It is possible to study the idea of the “death of the author” as a quaint museum piece of faded 1960s structuralist memorabilia, as an idea that characterized an era that, whatever it once was, is certainly not our own. Such a presentation is the fare in countless graduate literature courses and a sin to which some, if not many, of us would plead guilty. However, the idea of the death or disappearance of the author has, (...) since the two inaugural essays that launched its theoretical voyage,1 generated a steady stream of assessments and reassessments up to the present day.2One relatively recent five-page intervention by Jacques Rancière3 introduces but leaves undeveloped a number of reflections that, when taken.. (shrink)

In The Ethics of Authorship, Daniel Berthold depicts G. W. F. Hegel and Søren Kierkegaard as endorsing two postmodern principles. The first is an ethical ideal. Authors should abdicate their traditional privileged position as arbiters of their texts’ meaning. They should allow readers to determine this meaning for themselves. Only by doing so will they help readers attain genuine selfhood. The second principle is a claim about language. To wit, language cannot express an author’s thoughts. I argue that if (...) the claim about language holds, the ethical ideal becomes superfluous. In addition, if Berthold has identified Hegel and Kierkegaard’s views regarding the issues in question by reading their works, then either they failed to execute their ethical project or their views about language are false. (shrink)

Criticism of Hegel has been a central preoccupation of “postmodern” philosophy, from critical theory and deconstruction to Lacanian psychoanalytic theory and Foucauldian “archaeology.” One of the most frequent criticisms is that Hegel's invocation of “absolute knowledge” installs him in a position of authorial arrogance, of God‐like authority, leaving the reader in a position of subservience to the Sage's perfect wisdom. The argument of this article is that this sort of criticism is profoundly ironic, since Hegel's construction of the role of (...) the Sage possessing absolute knowledge is in fact an elaborate mask covering over a radical project of disappearance of the author by which it becomes the reader who is left to author the text. The article explores Hegel's commitment to his own death as an author in his invention of a new method of demonstration, his epistemology, his philosophy of language, his theory of desire, and even in the seemingly least likely place of all, his portrait of “absolute knowledge.”. (shrink)

The paper analyzes the collection of the Northern Irish poet Frank Ormsby entitled A Northern Spring published in 1986. On the basis of selected poems, the author of this paper aims to examine the poet’s reflections about World War II, the lives of the soldiers, and the things that remain after a military combat, which are both physical and illusive. The poems included in the volume present the author’s reflections upon the senselessness of war and dying, short lives (...) of the soldiers, the awareness of their own meaninglessness in comparison to the broader picture, and the contradictory and desperate need to be remembered nevertheless. They also show what is left of the soldiers and the war, as well as how life goes on, with or without them. (shrink)

This chapter situates Kierkegaard's commitment to death in companionship with a similar, if not identical, commitment on the part of Friedrich Nietzsche. Both conceptualize the relation between self and other as occurring across an abyss of difference that dissolves the authority of the author, and adhere to a philosophy of language in which the author's text becomes infinitely interpretable according to the position occupied by the reader. But notwithstanding the inventiveness with which Kierkegaard and Nietzsche practice the (...) art of dying, we can discern a fundamental ambivalence: With every intention of dying, they have recurring second thoughts; at the entrance to the tomb they hesitate, giving in to a certain nostalgia for the privileged position of the author. (shrink)

Abstract.Eastern religions, such as Hinduism and Buddhism, have traditionally held to the view that in order for an individual to fully benefit from their practice it was important to lessen or eliminate one's individual desires. Such practice was sometimes referred to as the “death of the ego” in order to emphasize its importance. However, the relatively recent popularity of East‐meets‐West spirituality in Western consumer cultures tends to emphasize the acceptance and transformation of one's ego rather than its death. (...) This essay discusses sociological changes that have shaped and contributed to the popularity of East‐meets‐West spirituality in Western culture that in turn have brought about a modification of the principle of ego death. The views of six Western authors and practitioners of East‐meets‐West spirituality on the importance of the principle of ego death are compared and contrasted. Theories related to the management of self‐identity in consumer society can partly explain the modification of traditional Eastern religious practices, such as ego death, in order that they become relevant and appealing to a society that increasingly reifies the concept of the self. The implication is that the excision of the concept of ego death from the practice of East‐meets‐West spirituality may affect its efficacy. (shrink)

