The Destructions of the Modes of Signifying (henceforth: dms) is an anonymous fourteenth-century polemic against modist speculative grammar (grammatica speculativa). Wielding Ockhamist logic and metaphysics, the dms repeatedly attacks the very root of modism: the claim that the grammatical features of language are grounded in the metaphysical properties of the world. I call this the Modist Correspondence Thesis (henceforth: mct). In its most general form, mct says that every mode of signifying exhibited by an utterance corresponds to (...) a mode of being exhibited by a thing. The Emptiness Argument of the dms tries to show that mct fails to accommodate certain special cases, such as privative, fictitious, and divine utterances, like ‘blindness’ (caecitas), ‘chimera’ (chimaera), and ‘deity’ (deitas). The modist Thomas of Erfurt directly addresses the Emptiness Argument, anticipating the anti-modist criticisms present in the dms. In doing so, he points the way to alternative formulations of mct that are immune to those criticisms. (shrink)

Appearing in the “Cairo Declaration on Human Rights in Islam” as an undefined referent for the limits on freedom of expression in Islam, Shariah is still to be chased as an indefinable referent which restricts freedom of the expression in the Islamic Republic of Iran. Iran’s Press Law as well as Constitution unveil Shariah’s referent to be a person: the Jurist-Ruler around whom a cult of personality is legalized in terms of “Imamate” and around whom all the limits on freedom (...) of expression revolve. Interpretation of Shariah is not a solution but part of the problem in Iran. Such problem can be dealt in terms of three modes of self-expression which were invented by the Iranian Reformists to avoid self-censorship. The notion of master-signifier can be the key to unraveling the problem of self-referentiality in freedom of expression and its Reformist solution in Iran’s legal system. (shrink)

Perhaps only Tar Baby is as enigmatic and compelling a figure from Afro-American mythic discourse as is that oxymoron, the Signifying Monkey.3 The ironic reversal of a received racist image of the black as simianlike, the Signifying Monkey—he who dwells at the margins of discourse, ever punning, ever troping, ever embodying the ambiguities of language—is our trope for repetition and revision, indeed, is our trope of chiasmus itself, repeating and simultaneously reversing in one deft, discursive act. If Vico (...) and Burke, or Nietzsche, Paul de Man, and Harold Bloom, are correct in identifying “master tropes,” then we might think of these as the “master’s tropes,” and of signifying as the slave’s trope, the trope of tropes, as Bloom characterizes metalepsis, “a trope-reversing trope, a figure of a figure.” Signifying is a trope that subsumes other rhetorical tropes, including metaphor, metonymy, synecdoche, and irony, and also hyberbole, litotes, and metalepsis. To this list, we could easily add aporia, chiasmus, and catachresis, all of which are used in the ritual of signifying.The black tradition has its own subdivisions of signifying, which we could readily identify with the typology of figures received from classical and medieval rhetoric, as Bloom has done with his “maps of misprision.” In black discourse “signifying” means modes of figuration itself. When one signifies, as Kimberly W. Benston puns, one “tropes-a-dope.” The black rhetorical tropes subsumed under signifying would include “marking,” “loud-talking,” “specifying,” “testifying,” “calling out”, “sounding,” “rapping,” and “playing the dozens.”4 3. On Tar Baby, see Ralph Ellison, “Hidden Man and Complex Fate: A Writer’s Experience in the United States,” Shadow and Act, p. 147, and Toni Morrison, Tar Baby. On the black as quasi-simian, see Jean Bodin, Method for the Easy Comprehension of History, trans. Beatrice Reynolds, p. 105; Aristotle Historia Animalium 606b; Thomas Herbert, Some Years Travels, pp. 16-17; and John Locke, An Essay Concerning Human Understanding, 8th ed., 2 vols., 2:53.4. Geneva Smitherman defines these and other black tropes and then traces their use in several black texts. Smitherman’s work, like that of Claudia Mitchell-Kernan and Abrahams, is especially significant for literary theory. See Smitherman, Talkin and Testifyin: The Language of Black America, pp. 101-66. See also nn. 13 and 14 below. (shrink)

