases that represent sharp differences in the development of modern... (shrink)

My dissertation is concerned with the misconceptions many postmodernist theorists and critics harbor about the history of western philosophy and about various branches of it, misconceptions that I contend are the source of the simplistic account of both postwar culture and literature, and eighteenth-and nineteenth-century realist fiction, that they provide. ;In the first chapter, I consider the campaign that a host of postmodernists have mounted against something they typically refer to as the "logic of either/or," alleged to structure western thought. (...) This logic they claim they try to "subvert" by recourse to something else called the "logic of both/and," which, they assert, violates the law of noncontradiction. Instantiations of the "logic of both/and" that postmodernists cite as evidence of the "contradictory," subversive nature of postmodernism include, for example, that postmodernism is both a break from and a continuation of modernism, that postmodernist fiction is both about reality and about the processes of artistic creation, and that postmodern humor is both destructive and constructive. None of these states of affairs, however, is a contradiction, much less a violation of the law of noncontradiction. What postmodernists assume is that by the terms of classical logic, postmodernism, for example, must be either a break from or a continuation of modernism--that is, they attribute to classical logicians what is considered by them to be one of the most common fallacies of presumption: the either/or fallacy, or black-and-white thinking. It is the trivial notion that A and B can both be predicated of x that underwrites, in effect, the "radical" claims made by postmodernists on behalf of the "logic of both/and." ;In the second chapter, I address the reductive accounts of both realist and postmodernist fiction that postmodernists characteristically offer. Many assume, for example, that a realist metaphysics is implicit in realist fiction, and argue that, for this reason, realist fiction is outmoded. The ground of this assumption is, among other things, a misconception about what metaphysical realism is. A belief in a "world out there" is not, as a number of postmodernists seem to think, tantamount to a belief in the truth of metaphysical realism-- the thesis, simply put, that reality is mind-independent. There is no pat, one-to-one correspondence between literary realism and metaphysical realism , and no reason--stylistic or otherwise--why a realist novel cannot express an anti-realist metaphysics--not even any reason why an eighteenth- or nineteenth-century realist novel couldn't, since metaphysical anti-realism was as alive and well then as metaphysical realism is today. The latter point is important, for postmodernists often base their assertions about the metaphysical assumptions that inform eighteenth- and nineteenth-century realist fiction not on any textual evidence, but on a priori assumptions about the metaphysical beliefs it was possible for realist fiction to reflect. This "ideas-of-the-time" approach to literary history is problematic in its own right, but it becomes even more so if one's assumptions about what were or were not the ideas of the time, are, as in this case, false. (shrink)

If you think Saddam and Satan make a kinky couple, wait till you get a load of _South Park and Philosophy_. Get your Big Wheels ready, because we’re going for a ride, as 22 philosophers take us down the road to understanding the big-picture issues in this small mountain town. A smart and candid look at one of television’s most subversive and controversial shows, celebrating its 10th anniversary this year Draws close parallels between the irreverent nature of _South Park_ (...) and the inquiring and skeptical approach of philosophy Addresses the perennial questions of the show, and the contemporary social and political issues that inspire each episode Uses familiar characters and episodes to illustrate topics such as moral relativism, freedom of expression, gay marriage, blasphemy, democracy, feminism, animal ethics, existential questions and much more makes you laugh out loud. (shrink)

If you think Saddam and Satan make a kinky couple, wait till you get a load of _South Park and Philosophy_. Get your Big Wheels ready, because we’re going for a ride, as 22 philosophers take us down the road to understanding the big-picture issues in this small mountain town. A smart and candid look at one of television’s most subversive and controversial shows, celebrating its 10th anniversary this year Draws close parallels between the irreverent nature of _South Park_ (...) and the inquiring and skeptical approach of philosophy Addresses the perennial questions of the show, and the contemporary social and political issues that inspire each episode Uses familiar characters and episodes to illustrate topics such as moral relativism, freedom of expression, gay marriage, blasphemy, democracy, feminism, animal ethics, existential questions and much more makes you laugh out loud. (shrink)

_Enlightenment from the _South Park_ gang faster than you can say, "Screw you guys, I'm going home"!_ _The Ultimate South Park and Philosophy: Respect My Philosophah!_ presents a compilation of serious philosophical reflections on the twisted insights voiced by characters in TV’s most irreverent animated series. Offers readers a philosophically smart and candid approach to one of television’s most subversive and controversial shows as it enters its 17th season Draws sharp parallels between the irreverent nature of _South Park_ and (...) the inquiring and skeptical approach of Western philosophy Journeys deep beyond the surface of the show’s scatological humor to address the perennial questions raised in _South Park_ and the contemporary social and political issues that inspire each episode Utilizes familiar characters and episodes to illustrate such philosophical topics as moral relativism, freedom of expression, gay marriage, blasphemy, democracy, feminism, animal ethics, existential questions, and much more It’s a Bigger, Longer & Uncut version of the highly acclaimed _South Park and Philosophy: You Know, I Learned Something Today_—and is guaranteed to be much funnier than killing Kenny. (shrink)

: The European Court of Human Rights, established in 1959 as the unit of the Council of Europe, is the judicial authority that resolves individual, legal personality and international problems within the scope of fundamental rights defined in the 'European Convention on Human Rights' and other protocols. Historically, the European Court of Human Rights has taken various decisions that are considered within the scope of freedom of thought, conscience and religion. The Court defines in its decision, and in particular, (...) what it can be judged within the context of the religious symbol, from a secular point of view. The court recognized the right to freedom of belief and religion, on the other hand, described this right as a declaration of belief in public. The study was designed with a 'conceptual screening model' approaching religious symbols on the basis of freedom of religion and belief. Although this study seems to be in essence a literature review, conceptual screening differs from the literature review method in that it examines the different aspects of a concept within the scope of different science and disciplines. The purpose of this study is to determine the attitude of the European Court of Human Rights to the religious symbols of schools. As a consequence of this work, the nature and scope of local and forbidden legal initiatives against the growing religious symbolism in European schools over the last years have been determined. However, the place of religion in European educational systems and the "church-state relationship" within the social system is another consequence of this study. This study also specifies that the decisions of the courts should be shaped to express religious beliefs and traditions freely in the public sphere. (shrink)

