M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

Literature, for Sartre, it could be said, is not so much an object of theory as the focus of a question. The notion of 'committed literature' is less prescriptive than it is interrogative: the title of the text most commonly associated with 'littérature engagée' is, after all, a question about literature itself, and the nature of 'commitment' lends itself much more to a practice of contestation than to implementation of any particular programme. In what follows, I shall (...) be examining some of the ways in which Sartre makes literature synonymous with a question. And I shall be arguing that the very terms in which literature is presented as a form of self-contestation make biography, rather than theory, the arena in which the notion of literature is most extensively opened up. (shrink)

The question of ethics has dominated recent developments within the humanities. This volume brings together the most recent theories of ethics and reading and applies them to a wide variety of literary texts. Ethical and literary issues explored by the contributors include biography, sensibility, national identity, feminism, postcolonialism, religion, subjectivity and stylistics. Literary authors and philosophers/theorists discussed range from Shakespeare and Mary Shelley to Michele Roberts and Salman Rushdie, and from Kant and Coleridge to Derrida and Levinas.

By way of essays and a selection of primary sources in parallel text, Biography, Historiography, and Modes of Philosophizing provides an introduction to a vast, significant, but neglected corpus of early modern literature: collective biography. It focuses especially on the various related strands of political, philosophical, and intellectual and cultural biography as well as on the intersection between biography, historiography, and philosophy. Individual texts from the fifteenth to the eighteenth century are presented as examples of (...) how the ancient collective biographical tradition--as represented above all by Plutarch, Suetonius, Diogenes Laertius, and Jerome--was received and transformed in the Renaissance and beyond in accordance with the needs of humanism, religious controversy, politics, and the development of modern philosophy and science"--Provided by publisehr. (shrink)

Feminist Auto/biography as a Means of Empowering Women: A Case Study of Sylvia Plath's The Bell Jar and Janet Frame's Faces in the Water Feminism, as a political, social and cultural movement, pays much attention to the importance of text. Text is the carrier of important thoughts, truths, ideas. It becomes a means of empowering women, a support in their fight for free expression, equality, intellectual emancipation. By "text" one should understand not only official documents, manifestos or articles. The (...) term also refers to a wide range of literary products—poetry, novels, diaries. The language of literature enables female authors to omit obstacles and constraints imposed by the phallogocentric world, a world dominated by masculine propaganda. Through writing, female authors have an opportunity to liberate their creative potential and regain the territory for unlimited expression. In order to produce a truly powerful text, they resort to a variety of writing styles and techniques. Here the notions of a situated knowledge and context sensitivity prove useful. There are three methodologies working within situated knowledge, namely, the politics of location, self-reflexivity and feminist auto/biography. All of them regard text as a fundamental tool to signify one's authority, yet feminist auto/biography, a concept widely discussed by the British theorist Liz Stanley, appears to be the most empowering mode of writing. It challenges the overused genre of auto/biography and reconstructs its role within feminist epistemologies, thus creating a favourable environment for text production. The works by Sylvia Plath and Janet Frame can be analyzed from the point of view of auto/biographical empowerment, even though their auto/biographical potential is mainly instinctive. Nevertheless, they help to comprehend the strength of the auto/biographical.The aim of this article is to "investigate" two novels by these authors, The Bell Jar by Sylvia Plath and Faces in the Water by Janet Frame, and their compatibility with Stanley's concept. The paper attempts to answer several questions. Are these novels actual feminist auto/biographies or rather fictional auto/biographies with feminist undertones? What kind of narrative strategy is used to achieve the effect of authority over the text? Last but not least, what is the function of auto/biographical narration in the case of these two novels? The article also explores the idea of writing as a means of regaining control over one's life. (shrink)

The existentialist philosopher Karl Jaspers is the father of a discourse on the spiritual consequences of the Holocaust. First addressed as the Schuldfrage (the question of guilt) by Jaspers immediately after the Second World War in his famous Heidelberg lecture, it has reappeared in various forms in German life and letters. Post-unification Germany has witnessed the valorization of the German experience of the Second World War. This ongoing re-evaluation has its antecedents in the generational literature of the 1970s and (...) 1980s. Whereas the Vaterliteratur of the 1970s (by authors such as Christoph Meckel, Uwe Timm, and Peter Henisch) was often embedded in a left-wing critique of the establishment, recent contributions to this growing genre (by Marcel Beyer, Stephan Wackwitz, Wibke Bruhns, and Ulla Hahn among others) speak to the issue of collective identity and transgenerational family trauma outside distinct left- and right-wing interpretations of National Socialism. The current writings on the life during the Third Reich (filtered through the experiences of discrete generations) are a confluence of historical writing, memorial literature, biography, and fiction. They are closely related to the discussions that W. G. Sebald initiated in his 1997 lecture series on the silence of German postwar literature with respect to German suffering. The subsequent debate on how to bring closure to this ?German suffering? was intensified by Günter Grass's widening of the concept of German victimization beyond the air war controversy in his book Crabwalk (2002). As Grass distinguishes clearly between the various post-World War II generations (and their different perspectives on historical events), the question becomes whether these recent writings will bring about a final so-called ?zero hour? in German postwar history. (shrink)

This book discusses the writings of the mystic Jan van Ruusbroec (1293-1381) within their medieval contexts of literary, religious and intellectual life, thus offering the first comprehensive biography of the most influential medieval Dutch author.

Stanley Fish opens the collection with a persuasive argument for the role of intention and biography. Michael McKeon, Gordon Turnbull, and Jerome Christensen are concerned with the late eighteenth--and early nineteenth-century English cultural discourse that gave rise to the nearly simultaneous emergence of literary biography, Romantic sensibility, and reflexive human consciousness. The essays by Alison Booth, Cheryl Walker, and Sharon O'Brien reveal that the recognition or lack thereof the biographical subject has received and remains both a problem and (...) an opportunity for women writers and readers. The essays by Valerie Ross, Rob Wilson, Steven Weiland, and William Epstein pursue the question of difference and cultural reification in the theory and practice of a specifically American biography and biographical criticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading BiographyMichael Benton (bio)Biographer, Biography, and the ReaderBiography is a hybrid. It is history crossed with narrative. The biographer has to present the available facts of the life yet shape their arbitrariness, untidiness, and incompleteness into an engaging whole. The readerly appeal lies in the prospect both of gaining documentary information, scrupulously researched and plausibly interpreted, and of experiencing the aesthetic pleasure of reading a well-made work of (...) art with a continuous life story and a satisfying closure. "In the family of literature," one of its most respected practitioners asserts, "biography seems to be the product of a strange coupling between old-fashioned history and the traditional novel."1 The invitation of biography is thus a dualistic one; the aesthetic experience it offers stems from the twofoldness of its nature and from the stance that this imposes upon the reader. Literary biographies of poets and novelists offer a particularly fruitful area of study since their subjects have a special concern for aesthetic experience and the biographers' main interest lies in the relationship between the life and the works. Though much of what follows has a wider application, the focus of this article is on biographies of writers. By triangulating the roles of the biographer, the biographee within the biographical text, and the reader we can conceptualize the elements that make up the invitation of the genre.First, the biographer. Richard Holmes characterizes the process he experiences with two keywords: it is a "pursuit" and it is a "haunting." They are two sides of the same phenomenon. The pursuit is a "tracking of the physical trail of someone's path through the past, a following of footsteps," an effort "to write about the pursuit of that fleeting figure in such a way as to bring it alive in the present."2 The haunting occurs when this revivification succeeds and the biographee is brought imaginatively alive. Then the biographer turns from pursuer to pursued. While the subject does not take [End Page 77] him over, as it might in some Gothic fantasy, it does exercise the power of the past upon the present and haunt the biographer's imagination. Holmes goes on to explain the two main elements as "closely entwined strands":The first is the gathering of factual materials, the assembling in chronological order of a man's "journey" through the world—the actions, the words, the recorded thoughts, the places and faces through which he moved: the "life and letters." The second is the creation of a fictional or imaginary relationship between the biographer and his subject; not merely a "point of view" or an "interpretation," but a continuous living dialogue between the two... It is fictional, imaginary, because of course the subject cannot really, literally, talk back; but the biographer must come to act and think of his subject as if he can.3Not every biographer would necessarily subscribe to this particular description, but there is ample evidence in the recent spate of books about the genre4 that the biographer's capacity for imaginative empathy is continuously interacting with the verifiable historical data. The present operates upon the past in other ways, too. Earlier biographers who are more or less contemporary with their subjects (for example, Boswell, Forster, Mrs. Gaskell)5 stand in different relationships with them and the available data about them compared with present-day biographers who may inherit a whole bibliography of "lives" laid down in stratified layers on top of the life they are trying to recover. The modern reader, like the modern biographer, has to be a literary archaeologist. Dickens's "lives," for example, are constructed on a bedrock of his friend Forster's biography and on the novelist's own writings, neither of which subsequent biographers can afford to ignore. Later "lives" also have to be sifted through: our inherited Dickens is compounded from a series of accounts from, among a host of others, the Victorian memoirs of his daughter6 and his reading manager,7 via Edwardian enthusiasts8 and 1930s revelations about Dickens's private life,9 to those of modern academics and writers in our own time.10 In such cases, bringing the subject... (shrink)