This searching examination of the life and philosophy of the twentieth-century Indian intellectual Jarava Lal Mehta details, among other things, his engagement with the oeuvres of Martin Heidegger, Hans-Georg Gadamer, and Jacques Derrida. It shows how Mehta’s sense of cross-cultural philosophy and religious thought were affected by these engagements, and maps the two key contributions Mehta made to the sum of human ideas. First, Mehta outlined what the author dubs a ‘postcolonial hermeneutics’ that uses the ‘ethnotrope’ of the pilgrim (...) to challenge the philosophical hermeneutic emphasis on supplementation and augmentation. For Mehta, the hermeneutic encounter ruptures, rather than supplements, the self. Secondly, Mehta extended this concept of hermeneutics to interrogate the Hindu tradition, arriving at the concept of the ‘negative messianic’. In contrast to Derrida's emphasis on the 'one to come', Mehta shows how the Hindu bhakti model represents the very opposite, that is, the 'withdrawn other,' identifying thereby the ethical pitfalls of deconstructivism's emphasis on the messianic tradition. This is the only full-length study in English of this high-profile Hindu philosopher. (shrink)

At the time of his sudden death in 1977, the Czech philosopher Jan Patočka left a large philosophical legacy with no will and testament. For the last 43 years, the editors of his Collected Works have been reconstructing a unified and thematically articulated oeuvre from the more than 10,000 pages found in his drawers and boxes. It should in the end include not only the texts published during Patočka’s lifetime but also his many unpublished manuscripts, fragments, variations, drafts of (...) unfinished philosophical projects, notebooks and letters. After demonstrating in which sense the death of the author coincides in Patočka’s case with the birth of his oeuvre, the article aims to show that the unity of Patočka’s work is not something given, but rather something to be artificially reconstructed, in an always disputable fashion, since the internal coherence of its various thematic divisions is necessarily itself a matter of ongoing interpretation. (shrink)

The prevailing anti-authorial trend in contemporary mainstream literary theory and aesthetic anti-intentionalism produces different versions of "the death of the author" concept. Conversely, different forms of intentionalism in the analytic tradition strongly defend the relevance of authorial intentions. Although I agree with classic intentionalism on some key points, I find it untenable to believe that the meaning of a literary work is wholly dependent on the intentions of its creator. Rather I consider authorial meaning as one variety of (...) literary meaning. My explanation of the part the author plays in literary understanding is consistent with Anders Pettersson's theory. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;This thesis proposes that the death of the author is neither a desirable, nor properly attainable goal of criticism, and that the concept of the author remained profoundly active even--and especially--as its disappearance was being articulated. ;As the phrase implies, the death of the author is seen to repeat the Nietzschean deicide. In Barthes, the idea of the author is explicitly connected to (...) that of God, for Foucault and Derrida, to that of the transcendental subject of knowledge. Nowhere, however, is any demonstration forwarded as to why we must conceive author, transcendental subject, and divinity as specifications of the same subject, and therefore implicated in a common closure. Always and everywhere, the death of the author proceeds on the basis of an idealized conception of authorship. ;In practical terms, such are the pressures exerted upon critical discourse by the death of the author that the author is implied from the outset. Barthes will insist that the authorial subject is constituted in and through language, whilst also recommending that we should regard certain authors as "founders of languages". With Foucault, the requisite transindividuality of archaeology is subverted by the absolutely privileged, metahistorical status it bestows upon Nietzsche. Derrida's history of logocentrism denies the author precisely because of the exorbitant recourse it must make to Rousseau as the single systematized instance of an age of logocentric metaphysics. ;The placement of the author reflects the experience of these critics in writing their texts. In Barthes, the return of the author is inseparable from his own autobiographical project; with Foucault, it relates to the rejection of the transcendental detachment of the archaelogist in favour of the engaged subjectivity of the genealogist; in Derrida, authorial reinscription coincides with his attempt to move beyond critical reading toward autobiographical literature. With hindsight, it appears that it is the becoming-author of the critic that is actually at issue. ;However, this revisionary phase has been largely neglected, and Barthes, Foucault and Derrida are continually invoked to underwrite critical resistance to the author. From the Russian Formalists onward, literary theory has shown itself incapable of accommodating authorial subjectivity. As such, the question of the author increasingly presents itself as the question of theory, of its adequacy as a descriptive science of literature and discourse in general. (shrink)

The Death of Scripture and the Rise of Biblical Studies examines the creation of the academic Bible. Beginning with the fragmentation of biblical interpretation in the centuries after the Reformation, Michael Legaspi shows how the weakening of scriptural authority in the Western churches altered the role of biblical interpretation.