This chapter applies the Millian epistemology to ground a robust, inalienable right to freedom of expression and to ground the other autonomy rights, as necessary for the process of the social process of the free give-and-take of opinion. The chapter considers a variety of exceptions to freedom of expression, including product advertising and political advertising. He uses the examples of Google and Wikipedia to provide empirical confirmation for Mill’s claims about the social process of the free give-and-take of (...) opinion. He also shows how the Millian case for freedom of propositional expression can be extended to cover nonpropositional expression in art and literature. The chapter shows that the Millian argument does not limit freedom of expression to reasonable views. The chapter argues that the distinction between reasonable and unreasonable comprehensive views, which plays a large role in Rawls’s theory and in contemporary discussions of human rights, cannot support the weight that it is intended to bear. This leads to an extended discussion of intolerant subversive advocacy, in which the chapter argues that neither Habermas’s nor Rawls’s theory can explain why the decision of the U.S. Supreme Court upholding the Smith Act in Dennis v. U.S. was erroneous. The chapter also explains why Mill’s social process epistemology does not undermine his political philosophy. The author concludes by explaining why the main principle would endorse a human right to freedom of expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fictions of Discourse: Reading Narrative TheoryCarol S. GouldFictions of Discourse: Reading Narrative Theory, by Patrick O’Neill; x & 188 pp. Toronto: University of Toronto Press, 1994, $35.00 paper.Patrick O’Neill serves up a rich stew of narratology, reader-reception theory, and a postmodern theory of truth. Many narratologists have taken the postmodern turn, while others have pursued a reception-theory route. Either path requires careful navigation, and the combined one even (...) more so. Classical narratology focuses on the textual structure with its network of various narratological relations. Reader-reception theory assigns to the reader a leading role in the creation of the text. O’Neill in various ways challenges or at least reformulates the notions of both text and reader, endorsing as he does a postmodern theory of truth which he terms the “Zeno Principle.” This principle is that “narrative discourse is always potentially subversive of the story it would seem to reconstruct” (p. 7). The Zeno Principle is a version of what he understands to be the Heisenberg Principle, namely that “discourse (including theoretical discourse) at least potentially subverts the story it sets out to narrate, and ultimately itself also” (p. 9). O’Neill contends that his narratological project will support the Zeno Principle. If successful, though, his endeavor will of course meet the usual self-destructive fate of such theories. But its self-annihilation seems not to discourage O’Neill, who finds all theories essentially “ludic.” O’Neill’s undertaking is ambitious; I shall focus on just a few of his moves.First of all, it is no surprise to hear that postmodernism is not new nor even that it has a classical pedigree. But it will probably astound—not to say sadden—the reader to see O’Neill locate its origins in the paradoxes of Zeno—the fifth-century Eleatic, the logician so well known for defending the epistemic primacy of reason, one of the uncontested intellectual progenitors of Plato, who remains the explicit target of Derridean fire. This is not simply a persnickety objection to O’Neill’s terminology, but a reflection on the broad implications he draws from his narratological investigations.Plato, working in the Eleatic (Zenoian) tradition, draws our attention to the perspectival nature of literature and would extend this to all empirical discourse. Any empirical narrative—history, biography, or literature—is in principle illusory because merely perspectival. Plato, true intellectual heir of Zeno, anticipates the narratological enterprise in this respect, while demonstrating [End Page 532] the exclusive epistemic integrity of logical thought. One finds this of course in his Republic, but nowhere are his narratological sympathies more evident than in the Symposium, with its many tiers of narration. He prefigures, then, the modern insight that all narrative is, in Wayne Booth’s terms, rhetoric and in narratological terms, focalized.If we grant with Zeno, Plato, and other friends of rationality that empirical discourse is perspectival or focalized, we can see that narrative must place us in some hypothetical vantage point: from another standpoint, the world looks different and assumes new contours and mood. Once we acknowledge that no one point of view is more privileged than another, our perceptions seem less stable. Lolita, for example, told from the viewpoint of the nymphet herself, would be a different story. Moreover, any narrative must be mediated by narrative perspective, and as O’Neill indicates, the narrative vantage point may not be that of the narrator or implied author. As he puts it, “Voice and vision... [may] derive from separate points of origin” (p. 84).In a sense, then, all empirical discourse is subversive. But does it follow that all theoretical discourse is therefore subversive? O’Neill scrutinizes fictional discourse, and helpfully so for us. But the perspectival nature of literary or empirical narrative hardly suffices to cast doubt on the notion of truth per se. The real Zeno Principle is the Platonic one that however arbitrarily empirical perspective might shift, rational intuition does not. If one wants to challenge that view, one must defend the Protagoras Principle, the true classical articulation of postmodernism. Aristotle, after all, wrestles with this in his Metaphysics rather than in his Poetics.O’Neill... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anthony Close THE EMPIRICAL AUTHOR: SALMAN RUSHDIE'S THE SATANIC VERSES HOBBES, comparing the author ofan action to the owner ofgoods, asserts, "And as the right of possession, is called dominion; so the right of doing any action, is called authority" (Leviathan, Book I, chap. 16). My purpose in this essay is to apply this Hobbesian maxim to the relation Author/Text, expanding somewhat Hobbes's notion of authority. I presuppose that (...) in our day-to-day dealings with our fellow men, we envisage each others' acts as exhibiting purpose and commitment, which make them ours in more than the platitudinous sense that we performed them. By virtue of that, they confer on us a privileged, though clearly not unchallengeable, authority in saying what they are and what they are for. Such, in effect, is the position reached by Austin in How to Do Things with Words, and it broadly corresponds to that of various philosophical writings on human action—by Anscombe, Davidson, and Melden.1 To be sure, we may legitimately consider human behavior from other viewpoints (e.g., structuralist, anthropological, psychoanalytical, Marxist) trained on its unconscious presuppositions. Yet, insofar as such theorizing fails to acknowledge the priority of the Hobbesian perspective, it will seem perverse for a reason that has been well put by Charles Taylor. Precisely because history is made up of purposeful activity, Taylor argues, we need to explain historical patterns in a way that is "intelligible in relation to conscious action" even though they may not "issue from conscious action."2 By this criterion much of our modern literary theory is defective. A vivid measure of the deficiency is provided by the furor over Salman Rushdie's TL· Satanic Verses, culminatingin thefatwa pronounced against Philosophy and Literature, © 1990, 14: 248-267 Anthony Close249 him by the Ayatollah Khomeini in February 1989. I take it that for anyone vocationally committed to the practice or study ofliterature and to the cause of freedom of expression, the defense of Rushdie cannot be a matter of indifference. Nor can one be indifferent to the chasm of misunderstanding that separates Rushdie and his apologists from the novel's Muslim opponents. I believe that these two causes—defending Rushdie and bridging the chasm—can be reconciled by offering better explanations ofhis novel in place ofcrude denunciations or, from some non-Muslim quarters, smug and knowing dismissals. Yet, as we shall see, the task of explanation could be considered hamstrung by our modern poetics. I was reminded ofHobbes's textby Rushdie's lucid and cogent defense of his novel in TL· Independent (London, February 4, 1990). Against the accusations that he had deliberately reviled the Islamic faith, he argued as follows. Though TL· Satanic Verses, like many novels that Rushdie esteems, is a work of radical dissent, questioning, and reimagining, it is motivated by a spirit of serious inquiry rather than debunking derision. More particularly, it reflects a determination that underlies all Rushdie's work: "to create a literary language and literary forms in which the experience offormerly-colonised, still-disadvantaged peoples might find full expression." He continues: "It is written from the very experience of uprooting, disjuncture and metamorphosis... that is the migrant condition, and from which, I believe, can be derived a metaphor for all humanity.... [It] celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelisation and fears the absolutism of the Pure." Note the insistence on how these themes flow direcdy from Rushdie's own experience. Two days after the publication of this article, Harold Pinter gave on Rushdie's behalf a lecture on the relationship of literature to religion and society at the Institute of Contemporary Arts in London. In this lecture, Rushdie articulated a Bakhtinian view of the novelist's function: to dramatize ironically and noncommittally the clash of voices, languages, and ideologies in a world without gods and without traditionsanctioned truth. Rushdie referred specifically, I think, to a species of postmodernist novel which we may dub "palimpsest history";3 the species includes Rushdie's works, García Márquez's One Hundred Years of Solitude, Carlos Fuentes's Terra Nostra... (shrink)