To readers of the Science of Logic, “mode” signifies the externality of the absolute, and its proper place within the text is at the level of the determinations of reflection, within the Doctrine of Essence. Let us take a look at the third section of the Doctrine of Essence: “Actuality”. In its broadest meaning, this signifies “reflected absoluteness,” that is to say, the unity of essence and existence; therefore, it is not a purely immediate existence, but “the immediate unity of (...) form between inner and outer.” Through this definition, a new kind of logical process is made possible - that of the actual totality’s self-manifestation. In the opening chapter of this section, headed “The Absolute,” the determination of the absolute is carried through from its initial unity to truly absolute identity by means of the complex play of reflection. Hegel’s treatment of this subject is beyond the scope of this paper; but if, at the initial stage of its dialectical cycle, reflection is external to the absolute - instead of being the proper determination of it - then it can at least be observed that in the third subdivision of the chapter what is under consideration is the negative return of the absolute into itself, and that this return is accomplished in such a way that “mode” is both the externality of the absolute and its reflection into itself: its being into itself and for itself. As one of the recent commentators on the Science of Logic has pointed out: “Le mode est ‘1’apparance comme apparance’: avec lui se profile un type d’extériorité qui ne sera plus en dette à l’egard d’une interiorité … la manifestation de l’absolu n’est pas une sortie de soi, mais plutôt sa constitution dans l’exteriorité des modes, puis des modalités de l’effectivité.”. (shrink)

In a number of texts throughout his career, Thomas Aquinas identifies different senses of the term ‘esse’. Most notably, he notes that according to one sense, the term signifies the act of existence (actus essendi), which he famously holds is really distinct from essence in all beings other than God. Perhaps surprisingly, he also notes on a number of occasions that according to another sense, the term ‘esse’ can signify that very principle that he says is distinct from the act (...) of existence, namely, essence. In light of Aquinas's semantic theory, this paper investigates how he coherently holds within his metaphysical system that this term ‘esse’ can signify in different ways both essence and the act of existence. More broadly, what it shows is how, for Aquinas, the metaphysician can look to the modes of signification (modi significandi) of terms and as well as their modes of predication (modi praedicandi) to draw careful conclusions about the modes of existence (modi essendi) of real beings. These considerations reveal that in Aquinas's view, although the grammarian and logician in their way are also concerned with these semantic modes, it is not their job to employ them to discern the various senses of the term ‘being’ or the fundamental modes of being. In the end, this is a task for the metaphysician. (shrink)

In modern societies collective identity is both an empty signifier and a sacred center: even as its existence is taken for granted, what is or should be is subject to a host of different and often conflicting interpretations. However, the narratives and representations of collective identity are in no way undermined by these public debates; these signifiers are seen rather as a problem that is in principle amenable to solution, as something that ought to be (re)solved. In fact, the empty (...) signifiers of collective identity are constructed as solvable secrets precisely and primarily in public speech, open debate and perpetual critique. This article identifies the public and private modes of dealing with empty signifiers – through collective traumatic repressions, private resentments, public discourses adhering to argumentation ethics, and individual fabulations. (shrink)

The present paper aims to shed light on some post-oedipal moments of the Freudian-Lacanian psychoanalysis. Going beyond the stereotypical opposition between the oedipal psychoanalysis and the anti-oedipal schizoanalysis, it endeavors to reinvestigate the semiotic nature of theknotenpunktand thesinthomeby applying some Deleuzian and Bakhtinian concepts. Thus, theknotenpunktis described as a grotesque knot bringing together some heterogeneous elements. The involved disparate components establish a rhizomatic multiplicity irreducible to a common determiner. As far as thesinthomeis concerned, it is also illustrated as a grotesque (...) knot quilting the disseminated heterogeneous orders. In contrast to the dominant conception of the symptom with a complex mode of signifying (that is mainly bound to the oedipal topography), theknotenpunktand thesinthomehold a kind of hyper-formative mode of signifying. As a result, the latter may be regarded as pure formators irreducible to a meaning or a certain interpretation. Finally, the paper sets out to analyze and evaluate the relationship between thesinthomeand the foreclosure from a semiotic perspective. Accordingly, thesinthomeis explained as a reply to foreclosure which is specifically a perceptive-imperative (retroactive) contemplation (in the light of law according to the Peircean phaneroscopy) on the rhizomatic multiplicity of psychosis (the case of schizophrenia). (shrink)