While moral perfectionists rank conscious beings according to their cognitive abilities, Paola Cavalieri launches a more inclusive defense of all forms of subjectivity. In concert with Peter Singer, J. M. Coetzee, Harlan B. Miller, and other leading animal studies scholars, she expands our understanding of the nonhuman in such a way that the derogatory category of "the animal" becomes meaningless. In so doing, she presents a nonhierachical approach to ethics that better respects the value of the conscious self. Cavalieri opens (...) with a dialogue between two imagined philosophers, laying out her challenge to moral perfectionism and tracing its influence on our attitudes toward the "unworthy." She then follows with a roundtable "multilogue" which takes on the role of reason in ethics and the boundaries of moral status. Coetzee, Nobel Prize winner for Literature and author of _The Lives of Animals_, emphasizes the animality of human beings; Miller, a prominent analytic philosopher at Virginia Polytechnic Institute, dismantles the rationalizations of human bias; Cary Wolfe, professor of English at Rice University, advocates an active exposure to other worlds and beings; and Matthew Calarco, author of _Zoographies: The Question of the Animal from Heidegger to Derrida_, extends ethical consideration to entities that traditionally have little or no moral status, such as plants and ecosystems. As Peter Singer writes in his foreword, the implications of this conversation extend far beyond the issue of the moral status of animals. They "get to the heart of some important differences about how we should do philosophy, and how philosophy can relate to our everyday life." From the divergences between analytical and continental approaches to the relevance of posthumanist thinking in contemporary ethics, the psychology of speciesism, and the practical consequences of an antiperfectionist stance, _The Death of the Animal_ confronts issues that will concern anyone interested in a serious study of morality. (shrink)

We know that a text is not a line of words releasing a single “theological” meaning (the “message” of the Author-God) but a multi-dimensional space in which a variety of writings, none of them orig...

To those who know little about the Middle Ages, the copying of manuscripts of “the ancients” (whether classical, such as the Roman poet Horace, or Christian, such as Saints Jerome or Augustine) often seems either a laudable act of preserving the past or an unfortunate fixation on repeating the words of others rather than penning new and original compositions. Even scholars of the Middle Ages appear sometimes more interested in new types of works such as fabliaux or courtly romances written (...) in the vernacular; when they study the practice of copying, they often concentrate on identifying prototypes or legacies. Finding old wine in old bottles has been a fairly constant theme in medieval studies; sometimes, we must admit, medievalists have just thrown out the old bottles and moved on to something completely new. In this context, it may seem strange to find a work about medieval Latin manuscript commentaries titled “The Birth of the Author,” responding to Roland Barthes's well-known essay “The Death of the Author,” published in 1984 and cited repeatedly since. What can it mean to see new, self-conscious awareness of the act of personal creation in works that are copies by scribes of other works that themselves comment on yet earlier works, often of a certain age or canonicity? Yet in this intelligent, engaging, and beautifully produced book, art historian Jeffrey Hamburger not only shows how those who wrote commentaries came to suggest that anyone who composes a work (even the scribe who copies it) could be considered a creator of meaning but also that the images in commentaries themselves sometimes make statements—indeed, statements more radical than those in the text—about the author of the work being illustrated. Long known as one of the relatively rare historians of medieval art equipped with a wide knowledge of theology and hence of how images respond to and reflect text, Hamburger here shows himself possessed of a shrewd eye for the image itself. He studies illuminated prefaces to, among other texts, the prose and poetic works of Horace as used in the medieval classroom, copies of the major biblical commentary of the High Middle Ages, the Glossa ordinaria, and Rupert of Deutz's erotically charged commentary on the Song of Songs. Changing the lens through which scholars have usually viewed such texts, Hamburger argues that images of authors of commentaries sometimes go beyond anything in the text to assert the authority not only of the author of the text commented on and of the commentator but occasionally even of the scribe.The Birth of the Author is a work of complicated analysis, and its full power demands close attention. Understanding how images construct claims that go beyond the text involves a good deal of careful looking. Hamburger is a patient and clear guide, but the reader must be prepared to flip back and forth between the magnificent colored images the publisher provides and to follow what are often painstaking arguments from comparison of small visual differences or puzzling identifications of seemingly strange details. The result of doing so is, however, to gain not only the reward of Hamburger's ingenious conclusions but also a lesson in how to look. For example, in a discussion of Gilbert Universalis's commentary on the Lamentations of the Hebrew prophet Jeremiah, Hamburger shows how Gilbert not only identifies Jeremiah as a “divine rhetorician” but also assimilates his own act of authorship to Jeremiah's prophetic speech. In the only extant copy of Gilbert's text that has a program of illustrations, the artist constructs both Jeremiah's speech and Gilbert's interpretation as similar acts of creation by framing both authors in parallel architectural images that evoke the Old Testament temple and a Christian church. Or to give a final example of Hamburger's interpretive reach: the book concludes not with yet another medieval preface but with an example of the far less usual manuscript epilogue. Here not only commentator, scribe, and illustrator but even the medieval reader construct themselves. Reception becomes interpretation, illustration becomes construction. In a commentary by the Carolingian figure Sedulius Scotus (fl. 840–60) on the Roman grammarian Donatus (mid-fourth century), the illustrator depicts Donatus as author and scribe (thus assimilating author into copier and vice versa). On the same folio, a later medieval reader constructs himself as reader/author in a charming marginal doodle that seems to entrap Donatus in a sort of hangman's noose. Thus, a bit wryly perhaps, Hamburger—himself teacher, commentator, and consummate scholar—seems to suggest that even frustrated students can construct themselves as interpreters and, yes, authors. Behind the seeming repetition and backward glance of the images in medieval commentaries lies radical and forward-looking self-awareness of the acts of authoring, interpreting, reading, and imagining. In Hamburger's analysis, the most seemingly conventional of medieval genres—the preface to commentaries on the texts of others—is a locus of the birth in illustration of the self-conscious and self-expressive author and reader. (shrink)

