A dominant theme in the ninth of the Heroides, Deianira's letter to Hercules, is Deianira's indignation that Hercules has been defeated by a woman: first by Iole ; then by Omphale . The theme is exploited so insistently that Vessey, who regards the epistle as spurious, sees in this insistence a sign of the forger's clumsiness. consider the exploitation of the motive of‘victor victus’ in Heroides 9, on the contrary, as a strong sign of Ovidian authorship. From the very beginning (...) of the letter, the reader is reminded that if a woman, Iole, has metaphorically destroyed Hercules, another woman is on the point of destroying Hercules in a much more real and literal way, and this woman is none other than Deianira herself. When Deianira writes the letter, she has just sent to Hercules the garment soaked in Nessus' poison that will provoke Hercules' horrible death : thus Deianira, rather than Iole or Omphale, is the woman who vanquishes the unvanquished hero. But this is not only a matter of dramatic irony based on the general lines of the story. Heroides 9 is an elegiac rewriting of Sophocles' Trachiniae , and at the same time is inserted in the time and the ‘body’ of the tragedy. Ironic prefiguration in Heroides is normally realized through intertextual anticipation: thefuture events that are prefigured are present in the texts of the model epic or tragedy. Deianira blames Hercules for bis defeat: quern numquam Iuno seriesque immensa laborum fregerit, huic Iolen imposuisse iugum quem non mille ferae, quern non Stheneleius hostis, non potuit Iuno vincere, vincit amor. (shrink)

_Tragic Play_ explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age _after_ tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner Müller, (...) and Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In _Hamlet_, _Endgame_, _Philoktet_, and _Ithaka_, Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence. (shrink)

_Tragic Play_ explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age _after_ tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner Müller, (...) and Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In _Hamlet_, _Endgame_, _Philoktet_, and _Ithaka_, Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence. (shrink)

These hours of backward clearness come to all men and women, once at least, when they read the past in the light of the present, with the reasons of things, like unobserved finger-posts, protruding where they never saw them before. The journey behind them is mapped out, and figured with its false steps, its wrong observations, all its infatuated, deluded geography.Henry James,The Bostonians, ch. xxxixThis paper is intended to contribute to the study of both Homer and Greek tragedy, and more (...) particularly to the study of the influence of the epic upon the later poets. The current revival of interest among English scholars in the poetic qualities of the Homeric poems must be welcomed by all who care for the continuing survival and propagation of classical literature. The renewed emphasis on the validity of literary criticism as applied to presumably oral texts may encourage a more positive appreciation of the subtlety of Homeric narrative techniques, and of the coherent plan which unifies each poem. The aim of this paper is to focus attention on a number of elements in Greek tragedy which are already present in Homer, and especially on the way in which these poets exploit the theme of knowledge—knowledge of one's future, knowledge of one's circumstances, knowledge of oneself. Recent scholarship on tragedy has paid much more attention to literary criticism in general and to poetic irony in particular: these insights can also illuminate the epic. Conversely, the renewed interest in Homer's structural and thematic complexity should also enrich the study of the tragedians, his true heirs. (shrink)

In his famous Addresses of the German Nation Fichte gives a number of different definitions of German identity. Ironically, precisely those figures of German dominance, which played an important role in the German nationalism of the 19th and 20th century, come from the Romanesque abroad. Fichte follows here Dante’s philosophy of the vernacular and the invention of the typical German virtues in the Germania of Tacitus. Tragically, however Fichte’s own cosmopolitan queer theory of transnational intersubjectivity has been overlooked until now.In (...) Fichtes berühmten Reden an die deutsche Nation lassen sich eine Mehrzahl unterschiedlicher Definitionsfiguren deutscher Identität entdecken. Ironischerweise schöpfen dabei ausgerechnet die für den Nationalismus des 19. und 20. Jahrhunderts zentralen Figuren deutscher Dominanz aus den historischen Quellen des romanischen Auslandes. Dazu zählen Dantes Philosophie der Volkssprache und Tacitus’ Erfindung des germanischen Nationalcharakters in seiner Germania. Am Ende gehört es auch zur tragischen Ironie der Wirkungsgeschichte, dass Fichtes eigenes, neuartiges und kosmopolitisches Quer-Konzept transnationaler Intersubjektivität bis heute übersehen wird. (shrink)

This essay re-examines Hegel's account of Greek culture in the section of the _Phenomenology of Spirit_ devoted to “ethical action”. The thrust of this section cannot be adequately grasped, it is argued, by focusing on Hegel's references to either Sophocles' _Antigone_ or Greek tragedy as a whole. Taking into account Hegel's complex use of literary sources, the essay shows in particular that Hegel draws on Aristophanes' comedies to comprehend the collapse of Greek culture, a collapse he considered to result from (...) the tragic conflict constitutive of Greek culture as a whole. The essay thus aims to shed light on Hegel's abstruse remarks on womanhood and, more generally, to demonstrate that Hegel's peculiar employment of literary sources constitutes an essential element of the method he employs throughout the _Phenomenology of Spirit_. (shrink)

In Sophocles’ OT 261 the phrase κοινῶν παίδων κοινά is to be translated as “common (descendants) of joint children”. If Laios had not been killed, he and Iokaste would have had children and grandchildren together. By ways of tragic irony Oedipus describes thus reality: Laios does have grandchildren, as Oedipus’ children are truly Laius’ grandchildren, since Oedipus is his son.

Jules Brody argues that Aristotle's usage of hamartia in The Poetics is best understood in terms of its literal meaning, "missing the mark," rather than in the broader, familiar sense of "tragic flaw." Hamartia is a morally neutral non-normative term, derived from the verb hamartano, meaning "to miss the mark," "to fall short of an objective." And by extension: to reach one destination rather than the intended one; to make a mistake, not in the sense of a moral failure, (...) but in the nonjudgmental sense of taking one thing for another, taking something for its opposite. Hamartia may betoken an error of discernment due to ignorance, to the lack of an essential piece of information.1 Or, as S. H. Butcher would have it:... (shrink)

Bernard Smith was a giant on the Australian intellectual scene, and a major analyst of and contributor to the processes of cultural traffic between the antipodes and the centres of the world system. He was a lifelong Marxist, or historical materialist. Yet his scholarship also wore an open weave. Was he then a Marxist in politics? This essay argues that his historicism placed his thinking firmly with the owl of Minerva, rather than in the driver’s seat of history. Marxism, for (...) Bernard Smith, was ex post facto, placing him with the tragic irony of Marx’s Eighteenth Brumaire rather than with the activist intent of the Theses on Feuerbach. Distance, for Smith, was everything. (shrink)