Both adults’ habits-of-thought and their understanding of children’s stories shape how adults interpret children’s participation in conversations. In the light of the requests on children’s rights that follow from the Convention on the Rights of the Child (CRC) this paper stresses the relevance of authorities having semiotically informed knowledge on children’s meaning-making within conversations with adults. In Article 12, the CRC stipulates the right of children to participate in and to be heard about decisions that affect their everyday lives. According (...) to the same Article, however, these rights can be restrained, based on the authority’s judgements of the child’s age and maturity. Sociological studies have highlighted the importance of adopting the child’s perspective in judging matters that concern her. The present paper further suggests that narrow conceptualization of the sign can help one to observe different levels of meaning in adults’ and children’s conversations better. Although Paul Ricoeur did not investigate children’s narratives per se, his theory of narratives and narrativity offers a phenomenological approach to development that allows for better theoretical discriminations of narrative as a semiotic resource, and can thus assist adults in truly listening to children. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Utopia and the Contemporary British Novel by Caroline EdwardsMark SchmittCaroline Edwards. Utopia and the Contemporary British Novel. Cambridge: Cambridge University Press, 2021. 277 pp. Paperback, ISBN 9781108712392.The development of the novel as a literary form is closely linked to the representational mode of realism and how it can convey the human experience of time. That the novel distinguishes itself substantially from earlier forms of literature in how it (...) attempts to capture temporality through means of literary realism has been acknowledged ever since Ian Watt’s The Rise of the Novel (1957). As such, the novel form underwent dramatic changes throughout the periods of modernity and postmodernity, with modernist and postmodernist techniques of representation mirroring shifts in the temporal experience. But how can the contemporary novel—a category itself loaded with implication and definitional problems—of the twenty-first century confront the particular representational challenges of its time? This is the question that Caroline Edwards addresses in her study Utopia and the Contemporary British Novel. Edwards is concerned with the wider repercussions of the post-postmodernist notion of the Fukuyaman thesis of the “end of history” and the profound challenges to this thesis in the face of the post-9/11 unfolding of the twenty-first century. The temporal experience of this century is marked by what Edwards calls “non-contemporaneity,” that is, a “political, and even ontological uncertainty” (9). In the context of contemporary literature, the resulting “temporal disjointedness that marks our experience in the twenty-first century” has “given rise to different expressions of the unevenness of the contemporary, at the level of novelistic structure, prose style, generic sampling and non-mimetic interventions into otherwise realist narratives and juxtaposed timescales” (9). The notion of non-contemporaneity is drawn from Ernst Bloch’s concept of Ungleichzeitigkeit, which Edwards considers to be “productive to thinking about the complexity of [End Page 595] utopian times and the different kinds of pasts and futures that circulate within our own present moment of contemporaneity, which is inescapably non-contemporaneous with itself ” (30). Edwards considers this noncontemporaneity as a prevalent temporal register in contemporary British fiction that speak to the crises of temporality associated with a range of political, social, and economic events and processes that have marked the first decades of the twenty-first century. The seemingly natural unfolding of the “the linear progressive time of neoliberalism” (8), what Mark Fisher has called “capitalist realism,” has increasingly been put into question, not least due to the 2008 Global Financial Crisis (158). Similarly, Edwards identifies the 2016 Brexit referendum as symptomatic of a nationalism that must, following Michael Gardiner, always appear to be “out of time” (8). Such crises are thus indicative of anachronistic unevenness and conflicting temporalities. Consequently, a literary fiction that wants to adequately represent these struggles with temporality cannot confine itself to the pitfalls of literary realism, but it would be equally ill-suited by resorting to postmodernist metafiction and irony. Rather, as Edwards contends, the twenty-first-century fictions that she discusses attempt to complicate realist modes by using disruptive and experimental narrative techniques that amount to “non-mimetic experiments with narrative voice and structure” and “delinearised” temporalities (4). With this approach, Edwards argues, these texts interrogate the present as unstable.The four main chapters of Edwards’s book proceed by first establishing the dominant philosophical and theoretical concepts underlying her hypothesis. Chapter 2 (“Reading Fictions of the Not Yet”) is a theoretical and methodological chapter and offers an in-depth engagement with theories of temporality and narratology. Edwards’s aim here is to advocate for an updating of conventional narratology to account for the multilayered narrative experiments with time since modernism and especially in contemporary fiction. Her approach to theorization and analysis is inspired by Elizabeth Freeman’s Time Binds: Queer Temporalities, Queer Histories (2010) in the decision to focus on close readings of a small number of primary texts and read them as texts or aesthetic artifacts that develop “theories of their own” (29). The chapter offers an in-depth engagement with Bloch’s philosophy of utopianism and his concept of Ungleichzeitigkeit.Another cornerstone for Edwards’s theory and method is the work of... (shrink)

This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary (...) imagination’s complementary power of cultural articulation in this fictional activity. The suggestion is that we should conceive of the literary imagination as expressing its interests in culture not mimetically but by producing a certain kind of meaning. This meaning is irreducibly narratological, and understanding it helps us to see the role of narrative in bringing into harmony the literary imagination’s interests in both the imaginary and the real. (shrink)