Routinization is a term invented by Max Weber to describe events after the death of a charismatic religious leader. It has become widely used in the humanities in a variety of contexts. The death of the historical Buddha produced the first known instance of extreme routinization, in which the charisma of the founder is transmuted into a system of teachings that are themselves invested with authority, quite separate from the charisma of any individual within that tradition. This article (...) examines the Sāmagāmasutta and the Gopaka-Mogallānasutta, two texts from the Majjhima Nikāya. These texts, when read together, show us just how the Buddha prepared the way for the extreme routinization that would take place in the community, and how the early Buddhist monks reacted to this. In the Sāmagāmasutta, the Buddha prepares for the power vacuum after his own death by setting up procedures by which the monks will be able to govern themselves without relying on a single charismatic leader. The Gopaka-Mogallānasutta describes events after the Buddha’s death and indicates that the Buddha’s instructions had been followed faithfully. Taken together, these two obscure texts frame the far more famous Mahāparinibbānasutta and provide it with valuable context. This discussion is followed by a consideration of how Buddhism ended up reverting to more conventional patterns of routinization as it expanded. (shrink)

This analysis of Foucault's ‘What is an Author?’ produces three main findings. First, Foucault was arguing—subtly yet powerfully—against Barthes's ‘The Death of the Author’. Second, ‘What is an author?’ systematically mystified the figure of the text, even as it clarified the figure of the author by revealing that figure to be an interpretative construct. Third, Foucault's achievement was vitiated by the terms in which it was cast, for his concept of the ‘author-function’ obliterated the (...) personal quality of the author-figure. It is suggested in conclusion that all such interpretative figures—‘text’ as well as ‘author’, and many others besides—merit critical analysis, since these embody the fore-having which precedes interpretation. (shrink)

It began in 1968 when Roland Barthes published The Death of the Author? and picked up steam the next year with Michel Foucault's What Is An Author? Together they posited that authors were no longer important, and even repressive in interpretation. Irwin (philosophy, King's College, Pennsylvania) begins with translations of these two essays, and reprints 11 others to demonstrate the supporters and opponents of the notion. c. Book News Inc.

In The Death of Human Capital?, Phillip Brown, Hugh Lauder, and Sin Yi Cheung demonstrate that the human capital story is one of a failed revolution that requires an alternative approach to education, jobs, and income inequalities. Rather than abandoning human capital theory, the authors seek to redefine it in a way that more accurately addresses today's challenges presented by global competition, new technologies, economic inequalities, and national debt.

The first decisive steps of medicine towards becoming a science in its present shape happen to coincide with “the rise of the novel” in the eighteenth century. Before this well known and in our days still growing scientific specialization of medicine, the connections between literature and medicine were both many and close. By reading and analyzing a contemporary novel, The Death of a Beekeeper by the Swedish author Lars Gustafsson (1978), this article is an attempt to explore to (...) which extent a fictional narrative about a unique case of cancer may illuminate challenges associated with the experience of serious illness. Our claim is that medicine might draw wisdom from literature, its ability to create connections through narrative, to illuminate the complexity of ethical dilemmas, and to intertwine symptoms, life stories, and contexts. We argue that by being in the company of literary narratives and philosophical questions, physicians as well as other health care professionals may acquire clinically relevant skills which help them reach the ethically defined goals of their profession. (shrink)

This article demonstrates the perspectives on near-death experience in two works, Leo Tolstoy’s The Death of Ivan Ilyich and Andrei Platonov’s Soul. The author examines the significance of the boun...