Bernard Smith (1916–2011) was a giant on the Australian intellectual scene, and a major analyst of and contributor to the processes of cultural traffic between the antipodes and the centres of the world system. He was a lifelong Marxist, or historical materialist. Yet his scholarship also wore an open weave. Was he then a Marxist in politics? This essay argues that his historicism placed his thinking firmly with the owl of Minerva, rather than in the driver’s seat of history. Marxism, (...) for Bernard Smith, was ex post facto, placing him with the tragic irony of Marx’s Eighteenth Brumaire rather than with the activist intent of the Theses on Feuerbach. Distance, for Smith, was everything. (shrink)

A leading character in a play, at any rate in a major speech, is normally doing several things: he is saying what the development of the plot requires, and sometimes also expressing the dramatist's own tragic vision; he is also expressing his own thoughts and emotions, or saying what from his point of view the rhetoric of the situation requires. There are thus at least two questions to ask about the Trugrede: What is its function in the economy of (...) the plot? Why does Sophocles give this speech to Ajax, and what light does it throw on his character as presented by Sophocles? The first question is easy enough to answer. There can be no doubt that this is a deception speech in the sense that Tecmessa and the Chorus are misled about what is going to happen, and at any rate part of Sophocles' purpose was evidently to achieve an effect of relaxation of tension or ‘retardation’. At first all is gloom and despair; then when the suicide of Ajax seems to be imminent, this speech leads Tecmessa and the sailors to think that he means to live on after all, and they express their relief in a joyful hyporchema. Then follows a messenger speech with warnings that dispel their joy but still offer a gleam of hope, until that hope is extinguished when they find the dead body of Ajax. Sophocles has thus contrived an arresting dramatic sequence to fill the interval between the opening scene and the discovery of Ajax' death. The main effect could have been produced by direct, unambiguous falsehood in the speech we are considering, but Sophocles presumably wished the spectators to be aware that the joy and relief were illusory, so that they could at once appreciate the tragic irony of the sailors' rejoicing. There was probably no way of informing the audience directly that the speech was meant to be deceptive, and Sophocles therefore included in it numerous ambiguous expressions which the Chorus and Tecmessa, eager to believe good news, interpret as indicating a change of purpose, whereas for the spectators, who are more detached and probably aware of the traditional version of the story according to which Ajax killed himself, they have ominous overtones and arouse suspicion, in the last lines verging on certainty, that in this play too he still means to take his own life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Max Nordau, Madison Grant, and Racialized Theories of IdeologyJohannes Hendrikus BurgersRecently, Jonathan Spiro has undertaken the Herculean task of recovering the ghost of the conservationist and anti-immigrant racist Madison Grant from a very limited archival record. Spiro’s biography is an invaluable resource that covers, in as much detail as possible, Grant’s life and thought. Although largely forgotten now, in the first half of the twentieth century Grant was a (...) leading figure in the eugenics movement that sterilized thousands of people deemed unfit to reproduce. He was also a prominent advocate of immigration restriction, and he helped southern racists ban miscegenation.1 Like other scholars before him, Spiro argues that Grant arrived at many of his views through the work of such racial scientists as Arthur de Gobineau, Francis Galton, and Houston Stewart Chamberlain.2 While he and other scholars are certainly correct in drawing such a lineage, one unlikely and hitherto unexplored parallel to Grant’s thought specifically, and American eugenics in general, was that of Hungarian cultural critic and later Zionist leader, Max Nordau. By elucidating their intellectual kinship, this paper seeks to reveal the extent to which early twentieth-century transatlantic racial discourse involved widely different actors who were at times unknowingly espousing quite similar racial views for entirely different ends. [End Page 119]The reasons why Nordau’s name has not appeared in relation to Grant are several. First, there is a lack of biographical material on Madison Grant: much of his personal correspondence was purloined or destroyed.3 Consequently, evidence that Grant had been influenced by or even read Nordau is largely circumstantial and inferential, and cannot be verified through archival documentation. Secondly, despite a recent Nordau renaissance,4 and notwithstanding certain key publications, he still remains a somewhat marginal figure in the narrative of late nineteenth century history, especially in the American context.5 Thirdly, and more importantly, after the death of Theodore Herzl, Nordau became the most prominent leader of the Zionist movement at the beginning of the twentieth century. Certainly, someone as committed to Jewish advancement and Jewish emigration to America as Nordau, was hardly likely to share similar racial views with a white supremacist, anti-immigration propagandist, and vicious anti-Semite like Grant. In fact, the only indirect textual connection between the two thinkers is the verbatim use of one of Nordau’s articles by Grant’s racist disciple Lothrop Stoddard; a connection that has only been explored very briefly in a footnote by Nordau biographer Meir Ben-Horin.6 Otherwise, there has been no attempt to see these two thinkers in the same context. Hence, contrary to current scholarly opinion about both writers, this paper will show that they both operated within the same racial framework. While making no claim here of a direct causal relationship between Nordau and Grant, I do contend that during this period there is enough intellectual crosspollination of racial theories to create a significant, not merely coincidental, overlap of ideas. Simplifying early twentieth-century racial thinking into two distinct camps of non-racists and racists is conceptually flawed, even if, as in this case, the ostensible disparities could not be greater.The idea Nordau helped introduce to America, and the idea Grant used later, was that there was a hereditary link between race and ideology. Both believed a person’s racial makeup directly influenced their political ideology. Grant and other anti-immigration nativists used this logic to justify the [End Page 120] exclusion of non-Anglo-Saxon foreigners. Unhealthy, degenerate, foreign bodies presented a danger to the body politic, not just because they were not as productive as the white “Nordics” and therefore caused a drain on the system, but, more significantly, because their inferior type made them susceptible to radical anti-American ideologies like socialism and anarchism. Accordingly, their degeneracy was both an economic strain and a political danger to post-World War I America. The tragic irony is that Nordau’s contribution to the late nineteenth-century racial science was intended to combat increasingly virulent European anti-Semitism. Instead, it ended up in the hands of anti-Semitic propagandists. In fact, at the time that Nordau was urging Jews... (shrink)

On November 4, 2008, during his concession speech to President-Elect Barack Obama, Senator John McCain transformed Obama's victory into his theodicy by claiming that the election "proved" that the country had progressed from its days organizing social life around racial exclusion. McCain's speech exemplifies a paradox of "American" progress: black bodies ascending to social heights previously prevented through a particularly pernicious brand of white American antiblack racism, upon whose backs U.S. global financial and military dominance was built, become evidence for (...) justifying American exceptionalism. One tragic irony of American history is that since at least emancipation, "black... (shrink)

This note highlights an original echo between two passages of Seneca's Troades that draws attention to one of Andromache's personality traits.