Essays in Arabic Literary Biography, 925–1350. Edited by Terri DeYoung and Mary St. Germain. Mîzân: Studien zur Literatur in der islamischen Welt, vol. 17,1. Wiesbaden: haRRaSSoWitz, 2011. Pp. vii + 371. €68.

This book discusses the writings of the mystic Jan van Ruusbroec within their medieval contexts of literary, religious and intellectual life, thus offering the first comprehensive biography of the most influential medieval Dutch author.

While historiography is dominated by attempts that try to standardize and de-individualize the behavior of animals, history proves to be littered with records of the exceptional lives of unusual animals. This book introduces animal biography as an approach to the re-framing of animals as both objects of knowledge as well as subjects of individual lives. Taking an interdisciplinary perspective and bringing together scholars from, among others, literary, historical and cultural studies, the texts collected in this volume seek to refine (...) animal biography as a research method and framework to studying, capturing, representing and acknowledging animal others as individuals. From Heini Hediger's biting monitor, Hachikō and Murr to celluloid ape Caesar and the mourning of Topsy's gruesome death, the authors discuss how animal biographies are discovered and explored through connections with humans that can be traced in archives, ethological fieldwork and novels, and probe the means of constructing animal biographies from taxidermy to film, literature and social media. Thus, they invite deeper conversations with socio-political and cultural contexts that allow animal biographies to provide narratives that reach beyond individual life stories, while experimenting with particular forms of animal biographies that might trigger animal activism and concerns for animal well-being, spur historical interest and enrich the literary imagination. (shrink)

An artistic interpretation of historical facts is quite relevant in the literature and non-fiction of a post-totalitarian society. Prose works on historical themes are valuable and interesting in that they create an illusion for readers to be present in a certain period of historical time, and it is the artistic modeling of events that makes priceless facts of history completely disappear. The historical past is an inexhaustible material that word artists have been referring to for centuries, creating the best (...) examples of fiction. Prose texts of historical subjects are perceived by each next generation in a new way, historical events and phenomena are interpreted from different angles, the activities of famous figures of the past are widely covered. Non-fiction literature is a kind of literature that is on the verge of artistry and documentary. The main non-fiction genres are a diary, autobiography, biography, memoirs, confession, letters, etc. On the one hand, non-fiction literature claims to recognize the author’s subjective truth about him in her texts; on the other hand, only the reader can either, demonstrating full confidence in the author, call this text documentary, or admit the presence of poetry and aesthetics in the work and tilt the scales in the direction of artistry. The material for observation and research of the phenomenon of artistic modeling are works that allow us to trace the most common, in our opinion, models of correlation of historical and artistic consciousness in postmodern literature and non-fiction of a post-totalitarian society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 387 and contributed an important and helpful study. This dissertation is a model of its kind. One hopes the author will continue his scholarly efforts. The Catholic University of America Washington, D.C. WILLIAM E. MAY John Henry Newman: A Biography. By IAN KER. New York: Oxford University Press, 1990. Pp. xii + 764. $24.95 (paper). The Achievement of John Henry Newman. By IAN KER. Notre Dame: (...) University of Notre Dame Press, 1990. Pp. x + 209. $24.95 (cloth). Ian Ker has inherited the mantle of the late Charles Stephen Dessain as the finest textual expositor of the Newman corpus, and Ker's biography should become a standard reference tool in the field. Ker ap· prenticed under Dessain in the production of the monumental (31volume ) Letters and Diaries, and his biography shows his command of the materials of that as yet unfinished project. Ker's hook joins the biographies of W. Ward (1912) and M. Trevor (1962) as significant "lives of Newman" to consider, and it addresses their earlier shortcomings : Ward's inadequate appraisal of the Anglican Newman and Trevor's unconcern for Newman's theological writings. Of Newman's intellectual contribution, Ker's treatment is similar to Dessain's John Henry Newman, an exposition of the major themes and intellectual moves, and theologically-minded inquirers need read both. Ker offers the hook as a personal life, a literary appraisal, and an intellectual study. The personal life and literary analysis are ably carried off; Ker's background in English literature and his editorial work on the letters have served him well. The intellectual study takes the form of synopses of Newman's hooks and articles, which are woven into the chronological narrative of the life. This aspect of Ker's hook is by no means "the theological achievement of JHN" (cf. Tracy's work on Lonergan); such a project still awaits Newman studies and someone of the conceptual breadth of the late Jan Walgrave to achieve it. Ker provides accurate and readable summaries of Newman's writings, and if a biography is meant to introduce the sundry aspects of a person, especially a complex thinker like Newman, then Ker's treatment of the intellectual aspect offers a fine introduction. I shall consider these three dimensions of the biography, and first the personal life. Newman considered that a person's life is best told 888 BOOK REVIEWS through that person's correspondence. Ker's biography is approached chronologically, and Newman's published letters guide the tale. Newman 's advice is particularly apropos for his own biographer, since Newman 's hooks and articles often displayed a "reserve" in which his true feelings were couched and nuanced. His letters, especially to confidants, were candid and often hard-hitting, as when he described the Curia in these words: " And who is Propaganda? one sharp man of business, who works day and night, and dispatches his work quick off, to the East and West, a high dignitary, [perhaps an Archbishop], hut after all little more than a clerk... with two or.three clerks under him " (p. 519). (Ker displays some reserve himself, omitting Newman's episcopal aside.) Ker's use of the letters is most revealing during Newman's Roman Catholic period when he encountered opposition from Archbishop Manning and W. G. Ward in England, from Archbishop Cullen in Dublin, and from Cardinal Barnaho in Rome. One senses how the laity rallied round him. Some of Newman's most pungent thoughts on ·theological freedom, on the suspicious nature of the clergy toward educated laity, on the wherewithal to make an institution a genuine university, on the role of patience and.trust in God when authorities are hearing down, are to he found in Ker's choice of letters. With so much material to mine-Newman wrote 20,000 letters-it is understandable that Ker does not include, save rarely, what Newman's opponents were thinking. Ker's account of Newman's Anglican period is equally illuminating, and indeed it is a highlight of the biography. While the Apologia has provided the main lines of the story, Ker puts flesh and hones to Newman 's struggle with his conscience. In coming to Oxford, Newman... (shrink)

In his quest to solve 'the ever-disquieting riddle of existence', Schopenhauer explored almost every dimension of human existence, developing a darkly compelling worldview that found deep resonance in contemporary literature, music, philosophy, and psychology. This is the first comprehensive biography of Schopenhauer written in English. Placing him in his historical and philosophical contexts, David E. Cartwright tells the story of Schopenhauer's life to convey the full range of his philosophy. He offers a fully documented portrait in which he (...) explores Schopenhauer's fractured family life, his early formative influences, his critical loyalty to Kant, his personal interactions with Fichte and Goethe, his ambivalent relationship with Schelling, his contempt for Hegel, his struggle to make his philosophy known, and his reaction to his late-arriving fame. (shrink)

We are again going through a period of expansion in biographical literature. There is an ever greater number of publications, demonstrating the libido biographica of the reading public and also showing the interest of authors for a genre that is often treated with a great deal of care and rigor. This is not the first time in the history of letters, and each of us can find in his library a quantity of ancient, classic or modern works proving the (...) constancy of this production. However, the contemporary phenomenon takes on a different meaning. The appetite for the biographical seems to be directly linked to its value as testimony. We are living in an era of distrust with regard to rules and codes. Every individual is called on to organize his conduct and invent his existence, from which comes, it seems, this need for an example that also expresses a taste for history and a need for more truth than entertainment from the author of biographies. (shrink)

The first part of this comment presents the biography of Henryk Elzenberg whose creative life is shared between four centers of intellectual life in Poland: Cracow, Warsaw, Vilnius and Toruń.The second part of this article depicts the creative profile of H. Elzenberg: a philosopher forming an axiological vision of world and man, directing attention towards a general theory of value; where he placed the foundation for his ethics, esthetics and the philosophy of man.

