У статті аналізується внутрішній діалог людини з позиції визначення ознак філософського мислення, що здійснюється у станах як кризи, так і щастя. Мета дослідження зумовила вибір тексту, а саме – давньоєгипетського письмового джерела «Розмова розчарованого зі своїм Ба» (ХХІІ–ХХІ ст. до н. е.), в якому зафіксовано внутрішній діалог, і який є одним з перших філософських творів в історії людства. Особлива увага приділяється розумінню рефлексивного мислення античними філософами і сучасними дослідниками. Показано, що повсякденне рефлексивне мислення відрізняється за своїми структурою та властивостями від (...) рефлексивного філософського мислення, яке задає межі рефлексії та ставлення до себе та дійсності. Із виходом з кризи, воно стає звичкою запитування про алгоритм, мотив, призначення та межі застосування отриманих висновків, яка робить відповідь підґрунтям нового питання, що динамічно стверджує людину в набутому стані евдемонії та атараксії. (shrink)

Purpose. The study is aimed at considering self-reflection through an analysis of the features of internal dialogue in ancient texts in order to identify signs of human’s mythological and philosophical thinking. Theoretical basis of the work is the contemplation of a person’s self-reflection in the context of his internal dialogue, through which his own human existence, his subjective and creative comprehension of the world manifest. New meanings are created and shared with others in this mental space, in (...) particular, in crisis periods of personal and social life. Therefore, the ancient Egyptian vision of man’s nature, consciousnesses and dialogism of the Self is viewed through the prism of modern philosophical concepts and as the basis for the emergence of a philosophical worldview itself. Originality. The analysis from the viewpoint of the philosophical anthropology in the text "The Dispute of a Man with His Ba" showed the opportunity of considering it not only in the context of internal dialogue, but also as a confirmed internal dialogue, which expresses itself in external speech. Comparing the mythical thinking of a man in his cohesiveness with others and the philosophical thinking of a dialogical Self, the authors come to the conclusion that it is necessary to distinguish between internal dialogues with oneself and with the introjects of others, which can be either Double or Interlocutor. It has been revealed that internal dialogues in ancient times played an important role both in structuring social chaos and in overcoming personal crisis states. This is precisely from such self-reflection that philosophy emerges as a certain discourse and a new type of thinking. Conclusions. The analysis of the text "The Dispute of a Man with His Ba" speaks about the emergence of philosophical discourse in the XXII-XXI centuries BC, on the basis of which we can conclude concerning the earlier, in comparison with K. Jaspers’s definition, the transition of mankind from the cognitive revolution to a new phase of the development. (shrink)

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

This paper summarizes Ervin Laszlo’s worldview in The Systems View of the World: A Holistic Vision for Our Time.1 Laszlo claims that current discoveries in the sciences have led to a different model of the physical world, human nature, and human culture. Instead of the models formulated during the Enlightenment, according Systems thinkers “systems interact with systems and collaboratively form suprasystems”. This view has led to a reexamination of: 1) each academic discipline; 2) the relationship between disciplines; 3) the (...) nature of theory and its relation to practice; 4) the relationship between religion and the sciences; 5) of the nature of the social sciences and our ability to develop a universal, normative ethic; 6) the relation between reasoning, emotion and imagination. The evolution of the reflective self-consciousness unique to homo sapiens has led to the formation of cultures. Cultures must be understood assuprasystems that emerged from natural systems and are dependent upon them. Given this universal natural foundation, systems thinkers are recognizing the common patterns between nature and culture and between different cultures. The examination of systems has also shown us that the suprasystems of culture create a level of complexity and reality over and above the natural world and can even destroy themselves and their own natural foundationFrom the perspective of the ISUD, this view means it is possible, natural, and necessary for academics to engage in meaningful dialogue with each other, showing how the ways they have been trained to examine “reality,” or “truth,” can be integrated. Further, professional academics should be able to talk to non-academics, to people in leadership roles, and to all human actors. Since it is a fact that individuals are parts of many larger wholes, the ISUD can nurture the process of the development of reflective self-consciousness in the formation of an international culture, an emerging suprasystem.Laszlo calls this sphere of spiritual interaction, with its physical foundation, a noosphere, his word for a “meeting of the minds.” Given our collective destruction of natural systems, it is imperative that human beings develop some version of a Systems view of reality. ISUD should work to foster this development, even though the professional training of individuals will call the process by other names, based on the labels of the past. (shrink)

There are striking differences between the scientific theoretical description of the world and the way it seems to us. The consequent task of relating science to ’the world we live in’ has been a problem throughout the history of science. But have we made this an impossibility by how we formulate the problem? Some say that besides the successive world-pictures of science there is the world-picture that preceded all these and continues to exist by their side, elucidated by more humanistic (...) philosophers. Wilfrid Sellars codified this conviction in his dichotomy of scientific image and manifest image. Others say that all our world-pictures are transient, evolve, conflict with and replace each other, undergo violent revolutions as well as periods of normal development, and may be incommensurable, allowing of no meaningful dialogue. All such formulations may themselves be tendentious metaphysics, full of false contrasts. Insistence on a radical separation between science and what we have apart from science, on the impossibility of accommodating science without surrender, may be a way of either idolizing or demonizing science rather than understanding it. (shrink)

The editor suggested my writing an article on the question whether it was possible to provide an ethics based upon principles which would be agreed to by all enlightened men, and he further suggested that I should begin the article by stating clearly what morality is. That is a somewhat difficult task, because while “morality” might be defined as “living as one ought,” it is a very disputable question whether and how this “ought” is itself to be defined, and I (...) could not undertake to deal with this question by the way as an introduction to an article on something else. It is, however, clear that there is another sense of “ought” besides the strictly moral sense. We do use the term in cases where it does not entail that a man is neglecting his moral duty if he does not do what he “ought.” For instance we say: “You ought to have seen that film,” “You ought not to have made that move,” “You ought to have seen through that argument,” even “Hitler ought to have invaded England after Dunkirk” where we should have regarded it as the reverse of a good thing if he had done what we say he ought. In none of these cases are we asserting a moral obligation. For we do not ordinarily regard people as under a moral obligation to seek their own pleasure, nor to make certain moves in a game, and while we should say that in matters of serious concern a person is morally obliged to do his best to form a true view as to the merits of a relevant argument, we should not say that he was morally obliged actually to form a true view, for this does not depend solely on his will. And in the fourth instance the action is one which we should think morally wrong rather than morally obligatory. What is there in common between “ought” as used in these cases and the moral “ought”? It is that in each case the action fits the situation, either wholly, or with certain limitations, as in the last instance where we presumably mean that to invade England would have fitted in better with Hitler's ends in the given environment than did the policy Hitler actually adopted. (shrink)

With the advance of COVID-19 in the world, it is necessary to reflect on how the different realities influence the processes of advancement and containment of the impacts generated from the pandemic. Guinea-Bissau, being a country that has been recording military coups since 1980, has become a vulnerable country in all respects. The vulnerability of the country is so great that structural reform has not been possible in the state apparatus since its independence from the yoke Portuguese in 1973; (...) in this way this Democratic Republic is economically dependent on its international partners even for the implementation of its general state budget. With cashew nuts as the main and almost only product that moves the economy, the country has seen the needs and demands of the population worsen with the arrival of the new coronavirus, thus having the increase in the expenses of families in acquiring food and hygiene products to cope with the disease, in view of the economic weakness of its citizens. This article aims to analyze the sociopolitical processes that influence the management of the pandemic in Guinea Bissau. Its work methodology is a review of literature obtained through scientific journals and portals. It was observed in this path the need for training of new professional staff and greater investment in the structure, both economic and health, so that we can manage moments of crisis as faced. This will only be possible through the alignment between state and civil society around a participatory and supportive development project. (shrink)

Martin Heidegger’s sustained reflection on Greek thought has been increasingly recognized as a decisive feature of his own philosophical development. At the same time, this important philosophical meeting has generated considerable controversy and disagreement concerning the radical originality of Heidegger’s view of the Greeks and their place in his groundbreaking thinking. In Heidegger and the Greeks, an international group of distinguished philosophers sheds light on the issues raised by Heidegger’s encounter and engagement with the Greeks. The careful and nuanced (...) essays brought together here shed light on how core philosophical concepts such as phenomenology, existentialism, hermeneutics, and ethics are understood today. For readers at all levels, this volume is an invitation to continue the important dialogue with Greek thinking that was started and stimulated by Heidegger. Contributors are Claudia Baracchi, Walter A. Brogan, Günter Figal, Gregory Fried, Francisco J. Gonzalez, Drew A. Hyland, John Panteleimon Manoussakis, William J. Richardson, John Sallis, Dennis J. Schmidt, and Peter Warnek. (shrink)

Addressing Merleau-Ponty's work Phenomenology of Perception, in dialogue with The Visible and the Invisible, his lectures at the Collège de France, and his reading of Proust, this book argues that at play in his thought is a philosophy of “ontological lateness”. This describes the manner in which philosophical reflection is fated to lag behind its objects; therefore an absolute grasp on being remains beyond its reach. Merleau-Ponty articulates this philosophy against the backdrop of what he calls “cruel thought”, a (...) style of reflecting that seeks resolution by limiting, circumscribing, and arresting its object. By contrast, the philosophy of ontological lateness seeks no such finality-no apocalypsis or unveiling-but is characterized by its ability to accept the veiling of being and its own constitutive lack of punctuality. To this extent, his thinking inaugurates a new relation to the becoming of sense that overcomes cruel thought. Merleau-Ponty's work gives voice to a wisdom of dispossession that allows for the withdrawal of being. Never before has anyone engaged with the theme of Merleau-Ponty's own understanding of philosophy in such a sustained way as Whitmoyer does in this volume. (shrink)

The recently developed technique of Bohrification associates to a (unital) C*-algebra Athe Kripke model, a presheaf topos, of its classical contexts;in this Kripke model a commutative C*-algebra, called the Bohrification of A;the spectrum of the Bohrification as a locale internal in the Kripke model. We propose this locale, the ‘state space’, as a (n intuitionistic) logic of the physical system whose observable algebra is A.We compute a site which externally captures this locale and find that externally its points may (...) be identified with partial measurement outcomes. This prompts us to compare Scott-continuity on the poset of contexts and continuity with respect to the C*-algebra as two ways to mathematically identify measurement outcomes with the same physical interpretation. Finally, we consider the not-not-sheafification of the Kripke model on classical contexts and obtain a space of measurement outcomes which for commutative C*-algebras coincides with the spectrum. The construction is functorial on the category of C*-algebras with commutativity reflecting maps. (shrink)