The article presents different theories and comparative analyses of freedom of speech in both liberal and non-liberal traditions. Whereas freedom of speech is not an absolute right, the question is if this right should depend wholly on the truth of the respective opinion or statement. Theories that justify free speech on the grounds of autonomy, tend to make truth a moral requirement of speech. Theories based on civility and public reason do restrict freedom of speech even further, (...) often making a form of recognition a precondition of free speech. This reveals to be particularly relevant in multicultural contexts and discussions about blasphemy. From this overview of contemporary, global comparative debates on free speech, the article draws some conclusions. First, there should be the absolute primacy of free speech regarding governments and the powerful: Speak truth to power. Second, free speech should underlie no constraints where important individual rights are at stake. Third, academic freedom has a special status and should not be subject to the same limits as freedom of expression more generally. Forth, in civil society and the public sphere a more moderate approach to free speech should be adopted based on civility, public reason and recognition. Yet, any limits should be of moral and not legal nature. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 460-472, May 2022. The article presents different theories and comparative analyses of freedom of speech in both liberal and non-liberal traditions. Whereas freedom of speech is not an absolute right, the question is if this right should depend wholly on the truth of the respective opinion or statement. Theories that justify free speech on the grounds of autonomy, tend to make truth a moral requirement of speech. Theories based on (...) civility and public reason do restrict freedom of speech even further, often making a form of recognition a precondition of free speech. This reveals to be particularly relevant in multicultural contexts and discussions about blasphemy. From this overview of contemporary, global comparative debates on free speech, the article draws some conclusions. First, there should be the absolute primacy of free speech regarding governments and the powerful: Speak truth to power. Second, free speech should underlie no constraints where important individual rights are at stake. Third, academic freedom has a special status and should not be subject to the same limits as freedom of expression more generally. Forth, in civil society and the public sphere a more moderate approach to free speech should be adopted based on civility, public reason and recognition. Yet, any limits should be of moral and not legal nature. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Velvet revolutions, continued-. The strange toppling of Slobadan Milošević ; "The country summoned me" ; Orange Revolution in Ukraine ; The revolution that wasn't ; 1968 and 1989 ; 1989! ; Velvet Revolution in past and future -- Europe and other headaches. Ghosts in the machine ; Are there moral foundations of European power? ; The twins' new Poland ; Exchange of empires ; Why Britain is in Europe ; Europe's new story ; National anthems ; "O chink, where is (...) thy wall?" ; The perfect EU member -- Islam, terror and freedom. La Alhambra ; Islam in Europe ; The invisible front line ; Against taboos ; Respect? ; Secularism or atheism? ; No if and no buts -- USA! USA!. Mr. President ; 9/11 ; Anti-Europeanism in America ; In defence of the fence ; Zorba the Bush ; Warsaw, Missouri ; Dancing with history ; Liberalism -- Beyond the West. Beauty and the beast in Burma ; Soldiers of the hidden Imam ; East meets West ; The brotherhood against Pharaoh ; Cities of no God ; Beyond race -- Writers and facts. The brown grass of memory ; The Stasi on our minds ; Orwell in our time ; Orwell's list ; Is "British intellectual" an oxymoron? ; "Ich bin ein Berliner" ; The literature of fact -- Envoi. Elephant, feet of clay ; Decivilization ; The mice in the organ. (shrink)

The article is updated by several circumstances, which the authors reflect on. In their opinion, there are 1) obvious and external threats — violations of freedom of conscience in the temporarily occupied Ukrainian territories, including Crimea, which arose as a result of the Russian-Ukrainian war, and 2) internally hidden and potential dangers for freedom of religions of Ukrainian citizens. The well-known examples of discrimination of believers of certain faiths in the so-called DPR-LPR and Crimea given by the authors (...) are constantly updated. Relevant monitoring and analytical reports are prepared by both Ukrainian and international experts. They submitted these reports to international human rights organizations, including the rights for Freedom of Religion and Belief. Despite such convincing documented materials, separate accusations have recently appeared against Ukraine, which allegedly violates freedom of religion in the territory under its control. Some are trying to prove that Ukraine, taking advantage of the war situation and referring to the spiritual dangers for Ukraine from those religious organizations whose centers are in the aggressor country, threatens some churches, thereby violating the Constitution and the Law on Freedom of Conscience, which guarantee for all citizens, regardless of from their religious affiliation, freedom of religion. The authors refute these narratives lashed out by Russia and the Russian Orthodox Church. Such negative conclusions, which express concern about the situation in Ukraine regarding freedom of conscience and religion, influence on the world public, experts on issues of freedom of conscience, religious organizations, spoil the image of Ukraine as a country with high level of freedom of conscience even among European countries. Religious freedom, as the authors conclude, needs protection today, but they call for separating real threats from imaginary ones and clearly defining who persecutes, whom he/she persecutes and where persecutes. Ukraine is consistent in its intentions to protect the rights of people and communities, to protect the freedoms of believers and their organizations. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and significance (...) of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