What, if anything, distinguishes works of fiction such as Hamlet and Madame Bovary from biographies, news reports, or office bulletins? Is there a "right" way to interpret fiction? Should we link interpretation to the author's intention? Ought our moral unease with works that betray sadistic, sexist, or racist elements lower our judgments of their aesthetic worth? And what, when it comes down to it, is literature? The readings in this collection bring together some of the most important recent work (...) in the philosophy of literature by philosophers such as Martha Nussbaum, John Searle, and David Lewis. The readings explore philosophical issues such as the nature of fiction, the status of the author, the act of interpretation, the role of the emotions in the act of reading, the aesthetic and moral value of literary works, and other topics central to the philosophy of literature. (shrink)

The personality of Metropolitan Bartolomeu Valeriu Anania has been extremely complex, first of all due to the various domains of his work - literature, essays, art history, theology and biblical theology -, and secondly due to his relation to politics, especially his connections with the Legionary Movement and with Communism. Despite having been incarcerated as a political prisoner in some of Bolshevik Romania's famous prisons (Jilava, Pitești, Aiud), Bartolomeu Valeriu Anania is still accused of having collaborated with the political (...) police of Ceaușescu's regime, Securitatea . The present text analyses the writer's work in order to explain the relationship between religion, literature, and politics, stressing both their connections, as well as his journey from being a writer to being the theologian commenting on and revising the translation of the Holy Scripture. The analysis is therefore oriented towards Valeriu Anania's literary works, namely his poetry, prose, and theatre, so as to underline its religious background, be it either theological or alluding to Romanian popular religiosity; furthermore, it focuses on his theology, from icon to biblical theology, stressing the associations with literature and the importance of literary workmanship. Finally, based on the cultural analyses which unveil his deep affection for the Romanian spirituality and considering several politically controversial episodes of his biography, the text will attempt to argue in favour of the lack of sufficient and reliable evidence that could prove his collaboration with the political police of Communist Romania. (shrink)

Ṣāliḥ bin ʿAbd al-Quddūs of Persian origin was born in Basra, the crossroad of religions and teachings with its socio-cultural, scientific and intellectual structure. He grew up in a family that values religion, politics and literature. Rich scientific background and cross-cultural integration of Basra significantly influenced his scientific and intellectual development. However, in historiographical sources, he is an intellectual who has come to the fore with his literary identity. His ‘sectarian’, ‘political’, ‘wise’ (ḥikami), ‘didactic’ and 'gnomic' poems form the (...) main theme of his literary writings. Various titles have been attributed to him by the authors of history and biography. "Master of poets, street preacher, storyteller, theologian and philosopher" are a number of them. Before the translation of philosophical works, he became one of the important representatives of the 'literary theology', the dialectical technique of the period. Thus, besides his poetic and literary identity, he is mentioned as one of the six theologians of Basra. Over time, he was able to attract the attention of the political power with his theoretical and literary works for both theo-political and social adjustment. However, he was not understood adequately, and his poems did not attract the necessary attention since philosophical/wise expressions were widely found in them. In his poems, it is possible to see every tone of hope and hopelessness. He reflects hope, rights, justice, equality, freedom, moral virtues, but more often; despair, death, transience of the world, ascetism and distancing from people. For this reason, he is also referred to as the "poet of despair." From this point of view, his call to the life of ascetism was interpreted as dualism. The opinions of Ṣāliḥ calling for social adjustment, justice and equality were perceived as a threat by the political authority and he was killed with the accusation of heresy. Although it is generally accepted that he was executed due to heresy, there is much speculative information about the subject. Of two examples are that he subjected to ethnic discrimination due to his Persian origin, and that he was a philosopher of dualism and a follower of Manichaeism. However, the reason for the murder of Ṣāliḥ was neither his theological choice nor ethnic origin. His poetry, which motivated social morality, intellectual development, freedom and social enlightenment, turned him into a threat to the political power. It would appear that his opposition to Arab nationalism and privilege in the ranks of Šuʿūbiyya, a populism movement and his demand that justice and equality should spread throughout all layers of society, caused political prosecution. In this process, the rule chose the easiest way to silence any opposing voice by implementing the accusation of heresy. The concept of heresy, especially with the Abbasids, quickly turned away from its religious concerm and changed into a political notion. As a result, academic discussions conducted at the scientific and intellectual level in Basra were moved to a practical arena by politics, and the dose of criticism and violence increased. First of all, with its scientific and bureaucratic elements, the state embarked on an intellectual and actual struggle with heretical teachings, which aims to distort the essential principles of Islam by dissimulation (taqīyya). Although this political attitude towards heresy, which aims to break down Islamic values, can somehow be considered reasonable, the area of accusation of heresy expanded in time; causing every opposing movement to be evaluated within this scope. However, when the main theme of his poems is examined, the first point, attracting attention is his call to believe in God, the truth of the hereafter, reckoning consciousness, responsibility, justice, equality, freedom, etc. In fact, referring to the Qur’ān and ḥadīth in his poems already proves that he was a Muslim. Nevertheless, his poems were sometimes interpreted and presented as an evidence of his heresy and whenever he was found stating the right, his statements were found invalid because of accusation of dissimulation. Considering all these facts, this article will make a logical consistency analysis of the information and narrations about Ṣāliḥ. It will also examine the validity of the accusations of heresy against him, based on his literary discourses, religious identity and political attitude. As a result, it will determine whether the negative (theological) attribution to him is really an accusation or truth by an analytical inference. (shrink)

This paper aims at reconstructing how the positive image of Octavian resp. Augustus, which can be found in the Greek literature of the early 2nd century AD (e. g. in Plutarch), was formed. During their conflict with Octavian, Marc Antony and his party were creating an image of their opponent which displayed numerous forms of disparagement and of invective elements. After his victory, Octavian faced the challenge to restore his reputation also in the Greek East. As a starting point (...) for this restoration he provided his autobiography, which was probably published at an early date, i. e. about the late 20s BC. At the same time, both in poetry (Crinagoras) and prose (Dionysius of Halicarnassus and Strabo) an image of the princeps as a bringer of peace and culture was created. After a cooperation with Timagenes had failed, Nicolaus of Damascus added to the positive image of Augustus by composing a panegyrical biography of Augustus which incorporated also his childhood and youth. (shrink)

From 1347 onwards, new literature emerged in the Islamic and Western worlds: the Ṭā‘ūn [Plague] Treatises. The literature in Islamdom was underpinned by three things: (i) Because the first epidemic was a phenomenon that had been experienced since the birth of Islam, ṭā‘ūn naturally occurred on the agenda of hadith sources, prophetic biography, and historical works. This agenda was reflected in the treatises as discussions around epidemics, particularly plague, as well as the fight against disease in general (...) in a religious and jurisprudential framework. (ii) Works aimed at diagnosing the plague and dealing with various aspects of it tried to explain disease on the basis of Galenic-Avicennian medicine within the framework of miasma theory, thus deriving their basis from this medical paradigm. (iii) Finally, the encounter with such a brutal illness prompted a quest for all possible remedies, including the occultist culture. This background shaped the language and content of the treatises at different levels. This article first evaluates the modern studies on plague treatises written in the Islamic world. Then, it surveys the Islamic historical sources in order to pin down the meaning they assign to the concepts of wabā’ [epidemic disease] and ṭā‘ūn [plague]. Certain medical works that were the resources for medical doctrines and terminology for plague treatises are also evaluated with a focus on these two concepts. Thus, the aim of this survey is to understand the general conception of epidemic disease and plague in the Islamic world before the Black Death (1346-1353). I discuss and analyze the characteristics of the Ṭā‘ūn literature, which constitutes the main subject of the article and present a database on the literature. While the works from the Mamluk and Ottoman periods constitute a continuous tradition in some respects, Ottoman treatises differ from the Mamluk works in terms of certain features, especially content. Although this study touches on the common aspects of the works from the two periods, it instead analyzes this literature with a focus on points where the two traditions diverge. (shrink)