This article discusses irony as an aesthetic, therefore affective, value, as exemplified in Stendhal’s irony. Affective phenomena vary in nature and intensity, and one same emotion can be coloured differently (adjectives indicate its nuances, as, for example, in “sweet nostalgia” or “desperate nostalgia” etc.). Irony involves a very complex gamut of aspects and degrees: it can be satiric, comic, tragic, nihilistic, paradoxical etc. I first consider what kinds of irony Stendhal avoided. He discarded both the (...) tragic satire of Chateaubriand and Romantic nihilistic irony. Then I look at Stendhal’s theory of laughter, as hinted at in several of his writings where he reflects upon various forms of comedy while developing his own ideal of comedy as it will appear in his major novels (see Journal littéraire, Histoire de la peinture en Italie, Racine et Shakespeare, and Correspondance). Dissatisfied with Hobbes’ definition of laughter as involving a feeling of superiority, he considered two conditions for the comic effect: clarity and suddenness. Both become fundamental in his literary style. At the same time Stendhal was convinced of the affective superiority of the moderns over the Ancients: only the moderns, forged by Christian sensitivity, experienced tender emotions. Tenderness should color everything: the novel should aim at the ideal of opera-bouffe, where comedy is “a mixture of gaiety and tenderness,” while the writer masks his tenderness by using a “sweet” (douce) irony towards his favourite characters. (shrink)

This book investigates the role of humor in the good life, specifically as discussed by three prominent French intellectuals who were influenced by Nietzsche's thought: Georges Bataille, Gilles Deleuze, and Clément Rosset. Lydia Amir begins by discussing Nietzsche's reception in France, and she explains why and how he came to be considered a "philosopher of laughter" in the French academe. Each of the subsequent three chapters focuses on the significance of humor and laughter in the good life as advocated by (...) Bataille, Deleuze, and Rosset. These chapters also explore the complex relationship between the comic and the tragic, and of humor and laughter to irony, satire, and ridicule. The Legacy of Nietzsche's Philosophy of Laughter makes an invaluable contribution to recent interpretive work done on Bataille and Deleuze, and offers further introduction to the relatively understudied Rosset. It illuminates the philosophies of these three thinkers, their connection to Nietzsche, and, overall, the significant role that humor plays in philosophy. (shrink)

Societies change; and sociology has, since its inception, described and evaluated these changes. This article proposes a revised theory of collective learning processes, a conceptual framework which addresses ways in which people make sense of and cope with change. Drawing on Habermas’ classic proposal, but shifting the focus from argumentation towards storytelling, it explains how certain articulations allow for collective learning processes (imagining more inclusive orders), while others block learning processes (imagining more exclusive orders). More specifically, the article points to (...) narrative genres (romance, tragedy, comedy and irony) which organize feelings and shape the social bond, proposing that ironic and tragic stories have the potential to trigger collective learning processes, while romantic and comic stories tend to block them. (shrink)