In the framework of Japanese studies, the relationship between Buddhism and Japanese poetry has received very little academic consideration. The noticeable founded narrative forms and potent and substantial philosophical influence of classical Chinese writings have resulted in the image of China being recontextualized during the process of fantasy, development, and encounters on the part of Japanese writers or investigators, with the result that many distortions and mischaracterizations have occurred as a result of this process. This work employs a comparative method (...) that incorporates literature and philosophy to examine the poetry of Hagiwara Sakutarô (1886–1942). The comparative analysis is seen from the viewpoint of Naturalism's impact and the use of description in the development of Japanese contemporary poetry. This has led to several inaccurate depictions of the country. The image of China that is presented in Japanese literature is both a perception and an illusion that is produced when cultural knowledge and creative achievements are combined. This combination creates the image of China. In the article, an examination and classification of the depiction of China in Japanese literature is provided. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.3 (2006) 523-545 [Access article in PDF] Enlightenment! Which Enlightenment? Jonathan Israel Institute for Advanced Study Encyclopedia of the Enlightenment, 4 vols., editor in chief Alan Charles Kors; eds. Roger L.Emerson, Lynn Hunt, Anthony J. La Vopa, Jacques Le Brun, Jeremy D. Popkin, C. Bradley Thomson, Ruth Whelan, and Gordon S. Wood (New York: Oxford University Press, 2003). On the surface it might (...) well seem that during the last fifteen or twenty years the Enlightenment understood as a new way of thinking about reality and society has receded more and more from its former privileged status as a pivotal turning-point in the making of the modern world, and especially as any kind of leap forward in the making of a freer, more rational, and better humanity. Under the combined assaults of Post-Structuralism, Postmodernism, Postcolonialism, the rise of the new social history (and not least Robert Darnton's critique of the old intellectual history), the Enlightenment conceived as a movement of ideas appears to be not just firmly in retreat and increasingly under siege but also fragmenting into disparate remnants with no coherent overall profile.Yet, paradoxically, there are grounds for conjecturing that the Enlightenment despite all this, has actually been becoming, under the surface, an even more crucial and robust force than it was before, much like a powerfully compressed spring being pushed back but ready to rebound with greater impetus than ever. One reason for thinking this is the extensive new material unearthed in the last few years, mostly by colleagues in continental Europe, about the origins of "radical," in the sense of egalitarian, secularist, Spinozist, and anti-colonial, thought. A second and possibly more important [End Page 523] reason is that the terrible events of the last several years have provided thoughtful readers with more than just a glimpse of the nightmare world apt to result from enshrining as a new set of privileged and prevailing values "difference," a thoroughgoing relativism, and the doctrine that all sets of values, even the most questionable kinds of theology, are ultimately equivalent.The inevitable recoil from Postmodernist "relativism" will presumably strengthen the appeal, at least in some quarters, of the Radical Enlightenment's claim that the improvement of human life inescapably involves emancipating men from the collective force of autocracy, intolerance, and prejudiced thinking, and establishing a predominantly secular morality, no less than it involves promoting the ideals of equality (sexual and racial), democracy, individual liberty, and a comprehensive toleration. Indeed, recent developments on all continents seem likely to lend new weight to the radical philosophes' argument that the moral basis of their theorized egalitarianism, democracy, toleration, and individual freedom, despite the arguments of the Postmodernists (which by no means lack weight in certain contexts), is after all concretely superior in terms of reason and moral equity not just to what one faith or traditional system or another contends, in opposition to its claims, but absolutely—that is in ethical and political as well as social terms. One may confidently predict that such a development will render the Enlightenment both more compelling and much harder to disparage than it has appeared to be in the wake of the Postmodernist upsurge in recent years.The prestige and status of the Enlightenment Western and Eastern, still conspicuously low for the present, may powerfully rebound, then, and in all parts of the world; and this for the simple reason that "Enlightenment thinking," as one scholar recently expressed it, "remains the best foundation for any genuinely progressive politics not simply in the West but in those states that suffered most at its [i.e. the West's] hands."1 To anyone authentically committed to democracy, toleration, and personal liberty this seems undeniable and, what is more, as we see in Bayle, Diderot, the Abbé Raynal, Lahontan, Van den Enden, and other radical writers of the Enlightenment, the roots of anti-colonialism itself, as well as the modern idea of racial, ethnic, and sexual equality, are undoubtedly to be found precisely in the "philosophical" thought-world of the Enlightenment—and especially the... (shrink)

Jamel Khermimoun considers that Muslims born in France and in the West now build their identity not from an imported model but from a strong sense of belonging to the nation, which they claim at the same time as their Islam. He wants to shed light on his reading of texts guided by the spirit of flexibility and openness advocated by Islam. We must listen carefully to what he has to say to us; one must know how to confront ones (...) own point of view with ones own, and thus enter into a process of dialogue which, as he writes himself, creates real issues and is capable of appeasing the spirits (Jean Baubrot, professor emeritus of the Chair History and Sociology of Secularism [Ecole Pratique des Hautes Etudes in Paris] and author of several books). Through this book, the author has the merit of advocating the creation of a field of mutual acquaintance [...], a base of common values that can help Westerners and Muslims to get out of the tunnel of reciprocal prejudices, to protect together the true notion of secularism that calls for respect for individual choices and the defense of the right of expression (Claudia Mansueto, doctor of literature, professor at the University of Trieste). Jamel Khermimoun provides answers to the questions raised by the place of the Muslim religion in modern societies. For the author, Islam is not incompatible with secularism because it shares with it the most important values which make possible cohabitation, or even mutual enrichment. Instead of opposing them, it encourages us to reinvest the republican principles that make up our societies. [...] It is for those of us who want to understand the world in which they live. The links of Islam to modernity, to knowledge, to the idea of freedom, to the equality of the sexes, to violence, to fanaticism, to racism, are here dealt with frankness and clarity (Victor Loupan, journalist, author, former international reporter at Figaro Magazine). (shrink)

‘Sacred’ may be defined in various ways, depending on one’s worldview. In a pluralistic society, a single perspective from which to decide what is sacred seems absent. Yet certain elements are taken to be sacred such that they transcend individual worldviews. Their inviolability entails blasphemy laws, where ‘blasphemy’ extends beyond what is traditionally considered religious, since ‘religion’ itself is not clearly demarcated either. The interests of the sacred may be protected by blasphemy laws, but the downside of such laws is (...) that the freedom of expression is compromised. A balanced view is necessary to accommodate these conflicting interests. (shrink)

This book examines the importance of the Enlightenment for understanding the secular outlook of contemporary Western societies. It shows the new ways of thinking about religion that emerged during the 17th and 18th centuries and have had a great impact on how we address problems related to religion in the public sphere today. Based on the assumption that political concepts are rooted in historical realities, this collection combines the perspective of political philosophy with the perspective of the history of ideas. (...) Does secularism imply that individuals are not free to manifest their beliefs in public? Is secularization the same as rejecting faith in the absolute? Can there be a universal rational core in every religion? Does freedom of expression always go hand in hand with freedom of conscience? Is secularism an invention of the predominantly Christian West, which cannot be applied in other contexts, specifically that of Muslim cultures? Answers to these and related questions are sought not only in current theories and debates in political philosophy, but also in the writings of Immanuel Kant, Benedict Spinoza, Thomas Hobbes, Anthony Collins, Adriaan Koerbagh, Abbé Claude Yvon, Giovanni Paolo Marana, and others. -/- . (shrink)

In the volatile conflicts that inaugurated the twenty-first century, secularism, democracy, and freedom were identified by Western nation-states as symbolizing their civilizational values, in contrast to the fanaticism, misogyny, and homophobia they attributed to “Islam.” The figure of the Muslim was thus transformed into an existential threat. This paper analyzes an exchange among scholars—Is Critique Secular? Blasphemy, Injury, and Free Speech—that engages these highly contested issues. As such, the text provides a rare opportunity to study how particular significations of (...) the West, its epistemological tradition, and its relation with Islam are contested and negotiated in a critically engaged site during a moment of global crisis. My reading of the text leads me to argue that the stabilization of the epistemic power of the West is presently reliant on a new iteration of its foundational philosophical concepts to suppress counter-hegemonic narratives that foreground its forms of violence. Further, the terrain for this reshaping of the dominance of this tradition is gender/sexuality, such that queer politics are located at the forefront of the Western politico-philosophical project. As such, the advancement of this tradition is co-constitutive with that of the gendered-sexual subject as emblematic of its highest civilizational values. (shrink)