This article explores the extent to which the decision to invade Iraq in 2003 coheres with the normative precepts of liberalism as an international political theory. Beginning with a Lockean liberal theory of the state, this article first examines the evolution of international liberalism in order to identify the fundamental normative postulates of liberal theory as it pertains to international relations, especially regarding the use of military force. The article then advances two interrelated arguments: First, that the underpinnings (...) of the decision to invade Iraq embodied in the Bush Doctrine draw heavily from the liberal tradition, though still depart from it in important ways. Second, that the Bush Doctrine as manifested in the Iraq war reflects in many ways the liberal thinking that prevailed during the interwar years and is therefore susceptible to a similar charge of ‘utopianism’ that was leveled against interwar liberalism by E. H. Carr in his Twenty Years' Crisis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Something Breaks Through a Little”: The Marriage of Zen and Sophia in the Life of Thomas MertonChristopher PramukThe fact that you are a Zen Buddhist and I am a Christian monk, far from separating us, makes us most like one another. How many centuries is it going to take for people to discover this fact? 1Though Merton’s “turn to the East” began well before Vatican II would turn the (...) eyes of Roman Catholics toward the ecumenical and non-Christian world, its fruits would not generally appear in published form until after the Council. In works such as Mystics and Zen Masters (1967) and Zen and the Birds of Appetite (1968), Merton spends much labor correcting caricatures of Eastern spirituality prominent in the West, especially in the American counterculture. These remain vital texts today because they give us the mature Merton at his best, pressed to the limit of discursive communication on vexatious systematic and epistemological problems—and this after more than a decade of reflection and growth with respect to interfaith dialogue. Indeed, brilliantly realized essays such as “The New Consciousness” and “A Christian Looks at Zen” reveal Merton to be much more “conservative” than conservative caricatures make him out to be, and much more “liberal” than most progressives. Merton writes with the authority of a committed Christian immersed in serious dialogue, with all its challenges and risks, and not just as one who talks about it.Few serious students of Merton’s life and writings—whether inspired by his universal scope of vision or scandalized by it—would dispute that his conception of the divine changed as he allowed deeper encounters with Eastern traditions to interrogate his faith. What is less commonly understood, however, is how closely Merton’s engagement with Zen corresponded with his internalization of a deep thread in the Christian East, namely, the Sophia tradition of Russian Orthodoxy, or “sophiology” as known in its speculative form, associated with thinkers such as Vladimir Soloviev (d. 1900), Sergius Bulgakov (d. 1944), and Paul Evdokimov (d. 1970). What attracted Merton to these thinkers was their recasting of the Christian narrative of salvation in the boldest imaginative and metaphysical terms; from biblical, patristic, and modern philosophical sources they had fashioned a “positive theology,” a theology brimming with content. Though Merton himself would never develop a formal [End Page 67] sophiology, his internalization of Russian imagery is amply evidenced in journals, letters, notes, and in seminal works such as The Behavior of Titans (1961), The New Man (1961), and New Seeds of Contemplation (1961). The prose poem Hagia Sophia (1962), still one of Merton’s most understudied and “secret” works, is by far the most realized, lyrical, and daring of his meditations on the Wisdom figure of Sophia.In this article I wish to suggest that the striking “coincidence” of Zen and Sophia in Merton’s life during the late 1950s was not merely a coincidence, but hinged in part on epistemological difficulties he was wrestling with in the midst of radically shifting cultural, ecclesial, and political horizons. While in one sense the irruption of Sophia into Merton’s consciousness in the late 1950s was just one thread woven into the larger mosaic of his “turn to the world,” it was, I believe, the golden thread that helped him to hold the fabric together, ever more centered in Christ. In other words, this “bringing together” of apparent opposites does not end with epistemology. What emerges in Merton’s concurrent study of Zen and Russian sophiology is a kind of “story-shaped” Christology, a story told through the life of Merton but haunted more and more by the mysterious figure of Sophia.2Nondualism: A Zen and Ancient Christian “Way of Seeing”In a letter dated March 12, 1959, Merton introduced himself to Zen scholar D. T. Suzuki, then known worldwide for his gift for translating the teachings of Zen Buddhism to the West.3 After receiving a warm reply and some poems from Suzuki, Merton wrote a second letter. His tone is warm and forthright, written as one might address a respected mentor or a long-time friend. What is most striking is the intimacy with which... (shrink)

In an effort to reassess the status of Phenomenology of Perception and its relation to The Visible and the Invisible, this essay argues that Merleau-Ponty's engagement with Husserl's text and his discussion of the “field of presence” in La temporalité are intended to think through the field in which time makes its appearance as one of passage. Time does not show itself as presence or in the present but manifests itself as Ablauf, as lapse or flow, an écoulement that (...) is simultaneously an explosion, an éclatement. Merleau-Ponty's account of temporality in these pages is thus legible as recovering the primordial experience of time as a self-differentiating déhiscence in its dual power of articulation and erosion. Time is thus simultaneously the vehicle of the world's appearance and of its “disarticulation”, the passage of a rhythm of affirmation and disintegration. Merleau-Ponty's account of temporality in Phenomenology of Perception is oblique, somewhat fragmentary and circuitous.11 References to Merleau-Ponty's works cite the French followed by the English translation. I will use the abbreviation PhP for Phenomenology of Perception and VI for The Visible and the Invisible. Other texts by Merleau-Ponty will be referenced by the title. References to Husserl and Heidegger use the German followed by the translation. I will use the abbreviations ZB for the Zeitbewußtsein lectures; FT for Formale und transzendentale Logik; EU for Erfahrung und Urteil; and SZ for Sein und Zeit. View all notes While of course this phenomenon comes under close scrutiny in La temporalité, a brief inspection of this text as a whole finds it to be virtually everywhere.22 The theme of temporality is introduced as early as the Preface to Part I, “Experience and Objective Thought” and appears again in almost every subsequent chapter: the first chapter of Part I ; in his discussion on number blindness and Goldstein's patient known as Schneider in La spatialité du corps et la motricité ; in the sexuality chapter ; in the discussion of memory in La corps comme expression et la parole ; in Le sentir ; in the discussion of depth in L'espace ; in La chose et le monde naturel ; in Autrui et le monde humain and in Le cogito. Rather than providing the perhaps much called for synopsis of these scattered accounts of time or trying to locate a unified account in Phenomenology of Perception through such a synopsis, this essay will focus only on La temporalité, particularly the discussion of Husserl's diagram from the Zeitbewußtsein and the “champ de présence”. View all notes It is this apparent ubiquity that will motivate scholars such as Renaud Barbaras to claim that “… the entire structure of Phenomenology of Perception rests on a chapter devoted to temporality”.33 Barbaras The Being of the Phenomenon, 218. View all notes In spite of this ubiquity and apparent centrality, however, the treatment of temporality seems to neglect a systematic and thoroughgoing approach, and whether this work manages to address this theme with a sufficient degree of rigor remains open to debate. Furthermore, beyond the scattered and fragmented appearance of temporality in the text, the chapter devoted to its exploration contains numerous, well-recognized problems.44 Merleau-Ponty's misinterpretation of Bergson in this chapter has received much warranted attention. Alia Al-Saji, for example, has criticized Merleau-Ponty's account of temporality in this chapter of Phenomenology of Perception for this misreading as well as its perhaps too uncritical infatuation with Husserl and his emphasis on presence. See Lawlor Thinking Through French Philosophy, Al-Saji “The Temporality of Life” and “A Past Which Has Never Been Present” and Barbaras “The Turn of Experience”. View all notes Among these difficulties, Merleau-Ponty's engagement with Husserl's lectures on time-consciousness, the Vorlesungen zur Phänomenologie des inneren Zeitbewußtseins,55 The 1928 publication of the Zeitbewußtsein, edited by Heidegger, is what appears in the bibliography of Phenomenology of Perception. This version, from the Jahrbuch für Philosophie und phänomenologishe Forschung, as Brough notes, appears as “Part A” of Husserliana X. The notes that constitute this version of the text, furthermore, as Heidegger mentions in his preface to the Jahrbuch version and which Brough repeats were heavily edited by Husserl's assistant at the time, Edith Stein. Merleau-Ponty's references to the Zeitbewußtsein cut across various moments of the text and do not focus on one section in particular, and in fact, he actually references section 11, “Urimpression und retentionale Modifikation”/“Primal impression and retentional modification” in his discussion of the field of presence. As Al-Saji has noted, the extent to which Merleau-Ponty's account of time in La temporalité centres the account of time on “the living present” can be shown to be at play behind the misreading of Bergson. While I do not wish to dispute the specifics of her compelling reading, it is nonetheless worth noting that Al-Saji's reading of the Zeitbewußtsein only focuses on Appendix V, “Gleichzeitigkeit von Wahrnehmung und Wahrgenommenem”/“Simultaneity of Perception and the Perceived”. View all notes looms large, as it seems that his discussion of what he designates as le champ de présence or “field of presence” commits him to the ontological primacy of the present in his account of time. As a result, this earlier work appears to confine itself to a metaphysics organized around the privilege and authority of the present in establishing the structure of time.66 Leonard Lawlor has convincingly argued against this interpretation. Following the famous remark at the end of Le Sentir about “a past which has never been present”, Lawlor argues that precisely because Merleau-Ponty's critique of Bergson is a straw man – that is, because his critique of Bergson is based on a misreading – a closer inspection of Le Sentir and La temporalité shows Merleau-Ponty to be committed to the ontological primacy of an “originary” past. See Lawlor Thinking Through French Philosophy, 89. Marratto, following Lawlor, takes up the charge of a metaphysics of presence in Phenomenology of Perception in dialogue with Derrida. Marratto argues that Derrida's reading selectively overlooks “the very imporant dimensions of difference, discontinuity, and delay and non-self-presence in Merleau-Ponty's descriptions”, located particularly in the latter's theory of subjectivity. I agree with Marratto's assessment, and my aim here is to deepen it by turning in more detail to La temporalité. View all notes This apparent commitment to the ontological primacy of the present, for some readers, has also functioned as an index for tracking the revision of Phenomenology of Perception that is said to figure in The Visible and the Invisible, where a metaphysics of the present is replaced with a commitment to the primacy of an original past, signalling a significant break in the development of Merleau-Ponty's thought.77 This has bearing on the debate mentioned above as the question of temporality and Merleau-Ponty's evolving relationship with Bergson are also cited as part of the index for tracking the differences between Phenomenology of Perception and The Visible and the Invisible. What we see, according to this reading, is Merleau-Ponty move away from a more strictly phenomenological orientation of Phenomenology of Perception, an orientation that is said to adversely mediate his early, critical stance with respect to Bergson, toward a progressively less Husserlian and more Bergsonian stance in The Visible and the Invisible. While he does not specifically address Merleau-Ponty's engagement with Bergson, Marratto's reading also places a special emphasis on the significance of the past, specifically Merleau-Ponty's reference to a “past which has never been present”. It is also not my intention to enter into the question of Merleau-Ponty's relationship with Bergson. Rather, I will restrict my remarks specifically to Merleau-Ponty's engagement with Husserl and the Zeitbewußtsein in La temporalité in order to show that there are grounds for at least questioning one of the premises of the interpretation mentioned above, namely that Phenomenology of Perception is unequivocally legible as committed to the ontological primacy of the present. As will become clear later in the essay, I also dispute interpretations that would place the emphasis on the ontological primacy of an original past. For my own views on the significance of a “past which has never been present”, see Whitmoyer “The Primary Silence of the Past”. View all notes In considering the manner in which the Zeitbewußtsein figures in La temporalité and Merleau-Ponty's discussion of the field of presence, it will do to think about the parameters in which his engagement with Husserl is staged more generally. It seems that Merleau-Ponty never considered his task in terms of the perhaps false alternative of fidelity and heresy, because “any commemoration is also a betrayal”, and because the task of the interpreter is, as he famously notes, thinking through that “unthought-of element … which is wholly his [Husserl's] and yet opens out on something else”.88 Merleau-Ponty, Signes, 203/160. This methodological dictum is developed in more detail in the notes to the course offered on Husserl's Origin of Geometry in 1959–1960. “We are saying not that Husserl was that, but that Husserl was not only what they say, was also another, bearer of an unthought”. View all notes Following Merleau-Ponty's own indications, we could suggest that Husserl's text, rather than a source of orthodoxy, functions as a point of orientation through which Merleau-Ponty marks out his own theory of temporality.99 I will not, therefore, address the question of the “accuracy” of his interpretation of Husserl because, according to Merleau-Ponty himself, this question presupposes that the author, in this case Husserl, has a privileged access to his thought, as if there is some kernel or essence of what a philosopher thought that interpreters can either get right or wrong. As the remarks in “The Philosopher and His Shadow” make clear, interpretation can never really avail itself of this presupposition and in this manner the question of accuracy is precisely the wrong question. View all notes This essay argues that his discussion of the Zeitbewußtsein in Phenomenology of Perception does not offer an account of time that “centers around the living present”, as some have argued,1010 Al-Saji “A Past Which Has Never Been Present”, 42–44. View all notes but that the discussion of the field of presence and what follows are rather intended to account for the field of temporal phenomenalization – not as a presence – but as écoulement, passage and flux. Time, therefore, does not appear in the present or as presence, but manifests itself as a flow and movement that is simultaneously an éclatement, an eruption, and a self-differentiating “dehiscence”.1111 A favorite word of Merleau-Ponty, borrowed from botany, where it designates the splitting open of a seed-pod or flower as well as medicine, where it refers to the splitting open of a healed or partially healed wound. The idea here is that, in its flow and passage, time splits open in a process of differentiation – which is simultaneously a process of degeneration, decay, and what Merleau-Ponty will term in The Visible and the Invisible, “disarticulation”. View all notes Time's passage is not determined, organized and oriented in advance in accordance with a transcendental synthesis that would give it shape and form, privileging one temporal dimension over another, so much as it is understood in terms of a splitting open, or to use another favoured locution of Merleau-Ponty, a “deflagration”.1212 In Eye and Mind, Merleau-Ponty speaks of the “deflagration of being”. Metaphors of explosiveness and dissonance populate his attempt to think being otherwise than as structure, form, and stability. Here I will focus particularly on écoulement, flux and éclatement, eruption, because these are the terms he uses in his discussion of time in La temporalité. See Merleau-Ponty L’Œil et l'esprit, 64/369. View all notes To this extent, Merleau-Ponty's account of temporality in Phenomenology of Perception cannot be said to orient itself in terms of the ontological primacy of any one temporal dimension – past, present, or future – but is more accurately understood as an attempt to recover the primordial experience of time as the simultaneity of écoulement and éclatement – an account that thinks time in its dual power of phenomenalization and erosion, the “pulse [pulsation] of my existence, its systole and diastole”.1313 Merleau-Ponty PhP, 337/332. View all notes Time is the vehicle of the world's appearance, and at the same time of its “disarticulation” [désarticulation],1414 This is a term Merleau-Ponty uses in The Visible and the Invisible in a well-known working note entitled “ Transcendence – forgetting – time”. See Merleau-Ponty VI, 247/197. View all notes the vehicle through which “becoming” – rather than being – shows itself. This process of phenomenalization, precisely because it is temporal, never achieves the density of fully realized being – the sense of this becoming is never fully articulate – but is perpetually subject to a temporal erasure that necessitates its repetition and reiteration. Time, in other words, is the principle of the world's eloquence – it is that thanks to which things have and make sense and simultaneously the principle of the world's murmuring stutter, the principle through which the sense of things remains incomplete and even erodes, decays, and degenerates. To begin, I will turn to Merleau-Ponty's reading of Husserl's diagram from the Zeitbewußtsein, which opens his attempt to “arrive at authentic time”.1515 Merleau-Ponty PhP, 477/483. View all notes Rather than simply rehearsing Husserl's discussion of primal impression, retention and protention, Merleau-Ponty's analysis of the diagram provides an opportunity for raising two problems: the problem of time's representability and the problem of its synthesis. Rather than through an “act intentionality” carried out by a transcendental subjectivity, time appears in accordance with an “operative intentionality” always already under way. Turning to the section of La temporalité aptly entitled “Passive Synthesis”, we see that Merleau-Ponty's analysis of the diagram leads him to the paradox of passive synthesis and what he calls, following Husserl, “transition synthesis”. Time does not show itself punctually – time appears neither as presence nor in the present – but only in the dual movement of its flux, its écoulement, and its éclatement, its explosive, self-differentiating unfurling. These reflections, finally, bring Merleau-Ponty into dialogue with Heidegger on what the latter called the Zusammenhang des Lebens. The “unity of a life”, accordingly, is not a question of any “resolution”, but is a function of our immersion in this temporal dehiscence. The important lesson to be learned from Merleau-Ponty's engagement with Husserl's Zeitbewußtsein is not something about the ontological primacy of one temporal dimension over another but what Merleau-Ponty famously calls in The Visible and the Invisible the “passivity of our activity”1616 Merleau-Ponty VI, 270/221. View all notes and our immersion in time's power of disarticulation. (shrink)