Dramatization and comedy are recurring themes in Deleuze's work in the 1960′s and, from his book on Nietzsche in 1962 through The Logic of Sense in 1969, remarks on humor and comedy are closely bound to ethical and political concerns. In Nietzsche and Philosophy, he speaks of the “true” and “false” senses of the tragic in order to frame his interpretation of Nietzsche as a whole, but the distinction acquires its immediate importance from its bearing on the question, “what (...) is justice?” In 1967, in Coldness and Cruelty, he describes legal critique as possible only in terms of irony and comedy. And, in 1969, in The Logic of Sense, the series on humor is followed and explicated by the series “On the Moral Problem in Stoic Philosophy.” This final discussion makes clear what binds these disparate discussions together: comedy is a mode of dramatization that facilitates a morally relevant experience that does not necessarily or immediately engender an act of judgment. For Deleuze, comedy is a demonstration that provokes an experience of wonder at a world that is not organized by the concepts and judgments of subjectivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 501-519 [Access article in PDF] Nietzsche and Early Romanticism Judith Norman Nietzsche was in many ways a quintessentially romantic figure, a lonely genius with a tragic love-life, wandering endlessly (through Italy, no less) before going dramatically mad, taken by his gods into the protection of madness (to quote Heidegger's epithet on Hölderlin, one of Nietzsche's childhood favorites). 1 But this (...) is to be a romantic in an uncapitalized manner, and has nothing to do with the literary movement of Romanticism, a movement from which, as is well-known, Nietzsche distanced himself loudly and vigorously. Nietzsche famously follows Goethe in his verdict that Romanticism is a form of sickness and classicism a form of strength, and commentators, for the most part, have accepted this self-description. 2 That is, they do not blithely identify Nietzsche with that nineteenth-century artistic movement, whose proponents include Victor Hugo, Eugene Delacroix, and Richard Wagner. 3But Romanticism is a plural phenomenon. When Goethe made his famously dismissive remark, he was clearly not talking about Hugo and Wagner; he meant Romanticism in an earlier incarnation. Commentators have been less reticent about finding all sorts of affinities between Nietzsche and some of these earlier movements. In particular Nietzsche is frequently and positively compared to Jena Romanticism (also known as early Romanticism), a movement whose principal figures included August and Friedrich Schlegel, Novalis, Tieck, Schleiermacher, and Schelling, and the writings they published in the 1790s, principally in the journal, Athenaeum. It is this romantic movement that will be the focus of my paper. Jena romantics, while Grecophile, had nothing to do with Rousseauean primitivism (they were well aware that their image of the [End Page 501] Greeks reflected contemporary fantasies more than historical reality), they had no cult of the genius, and they did not valorize emotion above reason. 4 What was central to their movement was profound skepticism about the viability of traditional attitudes towards truth, an intellectually rigorous theory of art that gave particular weight to playfulness, fragmented writing, the notion of literary irony, a sense that the philosopher ought to be or become more of an artist (though not a genius)—and, correlatively, that philosophy is or ought to become more artistic. All of which sounds decidedly Nietzschean. Romanticizing Nietzsche While Nietzsche himself never makes the connection, he never explicitly distances himself from the authors of Jena romanticism in the way he does from later romantic figures. 5 Indeed, he barely mentions the Jena romantics by name and probably never read Friedrich Schlegel, the figure most closely associated with this romantic movement. 6 As such, there is certainly space for commentators to argue for a close if tacit intellectual connection between Nietzsche and Jena romanticism; indeed, one commentator speaks of a fundamental affinity, 7 another calls Nietzsche the last romanticist, and yet another claims that "[Nietzsche's] story makes sense only when read in the larger context of his Romantic predecessors' history." 8It is undeniable that Nietzsche came out of a philological tradition inaugurated by the Schlegels (and developed by Schelling) which juxtaposed the Dionysian and the Apollinian in Greek tragedy. According to Lacoue-Labarthe, "an entire tradition of academic philosophy (which, on his own initiative, Nietzsche had joined) revolved around precisely this opposition." 9 At least in [End Page 502] his earlier works Nietzsche's view of the Greeks was influenced by (if not predicated on) the scholarly research and interpretative theories of figures associated with Jena romanticism. How profound and enduring this influence might have been is an interesting question, but not one I will explore at present. I will not discuss the influence of the Jena romantics in their scholarly capacity as classical philologists, but rather focus on any impact they may have had as philosophically minded literary critics during the 1790s. Similarly, I will not look at The Birth of Tragedy but rather focus on claims made concerning the romantic tendencies of Nietzsche's later work. A body of scholarship has been building which claims that the critical theories of Jena... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Persecution of Writing: Revisiting Strauss and CensorshipGeorges Van Den Abbeele (bio)In the 1542 edition of Pantagruel, Rabelais’s narrator terminates a long tirade extolling the Gargantuan Chronicles’ extraordinary virtues (curing toothaches, relieving the pain of treatments for syphilis, and so on) with the proviso that he will maintain the absurd truth of these claims “jusques au feu exclusive (to any point short of the stake)” [215]. This clause, absent (...) from earlier editions, while implicating the comic cowardice of the narrator also adumbrates a tragic sense of prudence. In the early years of the sixteenth century, not just Rabelais but the rest of his Renaissance world had come increasingly to know the heavy hand of censorship and persecution. Bookburning, of course, had lost its traditional source of terror with the invention of the printing press: no longer could a single bonfire extinguish all versions of a single manuscript. Instead, Church and State authorities had in the course of the Renaissance to invent new practices for controlling and regulating the circulation of dangerous words: bans on publication, excision of offensive passages prior to printing, indices of prohibited books, and so on. When left with no other alternative, however, one could still burn not just sample copies of the book but the offending author too, such as in the case of Giordano Bruno, whose auto-da-fé menacingly lit up the skies in the very first year of the seventeenth century. 1Today, with the advent of electronic media and the virtual extirpation of texts from the materiality of print and paper, it is even more difficult to abolish or even regulate the spread of refractory discourses. In the last decade, though, we have seen renewed attempts at censorship, not just of modern visual, aural, and electronic modes of representation (as is commonly recognized and debated), but also of that reputed cornerstone of liberal democratic rights, the printed text. And while in the contemporary American context it may seem that the debate over censorship has “become an argument almost exclusively about pornography and obscenity” [McGrail 51], there is also a critical need for reflection on the renewed onslaught today in virtually every part of the planet against the freedom of writers and that of the press per se. The gravity of the situation best emblematized by the case of Salman Rushdie should not blind us to the parallel stories of Taslima Nasrin, Wole Soyinka, Farag Fuda, Nawal el Saadawi, and others sadly too numerous to list. 2 [End Page 3]In this context, Leo Strauss’s 1941 essay “Persecution and the Art of Writing” retains a remarkable currency on the subject and remains a crucial point of departure from which to reflect on the contemporary crisis of censorship and the writer. Written at a time, over half a century ago, when another wave of explicit attacks on writers shocked the intellectual world, Strauss’s essay, on the one hand, struck a hopeful chord by evoking the kinds of techniques available to writers in their efforts to evade or foil censorship, that is, by demonstrating that no censorship can fully succeed in terroristically bringing about an end to heterodox forms of expression. On the other hand, he posits at least the possibility for every text that it has an inexorable core that is esoteric. No censorship can be total, but there is also no such thing as a pristine state of letters prior to censorship. As Michael Holquist has written in a more recent venue, “censorship is” [16], and all discussion must begin from that understanding if we are ever to approach the magnitude of the contemporary debacle.It is perhaps no small irony, too, that a certain Straussianism begs the question of censorship, complaining about the strictures of “political correctness” while seeking to restore a canon that not only would deny many forms of alternative discourse but also the very historicity of such constructs as canons and approved reading lists as well as indices of “forbidden books.” A useful approach might be to consider whether more recent forms of censorship have historically exceeded the terms of Strauss’s argument or whether the Straussian version of history is not itself an... (shrink)

This article explores the intertextual connection between Eteocles’ dream in Statius’ThebaidBook 2 and the brief reference to his ambiguous dream at Aesch.Sept.710−11. In Aeschylus’ play, Eteocles understands the true meaning of the dream belatedly, as he is about to enter into a duel with his brother Polynices. The article argues that the ambiguous character of the Aeschylean dream forms the basis of the dream in Statius, and that the poet develops the scene further through elements of epic dream sequences that (...) align his narrative with the epic tradition. However, Statius emphasizes even more the ambiguity of Eteocles’ dream to highlight the tragic nature of his character. Following ancient dream theorists, the discussion shows next that the obscurity of the dream in theThebaidcan be understood as the product of the fusion of different dream classes, which are evoked in the description of the dream in Statius. The proposed interpretation suggests that, on the basis of their personal experience of dreams and their familiarity with popular dream theories, Statius’ readers would have been able to perceive the irony between Laius’ message and Jupiter's true intentions, all of which enhance Eteocles’ tragic character. (shrink)

The notion of double consciousness, as a characterization of black subjectivity, is basic to Ménil’s critique of the alienated “mythologies” of Antillean life and its self-exoticizing literature. Double consciousness renders cultural identity deeply problematic. But it has other, more positive, manifestations, closer to a Bakhtinian idea of dialogism. Thus he praises Césaire’s use of irony as a dual voice. Ménil’s valorization of complexity and ambiguity in literature, against the simple naturalism favoured by the Communist Party but which he insists (...) is not a truly Marxist position, is thus linked to his view of the necessary “doubleness” of Antillean consciousness. Conversely, the simplicity of folklore can offer a basis for cultural identity, but not for good literature. Although Ménil emphasizes the importance of Antilleans reclaiming their history, this is less about discovering one’s roots than providing a dynamic grasp of one’s ever-changing place in a social reality governed by the Marxist dialectic. “Double consciousness” precludes the comforts of fixed identities, but it is a dialectical, not a tragic condition. (shrink)