This book examines the importance of the Enlightenment for understanding the secular outlook of contemporary Western societies. It shows the new ways of thinking about religion that emerged during the 17th and 18th centuries and have had a great impact on how we address problems related to religion in the public sphere today. Based on the assumption that political concepts are rooted in historical realities, this collection combines the perspective of political philosophy with the perspective of the history of ideas. (...) Does secularism imply that individuals are not free to manifest their beliefs in public? Is secularization the same as rejecting faith in the absolute? Can there be a universal rational core in every religion? Does freedom of expression always go hand in hand with freedom of conscience? Is secularism an invention of the predominantly Christian West, which cannot be applied in other contexts, specifically that of Muslim cultures? Answers to these and related questions are sought not only in current theories and debates in political philosophy, but also in the writings of Immanuel Kant, Benedict Spinoza, Thomas Hobbes, Anthony Collins, Adriaan Koerbagh, Abbé Claude Yvon, Giovanni Paolo Marana, and others. (shrink)

Purpose This paper aims to discuss the role of social media during the Gezi Park protests in Turkey in facilitating and promoting the expression of what matters to the protestors in a communicative environment where most traditional media turned away from reporting the events. Furthermore, the role of social media in promoting “interspaces” and constructing “communicative dwellings” that maintain public conversation of diverse ideas during the Gezi Park events is highlighted. Design/methodology/approach The authors use the framework of communication ethics and (...) conflict offered by Arnett et al. that highlights the importance of recognizing “the goods that matter to oneself and others” in a conflict situation. Findings Notwithstanding its potential for misinformation, social media was the only reliable option for Gezi Park protesters. During the Gezi Park protests, social media facilitated the creation of interspaces through which people could make sense of, share, and interactively negotiate meanings about the protests through dialogue. During the Gezi Park protests, social media served both as an alternative source of information and a platform for sharing what people protect and promote that allowed for the construction of multiple narratives of resistance. Social media revealed the many components of the protests collected under the label of Gezi Park. In this historical moment of narrative and virtue contention, it becomes crucial for leaders to sense what matters to oneself and others if conflict is to be constructively engaged, allowing for increased insight and productivity. Originality/value Although there are various studies on Gezi Park protests and the use of social media, there is no discussion related to communication ethics. In this paper, the authors used the communication ethics framework offered by Arnett et al. that underlines the “interplay of ethics and conflict” highlighting ethics as “the good that one seeks to protect and promote” that generate conflict because of “multiplicity of ‘goods’” and contrasting ethical positions. Thus, given the multiplicity in terms of what is considered as that which matters, and the contrasting ethical positions that are at odds with each other, conflict and tension can be generated. There are no other studies in the literature that use the abovementioned communication ethics perspective for discussing the Gezi Park protests in Turkey. (shrink)

The rapid change in the world after the Enlightenment not only brought about revolutionary scientific and technological innovations, but also opened the door to important transformations in the context of thought. Especially with the wind created by the French Revolution, some concepts such as equality, fraternity, and justice, which were already in circulation before, came to the fore even more. One of the concepts that was magnified in this process was freedom. The concept manifested itself in philosophy as an (...) understanding of free will against the idea of determinism, and in politics as independence against oppressive governments. Since the day it was addressed as an independent topic, it has attracted attention with its different types and aspects, including freedom of the press, freedom of thought, freedom of expression, freedom of religion and conscience. We see that the intellectual adventure of the Western world in the last two centuries has been shaped around these concepts. The libertarian attitude, which at first manifested itself as a rebellion against religious and secular authorities, was later driven to extremes that saw itself as independent from all moral and social norms. These debates were inevitably reflected in the field of theology, and topics such as the position of the will of man against God’s will, fate and the problem of evil were reconsidered according to contemporary claims and objections. The atheistic tendencies that emerged in the Western world claimed that all religions deprive man of the possibility of being an active subject on earth and that a person who believes that all his/her actions are known and determined cannot be truly free. This point is actually one of several important issues that contemporary atheism raises against theism. These debates have also reached the Islamic world and the issue continued to be addressed with similar arguments. At its core, each of these claims rests on the assumption that Islam's conception of the human being leaves no room for individual freedom. Although the problem has different aspects such as fate and theodicy, one of the most striking aspects of the problem is the question of whether man has the right to reject Islam as well as the right to enter Islam by one’s own free will. It is important to answer this question. Because some practices from the early period of Islamic history and the assumptions that apostates should be killed according to certain conditions, which are accepted as an established jurisprudence in Islamic law, have provided important opportunities for anti-Islamic ideas and ideologies. This article shows how the issue has been dealt with in the classical literature, while at the same time suggesting solutions on how to approach the phenomenon of conversion today. In addition, the study will show that the issue is dealt with in the context of public security in the fiqh literature, and therefore, the current cases of conversion or apostasy do not fully correspond to the discussions in the classical period. (shrink)