In the 1940s and 1950s _The Review of Politics_, under the dynamic leadership of Waldemar Gurian, emerged as one of the leading journals of political and social theory in the United States. This volume celebrates that legacy by bringing together classic essays by a remarkable group of American and European émigré intellectuals, among them Jacques Maritain, Hannah Arendt, Josef Pieper, Eric Voegelin, and Yves Simon. For these writers, the emergence of new dictatorial regimes in Germany and Russia and the looming (...) threat of another, even more devastating, European war demanded that one rethink the reigning philosophical perspectives of the time. In their view, the western world had lost sight of its founding principles. Individually and collectively, they maintained that the West could be saved only if its leaders embraced the idea that society should be governed by moral standards and a commitment to human dignity. Since the first issue appeared in 1939, _The Review of Politics_ has influenced generations of political theorists. To complement these essays A. James McAdams has written an introduction that discusses the history of the journal and reflects on the contributions of these influential figures. He underscores the continuing relevance of these essays in assessing contemporary issues. “The essays contained in this volume demonstrate why the _Review of Politics_ is a national treasure. From Jacques Maritain and Yves Simon to Hannah Arendt and Leo Strauss, it has consistently attracted writers of the highest quality to think about the deepest problems of politics and the twentieth century. The themes covered in this collection range from totalitarianism and nihilism to the value of education and the dignity of the individual. Their probity and intelligence show why the _Review of Politics _has remained the premier journal for serious students of political philosophy.” —_Steven B. Smith, Alfred Cowles Professor of Political Science, Yale University _ _ _ “The _Review of Politics_ has been essential reading for students of political philosophy and politics for more than two generations, including among its contributors internationally renowned scholars whose works are both enormously influential and increasingly look to be contemporary expressions of perennial wisdom. To make seminal essays of this remarkable journal easily accessible, with more to come in future volumes, is a great service to students of political science at every level.” —_Timothy Fuller, Lloyd E. Worner Distinguished Service Professor, Colorado College_ _ _. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Even the Papuan is a Man and not a Beast”: Husserl on Universalism and the Relativity of CulturesDermot Moran (bio)“[A]nd in this broad sense even the Papuan is a man and not a beast.” ([U]nd in diesem weiten Sinne ist auch der Papua Mensch und nicht Tier, Husserl, Crisis, 290/Hua. VI.337–38)1“Reason is the specific characteristic of man, as a being living in personal activities and habitualities.” (Vernunft ist das (...) Spezifische des Menschen, als in personalen Aktivitäten und Habitualitäten lebenden Wesens, Husserl, Crisis, 338/Hua. VI.272)1. Particular Historicities and Universal ReasonIn this paper2 i shall explore—and suggest a way of resolving—the evident tensions to be found in Husserl’s Crisis of European Sciences (and associated texts) [End Page 463] between his commitment to the universality of reason as the goal or telos of European humanity (founded on the ancient Greek “breakthrough” to philosophy and science) and his recognition of the empirical plurality and “relativity” (Relativität) of individual peoples and nations (e.g. Indian, Chinese, Papuan, Bantu) locked into their own particular “socialities” (Sozialitäten), communal worlds, and historical trajectories (what Husserl broadly calls “historicities,” Geschichtlichkeiten, Historizitäten). 3 I shall examine the complex relations and tensions between Husserl’s conception of universality, whereby the same reason functions in every human as animal rationale, “no matter how primitive he is” (“Origin of Geometry,” Crisis, 378/ Hua. VI.385), and his concept of the self-enclosed particularity of individual peoples with their own cultural forms. Indeed, Husserl often emphasizes that the most prominent feature of cultural plurality is precisely its relativity: “relativity belongs to the normal course of life.”4 I shall evaluate Husserl’s response, which defends the project of realizing the ideal of a critical universal rationality, by situating his discussion in terms of the cultural conflict of the time with the rising National Socialist commitment to racial particularism, and by showing Husserl’s commitment to the inherent universality of the one shared life-world.In his research manuscripts of the 1920s and 1930s Husserl frequently discusses the complex relationships that exist between different cultures and traditions; different cultures have their specific historicities (Crisis, 274/Hua. VI.320), dialects, norms, ways of life, and so on. This is simply a matter of fact. There are, furthermore, some well-known and controversial passages in Husserl’s “Vienna Lecture” of May 1935 and also in his Crisis texts (both in the main 1936 published text, Part One [§6] and in the then unpublished Crisis Part Three A §365) where Husserl speaks of the universality inherent in European philosophical culture of the logos and contrasts it with various other communal forms, which are, in his view, merely “empirical-anthropological” types, enclosed in their particular historicities and relativities. Indeed, in this context, Husserl regularly invokes the idea of the “relativity of everything historical” (die Relativität alles Historischen, Crisis, 373/Hua. VI.382). In addition, there are a number of related texts, collected in the Crisis supplementary volume (Hua. XXIX),6 in the Intersubjectivity volumes (especially Hua. XV),7 as well as in the recent volume on the life-world [End Page 464] (Hua. XXXIX),8 which discuss the empirical differences between peoples and also the layers and strata of social groups, nations, and even the idea of larger international collectivities or “supernations” (Übernationen), such as Europe, or the League of Nations. Furthermore, there are—as Husserl indicates in his 1935 letter to the prominent French anthropologist Lucien Lévy-Bruhl—even cultures that are completely “self-enclosed” (abgeschlossene) unities, cut off, some of which know no history. According to Husserl, into this classical world of closed cultures, the ancient Greeks bring a new form of universality, one that leads them, through the grasp of idealization to infinite tasks, to break through the finite horizons of their environing world (Umwelt), which presents itself to them as a “near-world” (Nahwelt, Crisis, 324/Hua. VI.303; Hua. XXVII.228), and to arrive at the highly refined concept of the “true world” or the “scientific world [which] is a purposeful structure (Zweckgebilde) extending to infinity” (Crisis, 382... (shrink)

Fifty years after his death in 1965 the essays in this collection return to Paul Tillich to investigate his theology and its legacy, with a focus on contemporary British scholarship. Originating in a conference held in Oxford in 2014, the book contains 16 original contributions from a mixture of junior and more established scholars, most of whom have a connection to Britain. The contributions are diverse, but four themes emerge throughout the volume. Several essays are concerning with a (...) characterisation of Tillich's theology. In dialogue with recent emphases on the radical Tillich, some essays suggest a more conservative estimation of Tillich's theology, rooted in the Idealist and classical Christian platonic traditions, whilst in constant engagement with changing existential situations. Secondly, and perhaps reflecting the context of religious diversity and theories of religious pluralism in Britain, many essays engage Tillich's approach to non-Christian religions. Thirdly, some essays address the importance of existentialist philosophy for Tillich, notably via an engagement with Sartre. Finally, a number of essays take up the diagnostic potential of Tillich's theology as a resource for engaging contemporary challenges. (shrink)