The notion of double consciousness, as a characterization of black subjectivity, is basic to Ménil’s critique of the alienated “mythologies” of Antillean life and its self-exoticizing literature. Double consciousness renders cultural identity deeply problematic. But it has other, more positive, manifestations, closer to a Bakhtinian idea of dialogism. Thus he praises Césaire’s use of irony as a dual voice. Ménil’s valorization of complexity and ambiguity in literature, against the simple naturalism favoured by the Communist Party but which he insists (...) is not a truly Marxist position, is thus linked to his view of the necessary “doubleness” of Antillean consciousness. Conversely, the simplicity of folklore can offer a basis for cultural identity, but not for good literature. Although Ménil emphasizes the importance of Antilleans reclaiming their history, this is less about discovering one’s roots than providing a dynamic grasp of one’s ever-changing place in a social reality governed by the Marxist dialectic. “Double consciousness” precludes the comforts of fixed identities, but it is a dialectical, not a tragic condition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are (...) capable of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

The article is devoted to the philosophical and cultural analysis of postmodern philosophy on the basis of the Hegelian methodology, Heidegger's philosophy of language, structural psychoanalysis, deconstructionism, hermeneutics, universal ethics and philosophy of dialogue. The article substantiates the thesis that postmodernism as a model of theoretical reflection is autonomous with regard to liberalism and relativism with the concept of a "French school", which has an anti-liberal orientation and corresponds to the conservative Christian attitudes imposed by implicit ontological meanings. The medieval (...) ontological "nuclei" of postmodernism are concepts: "Real" by J. Lacan, "Archepism" by J. Derrida, "Schizoid" by J. Deleuze, "language reconfiguration" by P. Ricker. Thus, freed from the stereotypes of relativity, postmodernism appears as a third alternative in opposition to the European choice between liberalism and radicalism. The double standard extends to the attitude of liberals to radical currents in crisis processes. Initially, liberal leaders take an overwhelming majority in right-wing nationalism, using it as a tool to support the status quo of capitalism, a means of distracting the masses from real problems, and a mechanism of intimidation. When the mass is intimidated enough, it is proposed to liberalism as "a source of defacing" as the "only alternative". We can talk about the artificial situation of identifying the choice of Fa versus Antifa for the subject who is forced to choose between "purse and life" - between multiculturalism and radical nationalism The key task of structural psychoanalysis is not only the returning of the conflict to its original place, that is, the disclosure of the deep-seated class traumas of the capitalist neoliberal world itself, according to S. Zizek and other representatives of the Slovenian school, but also - the separation of the philosophy of postmodernism as a spiritual phenomenon from political projects of neoliberalism and multiculturalism, which until recently were considered an applied dimension of postmodern politics and promoted the introduction into the social practice of the vicious circle "liberalism - nationalism liberalism" - a circle that does not provide choice and which excludes from its own semiosfery any other values: ethical and dialogical, modern, conservative, religious, international, non-system Left and others. In order to realize this task, postmodernism must be considered under the other viewpoint, depriving it of the stereotypes of "relativism", "cynicism" and "enlightenment", that is, it is necessary to demonstrate that the authentic core of postmodern philosophy is far from multicultural indifference of "post-truth" and includes expressive ontological motives. The double goal of our study: to carry out a critical rethinking of postmodernism as a form of manifestation of a conservative attitude based on hereditary archetypes of the Middle Ages and Modernism, and to show that postmodernism as a philosophy is not the cause of the tragic self-denial of postmodernism as an applied measurement of multiculturalism, that multiculturalism with its vicious circles of relativity, devastation and radicalism is separate from the phenomenon of postmodernism and belongs to the "shock" project of American liberal democracy, and not to "French school" Moreover, the School of Post-Structuralism of the Sorbonne, as the basis of postmodernism, is the descendant of the Marxist school of "new left" in Frankfurt and its meaning is fundamentally anti-capitalist and anti-liberal. By combining among themselves in a single interdisciplinary field the classical philosophy of M. Heidegger's language, J. G. Derrida's "grammar", G. Lacan's structural psychoanalysis, J. Habermas's universal ethics, J. de Gaulle's schizodiscourse, and hermeneutics and the philosophy of P. Ricker's dialogue, we have shown that In the semantic field of postmodernism there are ontological kernels of conservatism, which approximate this philosophical model to medieval traditionalist thought and make the border between modern and postmodern very conditional. The return of postmodernism to the status of the philosophy of being and the liberation of the French school from the stereotypes of "lack" and "loseness" is necessary in order to protect postmodernism from accusations of cynicism, relativism and "emptiness", since these allegations are, firstly, based on the mixing of postmodernism with liberal irony, and, secondly, often serve as an excuse for the revival of various kinds of fundamentalist aspirations. We have shown that liberalism, by provoking through the irony of the identification of the "illusion", initially contributes to the development of radical movements, and then, when they emerge from the symbolic control, they remove them from the agenda as "fascist", opposing them to themselves. There is a closed vicious circle of impossibility to choose between "Fa and Antifa". Our work was an attempt to remove postmodernism from this circle. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ubiquity of MoodsMatthew R. Broome (bio) and Havi Carel (bio)Keywordsphenomenology, Heidegger, moods, affects, meaning, self, philosophyPhilosophy is often caricatured as one of the most disconnected and anemic academic enterprises. Yet in philosophers’ own accounts of what drew them to the problems they have sought to address they answer, typically, in two broad, passionate, ways: wonder or anxiety. As such, philosophy, and philosophers’ self-understanding of themselves and their enterprise, (...) can serve as a way to address some of the important topics raised by Rosfort and Stanghellini. Even for philosophers, the emotional experience of moods and affects is employed in narrativity, or at least, employed when one is called to give an account of oneself. One could envisage a party conversation along these lines:So why did you become a philosopher?Well, I wanted to go to university but wasn’t interested in science or in the humanities and I’ve always been dreadful at languages.(Laugh) But you must like something about it as you wouldn’t have become a professor?You know how it is... you drift into things. I did well as an undergraduate, my tutor suggested I should do a PhD. Found an excellent supervisor, and got a few papers published and then a teaching post....You must be very committed to the subject.Ummm—I guess so. I thought about joining the civil service after my PhD, but always managed to find work and the hours are much more flexible at universities!Well I think it is amazing: to think and teach about such important things.Do you?There is something slightly baffling here that may simply be part of the inherent irony and self-deprecation of some academics. The philosopher's interlocutor is asking about what philosophy means to the philosopher: why he has given his life to it. As such, she is alluding to a deeper, philosophical question that, after decades of falling out of favor, is returning to the attention of philosophers: namely, how has philosophy given your life meaning? The philosopher responds with possible irony, banality, or superficiality and invokes luck rather than meaning in his narrative. He serves as Nietzsche's feared nihilist. The account offered also seems to fail to meet normative standards, and depending on how the philosopher carries it off, this gap between expectation and reality in the conversation may generate humor.However, the greater likelihood is that the conversation engenders perplexity and disappointment in the interviewer. Rather like the characters in Evelyn Waugh's early novels, the philosopher is buffeted passively by life and luck and eschews agency or meaning. In Waugh's skilled hands this becomes tragic comedy; for the philosopher and his interlocutor we have disconnection and sadness. The crucial reason for this is that we need to use terms referring to moods, affects, meaning, and emotion when we offer an account of ourselves and when we try to understand ourselves. [End Page 267] Otherwise, something is missing and the reason a person gives for their actions either look like poor reasons or not reasons at all (Bortolotti and Broome 2008). Further, agency, rationality, and self-knowledge may themselves be dependent upon reason-giving.In invoking moods and affects in one's narrative the practical understanding (or ‘affordances’) of the world one inhabits are laid open in clear view. Hence Aristotle's account of wonder as the stimulus for philosophy. Aristotle says: ‘For it is owing to their wonder that men both now begin and at first began to philosophize; they wondered originally at the obvious difficulties, then advanced little by little and stated difficulties about the greater matters’ (1984, 1554). Conversely, given the experience of transcendence, of ambiguity, of finitude rather than wondrous awe, the philosopher may be motivated by anxiety (Kant's awakening from his dogmatic slumbers, Heidegger's battles with ‘Crisis’ and the flight of the gods). Either manner of accounting for one's interest seems to work normatively in the giving of reasons and in generating a narrative, and, moreover, a philosophical narrative.Our fictional dialogue and discussion aims to reinforce the important link between narrative, reason-giving and moods and affects argued for by Rosfort... (shrink)