The focus of this paper lies in the unconscious solidification of capitalist ideology through Lacanian understanding of subjectivity. The analysis intervenes in the ideological fantasy and its inherent antagonisms in order to analyse the way capitalist ideology strives to fill or repress these ruptures in the socio-symbolic edifice. It points to the mode of proliferation of certain objects, which the fantasy puts in the position where they can function as objects of desire, covering the cracks in the socio-symbolic order by (...) filling their own lack. Furthermore, I focus on the establishment and signification of meaning within the capitalist matrix as well as its dialectical overlap with the objects proliferated by the socio-economic system in question. Such simultaneous fusion of lack and excess creates ideological enjoyment and solidifies capitalist ideology in the subject’s fantasy construction. Here lies the strength of capitalist ideology and its appropriation of even some social phenomena into consumerist categories. It is therefore vital to understand how ideology manages to fix its core of enjoyment through a dialectical overlap of meaning and objects to produce a totalized experience of reality. In itself, this already points to the much neglected Lacanian discourse of the Capitalist, revealing how the daily reality of subjects is driven by unconscious fantasy in its dogmatic ideological circle. It also hints to the homology between Lacan's surplus- jouissance and Marx's surplus-value. (shrink)

The focus of this paper lies in the unconscious solidification of capitalist ideology through Lacanian understanding of subjectivity. The analysis intervenes in the ideological fantasy and its inherent antagonisms in order to analyse the way capitalist ideology strives to fill or repress these ruptures in the socio-symbolic edifice. It points to the mode of proliferation of certain objects, which the fantasy puts in the position where they can function as objects of desire, covering the cracks in the socio-symbolic order by (...) filling their own lack. Furthermore, I focus on the establishment and signification of meaning within the capitalist matrix as well as its dialectical overlap with the objects proliferated by the socio-economic system in question. Such simultaneous fusion of lack and excess creates ideological enjoyment and solidifies capitalist ideology in the subject’s fantasy construction. Here lies the strength of capitalist ideology and its appropriation of even some social phenomena into consumerist categories. It is therefore vital to understand how ideology manages to fix its core of enjoyment through a dialectical overlap of meaning and objects to produce a totalized experience of reality. In itself, this already points to the much neglected Lacanian discourse of the Capitalist, revealing how the daily reality of subjects is driven by unconscious fantasy in its dogmatic ideological circle. It also hints to the homology between Lacan's surplus- jouissance and Marx's surplus-value. (shrink)

An adaptive fractional-order nonsingular terminal sliding mode controller for a microgyroscope is presented with uncertainties and external disturbances using a fuzzy neural network compensator based on a backstepping technique. First, the dynamic of the microgyroscope is transformed into an analogical cascade system to guarantee the application of a backstepping design. Then, a fractional-order nonsingular terminal sliding mode surface is designed which provides an additional degree of freedom, higher precision, and finite convergence without a singularity problem. The proposed control scheme requires (...) no prior knowledge of the unknown dynamics of the microgyroscope system since the fuzzy neural network is utilized to approximate the upper bound of the lumped uncertainties and adaptive algorithms are derived to allow online adjustment of the unknown system parameters. The chattering phenomenon can be reduced simultaneously by the fuzzy neural network compensator. The stability and finite time convergence of the system can be established by the Lyapunov stability theorem. Finally, simulation results verify the effectiveness of the proposed controller and the comparison of root mean square error between different fractional orders and integer order is given to signify the high precision tracking performance of the proposed control scheme. (shrink)