The execution of the prophet Mani by the Sasanian king Bahram I received sharply different treatments in the historiography of three of the confessional groups of the Sasanian empire. Variously a persecuted prophet, a blasphemous lunatic or a sinister heresiarch the representations of this moment sought to establish its meaning in the context of communal narratives predicated on the claims of sacred history. Despite this, it is notable that Manichean, Christian and Perso-Arabic accounts clearly share features. This indicates not only (...) that Mani’s death became a site of competition between the constituent groups of the Sasanian empire, but that the internal historiographies of these groups were in some sense entwined, or at least sensitive to the historical claims made by their opponents. This is particularly relevant in the case of the Perso-Arabic narrative. This version, which almost certainly descends from a priestly Zoroastrian source, presents a picture of a confident priesthood stiffening the spine of a wavering king. It is contended that the source of this story was composed as a counterstrike in a historical debate in which Christian and Manichean authors had successfully propagated an image of Bahram’s court as religiously tepid and his priests as slanderers or non-entities. That such an intervention was required signals a disjuncture between early and late forms of Sasanian ideology. Moreover, it presents more evidence in support of theories of a late and deliberate construction of Zoroastrian “orthodoxy”. (shrink)

This is the first intellectual and personal biography of Thomas S. Kuhn, author of Structure of Scientific Reolutions, one of the biggest scholarly bestsellers of all time and among the most influential books of the last century. Kuhn changed the way we think about the evolutionof ideas - especially scientific ideas - and raised doubts about the reality of long-term 'progress' in scientific concepts. The book paints a vivid picture of Kuhn's troubled career and personal life, as well as (...) a rich portrait of the 20th century scholarly and cultural controversies from which his work emerged. (shrink)

Death is a constant phenomenon facing man with its grim ruthlessness, arousing in him all sorts of questions about its nature and about fate and rebirth. This book attempts to answer these questions in the light of the occult-spiritual insights provided by Sri Aurobindo and the Mother. The author also dwells on the fear of death and ways to conquer it, as well as on what happens at the moment of death, and where the soul goes.

In lieu of an abstract, here is a brief excerpt of the content:The Adoro Te Devote of St. Thomas AquinasSr. Lucia Marie of the Visitation Langford O.P.The Adoro te devote is perhaps the most well-beloved Eucharistic hymn of our time, popularly attributed to St. Thomas Aquinas, the medieval Dominican friar known for his theological treatises as well as his Eucharistic hymnography. Unlike most of Aquinas's work, the poem reveals the intensely personal side of his faith. Rich in theological content and (...) inspiring deep Eucharistic devotion, this poem amply repays a closer investigation. We will look first at the questions of authorship, background, and structure before moving on to a discussion of the text itself.The "Disputed Question" of AuthorshipWhile the Adoro te has traditionally been attributed to St. Thomas Aquinas, the Thomistic authorship of the text was contested in the twentieth century, with two main objections being raised. The first claims that the content of the poem contradicts Thomas's own teachings and cannot have flowed from the same pen. The second objection is historical, claiming that a lack of evidence makes Thomistic authorship improbable.The first objection, claiming that the content of the poem is irreconcilable with Thomistic authorship, takes objection to a line in the poem which seems to claim that sense perception is unreliable and inaccurate, at least with regard to the Eucharist. The text of the Adoro te uses the word fallitur (deceived) with reference to the senses: "Visus, tactus, gustus in te fallitur"—"Sight, touch, taste in you are deceived." Some scholars have claimed that this line contradicts the teaching of Aquinas that the senses are [End Page 365] infallible in regard to their proper sensibles.1 Robert Wielockx addresses this charge in his study of the Adoro te, arguing that "the text does not contradict the continuous teaching of Thomas according to which the senses are not wrong when they judge their proper object, which as far as the Eucharist is concerned, is only the sacramental species."2 The substantial presence of Christ in the Eucharist is a mystery which is not knowable by the senses, and as Paul Murray, O.P., observes: "That's surely the point St. Thomas is making."3 However, the Thomistic insistence that all knowledge comes through our senses is not missing even here. While sight, touch, and taste fall short of comprehending the truth before them, the Adoro te itself proclaims that it is another sense—hearing—which reveals the mystery: "sed auditu solo tute creditur"—"but by hearing alone it is safely believed."4Thus there is no solid objection to Thomistic authorship based on the poem's content. But what about the historical evidence? Dom André Wilmart published a comprehensive study of the manuscript tradition in 1929. Noting that there were no extant copies of the text dating to Aquinas's lifetime and that the biography of Aquinas written by his own Dominican confrere and contemporary, William of Tocco, made no mention of the Adoro te, he considered it most probable that the poem was authored at a later date and ascribed to Aquinas.5However, Dom Wilmart did not know that he was not working with William of Tocco's final version of his work. The publication of a critical edition of William of Tocco's Ystoria Sancti Thome de Aquino in 1996 demonstrated that Tocco published his work in four successive redactions. The fourth and final version of his text (unknown to Dom Wilmart) was finished just before his death in 1323, and in this final version, Tocco includes the text of the Adoro te, attributing its authorship to St. Thomas.6 [End Page 366] Furthermore, Wielockx published a study of the Adoro te in 1998; his investigation of the manuscript tradition found that, of fifty-one sources, forty-four explicitly cite St. Thomas as their author. The remaining sources simply lacked any attribution. We may thus conclude with Wielockx: "External evidence, which must be given priority in sound criticism, wholly favors Thomas Aquinas's authorship of the poem."7BackgroundWith the attribution of the poem to St. Thomas Aquinas on secure footing, we now move to the background of the poem. Unlike Aquinas's Eucharistic hymns such as... (shrink)