I admire Robert Denham's enlightening and often very amusing response to my "Coherent Readers, Incoherent Texts" Critical Inquiry 3 [Summer 1977]:781-802). Not surprisingly, however, I remain unconvinced by its arguments, large or small. This may sound defensive, partly because it is, but I do wonder if his use of pluralistic sound sense is quite so fresh or so formidable as he takes it to be. . . . I think Denham understands quite accurately my use of "genre" as representing a (...) traditional structure for organizing plot, character, images, tones, and the like. I think it is true, also, that I use the word to refer both to narrative pattern and to what he calls "intention," that I use both Frye and Sacks as examples of convincing distinctions among ordering patterns. Of course Denham is right in saying that these systems are not necessarily coordinate, that they cover species and subspecies alike, and that the generic patterns are not of the same order. One might have a represented action that is comic, tragic, or even "serious." I wonder if all this really makes my argument "sometimes difficult to follow" . I had thought that I was signaling clearly the switch from Frye to Sacks, that neither was using "genre" in an unfamiliar or restrictive sense, and that both presented useful systems that were comprehensive and thus adaptable—as time has surely shown—for the labeling and pigeonholing needs of those seeking coherence at all costs. Since Frye sees narrative patterns as "pre-generic," it would not be difficult to work out coordination simply by saying that Sacks' three general categories of fiction could each exist in any of Frye's twenty-four phases. But things are not that simple, and more important, such devices would surely distract a reader I wanted to be in search of other game. Most of us switch freely from system to system, understanding "genre" to refer to a class that includes epic-drama-lyric-novel, a class that includes comedy-tragedy-romance-irony, a class that includes apologue-satire-represented action. As I see it, the only danger lies in mixing incompatible systems. James R. Kincaid is professor of English at the University of Colorado at Boulder. His works include Dickens and the Rhetoric of Laughter, Tennyson's Major Poems: The Comic and Ironic Patterns, and The Novels of Anthony Trollope. His contributions to Critical Inquiry are "Coherent Readers, Incoherent Text" , and "Fiction and the Shape of Belief: Fifteen Years Later". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Play, Laugh, LoveCynthia Willett’s Challenge to PhilosophyMegan CraigIt is an honor to respond to Cynthia Willett’s work, which has been an inspiration for me personally as well as a crucial corrective to the biases and blind spots of Western philosophy. Reading her entails reviewing some of the most basic features of one’s life: the place you call home, the people you live with, your mother or primary caregiver, the (...) words you utter, the other animals you love or ignore, and local conditions for justice, for play, for laughter, and for art. Her four major texts, all of them ethical, confront irony, motherhood, social justice, and animals. Because it would be impossible to deal comprehensively with the ways in which Willett has challenged and strategically sabotaged philosophy, my remarks here will focus on her most recent book, Interspecies Ethics, which expands several aspects of her early work on irony and laughter and her groundbreaking research on affect in Maternal Ethics and Other Slave Moralities.Interspecies Ethics is a brave and joyful investigation into the possibilities for camaraderie and justice among and between animal species. The book is moving in its descriptions of animal behaviors and sharp in its critique of philosophy’s implication in the chasm between human beings and other animals. Willett’s text is also ingenious in its performative aspects. She devotes much of her attention to the comic and to laughter, in spite of the grave subject matter she tackles and a final chapter devoted to J. M. Coetzee’s Disgrace. She not only enjoins us to consider other animals’ capacities for laughter and humor, she tells jokes. Her first chapter, “Can the Animal Subaltern Laugh?” [End Page 59] (co-written with her sister) revolves around a Colbert Report episode relating to monkeys and ends with the phrase “ jello and porn” (probably the first-ever invocation of these terms, together, in a philosophical text). Willett’s humor recalibrates the expectations we have for philosophical prose and expands the resources we might use when philosophizing. Additionally, in laughing along with Willett, we are already exhibiting our animal natures. As she writes, “Waves of laughter lower defenses and mock the borders of subjects and groups, exposing these borders as more porous than they might have been thought” (Willett 2014, 79). In the spirit of forging a community of the laughing, Willett begins her thinking about animals not from the perspective of pity, shame, or horror at what we do to them, but from a celebratory glee in animal life.In this essay, I will stress a few of the themes running through Willett’s work and pose three questions for further discussion. These relate, in order, to interspecies contact, playgrounds, and to her reading of Disgrace.Contact EthicsWillett is concerned with the world we share with other animals, with our common lots and the blurred edges of our differing bodies and habitats. Her book invites an awareness of the tragic fates of so many animals, but also the ridiculous, comical, and joyous aspects of our overlapping animal natures. Her emphases fall on playfulness, laughter, and musicality—traits she observes across animal species and that challenge human exceptionalism. Interspecies Ethics continues Willett’s ongoing project of reimagining the conditions for ethical life. Rather than an ethics based in infinite responsibility, one premised on sympathy and the recognition of mutual suffering, or an ethics rooted in the internalization of a universal law, Willett envisions an ethics grounded in “call and response,” which she describes as “discourse ethics across species” (Willett 2014, 27). For her, “discourse” means an initial, preverbal, rhythmic participation in the life of another creature. This is a far cry from the rational discourse ethics associated with Habermas. Instead, she sees call and response ethics as a tentative, playful exchange that challenges accounts of language, reason, and rationality. It also corrects Levinasian response or alterity ethics by reminding us that “responding to alterity is not [equivalent to] living with those other creatures” (Willett 2014, 9). In a way, Willett’s vision of ethics entails normalizing and extending the Levinasian face to face encounter to see what happens when we face... (shrink)