In my continuing efforts to build a bridge between psychoanalytic findings and biosemiotics here, as in previous works, ‘biosemiotic’ refers to the hierarchy of meaning-forms (from biological to semiotic-organizations) underlying an updated psychoanalytic model of mind. Within this framework I present a broad range of bio-semiotic phenomena, processes, dynamics, defenses, and universal and unique internalized interpersonal patterns, that in psychoanalysis all commonly fall under the broad heading of the “Unconscious.” Reconceptualized as interpretive data within the purview of a psychoanalytic discourse-semantic (...) this biosemiotic framework posits an epigenetic continuum of human meaning-organizations originating at basic organic levels, moving upward through biological, psycho-somatic and affective expression, proto-semiotic transmissions, represented forms, and finally to explicit linguistic signs and complex symbol systems. In addition to assuming an uninterrupted epigenetic continuum crystallizing in hierarchic organization, this framework accentuates the multilayered and increasingly condensed quality of higher more elaborate organizations of meaning in human communication, drawing attention to persisting biological undercurrents in implied sense, intent, and motivation, all of which impact on repressive/defensive mechanisms. Drawing from previous works (Aragno 1997, 2005, 2008a, b, Psychoanalytic Inquiry 29(1):30–47, 2009, Biosemiotics 3:57–77, 2010, 2011a, Signs 5:71–74, 2011b, Journal of the American Psychoanalytic Association, Centennial Paper, Special Centennial Issue 59(2):239–288, 2011b, Signs 5:29–70, 2011c) in which I labored to update and revise Freud’s first topographical theory of mind, this paper presents the phenomenology of unconscious ‘data’ for the purpose of introducing a diverse range of non-linguistic signifying forms from which psychoanalysts infer mental processes and ‘interpret’ meanings. An important underlying premise regarding psychoanalytic data and its relation to the basic biosemiotic ‘agenda’ is that until grounded in an updated developmental theory of mind inclusive of pre- and proto-semiotic-forms, that is evolutionarily plausible, epistemologically based, and correlates with contemporary neuroscience, the term “sign” is merely an abstract linguistic ‘label’ rather than a mental act with antecedent developmental stages manifesting meanings through different forms and modes of expression. Drawn from the yields of the psychoanalytic method and semantic this revised metatheoretical approach provides insights into the sensory-emotive, bodily origins of unconscious layers of non-linguistic signification thereby expanding our understanding of the formative stages of the ‘semiotic function’ in human evolution. This being the third in a series of papers integrating the yields of psychoanalytic methodology with the underlying premises of ‘Biosemiotics,’ some familiarity with the background knowledge provided in the previous two is strongly recommended. (shrink)

This book falls midway between being a treatise and being a history. Incomplete, intentionally, as a history, it is also unfortunately inadequate as a treatise, though it is a most useful and interesting volume. Todorov has given us selected and highly selective chapters in the history of western reflection upon symbolization as a mode of signifying, the seriation and presentation of materials being rather erratically informed by a consciousness of the contemporary scope and intents of semiotics as an integrative (...) discipline. The book begins with a relatively synthetic discussion of the "birth of western semiotics" in "late" Greek philosophy and its focusing and semi-systematization in the work of Augustine, whom Todorov shows to have immense semiotic importance. Todorov then proceeds to give an account of the attempts to systematize the various figures of thought and speech in classical rhetorical theory, whose scope, limitations, rise, and decline are charted in chapters 2 and 3. Chapter 4 and 5 discuss the connections between symbolization as a motivated discourse and the specifically aesthetic problem of imitation, which informed aesthetic theories from antiquity to the Romantic crisis, to whose delineation Todorov devoted the longest and best chapter in the book, showing in interesting detail the progressive subjectification of the process of symbolization and aesthetic creation that took place during the original German portion of the movement and which, as is well known, influenced the English portion primarily through Coleridge's "translation" activities. Chapter 7 treats the modern "scientific" temptation, epitomized in Lévy-Bruhl's studies on "primitive thought," to ascribe "symbolic" and "mystical" structures to other periods and places while denying it to one's own thought processes, a procedure ironically belied in Lévy-Bruhl's methodological practice. Chapter 8, on Freud, sheds very little new light, and scarcely is adequate to more than a perfunctory knowledge of the old light, on this most important thorny figure in modern consciousness, a deficiency due in part to Todorov's excision of materials from the original French edition. The following chapter on de Saussure focuses, with some interesting biographical help, on his tendency to avoid the problem of motivated discourse in favor of an effectively exclusive concentration on the implications of his axiom or theorem on the arbitrariness of the sign. The final chapter offers an appreciation rather than an account of the paradigmatic work of Jakobson, whom Todorov obviously, and rightly, considers the hero of modern attempts to weld linguistics and poetics together. These ten chapters are preceded by a short apologia pro libro suo and rounded off by a short oxymoronic conclusion entitled "Openings.". (shrink)