This paper lays the groundwork for formulating an approach to literature which pushes Foucault’s thought in directions which he perhaps envisaged, but never pursued. However, one of the major obstacles to formulating a Foucauldian philosophy of literature is the fact that Foucault’s thought itself turned away from literature in the late 1960s. Why does literature apparently disappear from Foucault’s writings after 1969? And why does Foucault’s own re-writing of his theoretical biography elide this earlier interest (...) in literature? In order to answer these questions we will have to find out what role literature played in his early thought. What is at stake here, is not just a better understanding of Foucault’s thought, but more importantly, the possibility of reviving one of the potential lines of flight which that thought cut short as a result of its own endless turning. Hence, my ultimate aim will be to address the question of what can be reclaimed today from Foucault’s abandoned engagement with literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 171-173 [Access article in PDF] Book Review Literary Lives: Biography and the Search for Understanding Literary Lives: Biography and the Search for Understanding, by David Ellis; ix & 195 pp. New York: Routledge, 2000, $35. In his discussion of biography as a form, Ellis points to his study as a response to the scarcity of "monographs on biography... and (...) [that] none of them are particularly satisfactory" (p. 2). He further points out that "the comparative dearth of analytic enquiry into biography is surprising" (p. 3). In short, his first pages get off to a rocky start in their tatty justification of a critical study. Though a critic of D. H. Lawrence, Ellis uses the English writer sparingly, pointing out in his "Preface" what he feels is a need "to keep illustration involving Lawrence to a decent minimum" (p. viii) while concentrating on those problems which face the biographer. That said, he sets about to characterize biography as an integration of "a disinterested enthusiasm for information... [fashioning a]... compelling story in which many details with no direct relevance to the life of his subject can be considered as contributing successfully to a period atmosphere" (p. 35). Ellis is thinking specifically of Norman Sherry's biography of Graham Greene through which he has brought to the discussion his intent of pointing to an approach which concerns itself with chapters on "Ancestors," "Primal Scenes," "Body Matters," "the Sociological [End Page 171] Imagination," "History, Chance and Self-determination," "Compatibility, Sartre and Long Biographies." All are aspects of biography.As well as the approach he suggests by these areas of concentration, Ellis draws broadly from many subjects of biography, always keeping a critical eye on its form. Anne Stevenson's approach "is towards psychological determinism" (p. 135); Ackroyd in his biography of Dickens raises "through a degree of intellectual play" the questions of when "lineage" is appropriate, that is, the extent to which it has any productive consequence. He also uses Hawthorne and Virginia Woolf as examples. Writing of the role of the historian raises difficulties for writers creating biographies from such an early period as that of Chaucer; Ellis points to Derek Pearsall's "excellent Life of Geoffrey Chaucer" (p. 121).Ellis neither can nor should ignore Lawrence and what better chapter to include him in than "Body Matters" in its concentration on illness. Here Ellis draws on Lawrence's concern with the harm of his health on his work (p. 78). He also considers Flaubert, Sartre, and Woolf. Briefly he mentions Stendhal's imagination of his "future audience" after his death (p. 109), sensibly rejects the long ago depleted and so, parenthetically, apparently permanent speculation on what Keats's might have become had he lived a full life "in a time of drugs for treatment of tuberculosis" (p. 123) and the equally mined issue of what prompted Hemingway's suicide (pp. 132-33). Certainly he is aware of the danger that such a use of material may pander to the pleasure of mere name-hunters (what if there were no index!). At the same time, if the effect of his range of examples invites additions of our own, while keeping before us that his study is about biography as form, it is successful.In "Primal Scenes," the fourth chapter of his book, Ellis gives what he feels is necessary space to Freud, the creator of the term. He points to Wordsworth's "spots of time" as only one indication of the difficulty--if not impossibility--of capturing biographically those moments in childhood by which the individual written about might be defined (p. 57). (Such an impossibility should not be surprising to those of us readers who recognize the nearly impossible task for ourselves in our own lives.) Surely both the biographer and autobiographer share this ignorance and frustration. In a very interesting move, Ellis points to Compton Mackenzie's discussion of a critical event in his six-year old life surrounding the interruption of an Easter evening with his parents and siblings, interrupted by the arrival of friends. Ellis writes... (shrink)

In the growing body of academic literature on biography that has developed in the last few decades, Virginia Woolf's essay, "The New Biography,"1 has come to occupy a central place—mentioned, discussed and quoted from, I would estimate, more often than any other piece of writing on the subject. Virginia Woolf's distinctive view of the nature and limitations of biography has thus had, and continues to have, a deep and wide-ranging influence on the way the genre is (...) discussed by critics and theorists. My aim in this essay is to present a detailed analysis of Virginia Woolf's thinking about biography in order to make clear why I believe its influence on contemporary theorising about biography is, on the whole, a misfortune. As is often pointed out, Virginia Woolf's views on biography are closely connected with—indeed, to an extent that I hope to make clear, they are simply an application of—her views on fiction. In the light of this, I have tried to trace some of the most striking features of her thinking about biography back to her earlier thoughts on fiction, as presented in both her novels and her essays. The result, I hope, will be that, while the attractions of her way of looking at fiction and biography are recognised and revealed, the manifest flaws in her thinking on these subjects are clearly exposed. (shrink)

This study will explore the Enlightenment conception of the individual of reason, its attempted formulations in actor biographies, and its ultimate denial by the reality of human identity as multiple, fluid, and dialogical. Such fluidity sought to overcome the marginal status of the stage player through the embodiment of rational models of personality. Some stage celebrities, most notably David Garrick, were offering themselves as public models of identity for the new age of reasoned discourse. This involved the presentation before the (...) public of stage performers as fully realized individuals. However, the unavoidable problem was that presenting an individual, even a renowned stage star, as a living paradigm of the enlightened person of reason would prove elusive. Aside from the inherent contradiction of locating any perfected stereotype in an actual person, the qualities making an individual in full conformity to his or her “reason” did not match the particular cultural qualities demanded for a successful eighteenth-century middle-class Englishman or Englishwoman. Nonetheless, by the last quarter of the eighteenth century, significant advances were made both within the particular profession of acting and before the onstage and offstage public. The acting profession was moving quickly and for the first time in England away from its marginalized status to offer respected agents for cultural change. The new genre of actor biographies as well contributed to this more fully realized formulation of the modern individual. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Roman Literature, Gender, and Reception: Domina Illustris ed. by Donald Lateiner, Barbara K. Gold, and Judith PerkinsTeresa RamsbyDonald Lateiner, Barbara K. Gold, and Judith Perkins eds. Roman Literature, Gender, and Reception: Domina Illustris. New York, N.Y.: Routledge, 2013. x + 337 pp. 5 black-and-white photos. Cloth, $125.Although the Festschrift appears less frequently in publication than it once did, the incentive to publish one is heightened when (...) the honoree is someone with such an extensive record of influence upon and participation within the discipline. This is certainly the case with Judith P. Hallett. She has done stalwart service for the profession, having held many titles and leadership positions in the major Classics organizations, and has mentored many young academic professionals, as is attested in several of the chapters of Roman Literature, Gender, and Reception. This collection appropriately reflects the many strands of scholarship with which Prof. Hallett has fruitfully engaged in her career, and a complete list of her works appears in an eight-page list at the end of the volume.The introduction of the book is a short biography entitled “Judith Peller Hallett: An Introduction to a Force of Nature,” by Donald Lateiner and Amy Richlin. The essay describes the significant obstacles for a woman in academics in the 1960s and 1970s. The insensitive remarks of students and professors are hurtful enough to encounter in these pages, but it is revealed here that she lost her funding in her second year of graduate school—not because she had fallen behind in her studies—but because she got married. Despite this, she did complete her Ph.D. and held her first position at Boston University for seven years before landing happily at the University of Maryland. The essay also makes note of her wide-ranging participation in the promotion of women in academia and in literary enterprise: she was a founding member of the Women’s Classical Caucus in 1972. Professor Hallett is a key pioneer in the study of female voices and writings by women in the Roman world, bringing the attention of Classical scholarship in particular to Cornelia, mother of the Gracchi, and the poet Sulpicia. The introduction offers a warm and quite personal tribute to her as scholar, teacher, mentor, and friend.There are nineteen essays in this collection. The table of contents offers [End Page 682] a glimpse of the breadth of Professor Hallett’s interests and the wide circumference of scholarship relevant to her own work. The editors, Donald Lateiner, Barbara K. Gold, and Judith Perkins, have brought together an impressive array of scholars whose works cover a wide variety of perspectives from a variety of periods, genres, and disciplines. Almost all the essays in the book contain a note or a few sentences to honor and thank the dedicatee, and some (such as Richlin’s and Wiseman’s essays) contain a structure of argument built around some facet of Professor Hallett’s lines of inquiry. That said, other than the loose, tripartite structure outlined in the title, there is no essay by the editors to tie the pieces of this collection together, and there seems little momentum within the collection itself besides the personal connections of writers to the dedicatee.The first section on Roman literature contains six essays. Erich Gruen, in “Cicero and the Alien,” challenges the attributions of bigotry or racism to Cicero’s writings on the other. Gruen systematically parses and contextualizes the comments Cicero makes about foreigners and sees a consistent analysis that condemns even the Romans when their actions fall short of what Cicero sees as the key principle of good government, namely, that participation of all members of a polity should be viewed as essential to the health and wellbeing of the state. In “Frigidus Sanguis: Lucretius, Virgil and Death,” Michael Putnam shows that, although Lucretius was ready to discount the power and fear of death through his examination of philosophical principles and scientific phenomena, Vergil was not so convinced. In the Georgics and the Aeneid alike, Vergil poetically expresses the notion that “death ever impends and the fear that it engenders cannot be argued... (shrink)