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 唐文明教授探討黑格爾的現代承認理論，再「通過重構奥古斯丁關於人從記憶中尋求上帝的描述，提出一種基於創造論的承認理論」；最後通過分析儒教經典指出天人之倫乃是人倫的基礎，這與基督教思想吻合，這種耶儒比較也 開出「宗教性的生命倫理學」。唐教授的文章內容豐富，所探討的問題也非常重要，如他所言，現代社會普遍面對「物化」的問題——對他人、對自然和對自我的物化，問題根源是「自我與他人之間的相互承認」出現偏差。相反 ，正確的相互承認能為人的尊嚴和平等，以及現代社會的倫理實踐提供基礎。唐教授為耶儒的匯通作出重大貢獻，也激發我們反思世俗主義能否為人倫提供基礎。 In his article, Professor Tang critically evaluates Hegel's modern theory of recognition and proposes a kind of recognition theory based on protology. He proposes that human relations should be founded on our relationship with Heaven through exploring the Confucian classics and that this is consistent with Christian thought. This kind of thought leads to a kind of religion-based life ethics. I believe that Professor Tang makes important (...) contributions to the dialogue between Christianity and Confucianism by showing the convergence of both worldviews. In my article, I give provide additional support for this kind of convergence while at the same time pointing out some areas of divergence. For example, I note that, as both Christianity and Confucianism are challenged by secularism in contemporary societies, their dialogue should be expanded to include Christianity, Confucianism, and secularist traditions (such as naturalism). I believe Christianity and Confucianism align on one weakness of naturalism: the difficulty of justifying objective moral standards through the epistemology of positivism or scientism. Within both Christianity and Confucianism, it is possible to justify objective moral standards and to provide spiritual resources for overcoming the dehumanization of humans in modern society. A kind of religion-based life ethics is therefore greatly relevant in our context. (shrink)

In publishing the articles by A. Tsipko and V. Pechenev in this issue, we hope that the problems they raise concerning the renewal of a Marxist-Leninist conception of man will attract attention. Of course one cannot agree with all the positions presented. But considering that many of the ideas discussed by the authors are reflected in debates taking place in society, we think their publication will be useful and hope that the polemic will continue.

The idea of translating Gerdil into English is brilliant, the translation is very good and the introduction of William Frank precise and inspiring.... Rousseau proposes a complete break with tradition. A new man will arise who is severed from the whole heritage of the past. With him the history of mankind begins anew. In one sense we have here a transposition in the field of philosophy of education of the Cartesian cogito. The subject begins with himself. To (...) this philosophical project Gerdil opposes the idea of tradition. We have not made ourselves. Our parents have procreated us. The parents do not only procreate their offspring, they also introduce them into the natural and social reality, that is they educate. No education is possible without a lively dialogue with history and society. Since the beginning man stands in a close relationship to others, is made for the human society.... In these our times one form of modernity is collapsing and the mood of the day is an unclear postmodernity that in some of its versions could well be a return to barbarianism. All the more important is then that another form of modernity be rediscovered and brought to the attention of the American public. - Rocco Buttiglione, University of St. Pius V, Rome A timely translation of a compelling 18th century critique of Rousseau by the neglected Italian author, Hyacinth S. Gerdil. Gerdil's Anti-Emile may have been written as a critique of Rousseau's Emile, but it can equally be read as a critique of the philosophy embraced by the American educational establishment. Through the influence of John Dewey, Rousseau came to inform much of the educational theory regnant in the United States, with disastrous consequences, now acknowledge by nearly all. In a valuable preface to his translation, Professor Frank, drawing upon his experience both here and abroad, not only places Emile in context, but defends Gerdil's time-transcending, classical view of education against its modern detractors. "Gerdil," Frank tells us, "addressed his Anti-Emile to elders responsible for education, be they parents, teachers, or political authorities, who might find themselves swayed by the powerful rhetoric of Rousseau's Emile." The same may be said of this translation and its informative prefatory material, for it is clearly a study that will be valued by anyone interested in principled education. - Jude P. Dougherty, Catholic University of America Cover image: "Adam and Eve" by Tintoretto. St. Augustine's Press acknowledges the kind permission granted by la Scuola Grande di San Rocco, Venice, for the use of the image. All rights reserved by la Scuola Grande di San Rocco. (shrink)

_The purpose _of the article is to introduce into scientific circulation works by Ukrainian scholar Taras Zakydalsky on the philosophy of Hryhorii Skovoroda. Taras Zakydalsky is a representative of the Ukrainian diaspora, philosopher, and member of Canadian NTSh (Shevchenko Scientific Society of Canada). _Theoretical basis._ We consider the uniqueness of H. Skovoroda’s philosophy, which stimulates not only intellectually but also spiritually enlightens the reader. The reasons for the complex perception and interpretation of Hryhorii Skovoroda’s philosophy are highlighted. We have verified (...) the main methods of its interpretation given in the works by Dmytro Chyzhevskyi. The influence of philosophical thought of thinkers of Antiquity and the Middle Ages: Aristotle, Epicurus, the Church Fathers, and Tertullian has been studied. We have comprehended H. Skovoroda’s interpretation of the Bible as a two-layer existence, the symbolic world that makes the foundation of his philosophy. The peculiarity of the thinker’s division of the heart into "internal" and "external" is analyzed. Hryhorii Skovoroda’s position on the Good and the evil is stated. The Good is identified with God, and the evil – with the real world, the man can choose between the two. Much attention is paid to the understanding of man as a microcosm – rational thinking, and thought is the fundamental cause of human activity, which generates all existence. Hryhorii Skovoroda’s philosophy of metaphysics as the existence of three worlds is highlighted: the first is the macrocosm (the whole surrounding world), the second is the microcosm (the man), and the third is the symbolic world (the Bible). "Monodualism" as a characteristic feature of H. Skovoroda’s work is analyzed. We have highlighted H. Skovoroda’s attitude to the transcendence of God, which is not separated from the world but is present in it directly. The understanding of faith as a forced act of self-love is analyzed because by loving ourselves we love God. The criteria for true and false faith have been clarified. The significance of H. Skovoroda’s aphorism that _what is necessary is useful, and not useful is unnecessary_ is considered. Examples of ethical principles in H. Skovoroda’s philosophy are considered. Peculiarities of the concept HAPPINESS are revealed. This concept is a universal means of existence of the Good, its source is gratitude to God. _Originality_ of the article is in the systematic presentation of the philosophy of the heart by Hryhorii Skovoroda and the analysis of the integrity of the "inner man", the true meaning of life as interpreted by Taras Zakydalsky. _Conclusions_ summarize the "anthropological pragmatism" of the philosopher, whose main idea is to apply practical skills for the benefit of society. (shrink)

Neither art criticism nor a scholar’s monograph on an artist, Jean-François Lyotard’s Sam Francis: Lesson of Darkness: ‘like the paintings of a blind man’ is a reflection that engages both the painter and 43 of his works into a conversation alternating painting and aphoristic writing. Their order follows neither the chronology of the works nor a linear argument in the prose. And yet, the work generates the strongest feeling of there being a continuity in this peculiar dialogue of pictures and (...) poeticism, a continuity not clearly presented by logic, but one concerning what remains unpresented in presentation. The conversation is revelatory of their shared concerns with the energetic force of absence and is fascinating. (shrink)

The Adventure of the Human Intellect presents the latest scholarship on the beginnings of intellectual history on a broad scope, encompassing ten eminent ancient or early civilizations from both the Old and New Worlds. Borrows themes from The Intellectual Adventure of Ancient Man (1946), updating an old topic with a new approach and up-to-date theoretical underpinning, evidence, and scholarship Provides a broad scope of studies, including discussion of highly developed ancient or early civilizations in China, India, West Asia, the (...) Mediterranean, and the Americas Examines the world view of ten ancient or early societies, reconstructed from their own texts, concerning the place of human beings in society and state, in nature and cosmos, in space and time, in life and death, and in relation to those in power and the world of the divine Considers a diversity of sources representing a wide array of particular responses to differing environments, circumstances, and intellectual challenges Reflects a more inclusive and nuanced historiographical attitude with respect to non-elites, gender, and local variations Brings together leading specialists in the field, and is edited by an internationally renowned scholar. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Economy, Society, Tragedy: Moral Reflections in an Age of Crisis and Austerity LOUIS A. RUPRECHT JR. Precisely their tragedies prove that the Greeks were not pessimists... In this sense, I have the right to understand myself as the first tragic philosopher—that is to say, the most extreme antithesis and antipode of a pessimistic philosopher. —Nietzsche, Ecce Homo, “The Birth of Tragedy” Orgiastic religion leads most readily to song and (...) music; ritualistic religion inclines toward the pictorial arts; religions enjoining love favor the development of poetry and music. In all of this, the one important fact for us is the significance of the marked rejection of all distinctively aesthetic devices by those religions which are rational, in our special sense. —Max Weber, The Sociology of Religion tragedy and society The title of this review essay is taken from Max Weber’s posthumous magnum opus, Economy and Society,1 an ambitious and wide-ranging comparative sociological analysis of economic orders, social orders and the normative structures that both emerge from and lend meaning to the intersecting economic, political and religious spheres in which complex human arion 28.2 fall 2020 Kathryn A. Kozaitis, Indebted: An Ethnography of Despair and Resilience in Greece’s Second City (New York, NY: Oxford University Press, 2021), 248 pages. This book is the fifteenth in Oxford’s important series, “Issues of Globalization: Case Studies in Contemporary Anthropology,” edited by Carla Freeman and Li Zhang. 138 economy, society, tragedy societies take shape. To Weber’s grand and capacious sociological categories, economy and society, I have added a third literary and philosophical term: tragedy. Now, to be sure, Weber thought a great deal about tragedy,2 and was drawn to tragic themes in many of his most salient and influential sociological studies. One need think only of his account of the bureaucratic “routinization” of prophetic charisma in The Sociology of Religion,3 or his depiction of modern humanity’s self-imposed “iron cage” in the rousing final pages of The Protestant Ethic and the Spirit of Capitalism,4 a text to which I will return at the end of this essay.5 But tragedy entails far more than systemic collapse or self-inflicted disaster. In this essay, I want to explore some of the implications of combining close attention to the lived experience of concrete individuals to the highly theoretical, systems-level analysis inspired by such Weberian categories. Put another way, how may Cultural Anthropology, and more specifically Ethnography, deepen such a globally-oriented Sociology? Here, I intend to supplement Weber’s sociological dyad, economy and society, with a conception of tragedy drawn from the cognate social sciences of Comparative Religion and Cultural Anthropology; I will be using Attic Greek tragedy as a benchmark. More specifically, I wish to highlight some of the ways in which the first book-length ethnographic study of the Greek economic crisis may add vital nuance to Weber’s more theoretical, world-systems approach. That book is Kathryn Kozaitis’s Indebted: An Ethnography of Despair and Resilience in Greece’s Second City, an ethnographic study of the lived reality of Greeks experiencing the double -whammy of a sovereign debt crisis and externally imposed austerity regimes in the Greek city of Thessaloniki; the book is the fifteenth to appear inOxford’s “Issues of Globalization: Case Studies in Contemporary Anthropology” series, edited by Carla Freeman and Li Zhang. As Kozaitis demonstrates with sensitivity and eloquence, by zeroing in on the people, rather than the economic policies or the social and administrative structures, Louis A. Ruprecht Jr. 139 certain normative categories and ethical stances become more relevant, many of them implicated in ancient Greek tragedy, and drama more broadly. tragic crises appropriately to a work of cultural ethnography, Kozaitis links the personal to her profession; further still, she weaves her own personal story into the story of the people to whom she is attempting to give voice. This, she notes, constitutes “the auto-ethnography in this ethnography” (4–6). How, then, did this professor of Cultural Anthropology, based in the United States, find her way to Greece’s “second city”? The path was circuitous, and its destination unclear for quite some time. That Kozaitis’s personal... (shrink)