Abstractabstract:Aristotle identifies four modes of unity: numerical, specific, generic, and proportional or analogous. Recent scholarship has renewed the Renaissance and early Modern Thomist critique that John Duns Scotus's (d. 1308) doctrine of the univocity of being is based on a failure to appreciate proportional unity. This paper attempts to fill a gap in the copious literature on Scotus's doctrine of the univocity of being by presenting and offering an analysis of the texts where Scotus addresses the topic of proportional (...) or analogous unity. The paper argues that Scotus's early and mature works consistently reject the notion that an analogous or proportional unity can serve as the foundation for greater than equivocal unity between concepts, and that Scotus's developed position represents an alternative to Aristotle's division of unity into the modes of numerical, specific, generic, and analogous. Nonetheless, Scotus's early remarks on an analogous unity that is mind-independent provide both an internal justification for the dispute that ensues between Thomists and Scotists over whether a single concept can signify analogously—a dispute that features such distinguished participants as Thomas de Vio Cajetan (1469–1534) and Bartolomaeus Mastrius (1602–73)—and an avenue for further investigation into the thought of the Subtle Doctor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forms of Life and Cultural EndowmentsVictor Peterson IIYou know, honey, us colored folk is branches without roots and that makes things come round in queer ways.—Zora Neale Hurston (Their Eyes Were Watching God 15)what does it mean when we speak of a form of life? When speaking of a form of life, we consider one different from others by way of its mode of expression, that is, by its (...) means of construction. This interpretation lends itself to a functional analysis of the material put to use and whose operations jointly express the concept we are after. Modes of expression can be plotted between a rhetorical and semantic axis (Gates 48). As such, "[t]he level of connotation of the visual sign, of its contextual reference and positioning in different discursive fields of meaning and association, is the point where already coded signs intersect with the deep semantic codes of a culture and take on additional more active ideological dimensions" (Hall 56). Coordinates within this domain encode signifying practices, revitalizing the traditional concept of signification as a function of what's signified with respect to a signifier. The content of a syntagm in this coordinate system, a point in this plane, indexes its function with respect to others. As such, we will conceive of the content of modes of expression functionally.A function is defined by pairing an element from a domain and another from a sub/co-domain whereby that pair is an element of that function. In this way, we can treat functions as abstract objects. If we treat a domain as what determines the availability of an expression, and a sub/co-domain as representative of its range of application, then the function of applying some proposition maps a movement from a domain of selection to one of composition, that is, its use with respect to others. The function of an expression, then, represents an operation over the possible worlds of its appropriate application (Taylor 201–02, 269, 276). This becomes more interesting when considering assertions whereby one subject is known to be the case for another, a concept that's modeled when a proposition from one is appearing in the object position of another (Fara 65–73). Resultingly, a proposal for an [End Page 26] ontology constituted by modes of interaction rather than identity stipulations to physical entities arises. It follows that if a form of life is understood by way of its mode of expression, then its content is expressed as an ensemble of the functions of its operations. Let this ensemble of functions be called an endowment.There is a pervasive debate in cultural studies that obsesses over proprietary notions as well as the ability to locate an origin. With that in mind, let us consider a coordinate system where there are two perpendicular axes, and we define positions within the space provided at the intersection of lines drawn from each. Each axis is represented by an ordered series of markers. A line drawn from each axis indicates that the coordinates indexed at their intersection is a function of these two markers. This locates an individual at a point in that domain, indexing a relation between the axes framing that space. Therefore, that coordinate-wise space, here a domain of possible expression, is not "empty" as pessimists would claim, but is filled with functional-content, albeit functions yet applied and marked by a point in that plane.Although we are currently speaking of two-dimensional space, the same follows for as many dimensions as we want. A point's location is a function of three values in three dimensions, four in four dimensions, and so on. Forms of life, then, will be comprised of four dimensions. This allows for a space-time conception, wherein joint expressions bend space-time and that space dictates those individuals' possible movements. From this, we construct a geometrical model of space-time represented as a cube composed of two-dimensional slices with these slices extending in a particular direction like cards stacked one on top of the other to model time.We want our conception of a form of life to be spatial. After all, it... (shrink)