The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as "The Lady with Camellias" (1978), "Peer Gynt" (1989/2015), "The Seagull" (2002), "Death in Venice" (2003), "Anna Karenina" (2017), "The Glass Menagerie" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a (...) fact of illustrating the plot of the original source, but an attempt to penetrate into the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole. (shrink)

In a lifelog, data from various sources are combined to form a record from which one can retrieve information about oneself and the environment in which one is situated. It could be considered similar to an automated biography. Lifelog technology is still at an early stage of development. However, the history of lifelogs so far shows a clear academic, corporate and governmental interest. Therefore, a thorough inquiry into the ethical aspects of lifelogs could prove beneficial to the responsible development (...) of this field. This article maps the main ethically relevant challenges and opportunities associated with the further development of lifelog technologies as discussed in the scholarly literature. By identifying challenges and opportunities in the current debate, we were able to identify other challenges and opportunities left unmentioned. Some of these challenges are partly explained by a blind spot in the current debate. Whilst the current debate focuses mainly on lifelogs held by individuals, lifelogs held by governmental institutions and corporations pose idiosyncratic ethical concerns as well. We have provided a brief taxonomy of lifelog technology to show the variety in uses for lifelogs. In addition, we provided a general approach to alleviate the ethical challenges identified in the critical analysis. (shrink)

As a philosopher, psychologist, and physician, the German thinker Hermann Lotze defies classification. Working in the mid-nineteenth-century era of programmatic realism, he critically reviewed and rearranged theories and concepts in books on pathology, physiology, medical psychology, anthropology, history, aesthetics, metaphysics, logic, and religion. Leading anatomists and physiologists reworked his hypotheses about the central and autonomic nervous systems. Dozens of fin-de-siècle philosophical contemporaries emulated him, yet often without acknowledgment, precisely because he had made conjecture and refutation into a method. In spite (...) of Lotze's status as a pivotal figure in nineteenth-century intellectual thought, no complete treatment of his work exists, and certainly no effort to take account of the feminist secondary literature. Hermann Lotze: An Intellectual Biography is the first full-length historical study of Lotze's intellectual origins, scientific community, institutional context, and worldwide reception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nietzsche in the Light of his Suppressed Manuscripts WALTER KAUFMANN SINCE THE EIGHTEEN-NINETIES there has been considerable discussion about the adequacy of the editing of Nietzsche's late works, and occasionally bitter polemics about suppressed material have appeared in German newspapers and periodicals as well as in a few books. In the mid-fifties the controversy was revived in the wake of a new three-volume edition of Nietzsche's works, edited by (...) Karl Schlechta, ~ but the acrimonious debate was not very illuminating, and the sensational claims that traveled across the ocean were largely misleading. More and more often it was asked how reliable our printed texts are; also, what new revelations may be expected from unpublished manuscripts. I shall try to answer both questions. The discussion will revolve largely around a recent German work by Erich F. Podach 2 who makes sensational claims about The Antichrist and, above all, Ecce Homo, and who wants to supersede all previous editions of these works, including Schlechta's. 3 II Erich Podach holds a unique place in the Nietzsche literature: nobody else has contributed five genuinely important books. Yet Podach is not a philosopher, and he has never shown any profound understanding of Nietzsche 's thought. The point is that all of his books make use of unpublished documents. His study of Nietzsches Zusammenbruch (1930) was translated i Werke in drei Biinden (Munich: Carl Hanser Verlag, 1954-1956), 1282, 1276, and 1476 pp..2Friedrich Nietzsches Werke des Zusammenbruehs (Heidelberg: Wolfgang Rothe Verlag, 1961), 432 pp. and 24 plates with 29 facsimiles of MS pages. 3My article was completed before two reviews of Podach's book appeared in The Philosophical Review, April 1964, pp. 282-285, and in The Journal ot Philosophy, April 23, 1964, pp. 286-288. Both reviews are by Henry Walter Brann; both accept uncritically Podach's editing and Podach's claims; and both add original errors. Brann says that Podach tells "the amazing story of the most brazen literary fraud committed in recent times," and he quotes Podach as saying that "Nietzsche is the most brazenly falsified figure of recent literary and cultural history with regard both to his life and to his works." (The last sentence is rendered into smoother English in The Philosophical Review, and the two reviews arc altogether slightly different.) I shall try to show how Podach and Brann themselves have contributed to this "amazing story" by trying to convince us that one of Nietzsche's best hooks was not written by him. [2051 206 HISTORY OF PHILOSOPHY into English in 1931. Gestalten um Nietzsche (1932) 4 is his most interesting book and deserves to be translated: it offers chapters on Nietzsche's mother, Rohde, Gast, Bernhard and Elisabeth F6rster (Nietzsche's sister and her husband), and Julius Langbehn. In 1937 Podach published Der kranke Nietzsche : Briefe seiner Mutter an Franz Overbeck, and after that Friedrich Nietzsche und Lou Salom& All of these volumes are important for the biography of Nietzsche. The fifth book aims to offer philologically reliable texts of Nietzsches Werke des Zusammenbruchs, i.e., Nietzsche contra Wagner, Der Antichrist, Ecce Homo, and Dionysos-Dithyramben. All of these were first published after Nietzsche had become insane (in January, 1889), and while no philosophically important changes were made, the early editors were not greatly concerned about philological exactitude. Nietzsche contra Wagner, for example, as published first in 1895 and reprinted many times since, differs quite strikingly from the final version of which Nietzsche himself was reading proofs in January, 1889, when he collapsed. Yet a very few copies of the original version were actually printed in 1889. This version contained a third chapter, "Intermezzo," deleted in 1895 and ever since, and this, a page and a half long, ended with the poem variously called, in later collections of Nietzsche's verse, "Venice" or "Gondola Song." The reason for this omission was not at all sinister. Nietzsche was working on several books late in 1888. Initially, this section formed part of Ecce Homo; then he inserted it in Nietzsche contra Wagner; then he wrote his publisher that after all he preferred to move it back into Ecce Homo; but when soon thereafter he received proofs of... (shrink)