Many nonanthropocentric environmental ethicists subscribe to a ``principle-ist'''' approach to moral argument, whereby specific natural resource and environmental policy judgments are deduced from the prior articulation of a general moral principle. More often than not, this principle is one requiring the promotion of the intrinsic value of nonhuman nature. Yet there are several problems with this method of moral reasoning, including the short-circuiting of reflective inquiry and the disregard of the complex nature of specific environmental problems and policy (...) arguments. In the present paper, we advance an alternative, pragmatic contextualist approach to environmental ethics, one grounded in the moral theory of John Dewey. We present the results of an empirical study of public environmental ethics and natural resource management attitudes to support our position, and we conclude with a few recommendations for future inquiry in the field of environmental ethics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:390 HUME'S DIALOGUES AND THE COMEDY OF RELIGION Laughter is the key to Hume's Dialogues Concerning Natural Religion. Indeed, I would suggest that if the Dialogues have not made one laugh, and if one has not experienced the sheer delight of Hume's rhetorical excesses and gaiety, then one hasn't really understood this work at all. From this perspective, the usual questions are irrelevant — Is Hume Cleanthes or Philo? (...) Is Philo a mitigated sceptic or a Pyrrhonian? Such debates are sterile and miss the point, for however consistent or inconsistent the characters may be, the actual drama of the text has an intention and a direction all of its own, destroying the religious hypothesis not so much by 'serious' calculated argument as by ridicule and excess. Hume's Dialogues Concerning Natural Religion are the expression of a healthy and cheerful malice which strives at every turn to intensify the sense of the absurdity of religion. Hence their flavour is primarily rhetorical, and it would be a mistake to consider them as merely a collection of paraphraseable proofs directed against the possibility of rational theology. This is not to say, however, that Hume did not take religion seriously; on the contrary, he uses all of the devices of comedy in order to overwhelm it — rather as Nietzsche was to argue: "Not by wrath does one kill but by laughter. ml In this paper, I will consider the rhetorical aspect of Hume's Dialogues to show how the literary mode — the elaboration and contrast of characters, the use of parody and sudden turns in the plot, etc. — enables Hume to make a far more compelling assault on the religious hypothesis than the plain recital of 391 'reasonable' objections would ever achieve. I will focus my discussion on three central themes: First, the professed acceptance of God by all of the participants, and the consequent need for an oblique attack upon religion; second, Hume's comic perspectives on the argument from Design; and third, Hume's development of an 'antinomies of religion,' whereby the various religious arguments are used to undermine each other. 1. The Belief in God No man; no man, at least of common sense, I am persuaded, ever entertained a serious doubt with regard to a truth so certain and self-evident. The question is not concerning the being but the nature of God. Ostensibly, the one thing that is never questioned in the Dialogues, the one thing that all the participants remain agreed upon, is that God exists. Indeed, it seems that however limited the scope of natural theology may turn out to be, the actual being of God can never be in dispute, for in the Dialogues, belief in God is often presented as if it were an unchallengeable 'given' of human experience. Cleanthes, for example, apparently follows Locke in arguing for the reasonableness of theism; and yet, when he is pressed he defends the Design hypothesis in terms of its psychological irresistibility, appealing to a natural sentiment of belief rather than the claim of any argument: Consider, anatomize the eye: Survey its structure and contrivance; and tell me, from your own feeling, if the idea of a contriver does not immediately flow in upon you with a force like that of sensation.... it requires time, reflection and study, to summon up those frivolous, though 392 abstruse, objections, which can support infidelity (D 154). According to Cleanthes, the Design hypothesis is so self-evident that it really does not need any philosophical justification at all. It is simply the articulation of what we all already knew to be true: The comparison of the universe to a machine of human contrivance is so obvious and natural, and is justified by so many instances of order and design in nature, that it must immediately strike all unprejudiced apprehensions, and procure universal approbation (D 216). Demea also denies that religion is based upon argument. He claims that each man is brought to feel the truth of religion within himself through the consciousness of his own complete ignorance and misery. And in this respect, 'reason' can only hamper religious belief. Finally, at the end of the Dialogues, even Philo... (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

When we start with a scientific view of the world, we are at a loss when we try to deal with notions such as value, beauty, or meaning -- or more down to earth: anger, fear, joy, colour, smell, and other ‘secondary’ qualities whose putative reduction seems today as difficult as ever. Do these qualities then have to be put in by hand, so to speak? Or could it mean that the scientific view itself fails to capture aspects (...) of reality at least as fundamental as basic physical notions such as space, time, energy? These were some of the questions that came up in conversations between an astrophysicist and a philosopher that began two years ago, as they met, often by accident, usually in a cafe for breakfast. What happens if a philosopher and a scientist discuss such questions? Well, this was an experiment, and here is the outcome. We still think of it as an experiment, an exploration, without any definite conclusion. (shrink)

This monograph represents the first comprehensive study dedicated to the interdisciplinary French philosopher Michel Serres. As the title of this project unequivocally suggests, Serres s prolific body of work paints a rending portrait of what it means for a sentient being to live in the modern world. This book reflects Serres s profound conviction that philosopher c est anticiper / to philosophize (about something) is to anticipate ( Philosophie Magazine ). According to Serres, a philosopher is someone who possesses an (...) extremely broad base of knowledge coupled with the uncanny ability to envision what "might" transpire based upon his or her astute observations concerning phenomena that are already starting to unfold in a given society. Serres s explanation of what engaging in philosophical inquiry entails encourages us to imagine all of the present and future ramifications of certain trajectories that are clearly visible all around us. From 1968 to the present, Serres has been generating forceful, prophetic visions in his works that mingle philosophy, religion, theology, contemporary science, and literature. Comprehensive and insightful introduction both illuminates pressing contemporary issues and presages potential futures-to-come. This is a remarkable achievement and a genuine gift to readers both new and old to Serres s work. -Steven D. Brown, Professor of Psychology, University of Leicester An essential book for becoming aware of the threat of a return of obscurantism despite the development of new technologies and of the necessity of a new century of "Lumieres." -Issa Asgarally, Associate Professor, Mauritius Institute of Education, founder, Foundation for Interculturality and Peace Moser s engaging prose makes this study a great read, and he demonstrates a formidable grasp on the connections within Serres work, as well as the links between Serres and other major twentieth century thinkers. -Tom Trzyna, Professor Emeritus of English, Seattle Pacific University Both timely and thorough. His provocative critique of societal malaise, from our relationship to the planet, to ourselves, to each other, and to technology, as well as the solutions envisioned through an erudite and thoughtful analysis of Serres entire philosophical corpus is a remarkable contribution to Philosophy and French Studies. -Isaac Joslin, University of Denver Keith Moser s pioneering vision of the post-Marxist era, as reflected in the syncretism of philosophy, religion, theology, science and literature in Michel Serres body of work during the last half a century, transforms human consciousness beyond its illusory genophobia that has damaged the very semiotics of life. Moser s monograph taps into a tremendous flow of energy that evokes a passionate desire in a dead humanity to re-live and re-think. -Professor Ananta Sukla, Editor, Journal of Comparative Literature and Aesthetics Keith Moser is Associate Professor of French at Mississippi State University. He is the author of "A Practical Guide to French Harki Literature, J.M.G. Le Clezio: A Concerned Citizen of the Global Village, Le Clezio dans la foret des paradoxes" (co-editor), and "Privileged Moments in the Novels and Short Stories of Le Clezio: His Contemporary Development of a Traditional French Literary Device." Moser has also contributed approximately forty essays to peer-reviewed publications such as "The French Review, The International Journal of Francophone Studies, Romance Notes, Dalhousie French Studies, Les Cahiers Le Clezio, Modern Language Review, French Cultural Studies, Forum for Modern Language Studies" (Oxford), "Interdisciplinary Studies in Literature and Environment" (Oxford), and "Pennsylvania Literary Journal."". (shrink)

Rescorla explores the relation between Reflection, Conditionalization, and Dutch book arguments in the presence of a weakened concept of sure loss and weakened conditions of self‐transparency for doxastic agents. The literature about Reflection and about Dutch Book arguments, though overlapping, are distinct, and its history illuminates the import of Rescorla's investigation. With examples from a previous debate in the 70s and results about Reflection and Conditionalization in the 80s, I propose a way of seeing the epistemic enterprise in the (...) light of practical requirements to be met by demands for synchronic coherence and probability updating policies. This includes a defense of principles rejected by Rescorla, while allowing for the value of his results in the borderland between theories of cognition and formal epistemology. (shrink)

As we know, Merleau-Ponty was struggling with a dynamic shift in his thinking at the premature end of his life. In those last notes he raises the question of how to elaborate a phenomenology of “’the other world’, as the limit of a phenomenology of the imaginary and the ‘hidden’”—a phenomenology that would open onto an invisible life, community, other and culture (VI, Jan. 1960). In her essay on “Eye and Mind”, “To Paint the Invisible”, Luce Irigaray shows why (...) Merleau-Ponty was not yet ready to address this question, why he was not yet ready to engage the limits of his vision posed by the presence of an other. Against Merleau-Ponty’s assertion that the artist has no other task than to bring to appearance the world in the way he corporeally encounters it employing no “other technique than what his eyes and hands discover in seeing and painting”, Irigaray argues that the painter as phenomenologist then appropriates what is other to his vision without reflecting upon a limit to vision, as well as the limit provided by the invisible of an other, an other world. This is not to say that there are no intertwinings with this other, for there are other metabolisms with which we engage the world. Moreover, the sharing of vision with an other can alter the ways I see, challenging cultural complicity, rather than providing evidence that we share the same world. Irigaray is of course not the first to challenge a phenomenological approach to art and to vision—and here I turn specifically to Gilles Deleuze—who is critical of the phenomenological tendency to take on a world given to us by others. His artist, Francis Bacon, focuses on the sensation, which remains unmediated by narration or the feelings of others. Finally, the artworks of abstract expressionist artist Joan Mitchell are considered in the ways that they open up a different time-space; they suggest an other world with which we intertwine without appropriation. Her works, I argue, defy reduction to essences, but also do not rely merely on sensation—for this reason they point in the direction of how to think phenomenology anew. For I do think Merleau-Ponty would be open to these conversations, to these other worlds and other visions. (shrink)

'An urgent and extraordinary book. Weaving a philosophical analysis of Heidegger, Agamben and Foucault, Jan draws out the implications of their thought for a radical analysis of the ontological politics of Islam and Pakistan. Whether writing about the 'Ulama and Deoband schools, blasphemy laws, the military, beards, or the Bamiyan Buddhas, Jan provokes and challenges our thinking while unearthing the ground on which Pakistan—and our world—are built.' —Joel Wainwright, Department of Geography, Ohio State University, USA 'In this exceptionally inventive and (...) important book, Jan shows us that the problems besetting political life in Pakistan are part of a more troubling crisis in modern forms of power. Challenging accounts that cordon off "political Islam" from "the West," Jan discloses their fundamental indistinction and thus, through his practice of critical ontology, reorients our understanding of how power and violence are at work in the world.' —Joshua Barkan, Department of Geography, University of Georgia, USA The Metacolonial State presents a novel rethinking of the relationship between Islam and the Political. Key to the text is an original argument regarding the "biopoliticization of Islam" and the imperative need for understanding sovereign power and the state of exception in resolutely ontological terms. Through the formulation of a critical ontology of political violence, The Metacolonial State endeavors to shed new light on the signatures of power undergirding postcolonial life, while situating Pakistan as a paradigmatic site for reflection on the nature of modernity's precarious present. The cross-disciplinary approach of Dr. Jan's work is certain to have broad appeal among geographers, historians, anthropologists, postcolonial theorists, and political scientists, among others. At the same time, his explication of critical ontology – with its radical reading of the interlacement of history, power and the event – promises to add a bold new dimension to social science research on Islamism and biopolitics. (shrink)