James Welch never shied away from depicting the lives of Native Americans damned by destiny and temperament to the margins of society. The Death of Jim Loney is no exception. Jim Loney is a mixed-blood, of white and Indian parentage. Estranged from both communities, he lives a solitary, brooding existence in a small Montana town. His nights are filled with disturbing dreams that haunt his waking hours. Rhea, his lover, cannot console him; Kate, his sister, cannot penetrate his world. (...) In sparse, moving prose, Welch has crafted a riveting tale of disenfranchisement and self-destruction. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. (shrink)

This volume juxtaposes philosophical and psychoanalytic speculation with literary and artistic commentary in order to approach a set of questions concerning the human relation to language. The multifold writing of the volume takes the form of a 'triptych' (following the model of works by Francis Bacon) rather than that of a thesis. The central section of the volume contains an extended dialogue on two textual passages from works by Maurice Blanchot and Jacques Lacan. The first part of the volume's triptych (...) focuses on the work of Francis Bacon, taking the motif of crucifixion as a path toward understanding his violent realism. The third part, which juxtaposes a dialogue with a critical essay, concerns the work of Salvatore Puglia. Through Bacon and Puglia, the author seeks another approach to a figural imperative at the limits of language. (shrink)

This paper explores the notion of practical wisdom asan alternative to current formulations of criticalthinking. The practical realm is that ofill-structured problems that emerge from life aslived; it is a realm of legitimate uncertainty andambiguity that requires an ethical responsiveness orpractical wisdom. The death of a child is a case inpoint. The author identifies and examines threeaspects of practical wisdom – the ethical claims ofpartiality, a yielding responsiveness and the play ofthought – and juxtaposes them with aspects of (...) criticalthinking. The work of Martha Nussbaum and RichardPaul are interwoven throughout the discussion. Theauthor concludes that the discourse of criticalthinking is in danger of lapsing into a form of moralescapism wherein all we are rationally responsible foris thinking correctly. Practical wisdom, on theother hand, recognizes that thinking is not simply anintellectual cognitive act of an individual but adance between the life of a child and the love of anelder, a conversation between what is and what couldbe, an openness to passionate sorrow and surprise, aplay between understanding and perception. As such,practical wisdom provides a more likely account ofliving in good faith with oneself and others. (shrink)

Derrida insists that any effort to think theological–political power “in its possibility” must begin with the death penalty. In this paper, I revisit the death of Moses Paul, “an Indian,” executed in New Haven in 1772 for the murder of Moses Cook, a white man. The Mohegan minister Samson Occom delivered Paul’s execution sermon and accompanied him to the gallows. Revised, Occom’s sermon was one of the first works published by a Native American author in English. Occom (...) suggests there can be a theological–political power that signals itself not by decreeing the death penalty, but by opposing it. Hence sovereignty can be thought, with and against Derrida, as the theologico-political power to restore life. By opposing death to grace, moreover, Occom achieves a division of sovereignties, creating an opening for Indigenous nations within the scaffolding of the settler state. Working in collaboration, then, Occom and Paul produce a political theology. (shrink)

This chapter reviews fundamental ethical controversy surrounding the ongoing effort to revise the Uniform Determination of Death Act in the United States. Instead of focusing on the process of the revision itself, the chapter explores the underlying ethical debate over brain death that has been ongoing for many decades and finally culminated in this revision. Three issues are focused: the requirement for consent and personal exemptions before applying brain death for the diagnosis of death; redefining the (...) areas of the brain that have ceased to function in the definition of brain death; and codifying the American Academy of Neurology as the authority to issue the standards of the diagnosis of brain death. The chapter concludes that allowing the personal choice of death determination gives a pragmatic compromise to the disputed definition and practice of diagnosing brain death. So long as all risks and imperfections of the diagnosis are accepted through the consenting process, there is nothing ethically objectionable to continuing the current practice of diagnosing brain death as a successful tool to facilitate heart-beating organ donation without violating the dead-donor rule. By contrast, precluding personal choice and imposing legal restrictions to consent and exemptions would further erode public trust. (shrink)