In several studies on the interpretation of the term politeuma, Patrick Sänger argues that it has three basic meanings: ‘political act’, ‘citizenry’ or ‘active citizenry’, and ‘polity’ and thus ‘state’, sometimes having the connotation ‘constitution’. Although the interpretation of the word can be traced back at least to Aristotle, it is generally acknowledged that its basic meanings can be found as well in Hellenistic and Roman literature, sometimes even used side by side. Taking into account the epoch in which (...) Plutarch wrote his work and the wide chronological period that it covers, it can be expected that Plutarch might be a very illustrative guide for the use of the term politeuma. The word occurs in fact 75 times throughout his work. In most cases, it is used only once or twice in a single biography or in a piece of the Moralia. There are, however, three exceptions to this global pattern: the Lives of Lycurgus and Numa, which concentrate 12 occurrences; those of Agis/Cleomenes and Tiberius/Gaius Gracchus with 13; finally, and from the Moralia, the An seni respublica gerenda sit, with 5 passages. This paper discusses the way Plutarch combines text and context, namely the way the concept of politeuma works in the context in which it is used throughout the Lives and the Moralia. En varios estudios sobre la interpretación del término politeuma, Patrick Sänger sostiene que tiene tres significados básicos: a) “acto político”, b) “la ciudadanía” o conjunto de ciudadanos activos”, y c) “sistema de gobierno” y, por lo tanto, “estado”, muchas veces con la connotación de “constitución”. Aunque la interpretación de la palabra suele remontarse hasta Aristóteles, generalmente, se reconoce que sus significados básicos pueden hallarse también en las Literaturas Helenística y Romana, a veces, incluso utilizados uno junto a otro. Teniendo en cuenta la época en la que Plutarco escribió su obra y el vasto período de tiempo que abarca, podemos considerarlo una guía muy ilustrativa sobre el uso del término politeuma. La palabra se registra 75 veces a lo largo de su obra. En la mayoría de los casos se la utiliza sólo una o dos veces en alguna biografía individual dentro de Moralia. Sin embargo, hay tres excepciones a este patrón general: las Vitae de Licurgo y Numa, incluyendo la Comparatio, que concentran 12 ocurrencias, aquellas de Agis/Cleomenes y Tiberio/Cayo Graco con 13 y, finalmente, en An seni respublica gerenda sit dentro de Moralia, en 5 pasajes. En el presente artículo discutimos el modo en que Plutarco combina texto y contexto y cómo funciona el término politeuma según su contexto en las Vitae y en Moralia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cervantes in Italy:Christian Humanism and the Visual Impact of Renaissance RomeFernando CervantesToward the end of 1569, shortly after his twenty-second birthday, Miguel de Cervantes arrived in Rome to serve as chamberlain to the young monsignor Giulio de Acquaviva, soon to be made a cardinal by Pope Pius V.1 The event marked the beginning of a six-year sojourn about which surprisingly little is known with certainty. From scattered semiautobiographical references (...) we can infer that Cervantes traveled widely and that he developed a particular fondness for Italy. We know for sure that he fought bravely against the Turks at the battle of Lepanto in 1571, where he received wounds that rendered his left arm useless for the rest of his life, and that he remained in service as a soldier, based in Italy, until his ill-fated attempt to return to Spain in 1575. Ten years later, in the dedication of his pastoral romance La Galatea to Ascanio Colonna, he reminded his dedicatee that the reverence he had for him did not only stem from having served under his illustrious father, the famous general Marco Antonio Colonna, but also from the many things that he had heard Cardinal Acquaviva say, "like prophesies," about him in Rome. There follows a brief encomium about the "noble virtues," "magnificence," "goodness," and "Christianity" that sustain the "clear and generous line" of the Colonnas, known to all for the "virtuous and heroic deeds" that have been their mark since time immemorial.2 Some of Cervantes's best lyric poetry dates from these years. In it, as in the rest of his work, the unmistakable mark of Petrarch, Boccaccio, Sannazaro, Ariosto, and Bembo, to name but the most explicit ones, leaves us in little doubt about his genuine love of Italian literature.For good reasons, modern biographers have been loath to take these scattered [End Page 325] references too candidly. Can we, for example, assume that Cervantes had more than a very superficial acquaintance with the Colonnas and the Acquavivas? Could a writer still widely regarded as a self-taught, untutored mind realistically have attracted the favors of some of the most illustrious Roman and Neapolitan noble families? More pointedly, is it safe to take the varied and abundant observations about Italy scattered throughout his works as reliable reflections of his own personal experiences? After all, between the latter and the written page there is a time lag often approaching forty years. Add to this the weight of subsequent intellectual influences and of literary conventions, of novelistic invention and of the viewpoints of the characters themselves, and we are left on rather shaky ground. As Jean Canavaggio has remarked, it is not Cervantes the keen visual observer, but rather Cervantes the devoted reader of Boccaccio and the novellieri who brings Italy and Italian themes into his fiction. Even the memorable descriptions of Italian cities to be found in some of his novelas are rather formulaic passages, perfectly in tune with the rhetorical canons of the time.3Our topic, however, is not biography but intellectual history; and here we can afford to be more candid. There can be no doubt that many of Cervantes's descriptions have the unmistakable ring of genuine experience. Take Tomás Rodaja's arrival, "soaked, sleep-deprived and with bags under the eyes," in Genoa's "sheltered Mandraccio,"4 where he becomes acquainted withthe smoothness of the Trebbiano, the fullness of the Montefiascone, the strength of the Asperino, the generosity of the Greeks Candia and Soma, the grandeur of the one from the Five Vineyards, the sweetness and mellowness of the lady Vernaccia, the rustic touch of the Centola, while the lowly one from Rome dared not appear in the presence of such illustrious gentlemen.5Charmed by the gallantry of the Genoese, Rodaja leaves by land for Rome, "the queen of cities and mistress of the world." "Just as the size and ferocity of a lion can be gauged by its claws," Cervantes observed,so Rome's greatness became manifest by its broken marbles, its statues..., its fallen arches and ruined baths, its magnificent porticoes and large amphitheatres, its famous and sacred river whose waters... (shrink)

This article investigates the early reception of Yu Xin, one of the most important court writers of the sixth century in China. It traces portrayals and evaluations of Yu Xin and his work from the late years of the Northern Zhou (557–581) to the early Tang (618–907) by focusing on four texts of different nature: a preface to the literary collection of Yu Xin dated to 579, his biography in the Zhoushu, and two discourses in historical records that evaluate (...) his achievement as a writer. While the former two texts supply valuable information about Yu’s family background, official career, and social network, the latter two voice their criticism of the man along with their overall negative attitude toward literature of the Southern Dynasties. The perception of Yu Xin as a frustrated and nostalgic poet as highlighted by his Zhoushu biography has played a major role in the interpretation of his writings in later ages, but an examination of a wider range of sources shows that there was more than one way of evaluating his writings in the sixth and seventh centuries. A study of these multiple voices in interpreting Yu Xin and his works reminds us of the vibrancy and complexity of understanding the identities of poets of the medieval period. (shrink)

The famous Russian historian V. O. Kluchevsky had been constantly interested in literature. In this article, the author considers Kluchevsky’s observations on M. Yu. Lermontov’s creativity through the analyses of sadness motives in the article ‘Sadness‘ published in the journal ‘Russian Thought‘. Kluchevsky tried to understand how sadness motives were appeared in the Russian literature and how these motives influenced Lermontov’s self-reflection. Literary analyses is constructed on famous Lermontov’s lyrics, such as ‘Sail‘, ‘The golden cloud slept…‘, ‘Dream‘ and (...) ‘July the 11th of 1831‘. Analyzing the lyrics ‘I go out alone on the road…‘ the author of this article paying attention to ‘hidden sadness‘, which is expressed impressively in melodious Lermontov’s lyric without ‘arrangement for notes‘. Kluchevsky had expressed it on the 50th anniversary of Lermontov’s death. The position of the historian reflected in his comparison of sad Lermontov with meek and devout Russian tsar Alexey Mikhailovich. For this comparison, he was reproached by writer and literary critic N. M. Mikhailovsky, but Kluchevsky thoroughly considered sadness motives in poet’s creativity based on examples from the lyrics and disagreed literary critic’s reproaches. The origins of sadness motives studied in the historian’s article are in lesser degree connected with the biography of young Lermontov and rooted in the ‘moral history‘ of all Russian society. (shrink)

PART ONE THE "FOUR IN PARADISE" ANTI-EPICUREAN STEREOTYPE, BIOGRAPHY, AND PARODY Scholarship on Epicureanism, always lively and abundant, ...