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch (...) of romanticism"; to show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

G. Deledalle is the author of a Histoire de la philosophie américaine, and of some excellent studies on Dewey, such as La pédagogie de Dewey, philosophie de la continuité, and "Durkheim et Dewey". These are all works that deserve full attention by students of the Golden Age of American philosophy. For a European, Deledalle has an unusual capacity to detect the vitality and freshness, but also the depth, of the growth of higher education in the U.S. in the first half (...) of this century. At the heart of this growth were philosophical ideas, and in particular those of Dewey. Philosophy did not have then dictatorial or competitive designs regarding education, the social and political sciences, psychology, or the natural sciences. It freely mingled with them, not just imparting methodological or epistemological rigor but also contributing some insights and giving the hypotheses and conclusions in these fields the character of "experiences." Experience is the guiding theme of this rich and complicated work, covering a multitude of subjects and positions. The treatment is divided into six parts dealing respectively with Dewey's leanings toward unitary experience, organic experience, dynamic experience, functional experience, instrumental experience, and transactional experience. In the study of the intellectual of Dewey's life practically all of his production is critically examined by Deledalle: a monumental task in itself, made possible by the critical bibliography of Milton Hasley Thomas. There is enough early biographical detail to make this work an effective and affectionate intellectual portrait. The best pages of this work are devoted to a thorough explication and comparative study of Dewey's final synthesis of experience. There are very helpful comparative references to Marx, Freud, Bergson, and Heidegger, and also indispensable parallels and contrasts with Peirce, James, and Whitehead. This is not a modest contribution from a regional point of view: Deledalle is, perhaps more than anybody else, aware of an ongoing international dialogue on Dewey, a dialogue that is preserving experience as a problem-complex at the front line of contemporary reflection.--A. de L. M. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Spirit of Settler Colonialism and the City Streets:A Response to Mishuana GoemanErin C. Tarveri want thank dr. goeman for her excellent paper and for introducing us to these extraordinary artists. Their work is beautiful and important, and I am grateful for the opportunity to witness it and think about it and to consider in particular in its relation to its setting in Los Angeles.In what follows, I want (...) to consider that setting—a city, as Dr. Goeman notes, containing some of "the most expensive real estate properties in the United States," commercial areas officially defined by "colonial encompassing property logics," and marked by "noise and [the] reverberation of mass consumerism" ("Caring for Landscapes 57). My interest will be in putting Dr. Goeman's analysis of these works and the Indigenous artist-activists who create them in dialogue with Jane Addams's diagnosis of the problems of early twentieth-century American urban life in her book The Spirit of Youth and the City Streets. I will suggest that Dr. Goeman's paper illuminates the limitations of Addams's approach to responding to the alienation of modern urban life—which, while rightly critical of the harms of mass consumer culture and the reduction of city life to economic productivity in conditions of industrialization, does not grapple with its own implication in settler colonialism and dispossession, and therefore cannot care for the land or its inhabitants as these artists invite us to do. I will also invite her to reflect on whether Addams's suggestion that play and recreation are essential components of urban human flourishing is borne out in the work of these artists.Jane Addams, in 1909, discussed the problems of urban life in post-Industrial Revolution Chicago in similar terms to those Dr. Goeman uses to describe the contemporary landscape of Los Angeles. The contemporary city, Addams writes, in forgoing spaces for public play, art, creativity, and non-production, has "entered upon a most difficult and dangerous experiment … at the very moment when the city has become distinctly industrial, [End Page 71] and daily labor is continually more monotonous and subdivided" (4–5). In this context, young people are increasingly alienated and isolated, valued solely for the products of their labor, and desperate for social connection. The playfulness and creativity of youth cannot be entirely stifled, yet without clear public spaces or institutions for outlets, young people become easy targets for capitalists who promise pleasure and self-actualization through consumption—of liquor, of fashion, of music, and so on. Lamenting the impoverished state that the city of mass consumption leaves us in, Addams writes:The spontaneous joy, the clamor for pleasure, the desire of the young people to appear finer and better and altogether more lovely than they really are, the idealization not only of each other but of the whole earth which they regard but as a theater for their noble exploits, the unworldly ambitions, the romantic hopes, the make-believe world in which they live, if properly utilized, what might they not do to make our sordid cities more beautiful, more companionable? And yet at the present moment every city is full of young people who are utterly bewildered and uninstructed in regard to the basic experience which must inevitably come to them, and which has varied, remote and indirect expressions.(15–16)There is, for Addams, a basic human need for play, creativity, and connection—to a community and to the natural world itself—whose unsatisfaction in a city devoted entirely to industry is nothing short of dehumanizing. So basic are these needs that they cry out for fulfillment in the most unexpected moments. She quotes a young man who describes his experience thusly:I never had a chance to go into the country when I was a kid, but I remember one day when I had to deliver a package way out on the west side, that I saw a flock of sheep in Douglas Park. I had never thought that a sheep could be anywhere but in a picture, and when I saw those big white spots on the green grass beginning to move and to turn into sheep, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Language of the CaveA. Serge KapplerThe Language of the Cave, by Andrew Barker and Martin Warner; vi & 198 pp. Edmonton: Academic Printing & Publishing, 1993, $54.95 cloth, $21.95 paper.The scholarly essays in this collection focus on the tension between Plato’s expressed views about style, poetry, and intellectual discourse on the one hand and his own practice on the other. Why does a man fiercely hostile toward (...) [End Page 266] literature and poetry write works that are themselves mimetic? Why does he repeatedly resort to story telling to make a point? Why do some of his works fail to fit his own prescriptions of clarity and unity? Six of the eight essays in this collection propose exonerating answers to these and similarly troubling questions.In stimulating counterpoint to this massive rescue operation, John Gould (“Plato and Performance”) argues that Plato’s attack on the irrationality of Greek literature and poetry has irrational roots in Plato himself. The reality defined by literary art, Gould suggests, is one of contradiction and conflict; its “incorrigible plurality”—the “drunkenness” of things as they are—is something that “Plato, at least in the puritanical mood of the Republic and the Phaedo, would not have wished to feel” (p. 25).Gould bases his contentions largely on a negative assessment of Plato’s arguments in the Republic. For him, the poverty and fierceness of those arguments strongly suggest an existential agenda at work. Implicitly supportive of this position, Penelope Murray (“Inspiration and Mimesis in Plato”) shows that the picture Plato paints of poets in the grip of irrational frenzy, in the Republic and elsewhere, far from being the traditional truth he purports it to be, is his own creation. It is a “far cry,” she convincingly argues, from the images of the poet that we find in pre-Platonic literature” (p. 46).The most original defense of Plato is offered by Mary Margaret McCabe in “Myth, Allegory and Argument in Plato.” She proposes that logical arguments in Plato’s text stand in a dialectical relation to stories and allegories elsewhere in the text. Mere logic presents too lean a picture of reality, while myths and allegories present one that is, from an Ockhamite perspective, too rich. The responsibility for finding the right theoretical balance lies with the reader.Now were it true that Plato’s famous images have no genuine heuristic value in the contexts in which they are offered, then McCabe’s thesis might be in some trouble. Yet that is precisely the claim of Manuela Teçusan (“Speaking about the Unspeakable: Plato’s Use of Imagery”), who reassures readers that because Plato resorts to poetic devices primarily in order to illustrate conclusions that are independently supported, he is not really guilty of an inconsistency needing to be explained away.If Plato’s complaints against literature are typically understood as presupposing extravagant metaphysical theses of his own, one possibility is to show that he is not actually committed to those theses. Christopher Rowe (“Reflections of the Sun: Explanation in the Phaedo”) and Michael Stokes (“Plato and the Sightlovers of the Republic”) weigh in with carefully argued versions of that time-honored project. Rowe can discover no reference in the Phaedo to the unhypothesized Good of the Republic, while Stokes discerns no genuine Platonic commitment to a two-world theory in Republic 5.Finally, Richard Rutherford (“Unifying the Protagoras”) diagnoses that dialogue’s notorious lack of unity as reflecting the disorganized minds and unsocratically competitive impulses of its Sophist participants, and Martin [End Page 267] Warner (“Dialectical Drama: The Case of Plato’s Symposium”) proposes that, appearances to the contrary notwithstanding, all of the Symposium displays both substance and unity.Reading these well-researched, engaging essays, one may find oneself wishing that their authors would occasionally wonder aloud whether Plato had any choice but to express himself through the poetic/dramatic medium which he criticizes. Perhaps he could have invented the straightforward philosophical prose style, but perhaps he was too busy building its conceptual and cultural foundations.A. Serge KapplerSkidmore CollegeCopyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Instinct of Nature: Natural Law, Synderesis, and the Moral SenseRobert A. Greene“Instinct is a great matter.”—Sir John FalstaffThis essay traces the evolution of the meaning of the expression instinctus naturae in the discussion of the natural law from Justinian’s Digest through its association with synderesis to Francis Hutcheson’s theory of the moral sense. The introduction of instinctus naturae into Ulpian’s definition of the natural law by Isidore of (...) Seville in the seventh century posed a problem of definition for medieval commentators. Some said that it meant a universal and providential natura naturans; some defined it as the urge to self and species preservation in animals, degenerating in man into sensual and shameful impulses; some advanced the humanistic and paradoxical notion that it referred to a unique exercise of human reason in coming to know the natural law. The contemporaneous revival in the twelfth century of St. Jerome’s puzzling new term “synderesis,” and its gradual definition as the immediate apprehension of the first practical moral principles of the natural law, brought the two terms into proximity and loose association.A half-century later St. Bonaventure made explicit what had remained latent in the thinking of Thomas Aquinas by relocating synderesis in the affective rather than the intellectual part of man’s nature. Accordingly the moral discoveries of synderesis came to be spoken of as not only non-discursive but instinctive in nature—apprehensions for which no reason could be given, apprehensions somehow rooted in affective human experience. During the bilingual early modern period an increasingly secularized, internalized, and reified instinctus [End Page 173] naturae, together with its abbreviated vernacular cognate, “instinct,” came to serve as a substitute and synonym for the obsolescent synderesis. Edward Herbert’s attention to instinctus naturae in his De Veritate (1624), Sir Matthew Hale’s speculations about the place of rational instinct in the natural law, and Francis Hutcheson’s theory of a moral sense all exemplify this semantic legacy.The first entry in Justinian’s Digest has had a disproportionate influence on later speculation about the natural law. It begins a chapter that gives pride of place to general definitions of justice, law, jus naturale and jus gentium, and it is drawn from the writings of the Roman jurisconsult Domitius Ulpianus (d. 223), whose work constitutes forty percent of the Digest. Ulpian defines the natural law, with insistent repetition, as that which nature has taught to, or is common to, all animals:Jus naturale is that which nature has taught to all animals; for it is not a law specific to mankind but is common to all animals—land animals, sea animals, and the birds as well. Out of this comes the union of man and woman [male and female] which we call marriage, and the procreation of children, and their rearing. So we can see that the other animals, wild beasts included, are rightly understood to be acquainted with this law. Jus gentium, the law of the nations, is that which all human peoples observe. That it is not coextensive with natural law can be grasped easily, since this latter is common to all animals whereas jus gentium is common only to human beings among themselves. 1Justinian’s compilers gave Ulpian’s definition striking prominence at the beginning of the Digest and then in the same short chapter quoted the incompatible and more traditional definitions of his contemporaries Gaius and Paulus. They confined the operation of the natural law to mankind and spoke of reason as its source. 2 The compilers had been charged to eliminate just such conflicts; yet here at the very outset they set a conundrum that perplexed commentators [End Page 174] and invited explanation from Isidore of Seville to Hugo Grotius. Their selection of quotations suggests that as lawyers they regarded such general definitions as “for legal purposes no more than ornament to discussion.” 3 For those of a more speculative bent, however, the dilemmas could not have been more fundamental. How was the natural law to be defined in relation to those appetitive and self-preservative urges that man seemed to share with animals? Or did the term law apply only... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 26 (2006) 213-216 MuseSearchJournalsThis JournalContents[Access article in PDF]Reviewed byJohn Berthrong Boston University School of TheologyDialogues at One Inch Above the Ground: Reclamations of Belief in an Interreligious Age. By James W. Heisig. New York: Crossroad Publishing Company, 2003. 215 pp.Few scholars are better prepared than James W. Heisig to write about the current state of Buddhist-Christian dialogue, and few have written more insightfully about the historical, theological, (...) religious, and spiritual factors that have made Buddhist-Christian dialogue so intriguing for the last four decades. Heisig is the director of the Nanzan Institute, one of the premier institutions in the world dedicated to cultivating dialogue primarily between Christians and Buddhists, but also with people of other traditions and no religious belief at all.The title of the book is taken from the writings of the famous medieval poet Saigyō, who said that he tried to live at "one inch above the ground." Heisig follows Saigyō's advice by focusing many of his articles on themes such as health and ecology rather than abstruse metaphysical discussions of the intricacies of Buddhist and Christian doctrines, although, as one would expect, he shows a deft hand at explaining the philosophical and theological dimensions of living life at one inch above the ground.The opening two chapters on how we can collectively view the current ecological crisis demonstrate Heisig's sure hand at moving between profound meditations on current events and demonstrating how these problems can be even better understood in terms of spiritual and religious insights. Heisig argues that having two eyes, one Buddhist and one Christian, might just help us walk better on the ground, especially a ground that is being harmed on a daily basis by human disregard for the natural environment. His essay on the interpretation of the Buddhist principle of sufficiency is based on the injunction that we should learn to "consider how much is enough." The following essay demonstrates how hard-headed he can be with his call for us not to move from an uncaring contempt for nature to an equally ill-conceived sentimentalization of nature.There are so many insightful and clever features to the essays in the book that it is hard to pick out any one essay for special comment, but one of my favorites, high-lighting [End Page 213] Heisig's rhetorical powers, is "Six Sūtras on Dialogue" (pp. 139–157). This essay demonstrates what a Christian theologian might learn from engaging in interreligious dialogue. Moreover, it even takes the form, as Heisig explains, of the traditional Buddhist sūtra of six teachings on the nature of dialogue. Dialogue, according to Heisig (echoing Alfred North Whitehead), "is an adventure of ideas" (p. 141). The first teaching is "The spirit of interreligious dialogue need not be born of traditions in order to be reborn there" (p. 145). One of the strong points Heisig makes over and over again is that we now live with increasing self-awareness in a religiously pluralistic world. Actually, we always have, though various theological traditions have been adept at either ignoring or rejecting the notion that there could be anything positive about religious pluralism. At its worst, pluralism simply demonstrated the spiritual depravity and turbidity of humankind, and at best, it could simply be ignored as unworthy of serious comment. With the growing social, political, economic, military, and cultural interconnections of the modern world, no one can ignore pluralism. Theologians and religious leaders, in particular, need to think about religious pluralism even if this dialogue is not something that was "born" within their traditional theological discourse.The second teaching is a corroloary of the first: "Dialogue is primarily a minority enterprise that stands free of the obligations of institutional religion" (p. 147). Now, the leaders of institutional religion might dispute this point, but again Heisig is correct in noting that people are going to talk to their neighbors regardless of what they are told to do by worried religious authorities. He makes the... (shrink)