It is not the case that God is interestingly like the unavailable transcendental signified in being unavailable. God always was absconded. The signified may not even really have gone away at all. And if it has, it is not God; it is only like Him in having gone away. And it has gone away, if it has, in a different mode of ‘going away’.To use a Turneresque metaphor: God is and will always be another, far, range behind the misty-but-glittering and (...) absconded signifieds, which leave only the trace which is the play of signifiers in the immediate foreground.One is free to attend to whichever range one wishes, or one may attend only to the foreground. But the dazzlingsublime 12 of the foreground, “That change of cloud and light, never-ending and agitating itself into kaleidoscopic patterns, the play of signifiers”, is—and never could be—quite like the “sublime” of the far, far range whose Inhabitant is said to be, “From everlasting to everlasting”. His “play” is said to be not of signifiers, butof all there is; it is notsemiological butontological. And He is altogether beyond the sublime, for with Him, or with the Beatific Vision of Her,there would be no critical problem left.The Logos is not a signifier. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.1 (2003) 81-96 [Access article in PDF] Pragmatism:The Unformulated Method of Bishop Berkeley Lesley Friedman 1. Introduction THOUGH WELL KNOWN AS A SCIENTIST, logician, and metaphysician, Charles Sanders Peirce is perhaps best remembered as the founder of Pragmatism. Surprisingly, Peirce attributes this way of thinking—often taken as a uniquely American contribution—to Bishop George Berkeley. According to Pierce, Berkeley should be regarded as the (...) author of that method of modern pragmatism (RFB, 96): 1 Pragmaticism is... a method of thinking.... Of those who have used this way of thinking Berkeley is the clearest example.... (CP, 8.206, c.1905) Berkeley on the whole has more right to be considered the introducer of pragmatism into philosophy than any other one man.... (1903 letter to William James)In a metaphysical Club, I used to preach this principle as a sort of logical gospel, representing the unformulated method followed by Berkeley, and in conversation about it I called it 'Pragmatism.' (CP, 6.482, 1908) [End Page 81]While it is acknowledged that Peirce believed Berkeley to be "a very distinguished master of the pragmatist mode of thinking," just why Peirce makes this claim is not altogether clear. In significant ways Berkeley blundered metaphysically, according to Peirce (MS, 322, c.1907). 2 He overlooked the reality of possibility (and thus realism about generals), misunderstood the nature of existence and the ordinary notion of matter, and had an inadequate view of perception. 3 In his early work, Peirce goes so far as to criticize what looks to be Berkeley's attempt at the pragmatic method: "A better rule [than Berkeley's] for avoiding the deceits of language is this: Do things fulfil the same function practically? Then let them be signified by the same word. Do they not? Then let them be distinguished" (CP, 8.33, 1871). Moreover, while Peirce cites the Essay Towards a New Theory of Vision as using the "medium of pragmatism," others have criticized Berkeley in this very work for drawing conclusions without any experimentation. 4 Since it is precisely the pivotal role of experience and experiment that distinguish the method of pragmatism, it is puzzling that Berkeley is chosen as worthy of the title that Peirce bestows on him. My hope in this paper is to shed some light on this question. I beginwith an explication of Peirce's pragmatism and then move on to offer an account ofhow Berkeley uses this method, though never formulates it. Next, I discuss the positions Peirce understood to be consequences of the view, including critical common-sensism, fallibilism, and scholastic realism. I suggest that, although he erred on several corollary positions, Berkeley foresaw the aims, purpose, and essential points of the methodological, though not the "metaphysical side" of pragmatism. 5 2. Peircean Pragmatism Pragmatism 6 is not a metaphysical doctrine: it does not aim to ascertain the truth of things; it does not attempt to throw any "positive light on any problem" (CP, 5.464, 1907). Rather, it offers a means of distinguishing legitimate from illegitimate [End Page 82] hypotheses, so that verbal disputes—those that so often arise simply because the disputants do not understand meanings in the same way—can be resolved. It is thus "only a method of thinking"(CP, 8.206, c.1905, emphasis added).... pragmatism proposes a certain maxim which, if sound, must render needless any further rule as to the admissibility of hypotheses to rank as hypotheses, that is to say, as explanations of phenomena held as hopeful suggestions; and furthermore, this is all that the [logical] maxim of pragmatism really pretends to do.... (CP, 5.195, 1903) Seeking to lay "the dust of pseudoproblems," pragmatism allows "us to discern what pertinent facts the phenomena may present. But this is a good half of the task of philosophy" (CP, 8.186, 1903). It is worth pausing to mention that philosophy, as Peirce understands it, does not stand apart from science in the way it does today, but rather is the second of the three sciences of discovery, all of which... (shrink)