In the past few years, commentary literature on the work of Richard Shusterman, the foremost contemporary representative of pragmatist aesthetics, has steadily grown. Symposia on Shusterman’s theory have been published in various journals, and about three years ago the first monograph-length study examining Shusterman’s views on aesthetics was released. Now alongside these pieces a collection of articles edited by Dorota Koczanowicz and the author of the book on Shusterman’s pragmatist aesthetics Wojcieh Malecki has appeared. The anthology consists of twelve (...) essays devoted to different parts of Shusterman’s pragmatism, as well as two articles by Shusterman himself, an intellectual biography that begins the article.. (shrink)

In my engagement with Stefan Müller-Doohm’s Habermas: A Biography, I argue that Müller-Doohm presents Habermas’s life and theoretical development, demonstrating a line of continuity through Habermas’s first published book on the public sphere to his later work on communicative action, and how this theme provides a guiding thread throughout Habermas’s work and constitutes one of his major contributions to contemporary theory, which is also highly relevant to and intersects with Habermas’s activism. Further, he documents Habermas’s trajectory from his early (...) theoretical works through his linguistic turn to the present. The study demonstrates how Habermas’s philosophical work from his early theory of the public sphere to his linguistic turn establishes Habermas’s theme of communicative action as a major philosophical contribution which has relevance for the many theoretical and political texts Habermas has produced in his long, distinguished, and immensely productive career. Yet, in a concluding critical section, I argue that Müller-Doohm does not adequately engage with Habermas’s theoretical conceptions, downplaying his philosophical achievements while failing to explore relevant theoretical literature and philosophical debates on Habermas that have accompanied his work for decades. (shrink)

While a narratological reading of the Gospels is relatively well accepted, their characterisation as parts of the genre of ancient biography was much antagonised in former times. Although things have changed thanks to seminal monographs on the problem from the second half of the 20th century and to continuing work, some questions remain open. Therefore, a narratological comparison of Gospels with concrete representatives of the ancient bios could possibly help to clarify the relations between both. In what follows, the (...) oldest Gospel is read simultaneously with Plutarch’s Biography of the Younger Cato. Three observations are made: a) The structures of the narratives of Cato and of Jesus match to a high degree. Both protagonists carry out certain duties while operating in public. In most instances, they achieve great successes. From a certain point on, however, they irrevocably approach failure and ruin. This structure of story seems to form the basis both of the Gospel and of the biography of Cato, written ca. three decades later. b) Obviously, both works narrate the life of a man, his exceptional character, his extraordinary operations in public and his non-natural violent dead. In Plutarch’s version, the Younger Cato fails in the end. At first sight, also Mark’s Jesus fails to accomplish his mission. By God’s action he is turned into the saviour of the faithful however. This claimed unsurpassed relevance of the story is contrasted with the laconism of the narration. c) Both narrations are composed out of both factual and fictional elements. Thus, readers cannot separate both elements precisely in every instance. Both stories are imagined worlds designed for the in narratology so called game of fiction. As can be learned in Plutarch, authors of stories like the Life of Cato or the Gospel of Mark guarantee a certain sense of responsibility in their work. Summed up, the narratological comparison has illustrated both the close affinity and the individual specifications of both narratives. It thus helps to clarify the position- fixing of the Early Christian literature within its Graeco-Roman context. (shrink)

The malign figure of the Antichrist endures in modern culture, whether religious or secular; and the spectral shadow he has cast over the ages continues to exert a strong and powerful fascination. Philip C. Almond tells the story of the son of Satan from his early beginnings to the present day, and explores this false Messiah in theology, literature and the history of ideas. Discussing the origins of the malevolent being who at different times was cursed as Belial, Nero (...) or Damien, the author reveals how Christianity in both East and West has imagined this incarnation of absolute evil destined to appear at the end of time. For the better part of the last two thousand years, Almond suggests, the human battle between right and wrong has been envisaged as a mighty cosmic duel between good and its opposite, culminating in an epic final showdown between Christ and his deadly arch-nemesis. (shrink)

Dissociative Identity Disorder is an uncommon disorder that has long been associated with exposure to traumatic stressors exceeding manageable levels commonly encompassing physical, psychological and sexual abuse in childhood that is prolonged and severe in nature. In DID, dissociation continues after the traumatic experience and produces a disruption in identity where distinct personality states develop. These personalities are accompanied by variations in behaviour, emotions, memory, perception and cognition. The use of literature in psychiatry can enrich comprehension over the subjective (...) experience of a disorder, and the utilisation of 'illness narratives' in nursing research have been considered a way of improving knowledge about nursing care and theory development. This research explores experiences of DID through close textual reading and thematic analysis of five biographical and autobiographical texts, discussing the lived experience of the disorder. This narrative approach aims to inform empathetic understanding and support the facilitation of therapeutic alliances in mental healthcare for those experiencing the potentially debilitating and distressing symptoms of DID. Although controversies surrounding the biomedical diagnosis of DID are important to consider, the lived experiences of those who mental health nurses encounter should be priority. (shrink)

The absence of self in Classical litera­ture and the emergence in the eigh­teenth century of the concept of the unique and individual self asserting its existence and seeking its truth in pri­vate experience and feeling is often touched upon in cultural histories but little explained. Seeking the reasons for and the effects of the change of attitude toward one’s concept of one’s self in the “new” eighteenth-century attitude to­ward history, biography, travel litera­ture, pornography, and the novel, Lyons finds, first, (...) that the term _self _is deceptively vague. It evolved, he notes, to fill the vacuum created by doubt about the existence of the soul. Second, Lyons finds that without a concept of the self—that ineffable something in a human being that to its inventors and their followers was an abstract of pure and intuited natural laws—the revolution and romanticism of the modern age would have been very different from what it has been. More importantly, Lyons concludes that the concept led to monumental error and to bitter disappointments rooted, as his il­luminating history shows, in the im­possibility of defining that which never was. (shrink)