Despite apparently holding diametrically opposed attitudes toward dialectical logic, both George Santayana and the early Frankfurt School critical theorists posit a close link between the concepts of reason and domination. It is argued that a broadly-speaking Hegelian philosophical project can survive Santayana’s critiques, albeit by benefitting from the latter’s, as well as from the Frankfurt School’s, re-centering of nature in the history of domination. In the alternative, Santayanaists who would reject Hegel must reckon with the proximity and affinity, notwithstanding Santayana’s (...) suggestions to the contrary, of their perspectives on the ultimately tragic structure of history. (shrink)

The title theme is explored in seven chapters, five of which are revisions of previously published papers. As sketched in the introduction, the central claim is that the dialogues not only always present their explicit themes in a context of "finitude, limitation or negation", but also depict three different responses to such finitude, "domination, submission, or an acknowledgment of the finitude which transforms it into possibility", of which the latter is to be preferred. Moreover, subsequent chapters argue that this mode (...) of presentation is a form of irony which is not merely a literary device or a tactic of political prudence or of pedagogical method, but a reflection of a core tenet of Platonic philosophy, that is, that while the whole has an arche which is in principle intelligible, the finitude and erotic character of human nature render any complete or adequate grasp of that arche humanly impossible. Consequently, the philosophic enterprise, insofar as it is engaged in a necessarily unsuccessful striving for an unattainable goal, partakes of certain elements of tragedy, including the tragic sense that such striving is somehow ennobling. Yet insofar as it yields to the temptation to believe that its goal is attainable, it runs the risk of turning comic in its ignorance of its own limitations. Hence it seems to be self-knowledge about its own finitude which makes the philosophic life finally neither tragic nor comic. (shrink)

The role of Alfred Kinsey, America's most influential sexologist, in the cultural revolution of sex and gender during the past fifty years remains as unquestionable as it has been controversial. This admiring biography argues that Kinsey also qualifies as an authentic great man of science in the tradition of Darwin. Kinsey's expert authority was recently challenged by James Jones, who claimed in his 1997 biography that Kinsey's terrible personal secrets—homosexuality and masochism—plagued his life and ruined his science. Jonathan Gathorne‐Hardy sets (...) out to repair Kinsey's reputation by defending him against this “Kenneth Starr school of biography” . The author seeks to rescue Kinsey's achievement from the stigmatizing charge that it was flawed because it subordinated science to subjectivity.Gathorne‐Hardy emphasizes Kinsey's methodological creativity and his interviewing genius. During his early career, when he worked on gall wasps, Kinsey's science developed as a practice of scrupulous collection, observation, and documentation. Even in graduate school, he was dubbed “get a million Kinsey,” and his belief in sheer quantity—as well as quantification—was just as apparent when he turned his attention to human sexuality. In 1938 Kinsey taught a course on marriage at Indiana University, where he spent his entire working life. Limited to married or engaged students and faculty, the course covered reproductive physiology, contraception, and a host of other sexual topics in explicit detail. Kinsey also used the course to gather data about his students' sex lives. The thousands of sexual histories collected at the Institute for Sex Research in later years—7,985 by Kinsey alone—attest to his scientific commitment to behavior as the only legitimate basis for a science of sex.The behavioral unit of analysis chosen by Kinsey was the orgasm—or “outlet,” as Kinsey called it. Because it was countable, the theory went, it was objective. Kinsey's ethic of measurement resulted in interviews involving at least 350 standard questions, whose answers were recorded in a custom code designed to fit on a single sheet of paper divided into 287 squares. Among the ironies of Kinsey's method was the fact that his sex histories measured linguistic rather than sexual behavior. What Kinsey actually compiled was a huge cache of stories, not direct observations of sexual behavior. Kinsey, who gathered more sexual stories than any other person alive, systematically aimed to eradicate all quirks and complexities in order to produce a statistical portrait of population‐wide behavior. Meanings might be historically important, but numbers, not narratives, would yield truth. The easy use of “human males” and “human females” in the titles of Kinsey's famous reports suggests how universal his scientific claims were—and also how devoid of temporal and cultural particularity.The resulting conception of human sexual nature is probably best represented in Kinsey's six‐point scale, where behavioral possibilities ranged from exclusively homosexual at one pole to exclusively heterosexual at the other. Diversity emerged as the premier fact about sexual behavior. While this placed men and women uncomfortably close to their primate cousins on an evolutionary map, making human sexual exceptionalism objectively unsustainable, it also produced a reformist sensibility that rooted its demand for toleration in the powerful evidence of natural facts. It is difficult to overstate how shocking Kinsey's picture of polymorphous sexuality was in a culture devoted to either/or binaries and prone to harsh judgments about deviation from norms. Kinsey's contribution was to point out the gap between ideology and behavior . That lots of people did lots of things at odds with professed sexual morality was, for some, a welcome relief and call to revolution. For others, it was a reason to hate Kinsey and blame him for changes in the realm of gender and sexuality already well under way by midcentury.No biographies can save scientific heroes from the fatal charge that their methods and findings were bound up in their lives, or they would not be biographies worth reading. This attests to the stubborn endurance of the psychoanalytic paradigm. Kinsey despised Freud for passing off philosophy as science. Yet because of the conventions of post‐Freudian biography, Gathorne‐Hardy must explore exactly those dimensions of Kinsey's life and character that Freud embraced but that Kinsey himself would never have admitted into the precincts of science. His childhood illnesses and struggles with an overbearing father, his rage against religion, fondness for music, charismatic yet autocratic style, and his own anguished sexuality are keys to puzzling out not only a life in science, but a life.Gathorne‐Hardy can hardly ignore evidence that Kinsey's own sexual appetites were diverse—“bisexual” is this author's preferred designation—or that his enterprise in sex research involved experimentation: the mostly married male members of Kinsey's team were expected to engage in sexual activities with one another and one another's wives. Kinsey's wife Clara was a confidant and supporter from the start. Their loving marriage was also an open marriage. Mac was a participant‐observer in the world of sex research. She had a series of affairs with Kinsey's colleagues and even changed the bedsheets during energetic sessions of sexual cinematography that took place in the attic of their home. Yet the Kinseys also shielded their children from their own unorthodox sexual practices.This biography concludes by suggesting that Kinsey died tragically in 1957, convinced that his enemies had the upper hand. Kinsey was wrong. The diversity he championed has become a theoretical staple in the human and life sciences as well as a practical goal in social policies related to gender, race, and sexuality. However unfinished it may be, it is difficult to imagine Kinsey's revolution being reversed in either science or society. (shrink)