The first part of the article (§§ 1-3) illustrates the critical relation the authors establish with the leading figures of philosophical anthropology in terms of their engagement with “world-openness” (Weltoffenheit). This notion cannot be reduced to the objectivity that confronts man as a spiritual being, as in Max Scheler, but rather makes it possible to grasp the limits of distancing objectification; in Arnold Gehlen, the coercion to action derived from the indeterminacy of man’s relation with the world is not sufficient (...) to comprehend the role of culture for the constitution of the human animal itself; and with the biological means utilized by Helmuth Plessner it is not possible to account entirely for the human capacity to establish relations by means of society. Historical anthropology, as the second part (§§ 4-5) of the article shows, aims to respond to such deficiencies by bringing to light the numerous historical and cultural forms of openness to a plurality of worlds. Freeing itself of any abstract and binding anthropological norm that claims to define the essence of man, historical anthropology investigates human structures and phenomena through a series of transdisciplinary studies centering on themes such as the body, ritual, mimesis and the performative dimension in its entirety, performance and performativity. (shrink)

The Bush Administration's quiet resumption of, or initiation of new, nuclear weapons programs aimed militarizing space, and erecting a missile defense shield that would have the effect of rolling back 19 years of solid détente, has gone largely unnoticed over the last eight years. Weapons makers, government officials and politicians have expressed excitement at these new developments, despite the immediate stress loaded onto relations between the United States and Europe, particularly ex-Soviet satellite countries. This paper revisits arguments about nuclear weaponry (...) and the possibility for defense against and survival of a nuclear war. The paper considers the way new nuclear technologies are inherently determinist, and reflects on the threat of the apocalyptic world as seen in American author Cormac McCarthy's unflinching 2006 novel, The Road. (shrink)

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on (...) the pursuit of a transcendent world of nobility, harmony and beauty. Following an illness that left him deaf for life, Goya developed an art of a fundamentally different kind - an art, Malraux writes, ruled by ‘the unity of the prison house’ which replaced transcendence with a pervasive feeling of dependence and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, the etchings and black paintings are the first announcement of the death of beauty in Western art. (shrink)

Most donated organs in the United States come from brain dead donors, while a small percentage come from patients who die in “controlled,” or expected, circumstances, typically after the family or surrogate makes a decision to withdraw life support. The number of organs available for transplant could be substantially if donations were permitted in “uncontrolled” circumstances–that is, from people who die unexpectedly, often outside the hospital. According to projections from the Institute of Medicine, establishing programs permitting “uncontrolled donation after circulatory (...) determination of death,” or uDCDD, throughout the United States has the potential to provide 22,000 more donation opportunities annually. In contrast, U.S. controlled donation after circulatory determination of death, or cDCDD, cases have increased progressively over the past decade from 87 to 848 donors, but currently account for only 10.6 percent of all deceased donors. Following the IOM recommendations, several projects exploring the feasibility of uDCDD were funded by the federal government, including a grant from the Health Resources and Services Administration that supported a pilot project in New York City in which the authors of this article participated.A key feature of our protocol, and indeed of many uDCDD protocols, is the initiation of preservation methods such as chest compressions and extracorporeal membrane oxygenation shortly after death in order to perfuse and preserve the donor's organs. Critics of uDCDD argue that the means of determining death deviates from generally ascribed principles. They assert that reinstituting circulation in order to preserve organs has the effect of “undoing” the prior determination of death. The result is that cDCDD is widely accepted and practiced routinely even though it only marginally increases the number of organs available for transplantation, and uDCDD is widely considered unacceptable despite being ethically embraced and proven to significantly increase organ donation opportunities in other countries. This article explores the evolution of this counterintuitive state of affairs and calls for a policy that, in line with the IOM report, allows for both cDCDD and uDCDD protocols. (shrink)

In the revised and updated edition of this popular book, Sean Burke shows how the attempt to abolish the author is fundamentally misguided and philosophically ...