The growing general interest in understanding how neuroscience can contribute to explanations of our understanding and appreciation of art has been slow to find its way to philosophy of literature. Of course this is not to say that neuroscience has not had any influence on current theories about our engagement, understanding, and appreciation of literary works. Colin Martindale developed a scientific approach to literature in his book The Clockwork Muse (1990). His prototype-preference theory drew heavily on early artificial (...) neural network research. Jenefer Robinson has appealed to results from affective neuroscience in her discussion of our emotional engagement with literary works (see Robinson, 2005). More recently literary critics have tried to extend cognitive literary theory in the direction of neuroscience (Ashton, 2005; Byatt, 2006; Young, 2010). This line of research traces its origin to commentary on a 1995 a paper by Herbert Simon in the Stanford Humanities Review (Franchi and Güzeldere, 1995). So, although there hasn't been much going on that could justifiably be called a neuroscience of literature, discussions of neuroscientific research have woven their way into the fabric of some aspects of philosophy of literature and literary theory. Nonetheless, there has been a great deal of resistance to the creeping insurgence of neuroscience into both fields. I will challenge this skepticism in what follows. In section 1, I will sketch a model for research at the crossroads of philosophy and neuroscience of art and suggest how it can be applied to the philosophy of literature. In Section 2, I will introduce situation models and discuss the role they have been hypothesized play in discourse comprehension and narrative understanding outside of literature. In Section 3, I will explore some ways that situation models can contribute to discussions of narrative understanding, appreciation, and the artistically salient features that differentiate literature as a category of art from non-art literary forms like newspaper columns, magazine articles, or biographies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2001) 307-308 [Access article in PDF] Mayer, Paola. Jena Romanticism and Its Appropriation of Jakob Böhme: Theosophy, Hagiography, Literature. McGill-Queen's Studies in the History of Ideas, no. 25. Montreal and Kingston: McGill-Queen's University Press, 1999. Pp. x + 242. Cloth, $65.00. Paolo Mayer sets out to revise the accepted image of the influence of Jakob Böhme, the sixteenth-century mystic and theosophist, (...) on the romantic poets and philosophers who congregated at Jena in the years 1798-1803. She convincingly argues that, except for the philosophers and critics Friedrich Schlegel and F. W. J. Schelling, Böhme's direct influence was negligible, more a matter of the self-proclaimed new religion of romanticism making ideological use of a controversial, in some sense subversive, forerunner in German literary history. In the hands of Ludwig Tieck, for instance, or Novalis, Böhme becomes a symbol of the new religion of Poesie and the hostile reception afforded by the orthodox evangelical pastors of his time becomes an allegory for the hostility that the new, "let it all hang out" aesthetic of romanticism encountered in the more classical and form-loving members of the literary culture. In Mayer's terms, Böhme's reception among the poets was hagiographic; he was the romantics' poster child.Böhme lived from 1575 to 1624. The son of peasants, but by no means unlettered, the "mystic shoemaker of Görlitz" claimed the source of his teachings was direct divine revelation. He claimed to have visions in 1600 and 1610, whose content he translated into his unusually graphic writings, interspersed with Pietist attacks on reason and on outward religious observances. This unusual 'theology' blended themes that F. Schlegel and Schelling, at least, found attractive: (a) the idea of a self-generating or developmental God, (b) an approach to the problem of evil that logically seems to place responsibility on God, and (c) a large systematic role for desire and will, rather than reason, in the origin of the world and in human salvation. Notable also is the physicalism of Böhme's theology, and the assignment of a wrathful nature to God the Father. Böhme's reception in the seventeenth and eighteenth centuries, determined largely by a first biography written in 1652 by a disciple named von Furstenburg, was generally warm in pietist circles, cool in rationalist quarters, e.g., in that of Lessing and Leibniz.The established story is that all the major romantic writers, poets as well as philosophers, were influenced through a direct study of Böhme's texts. Mayer takes issue with that, especially in the case of the poets Tieck and Novalis and the scientists J. W. Ritter. Though each of them writes glowingly of Böhme as a poet—in fact a persecuted poet, a near-martyr for the religion of Poesie—Mayer finds no sound evidence for a direct transmission, either of ideas or of terminology, from Böhme to these figures. What other literary critics have advanced as evidence is, she argues, a body of ideas and vocabulary common to the Neoplatonic, mystic tradition and to Christian thinking in general. If a stricter standard of proving "reception" than mere similarity of language is adopted, it seems that Tieck, Novalis, and Ritter had a slim acquaintance with Böhme's writings, but nonetheless advanced a hagiographic view of the "folk poet." Others among the Jena circle—Schleiermacher, A. W. Schlegel, Dorothea and Caroline Schlegel—took a skeptical view of this propagandistic ploy. Only the more philosophical minds, F. Schlegel and Schelling, read Böhme in any depth or ventured elaborate appropriations. Mayer argues that both these figures went [End Page 307] through an initial phase of enthusiasm for Böhme, to be later followed by personal reservations about him and, eventually, by public criticism from a philosophical or orthodox theological stance. Mayer obviously relishes the irony, in this case, of an initial idolization of Böhme as a representative of the 'new religion... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Representation and the Nation-State in Romantic Belgium (1830–1850)Jo TollebeekThe transformation of the Ancien Régime society of estates into the modern state system as it exists in Europe today was concluded during the “long nineteenth century.” This process of transformation came about in two waves. In a first wave—during the decades preceding and following the French Revolution, roughly the years 1780-1848—the framework for the nation-state was created. It was (...) mainly the liberal bourgeoisie which stood at the forefront. After the Congress of Vienna, where the “ante bellum” situation had been restored, it led more or less successful national revolutions in Germany, Italy, Spain, Belgium, and Poland. In a second wave, starting with the Franco-Prussian War of 1870 and ending with the First World War, the framework of the nation-state was filled in. In those years a growing number of social groups found accommodation in the liberal house, which they also managed thoroughly to rebuild. This period can be described as the phase of integrated nationalism.Together with the nation-state came the rise of modern national his-toriography. The most well-known exponents of this typically nineteenth-century genre were the monumental outlines of national pasts which started appearing from 1890 onward. Karl Lamprecht in Germany (Deutsche Geschichte, 1890–1909), Pieter Jan Blok in the Netherlands (Geschiedenis van het Nederlandsche Volk, 1892–1908), Henri Pirenne in Belgium (Histoire de Belgique, 1900–1932), and Ernest Lavisse and his collaborators in France (Histoire de France, 1901–11) all gave their respective countries’ pasts an impressive, scholarly design. The first phase of the emergence of the nation-state, however, was also ac-companied by a stream of national histories. Johannes von Müller in Switzerland (Geschichten Schweizerischer Eidgenossenschaft, 1786–1808), Simonde de [End Page 329] Sismondi in Italy (Histoire des Républiques italiennes du Moyen Age, 1807–18), Augustin Thierry in France (Lettres sur l’Histoire de France, 1820–27), and Willem Bilderdijk in the Netherlands (Geschiedenis des Vader-lands, posthumously 1833–53) all became authors of patriotic and romantically tinted surveys and studies of (fragments from) their own national history.The work of this second group of historians fits with the cultural nationalism which took root during the last decades of the eighteenth and the beginning of the nineteenth centuries and which is sometimes considered to have been the heart of romantic nationalism. 1 The supporters of this nationalism were con-vinced that culture, lifestyle, and social institutions could only be understood as the expression of the “soul,” the “spirit,” or the “character” of a people or nation. They tried to deduce this individual character through the language, popular literature, art, and “national” (as opposed to Roman) law, as is demonstrated by the Gaelic revival in Ireland. 2 History, however, also attracted their interest; the nation and the people were after all considered to be dynamic entities which developed along the lines of a multiple causal process. In England, for example, where nationalism arose as a protest against excessive foreign—French—cultural influence, a group of historians, among them Catherine Macaulay and John Pinkerton, started publishing nationalistic histories during the early years of George III’s reign, paying special attention to the origin of the English people. 3 Such cultural nationalism could, however, easily take on political overtones, especially when it was the nationalism of a people who were either stateless or dispersed throughout different states, or whose state was still young.These earliest national histories were meant as a contribution to the formation, consolidation, and confirmation of a national identity. Their writers had to lend unity, specificity, and continuity to the national past. They had to, as Novalis observed in 1798, “organize historical essentials.” 4 Their work was less a matter of reconstruction than of construction. It not only required the exploration of a hitherto unknown field, but first and foremost the resolution of new problems of representation inherent in the writing of “national biographies.” In this essay, I shall discuss some of these problems in the light of Belgian national historical writing from 1830 through 1850. The year 1830 constitutes an important watershed in the history of national movements... (shrink)

This biography of Emil du Bois-Reymond, the most important forgotten intellectual of the nineteenth century, received an Honorable Mention for History of Science, Medicine, and Technology at the 2013 PROSE Awards, was shortlisted for the 2014 John Pickstone Prize (Britain's most prestigious award for the best scholarly book in the history of science), and was named by the American Association for the Advancement of Science as one of the Best Books of 2014. -/- In his own time (1818–1896) du (...) Bois-Reymond grew famous for his groundbreaking research in neuroscience and his provocative addresses on politics and culture. His discovery of the electrical transmission of nerve signals, his innovations in laboratory instrumentation, and his reductionist methodology all helped lay the foundations of modern neuroscience. -/- In addition to describing the pioneering experiments that earned du Bois-Reymond a seat in the Prussian Academy of Sciences and a professorship at the University of Berlin, this book also recounts du Bois-Reymond’s family origins, private life, public service, and lasting influence. In talks that touched on science, philosophy, history, and literature, du Bois-Reymond introduced Darwin to German students (triggering two days of debate in the Prussian parliament), asked on the eve of the Franco-Prussian War whether France had forfeited its right to exist, and proclaimed the mystery of consciousness, heralding the age of doubt. The first modern biography in any language, "Emil du Bois-Reymond" recovers an important chapter in the history of science, the history of ideas, and the history of Germany. (shrink)