The Full Bayesian Significance Test (FBST) for precise hypotheses is presented, with some applications relevant to reliability theory. The FBST is an alternative to significance tests or, equivalently, to p-ualue.s. In the FBST we compute the evidence of the precise hypothesis. This evidence is the probability of the complement of a credible set "tangent" to the sub-manifold (of the para,rreter space) that defines the null hypothesis. We use the FBST in an application requiring a quality control of used components, based (...) on remaining life statistics. (shrink)

This article endeavours to provide a cross-cultural juxtaposition between Kierkegaard and Zhuangzi, two thinkers of significant stature in the history of Eastern and Western philosophy, to unveil a profound congruity between Christian and Daoist thoughts. Specifically, by examining the works of Kierkegaard, particularly his concept of irony and ‘transparent self’, and exploring the similar key themes present in Zhuangzi’s writings, we endeavour to highlight the similarities between Kierkegaard and Zhuangzi. Both of the intellectuals enter the discussion on the process (...) of individual spiritual practice through ‘irony’ and set their goals on ‘salvation’, emphasising the importance of the process of spiritual practice, which provides possibilities for dialogues between Christian and Daoist thoughts. Contribution: Previous research frequently underscores the profound differences between Kierkegaard and Zhuangzi. Based on the discussion of certain concepts, this article argues that, analysing the consistency between the two at the level of spiritual practice can help us understand the possibility of dialogue between Christian and Daoist thoughts. (shrink)

Two rival accounts of irony claim, respectively, that pretence and echo are independently sufficient to explain central cases. After highlighting the strengths and weaknesses of these accounts, I argue that an account in which both pretence and echo play an essential role better explains these cases and serves to explain peripheral cases as well. I distinguish between “weak” and “strong” hybrid theories, and advocate an “integrated strong hybrid” account in which elements of both pretence and echo are seen as (...) complementary in a unified mechanism. I argue that the allegedly mutually exclusive elements of pretence and echo are in fact complementary aspects enriching a core structure as follows: by pretending to have a perspective/thought F, an ironic speaker U echoes a perspective/thought G. F is merely pretended, perhaps caricaturised or exaggerated, while G is real/possible. (shrink)

On many occasions, irony is used to communicate emotions, to criticise or to tease other people. Irony comprehension consists in identifying an utterance as ironical and detecting its implied meaning. Existing research has investigated irony comprehension as a pragma-linguistic phenomenon, which has led to several theoretical accounts and interesting empirical results. However, given that irony comprehension is situated in a social context and has the purpose to communicate the mental states of the speaker/writer indirectly, it is (...) reasonable to assume that social cognition and emotional processes play an important role. Until very recently, this has been largely overlooked by research in the field. Furthermore, an overarching framework that can integrate theoretical insights and empirical data on the component processes of irony comprehension is still lacking. The purpose of this paper is to help close this gap. The positive proposal is that the predictive processing framework provides the theoretical resources and conceptual tools to describe relevant aspects of irony comprehension. According to predictive processing, perception, action, cognition, and emotion can be described as a continuous attempt to minimise prediction error. Irony comprehension, I will show, can be depicted as a special case of prediction error minimisation. The neuro-functional mechanism postulated by predictive processing is apt to account for the realisation of the pragma-linguistic, social, and emotional processes that jointly give rise to irony comprehension. The emerging perspective can elucidate why and how people comprehend ironical utterances. (shrink)

Since Jonathan Shay's work with Vietnam veterans, moral injury has largely focused on the harm done to soldiers' moral character through their participation in warfare. This essay argues for the inclusion of noncombatants in the scope of inquiry involving moral injury. Specifically, it argues for the necessity of ordinary citizens assuming responsibility for the moral injury done to soldiers and civilians alike in the post‐9/11 wars.

Throughout his work Hegel distinguishes between the notion of an act from the standpoint of the agent and that of all other standpoints. He terms the formerHandlung and the latterTat. This distinction should not be confused with the contemporary one between action andmerebodily movement. For one, bothHandlungandTatare aspects of conduct that results from the will,viz. Tun. Moreover, Hegel's taxonomy is motivated purely by concerns relating to modes of perception. So whereas theorists such as Donald Davidson assert thatallactions are events that (...) are intentional under some description, Hegel reserves the term ‘action’ for those aspects of behaviour that are highlighted by a specific set of agent-related descriptions. This is not an ontological category, since there are no such objects as actions-under-specific-descriptions.Sophocles'sTheban Trilogyreveals the central role that these notions must play in any Hegelian understanding of tragic drama. Indeed the contrasts that matter most to Hegel's general take on both epic and tragic poetry are more closely related to the study of action than the standard theory attributed to Hegel would seem to allow. It is more fruitful, then, to incorporate Hegel's insights into such tragedies to the model of action employed by him than it is to try to make them fit whatever ‘theory’ of tragedy might appear to be hinted at in hisAesthetics. (shrink)

The conditions for verbal irony comprehension implicitly or directly claimed as necessary by all of the recent philosophic, linguistic and psycholinguistic theories of verbal irony (Clark and Gerrig 1984; Kreuz and Glucksberg 1989; Kumon-Nakamura, Glucksberg and Brown 1995; Sperber and Wilson 1981, 1986) were experimentally tested. Allusion to a violation of expectations, predictions, desires, preferences, social norms, etc., was confirmed as a necessary condition, but pragmatic insincerity was not. Pragmatically sincere comments can be comprehended ironically. A revised set (...) of conditions was proposed, involving intentional violation of Gricean conversational maxims and the portrayal of a contrast between expectations and reality. A cautionary note was made, however, regarding the viability of a single account of verbal irony comprehension. (shrink)