This article ‘diagnoses’ the discourse of posthumanism as a contemporary symptom, and thus as a mode of the social link that attempts to deal with the real of the human condition as, precisely, non-natural. In order to then interpret this posthuman symptom, the article outlines the psychoanalytic notion of interpretation itself, not as the laying bare of a latent meaning, but as the inducement of truth-effects which are distinct from scientific understandings of truth premised upon identity and non-contradiction. Lacan's Seminar (...) XVII is then utilized both as an example of the psychoanalytic interpretation of contemporary life, and as a resource for thinking through the reification of science and technological ‘lathouses’ that underpins the posthuman era. The article concludes with a strong defence of the capacity of psychoanalysis to hold open a space for the ‘outside-sense’, or what evades capture by the signifier. It is argued that this ‘outside-sense’ is what truly constitutes the human insofar as humans are speaking beings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:32. HUME ON MODES As thorough a critic as Norman Kemp Smith states in his investigation of the Treatise that "Hume's treatment of... the complex ideas of modes... need not detain us." Whatever is interesting in this brief treatment, Smith suggests, rests on remarkable features of Humean doctrine, elsewhere expounded at length. This is true, I would agree, as a descriptive comment to the following degree. The (...) category of modes is officially regarded by Hume as highly marginal, even dispensible. But it is not in fact the case that, intrasystematically, the work of modes can be duplicated in non-modal materials. In this discussion I will show that Hume mistakes the case, and attempts to diagnose the error's deep sources. To the naked eye, the mistake seems perhaps small and reparable. Placed under the microscope, we find an important philosophical conception is at stake. Our raw material comprises the explanations of modality provided by Locke and Hume. Modes, according to Locke, are complex ideas which, however compounded, contain not in them the supposition of subsisting by themselves, but are considered as dependences on, or affections of, substances; such are the ideas signified by the words, triangle, grati2 tude, murder, etc. (2.12.4). Hume's account is similar in appearance. The idea... of a mode... is nothing but a collection of simple ideas.... The simple ideas of which modes are formed, either represent qualities, which are not united by contiguity and causation, but are dispers ' d in different subjects ; or if 33. they be all united together, the uniting principle is not regarded as the foundation of the complex idea. The idea of a dance is an instance of the first kind of modes; that of beauty of the second (I. I. VI). The appearance of harmony is capped by the uniformity in examples: Locke also mentions 'beauty' (2.12.5) as a modal term, and between his 'murder' and Hume's 'dance' there is nothing to choose. One small difference remains. The idea of dependence, prominent in Locke's sketch, is absent from the Treatise passage quoted. This disparity is eliminated by the following remark, temporarily withheld above: the difference betwixt [substances and modes] consists in this, that the particular qualities, which form a substance, are commonly referr'd to an unknown something, in which they are supposed to inhere (I. I. VI). Superficially then, both Locke and Hume might be thought to subscribe to the following theses. The designata of modal terms, but not of substantial terms, lack independence (I will call this 'the Modal Dependence Thesis' or 'MDT'). Modal terms designate complex ideas in the same way as do those substantial terms which designate complex ideas (this will be referred to as 'the Modal Complexity Thesis' or 1MCT'). But while Locke supports MDT, Hume rejects it, and whereas Hume advocates MCT, Locke — when pressed — will be found to disagree with it. Let us start with MDT. To establish that the category of modes is regarded, intrasystematically, as superfluous by Hume is to confirm the disagreement here between the two theorists. Hume categorically dismisses what Locke describes by the phrase 'a something I know not what' as contributing 34. to any particular idea of a substance. Accordingly, the designata of modal as well as substantial terms resolve identically under analysis, i.e. into combinations of simple ideas. Hume mentions a differentiating factor: the principle of union of simple ideas in the case of a substance scores higher in naturalness than in the case of a mode. The components of a substantial idea are "closely and inseparably connected by the relations of contiguity and causation" (I. I. VI), which are 'natural'. But Hume's own examples expose this as an ineffective device of differentiation, one to which Hume himself attaches little importance. Where is the unnaturalness in the case of the (modal) designata of 'beauty' and 'dance'? How — more pointedly — is the complexity involved in the (substantial) designata of 'dog' and 'table' more natural? Any difference here is one that Hume does well to play down and neutralise of all but sentimental significance. In adducing the idea of naturalness to explain the difference felt by the common... (shrink)