American philosopher Zhu Dien • Ba Tele that for granted with a series of related discussion, and while there are of a fixed body of the material. Bate Le read de Beauvoir's "Second Sex" that this is not Sartre's "Being and Nothingness" women's issues or situations in the application. De Beauvoir said that consciousness exists in which a person's body, and in the cultural vein, the participation in the formation of a person's gender. Ba Tele think understanding the philosophy (...) of Sartre's body, in many ways we can improve the appreciation of Beauvoir thought, and concluded that she is a thinker with originality. (shrink)

In Book 6 of Apuleius’Metamorphoses, Lucius contemplates his possible death at the hands of the robbers. After one robber threatens to throw him off a cliff, he remarks to himself how easily such an act would kill him (Met.6.26):‘uides istas rupinas proximas et praeacutas in his prominentes silices, quae te penetrantes antequam decideris membratim dissipabunt? nam et illa ipsa praeclara magia tua uultum laboresque tibi tantum asini, uerum corium non asini crassum, sed hirudinis tenue membranulum circumdedit. quin igitur masculum tandem (...) sumis animum tuaeque saluti, dum licet, consulis?’‘Do you see that ravine nearby and the sharp rocks jutting into it which will impale you before you hit the bottom and tear you limb from limb? For that wondrous magic of yours gave you only the appearance and hardships of an ass, but in truth it surrounded you not with the thick hide of an ass but with the thin little membrane of a leech. Why not, therefore, take up your manly spirit at last and seek your safety while you can?’Lucius seems to contradict the description of his metamorphosis at 3.24:pili mei crassantur in setas, et cutis tenella duratur in corium, ‘my hair thickens into bristles and my thin skin hardens into hide’.Met. 6.26 suggests that Lucius’ metamorphosis may not be as complete as it initially seemed: his skin is not the thick hide of an ass but the delicate membrane of a leech. This passage is further complicated by a textual dispute: where all modern editions and most translations readhirudinis, ‘leech’, our earliest and best manuscripts havehirundinis, ‘swallow’. I propose that we should restore ‘swallow’ on the testimony of these manuscripts and because it better reflects Lucius’ initial desire for an avian rather than an asinine transformation. My examination of this passage will also highlight the liminal nature of Lucius’ metamorphosis. Despite his apparent physical transformation, he remains caught between the human and the animal worlds in both mind and body. (shrink)

In the late Middle Ages and especially in the ss. xiv and xv, we see a proliferation of interfaith disputes between Christians, Muslims and Jews, that although somewhat reissue previous practices have, for quantity, quality theoretical and practical consequences, a historical novelty. Can be classified as 1. preaching, 2. education and 3. dispute. Ramon Llull can be considered a pioneer of interreligious dialogue between Western monotheisms, in the sense of having proposed a new approach to the controversies that had (...) centuries of experience when he wrote. While all his work, in a sense, it contributes to the idea of basing the rationality of Christian belief several works specifically devoted to interreligious dialogue, including Book of the Gentile and the Three Wise Men posed —fictional— as the reason and purpose of their efforts. An important reason to be interested in thinking luliano is that, in some respects, the problems involved in the dialogue are repeated throughout the centuries until today. There are three aspects of his thought that are interesting for their originality and the ability to compare and draw analogies and differences with the current project: 1.Integrate the debate in the context of rationality, but in a broader way than syllogistic correction or that the question of the truth or falsity of assertions isolated. 2.Find a specific objective, clear and can be shared by the partners. 3.Give agnosticism own space. (shrink)

This article tries to make a contribution to a concrete eidetic of thinking by studying the first nine years of Hegels philosophical development in perspective of the question : Which are the origins and how passed the „prehistory” of his later System ? In Tübingen Hegels thought circles round the ideal of a free, noble and happy nation, of which he means to have discovered the -alas ! - lost prototype in the greek paradise. The political and aesthetic-religious nature of (...) this ideal nation is characterized by spontaneous humanity and freedom. Bern is the period of Hegels revolt. On religious level he makes a first effort to play Jesus off against the positivity of the Churches ; on politic-ethical level his philo: ophy of alienation comes into existence. For the more and more growing sharp antithesis between Mastery and Servitude, Nature and Freedom, Freedom and History, God and Man, Hegel tries to find a solution in the glorification of a revolutionary and heroic „Sollen”. The newness of the fragments Hegel wrote in Frankfort , consists chiefly in an implicit „Logic" that manifests itself at once in Hegels analysis of a number of historic-existential phenomena. In virtue of the basic categories, which this logic contains, „the ideal of his youth reflects itself” - to use Hegels own words - in a reflexive „system”. Ideal, fundamental logic and system are, however, - each one in his own, respectively „mythical”, „logical”, „systematical" way -the transcriptions of a preceding or „a priori” interpretation of existence on the ground of fundamental desires and existential options, that can be revealed to a certain extent by an „existential psychoanalysis”. Hegels thought is rooted in the nostalgia for a terrestrial „salvation” : the union through feeling with the maternal Universe by which inner harmony and „beingwith-oneself” is reached. Some beginnings of criticism are addressed to the pre-philosophical options which are the source of inspiration of Hegels first philosophy. His desire for „Beruhigung” excludes every real Transcendent ; the Feeling of Frankfort and the Reason-Knowledge of Jena deny the existence of every Mystery, that is bigger than Man ; Hegels dialectic is an effort to conquer every tragical moment of life by human power within this world ; his analysis of love fail to appreciate the own character of human individuality and community ; Hegels triad is the résumé of a monism of thought, no real Trinity. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a (...) foreclosed home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

Professor Beversluis says that this book is a re-reading of Platos early dialogues from the point of view of the characters with whom Socrates engages in debate. He says that unlike existing studies, which are thoroughly dismissive of the interlocutors and reduce them to the status of mere mouthpieces, this book takes them seriously and treats them as genuine intellectual opponents whose views are often more defensible than commentators have standardly thought. Beversluis says his purpose is not to summarize (...) their positions or the arguments of the dialogues in which they appear, much less to produce a series of biographical sketches, but to investigate the phenomenology of philosophical disputation as it manifests itself in the early dialogues. He thinks that this investigation demonstrates the truth of his thesis that Socrates frequent use of faulty arguments and unscrupulous dialectical tactics calls in question his announced seriousness and concern for the souls of his fellows. (shrink)

We present results from a single case study based on semi-structured interviews with a student (a boy in school year 3) diagnosed with autism spectrum disorder and his school staff after participating in a short and small-scale intervention carried out in a socio-economically disadvantaged Swedish elementary school in 2019. The student participated in a seven week long intervention with a total of 12 philosophical dialogues (ranging from 45 to 60 minutes). Two facilitators, both with years of (...) facilitation experience and teacher degree and at least BA in philosophy, facilitated the majority of the dialogues and mainly followed a ”routine” procedure. The student was interviewed in direct connection to the end of the intervention about his experiences from the dialogues and his perceptions about whether and how the dialogues had influenced him. The student’s two teachers, who had participated in the dialogues as participants, were interviewed as a pair, also in direct connection to the end of the intervention, while the school principal was interviewed two years after the study. These staff interviews concerned the staff’s experiences of the influence of the dialogues on the students within the intervention as well as transfer effects to other contexts in school. The data from the study include detailed elaborations from a student perspective of different effects on the student’s communicative and cognitive development, which are in several respects supported also by staff reports. The results show that the student was able, interested, and willing to participate in philosophical dialogues, and our data point to several positive outcomes for the student in the communicative and cognitive domains. (shrink)