This paper locates the work and critical reception of the experimental poet Lyn Hejinian within the emerging debates of ‘third-wave’ feminist critique. It centrally argues that Hejinian's writing at once illuminates and undermines the apparent tensions between a feminist and an anti-foundationalist critical position. It specifically focuses on Hejinian's use of autobiography, as at once gesturing to the limitations of the theoretically naive self-knowing subject, steeped in the discredited assumptions of modernity, and the continuing cultural validity of and desire for (...) narrative, identification, self-expression and referentiality. The paper argues that Hejinian's writing makes sense of this equivocation, not through its use of feminized tropes assumed to subvert the linear assumptions of the genre and render the reader ‘active’, but through an attention to the ironical complexities of her own cultural positioning. Hejinian's writing demonstrates how the representation of the postmodern feminist subject involves an attention to authoriality, to the possibilities of textual experimentation and to the cultural sites that legitimize the production of meaning for these things. Hejinian demonstrates not simply that feminism can reconcile a need for agency with a critique of agency, and that such an act needs to consider its collective implications, but that these kinds of claims actually require an engagement with the varied contexts that continue to make feminist's attention to literature meaningful. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments TO THE UGHTHOUSE AND THE FEMINIST PATH TO POSTMODERNITY by Bill Martin Postmodernity is in part the existence of an unprecedented space for feminism. Already in this formulation, however, we encounter two major terms that require explication. I will argue in this essay that Virginia Woolf's To the Lighthouse provides the basis for productively understanding postmodernism and feminism in relation to each other.1 The question of (...) placing feminism temporally has of course been raised before; I will simply mention two occasions. In Sexual/Textual Politics, Toril Moi argues for a kind of natural affinity of feminism with literary modernism's implicit critique of notions of the unified self.2 Here the comparison of Woolf with Joyce is appropriate. Moi moves from this perceived affinity toward the notion of écriturefeminine. Practitioners of the latter have been much more interested in Joyce than Woolf. Joyce, especially in Finnegans Wake, thoroughly shatters the self, reaching the highest expression of modernism. Woolf does something different. In To tL· Lighthouse, she not only decenters the subject, she also reconstitutes the subject. If Woolf had only reinstated the subject, as a matter of simply returning to the previous paradigm, then obviously her writing would have to be considered anachronistic. Though the affinity posited by Moi is real and useful (if made problematic by what seem to be real affinities that also exist between modernism and misogyny ), the force of another affinity can also be felt: in her deconstruction /reconstitution, Woolf achieves a writing that is both postmodern and feminist. The both/and relation here is itself a cultural creation, 307 308PHrLOSOPHY and Literature however, which points to the elective affinity involved in joining a particular politics with a particular artistic practice. The question is whether a political argument that does not avoid questions of artistic integrity can be marshaled to the task of showing that the affinity of feminism and postmodernism is more viable in the contemporary context than the affinity posited by Moi.3 Elaine Showalter, in her formulation of "women's time," raises the possibility ofanother kind of temporalized feminism. In "Feminist Criticism in the Wilderness," Showalter pursues the idea that there might be a time and space which women occupy without their location being known or knowable to men, and perhaps without women fully knowing it themselves.4 In short, this "time" is conditional and predicated upon a possible future in which people will remember and be more fully aware of their spatial/temporal context. I would propose that this same conditional and uncertain sense of time applies to postmodernism. For the very terms "postmodernism" and "postmodernity" connote a transitional period in which it is not certain how elements which are for the time being in flux will ultimately setde down and congeal. The "aftereffect of the "post" in postmodernity will be truly understood only in the longer run, if even then. Showalter takes it that there is a sense in which "women's time," the "Age of Feminism," is occurring right now, but in a concealed way. Again, something like this may be said of postmodernism. In either case there is the sense of creating artifacts for a future which may or may not exist. There is also the sense of permanent postponement or deferral which is integral to the very notion of "possibility." Add to these references the by now familiar postmodern and feminist criticisms of grand narratives that crush difference, and I think we are in possession of a set of basic issues common to both feminism and postmodernism: the nature of the self and its possible recreation, the question of periodization and our "time," problems of difference and questions of doing something different (in the latter case feminism is much more explicit about doing something different that is also emancipatory, though some forms ofpostmodernism stress this as well). Given these common concerns I simply want to set the new affinity as follows: postmodernism is a social and cultural atmosphere in which feminism and other emancipatory trends might flourish. In this context, To tL· Lighthouse is a trailblazing feminist-postmodern artifact. The project here is not to generate or force a postmodern reading (any more... (shrink)

"Permanent Things reminds us that some of the century's most imaginative minds - G. K. Chesterton, T. S. Eliot, C. S. Lewis, Dorothy Sayers, and Evelyn Waugh - were profoundly at odds with the secularist spirit of the age, seeing progressive enlightenment as ushering in, not a millennium of perfect freedom, but a Waste Land whose inhabitants - Waugh's "vile bodies," Eliot's "hollow men," Lewis's "men without chests" - can find refuge from their boredom and anomie only in the (...) ceaseless acquisition of things or in the consoling illusions of pseudo religions - "distracted from distraction by distraction," as Eliot memorably put it." "How does one explain the desolation of a world which, though richly endowed with material comforts, is mentally and spiritually impoverished? The essayists here are united, as were their subjects, by a need to try to answer this question. Modern man's poverty of spirit, visible alike in so much of his art and architecture, his literature and philosophy and political science, reflects his loss of any good reasons for living - his loss of the Permanent Things." "The Christian writers whose work is eloquently interpreted in this book repay our attention for at least two reasons. First is their ability to sharpen our awareness of what, by any previous civilized standards, must be called the abnormal condition of modern man. For all the writers treated in this book, it was never enough to simply capture the spiritual aridity of modern life. It was also necessary to speak of a moral order that may yet be restored by the expressive power and beauty of the written word."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

This paper suggests the democratic direction in which the right of freedom of expression should be conceived and applied. In the first two sections it suggests some counter-examples to, and diagnoses of, the libertarian and liberal conceptions of freedom of expression, taking Scanlon (1972) and Scanlon (1979), respectively, to be their chief proponents. The paper suggests that these conceptions cannot take into account clear examples, like fraudulent propaganda, which should not be legal. The democratic conception takes it to (...) heart that the pillars upon which the right of freedom of expression is founded are individual and collective autonomy, the right to know facts of public interest and information necessary for effective democratic control of government. The paper suggests that in a time when private powers seriously threaten these pillars, it is correct for the government to step in to provide the framework in which genuine discussion geared toward fulfilling the objectives of these pillars can take place. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Psychiatric Hospitalization—Bridging the Gap Between Respect and ControlPaul P. ChristopherIntroductionThis issue of Narrative Inquiry in Bioethics offers varied and somewhat unique perspectives on the experience of psychiatric hospitalization. This commentary highlights a number of salient themes that emerge from reading these essays and attempts to explore how they relate to the broader academic literature on psychiatric hospitalization, particularly with regard to ethical considerations. In reading these narratives, each (...) several times, I was repeatedly struck by the courage required of the authors, both to share their stories publicly and to endure the challenges that the writing process no doubt demanded of them—revisiting and suspending themselves in deeply emotional and, at times, traumatic experiences in order to share the most compelling narrative. Their hard work clearly paid off—the stories are at once intimate and indelible. Still, in many instances, I found myself wanting to know more; to enter the story and sit with the individual through these events; to ask what they were thinking or feeling in a particular situation; to see and hear the world in which they found themselves. Such is the nature of good story telling—the reader, left with the lingering vision created in his mind, turns over the last page, eagerly hoping for more.Narrative ThemesI. Loss of Autonomy or ControlPerhaps the most notable theme had to do with the loss of control or freedom that followed from hospitalization. On first consideration, it may seem odd that this issue appears so often since patient autonomy constitutes one of the fundamental principles of medical ethics. Only under specific circumstances—e.g., when there is a risk of imminent harm—may autonomy be curtailed, and even then only to the extent that is minimally necessary. Yet, as these narratives highlight, there are a multitude of ways in which psychiatric hospitalization engenders actual or perceived restrictions in freedom (Newton-Howes & Mullen, 2011).Consistent with prior research (Goodwin et al., 1999), many of the authors describe a fear or the actual experience of not being able to leave the hospital freely, even when the admission seems to have been voluntary. For example, one writer worries, “I was so afraid that if I ever went ‘in,’ I would never get ‘out’... I thought I would never taste freedom again... alive.” Another describes:When it came time for my possible discharge they told me that I might not get discharged because I was ‘acting up the previous evenings.’ My anxiety level at this point went through the roof. The only reason I was discharged was because my father knew some politicians. If not [End Page 29] for him I would have been a patient there for perhaps years and my life would have been ruined.A third gives this example: “When I asked to sign the form to leave after three days, [the psychiatrist] told me if I did that she would have me committed.” Another writer fears not having any control of how the psychiatrist might approach the treatment: “... I was totally vulnerable... would the doctors blame me, drug me, shock me, kill me?”Somewhat surprising, however, was the fact that so few of the narratives take issue with the decision to hospitalize. This omission is especially striking in light of the fact that prior reports consistently note that a substantial minority (up to nearly half) of voluntarily admitted patients nevertheless experience their admission as coerced (Bonsack & Borgeat, 2005; Hiday et al., 1997; Katsakou et al., 2010; Rogers et al., 1993; Sheehan & Burns, 2011). Because many of these narrators had been hospitalized more than once, the relative absence of expressed resistance to being hospitalized seems strange, particularly when earlier hospital experiences or their aftermath are often described as negative. For example, one individual characterized the time after being released from the hospital as, “My sense of self was questioned. I felt as if I lost my soul.” Another put it this way:When I got out of the private hospital, I felt like my soul had been ripped out of me. I felt like I had a gaping hole in the center of my body... I felt psychically raped, dazed, and confused.Given these... (shrink)