In lieu of an abstract, here is a brief excerpt of the content:Reports of the Death of the AuthorDonald KeeferReports of the death of the author have been greatly exaggerated. Throughout Western history, the death of a hero, the disappearance of something sacred, the fall of a leader, or the defeat of a powerful people has signaled cultural crises and the coming of anxiety-filled transformations towards an unknowable future. When Friedrich Nietzsche wrote the belated obituary on (...) the death of God, he was well aware of its enormity. He complains that millennia will pass before humanity will overcome its living in the “immense frightful shadow” of God. 1 Roland Barthes’s 1968 notice on “The Death of the Author,” however, announces an analogous loss of the “Author-God” with nothing but smug confidence: “We know to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author.” 2 Since his actual death in 1980, and despite his writings contra the author, Barthes has become the sort of Author declared moribund in his article, as he is attentively read and dutifully quoted with adulation by artists, art and literary critical theorists alike. 3For Abigail Solomon-Godeu, writing on photography, the death of the author, and by extension, the artist and composer, as theorized by Barthes, was a cornerstone in a new age of cultural production and consumption. Readers would be liberated from the tyranny of authorial authority. She links the transgressive edge of “appropriative art,” found in such works as photographer Sherry Levine’s photographs of famous photographs, to playing out the cultural consequences of Barthes’s manifesto. “The dismantling of the notion of unique subjectivity Barthes understood as a salutary blow struck against ossified and essential retrograde bourgeois humanism.” 4 The paramount irony is [End Page 78] that the Four Henchman of the Authorial Apocalypse, Roland Barthes, Michel Foucault, Jacques Derrida, and Paul De Man, are given the godlike status of founding fathers of postmodernism by practically every writer on the current art scene. The program to “challenge the symbolic itself,” is accepted as a sacred charge by the new cultural clerisy. 5Nearing three decades of postmortem of the author, what has changed? The “death of the author” has given birth not to the reader, but to a booming industry of “discursive practices,” or the production of texts on texts. And clearly, not one of the producers of these texts would happily give credit to discourse itself for their byline. Despite postmodern misgivings about authority and propriety, we can still be sued for appropriating without their permission words and ideas theoretically the product of language itself! 6 Isn’t it high time that we began to demand some sort of truth in advertising or reporting on matters such as these?Margit Sutrop has lamented in the pages of this journal the resilient attitudes of those cultural critics who take as axiomatic Barthes’s claims: “Even the sharpest philosophical analysis has had no influence on those speaking about the death of the author.” 7 In fact, many of the critiques are so good, one must wonder if our continuing concern with Barthes isn’t bordering on overkill. Sutrop sees that Barthesian proponents have too much invested in the thesis to be moved. She then acknowledges that arguments might prove fruitless against the force of a metaphor. This is a very troubling concession however. There is nothing surprising about a community’s lack of self-criticism except when that community advertises itself as the party that dares to challenge all. The convenience of certain “truths,” or beliefs not subject to correction ought always to make us suspicious.The truth is Barthes’s attack has much less to do with authors than with a style of reading: “We know that a text is not a line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God), but a multi-dimensional space in which a variety of writings, none of them original, blend and clash” (DOA, p. 146). The tenacity of Barthes’s supporters is a function of the sort of reading that Barthes licenses here and in his other works. Clearly... (shrink)

_New observations on the persistence of God in modern times and why “authentic” atheism is so very hard to come by_ How to live in a supposedly faithless world threatened by religious fundamentalism? Terry Eagleton, formidable thinker and renowned cultural critic, investigates in this thought-provoking book the contradictions, difficulties, and significance of the modern search for a replacement for God. Engaging with a phenomenally wide range of ideas, issues, and thinkers from the Enlightenment to today, Eagleton discusses the state of (...) religion before and after 9/11, the ironies surrounding Western capitalism’s part in spawning not only secularism but also fundamentalism, and the unsatisfactory surrogates for the Almighty invented in the post-Enlightenment era. The author reflects on the unique capacities of religion, the possibilities of culture and art as modern paths to salvation, the so-called war on terror’s impact on atheism, and a host of other topics of concern to those who envision a future in which just and compassionate communities thrive. Lucid, stylish, and entertaining in his usual manner, Eagleton presents a brilliant survey of modern thought that also serves as a timely, urgently needed intervention into our perilous political present. (shrink)

_New observations on the persistence of God in modern times and why “authentic” atheism is so very hard to come by_ How to live in a supposedly faithless world threatened by religious fundamentalism? Terry Eagleton, formidable thinker and renowned cultural critic, investigates in this thought-provoking book the contradictions, difficulties, and significance of the modern search for a replacement for God. Engaging with a phenomenally wide range of ideas, issues, and thinkers from the Enlightenment to today, Eagleton discusses the state of (...) religion before and after 9/11, the ironies surrounding Western capitalism’s part in spawning not only secularism but also fundamentalism, and the unsatisfactory surrogates for the Almighty invented in the post-Enlightenment era. The author reflects on the unique capacities of religion, the possibilities of culture and art as modern paths to salvation, the so-called war on terror’s impact on atheism, and a host of other topics of concern to those who envision a future in which just and compassionate communities thrive. Lucid, stylish, and entertaining in his usual manner, Eagleton presents a brilliant survey of modern thought that also serves as a timely, urgently needed intervention into our perilous political present. (shrink)