The first international Newman Conference took place in Luxembourg from July 23rd till July 28th, 1956. Many representatives of various countries of Europe were present. Apart from the well nigh perfect organization, it was undoubtedly this common sympathy and admiration for Cardinal Newman that explains the extremely pleasant atmosphere that prevailed throughout these days. It was not, however, a dolce far niente, because every day was filled with addresses and lectures which in various ways and from differing points of (...) view tried to estimate the importance of Newman for the modern age. Some lecturers looked back into the history of the Cardinal and showed how in fact his works still held their message, couched in terms and modes of thinking that are in harmony with the deepest needs and desires of modern man. Others went farther and indicated lines along which a still more profound influence of Newman could be expected in the future. The whole of the conference consequently was something of a stocktaking showing the capital realized and the promises for the future. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 2008 Meeting of the Society for Buddhist-Christian StudiesPeter A. HuffThe Society for Buddhist-Christian Studies (SBCS) sponsored two sessions in conjunction with the 2008 annual meeting of the American Academy of Religion (AAR). The first session addressed the topic "Cognitive Science, Religious Practices, and Human Development: Buddhist and Christian Perspectives." The second session focused on the life and legacy of Trappist monk, spiritual writer, and interfaith pioneer Thomas (...) Merton (1915–1968).The first session, moderated by Sandra Costen Kunz (Phillips Theological Seminary), featured five papers probing the relationship between research in the natural and social sciences and lessons from the experience of Buddhist and Christian practice: "The Body and the Mind: Buddhist Bowing and Neuroscience," presented by Paula K. Arai (Louisiana State University) and coauthored with Sascha du Lac (Salk Institute for Biological Sciences); "Who Hears? A Zen Buddhist Perspective" by Robert Aitken Roshi, founder and retired Zen master of the Diamond Sangha in Honolulu (read by Ruben Habito, Southern Methodist University); "'Your Cell Will Teach You Everything': Old Wisdom, Modern Science, and the Art of Attention" by Noreen Herzfeld (St. John's University); "Verbal Imagining: Scientific Reflection on Visual Cognition in Light of Traditional Tibetan and Christian Theologies of the Image" by Thomas Cattoi (Jesuit School of Theology, Berkeley); and "Cognitive Error and Contemplative Practices: The Cultivation of Discernment in Mind and Heart" by Wesley J. Wildman (Boston University). Revised versions of three of these papers with an introductory essay by Prof. Costen Kunz are included in this issue of Buddhist-Christian Studies.The theme for the society's second session, chaired by Alice Keefe (University of Wisconsin), was "Thomas Merton Forty Years after His Death: Buddhist and Christian Perspectives." Four presenters examined and evaluated Merton's distinctive contributions to Buddhist-Christian relations, theological reflection, and interreligious dialogue. In her paper "Self-Surrender in Merton's Writings and Contemplative Psychology," Daijaku Judith Kinst (California Institute of Integral Studies) concentrated on the place of subjective transformation in Merton's thought, describing his [End Page 143] "great gift" to the literature on the contemplative life as the "fearless" rejection of self-centeredness in the practice of prayer and spiritual formation. "Thomas Merton Meets Tibetan Buddhism" by Judith Simmer-Brown (Naropa University) shed new light on the impact of the dzogchen ("great completion") tradition on Merton's evolving spirituality, particularly as expressed in the letters, speeches, and private documents included in the posthumously published Asian Journal of Thomas Merton (1973). In "Non-Dual Wisdom as Feminine: Sophia and Prajnaparamita in Merton's Poem 'Hagia Sophia,'" Paula Hirschboeck (Edgewood College) explored suggestive parallels between Christian mystical experience and Buddhist madhyamika teaching in Merton's long, dreamlike Marian hymn from the early 1960s. Kristin Johnston Largen (Lutheran Theological Seminary, Gettysburg) concluded the session with an analysis of the role of Buddhism-inspired insights in Merton's approach to soteriological questions, especially as seen in his changing attitudes toward traditional Christian doctrines of hell, purgatory, eschatology, and the human person.Between sessions, members and friends of the society participated in the annual SBCS/AAR field trip to a local site significant for its relevance to interdisciplinary Buddhist-Christian studies. This year members visited the Chicago Cultural Center of Soka Gakkai International-USA (SGI-USA), the Buddhist association for peace, culture, and education based on the teachings of thirteenth-century Japanese monk and reformer Nichiren Daishonin. Located at 1455 South Wabash Avenue in downtown Chicago, the cultural center serves as the primary facility for SGI-USA activities in the Midwest. Mr. Guy McCloskey, senior vice president, publisher, and member of the board of directors for SGI-USA, organized the event. The evening's program included a tour of the center's award-winning architecture, an informal overview of the aims and initiatives of SGI-USA, and a delicious dinner served by members of the organization. [End Page 144]Peter A. HuffCentenary College of LouisianaCopyright © 2009 University of Hawai'i Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:386 HISTORY OF PHILOSOPHY species of pragmatism, it could be said that there is indeed some justification for discovering analogies between the Heideggerian theory of truth and pragmatism. What is deplored by Vers6nyi is the loss of the concrete significance of tIeidegger's early theory of truth (as Vers~nyi characterizes it) and its replacement by a conception of truth which is paradoxical and ultimately fruitless for an understanding of the (...) world in which man finds himself. If Being is the groundless Ground, the Wholly Other, and if Being is truth, then truth is inaccesible to man. Truth, in Heidegger's later works, is beyond the finitude of self-reflective thought and can only be approached by means of a via negativa. This, however, is described as the "abandonment of reason." This critical analysis of Heidegger's thought is an interesting and challenging work which attempts a much needed appraisal of Heidegger's philosophical "voyage" from Being and Time to Gelassenheit. Some will be angered by the author's incisiveness; some will applaud his hostility to the dissolution of reason in mysticism; none can be indifferent to this valuable contribution to the study of Heidegger. GEORGEJ. STACK Long Island University A Short History o] Ethics. By Alasdair MacIntyre. (New York: The Macmillan Co., 1966. Pp. viii + 280 $4.95.) Professor MacIntyre's Short History o] Ethics turned out, to my surprise and pleasure, to be a quite different book from what I had expected. I had assumed from its title that it would consist of an exposition, analysis, and perhaps criticism of the theories of the standard great figures from the history of Western moral philosophy, stitched together by a thin thread of historical narrative. It does contain this standard material and the quality of exposition and analysis is very high. But there is much more to the book than that. For in it MacIntyre devotes a great deal of space to political and social philosophy, with discussions of figures like Machiavelli, Locke, Montesquieu, Rousseau, and Marx. Another subject that gets a good deal of attention is religion, including such writers as Luther, Calvin, and Kierkegaard. Even further afield, Professor MacIntyre surveys the beliefs and activities of certain social reformers---for example, the Diggers and Levellers in 17th century England--and the developments and changes in the moral attitudes and relationships of people in certain societies--for example, in ancient Greece. The result is a book that is very rich and varied in content, fascinating to read, and informative. Anyone, student or teacher, who is interested in technical ethics would be well advised to study it. Maclntyre has reasons for giving his book the wide scope it has. For he believes that ethics is a broad subject, concerned with the whole range of man's activities as a practical being. He rejects the notion currently popular that ethics should be a second-order undertaking, morally neutral in itself and limiting its activities to the logical analysis of first-order moral utterances (p. 3). The ethicist cannot, he believes, divorce himself from the social setting in which he lives, taking up a neutral position above the fray, because the very concepts he uses in his thinking and writing are "embodied in and are partially constitutive of forms of social life" (p. 1). The moral philosopher, in other words, is and must be articulating a set of beliefs and ideals that arise out of the general social and historical setting of which he is a part. To understand and appreciate his theories, therefore, we must be conversant with the social organization, political structure, and religious faith of his society. For it is only within this broad context that the concepts that any given ethicist employs become intelligible. MacIntyre's view seems to have one very controversial implication, on which I should like to comment. If the concepts employed by the ethicist are embodied in a given form of social life, then no ethical theory can transcend its historical setting, hence the question, Is a given ethical theory true or false? cannot legitimately be asked. The result is historical BOOK REVIEWS 387 relativism. MacIntyre recognizes this implication and has a good deal to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 135-137 [Access article in PDF] The 2002 Meeting of the Society for Buddhist-Christian Studies Alice Keefe University of Wisconsin-Stevens Point "Religious Responses to Violence" was the theme for the program at the SBCS Annual Meeting in Toronto, Canada, on November 22-23, 2002. Speaking from Christian and Jewish perspectives, the presenters in Session I were Harold Kasimow, Professor Emeritus of Grinnell College; Elaine MacInnes, O.L.M.; Sarah (...) Pinnock of Trinity University; and Rebekah Miles from the Perkins School of Theology. Responding from a Buddhist perspective was Virginia Strauss of the Boston Research Center. Session II offered reflections on Buddhist responses to violence from Gene Reeves of the International Buddhist Congregation; Christopher Ives of Stonehill College; and John Makransky, professor of Religious Studies at Boston College and a Buddhist teacher, with a Christian response from Theodore Walker of Perkins School of Theology, noted for his work in Black theology.Opening Session I, Harold Kasimow explored Jewish responses to violence, which he finds similar in many ways to responses to violence in Mahayana Buddhism. Both traditions unequivocally condemn violence. Basic to Jewish reflection on violence is the great commandment that one shall love one's neighbor as oneself, along with the principle that all humans are created in the image of God; therefore, as Rabbi Akiva taught, whoever sheds blood diminishes God's presence in the world. But like Mahayana Buddhism, the Jewish tradition admits to rare cases where violence may be legitimately used in a spirit of compassion when the lives of others are at stake. On this point, Kasimow, himself a Holocaust survivor, cited Abraham Heschel, who said that "indifference to evil is more insidious than evil itself." Heschel dreamed of a world rid of evil by human effort, and he suggested that interfaith dialogue serves as a step toward this goal as it works against the evil of demonizing the "other."Sarah Pinnock, who has written on the religious journeys of Holocaust survivors, explored the themes of memory, solidarity, hope, and mystical faith as compelling Christian modes of survival and resistance in the face of evil. Logic cannot solve the problem of evil, but through memory, suffering is not forgotten; through solidarity, we identify and join with the victimized in resistance to evil; and through hope, we find the energy for resistance. Mystical faith discovers divine transcendence in all things, while abandoning egotistical demands that God be the world's puppet master; [End Page 135] in mystical faith, Christians do not look for divine intervention, but for human beings to act for God against evil.Rebekah Miles, a Christian ethicist, offered a lucid outline of three distinct Christian approaches to violence: (1) absolute pacificism, which rejects the use of violence for any reason; (2) the "crusade" perspective, which justifies war when it can be construed as a conflict between good and evil and which calls for the total eradication of evil in the form of the enemy; and (3) the "just war" perspective, which stipulates precise criteria for instances when the use of violence may be justified and places restraints on any exercise of violence. In addition to this helpful overview, she engaged arguments (put forth by Rosemary Ruether, SharonWelch, and ReginaSchwartz) that there is something inherent in the nature of Western monotheism that serves to legitimate and encourage violence, and argued for divine transcendence as undergirding the effective power of the prophetic critique against all forms of idolatry and tyranny.The final Christian presenter was Elaine MacInnes, O.L.M., a Catholic nun and Zen master who is noted for her activist work in prison ministry in the Philippines and in Canada. She reminded us that even as violence brings suffering, it is at the same time a mystery in that it carries a redeeming potential to rid us of all that is false. It is the cultivation of silence that allows the sacred inner life to do its work.Responding from a Buddhist perspective, Virginia Strauss returned to the problem of the human desire for retributory justice and looked to Buddhism... (shrink)