The approach of the European Court of Human Rights to cases of religiously offensive expression is inconsistent and unsatisfactory. A critical analysis of the Court’s jurisprudence on blasphemy, religious insult and religious hatred identifies three problems with its approach in this field. These are: the embellishment and over-emphasis of freedom of religion, the use of the margin of appreciation and the devaluing of some forms of offensive speech. Nevertheless, it is possible to defend a more coherent approach to the (...) limitation of freedom of expression under the European Convention of Human Rights, designed to protect religious liberty in a narrower category of cases. (shrink)

Religious tensions in America, as well as abroad, are nothing new. Yet, in this current epoch various cultures around the world are involved in internal clashes between religious and secular groups that pull at the attention of the public more often than not. Though a myriad of issues confront anyone interested in investigating these tensions, one must first wonder what, exactly, blasphemy means to both sides of the debate. In the course of doing so, one interesting question arises: What does (...) it mean to consider speech against a secular group’s belief in a given object, text, or even another belief as blasphemous? The point of this paper is to inquire into the semantic status of blasphemy. First, I will outline various possible definitions of blasphemy and take into consideration what such definitions mean to those on the opposite side of the fence . Second, I will explore how extending such a definition to both parties would change the semantic landscape of the current cultural debates. Last, I will propose a modest solution to how one should view issues surrounding blasphemous speech and the freedom of expression. (shrink)

The body, touch and its sensations are present, sometimes viewed in contradictory ways, both expressed, visualized, and rejected, in early modern art and literature. In seven essays moving from the 16th to the mid-18th century, and from Italy and Spain to France and Sweden, this volume explores strategies used by early modern women poets, philosophers, and artists in order to create subversive expressions of the body, gender and the senses. Showing how body and soul, the carnal and the divine, (...) the senses and the mind, could be represented as intertwined and dependent on each other in various ways, it gives due attention to European women writers and artists that in unconventional ways responded to the period's two main intellectual and philosophical attitudes - Epicurean and Stoic - towards the body and its senses. These attitudes not only intersect in the period's discussions of virtue and other moral phenomena, but are central to critical assessment of the relations between emotions, perception, and reason. By following this topic from a gender perspective, the book highlights other forms of subjectivity than the ones usually related to the early modern period's dominating subjectivation of female bodies, thinking and desires. (shrink)

Place is sometimes understood as reinforcing personal and cultural identity in the face of dissipating versions of modernism or postmodernism. However, that identity can also come with a variety of cultural neuroses and manias that are inscribed on place. I consider the ways in which terrorism has become a feature of place, and how we can expect to see the terror of the place in the future. First, we can expect a relative diminishment in 'place-making imagination', the ability to see (...) places as rich, ambiguous, and multi-purposed. Second, we can expect the terror of the place to exhibit itself as an inability to come to terms with the other. Third, we can expect the continuation and development of a triumphalist narrative of place, including a sense of entitlement. Fourth, we can anticipate the death or the fear of the agora, the true 'agoraphobia', as the public space of discourse is closed down, and the private space of patriarchally enforced agreement gains ascendancy. Fifth, we can expect people to regard specific places as having fixed and permanent meanings, and to try to constrain those meanings in such a way as to guarantee that permanence. Sixth, we can expect topophobia, not only the fear of place but also stage fright, as the expression of self on the world stage becomes more and more limited and narrowly focussed. And seventh, we can expect a re-assertion of memory of place, perhaps with a shifted baseline, as the places of terror become exhausted. We can furthermore expect all of these phobias and manias to be rationalized as virtue in a society that cannot deal with the terror of the place. (shrink)

One of the most distinctive features of Fear and Trembling is Kierkegaard’s use of narrative variations in order to isolate, develop, and highlight the relevant features of his principal theme, the story of Abraham and Isaac, especially Abraham’s final test of faith. The book begins with a preface and ends with an epilogue; immediately within these, Kierkegaard has his pseudonym, Johannes de Silentio, provide such variations in the “Attunement” or Stemning, just following the Preface, and in Problema III, just before (...) the Epilogue. What is the purpose of these narrative variations? How are they intended to prepare the reader to understand Abraham? How, in short, do they clarify the nature and difficulty of faith? I argue, on the basis of the account of "mood" given in Concept of Anxiety, that the variations of the Attunement function to modulate the "mood" of the work by converting a fixed narrative into a possibility field, thereby giving the work a mood of anguish or anxiety rather than a detached or scholarly mood, while the variations of Problema III function to callapse this mood into interested admiration. I conclude with some remarks about what this suggests for a reader that wishes to "go further" than Johannes de Silentio. (shrink)

This note announces the launch of a research project at the Vrije Universiteit Brussel with the generous support of the Carlsberg Foundation and guidance from Prof. dr. Frederik Dhondt. The project explores the early steps of one of the most dynamic and debated branches of international law, namely the law of the sea. It focuses on the interactions between the principle of the freedom of the sea, maritime neutrality and small powers’ diplomacy in the long eighteenth century. Analysing the (...) rich archival material conserved in the French Ministry for Foreign Affairs – series Mémoires et documents, Correspondance politique – as well as the Danish National Archives, or Rigsarkivet, the project aims at the construction of a rich narrative of multiple uses of the law of the sea as an argumentative political-legal framework to express state and private interest. By a close reading of largely unexplored sources, the project contributes to the broader turn to state practice in the history of international law, a booming field of interdisciplinary research. (shrink)