This paper explores how touch is key to understanding education—not as an achievement or an instrument of acquisition, but as a process through which one becomes a subject capable of both living and leading a life that matters for ourselves and others. As a process, it is concerned with how we encounter things and others in the world and not solely with what we encounter. In particular, it argues that the dynamics of touch-as both a touching and being touched by-are (...) central for understanding educational encounters as sensory landscapes of contact. This paper turns first to Aristotle’s understanding of touch as central to life itself in order to contemplate how it is not merely one of the senses but signifies as the primary mode of all bodily contact with the world. This vital aspect will then be examined in relation to the specific ways bodies experience contact, through their membranes, morphological make up and their movements. Here, I draw on a number of philosophers and theorists, such as Maxine Sheets-Johnstone, Juhani Pallasmaa and Erin Manning, and a recent art installation The Boarding School by Sisters Hope to demonstrate how bodies matter to the very practices of education. I conclude with some thoughts on what morphologies, membranes and movements can specifically offer to a sensuous understanding of education. (shrink)

Most critical studies of consumerism denounce the deceptive images produced by commodities, but what happens when consumer goods are rejected as waste? Instead of considering garbage disposal as a merely technical and hygienic issue, this article investigates the “aesthetics of disappearance” of waste. The structural reasons for the invisibilization of waste and the political effects of its manifestation will be analyzed through Jacques Rancière’s notion of “distribution of the sensible.” The central thesis is that material consumer culture, based on a (...) continuous process of devaluing and replacing items, needs organizing the perceptual field to make waste disappear and thus create the illusion that, once discarded, an object vanishes. Therefore, making waste visible is interpreted as a rapture of the normative configuration of the sensible, disturbing habitual modes of experiencing and signifying reality. This hypothesis is investigated through a paradigmatic artistic work: Matta-Clark’s Garbage Wall (1970). The American artist exposes waste in the public space to challenge the established distribution of spaces and functions in the urban context, displaying waste’s stubborn resistance to the imperative to disappear. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 584-585 [Access article in PDF] Phillip Cary. Augustine's Invention of the Inner Self: The Legacy of a Christian Platonist. New York: Oxford University Press, 2000. Pp. xvii + 214. Cloth, $45.00. In a gloss on the well-known gospel text, G. K. Chesterton noted that it is precisely because salt is unlike the foods it preserves that it is able to do (...) its distinctive work of preservation. Likewise, according to the thesis of this book, it is precisely because Augustine of Hippo invented his distinctive approach to interiority that he has done so much to preserve for the Western tradition the Platonic conception of the soul. Yet Augustine's contribution to the philosophy of the inner self is not simply one of inventio in the classical sense of a discovery of the Platonic self, it is also an innovation pointing philosophy in a new direction.Using a series of provocative images, Phillip Cary outlines the history of the idea of the private inner self in a way that highlights Augustine's distinctive contribution. He begins with Plato's Allegory of the Cave wherein the soul or self is an eye that has escaped the lower darkness to gaze upward away from itself toward the sun achieving intellectual vision. This idea is developed by Plotinus, for whom the soul is like a sphere revolving around the inner source of intelligibility at the center of things. This soul can look out toward the darkness or inward toward the intelligible light. In a further development, Augustine pictures the self as an inner palace with large courtyards open to the intelligible light of the sun such that the eye of the soul must turn inward and then upward to be enlightened. The final modern development is represented by Locke's picture of the self as a dark room where nothing but images are projected within through windows out of which the self cannot see, the intelligible light of the sun being kept out. Introducing the notion of the private inner life, Augustine is the forerunner of modern philosophy and all that has followed from the Cartesian turn. Yet Augustine is also a Platonist seeking the source of intelligibility that enlightens the inner self taking it beyond itself. This dual thesis is defended by Cary through a study of Augustine's place in the Platonic tradition of inner divinity. The task takes up the [End Page 584] first half of the book and builds on the well-known studies of Augustine's Platonism by J. J. O'Meara, R. J. O'Connell, and others. The second part of the book is devoted to Augustine's innovations of privacy and the inward-upward turn and yields some surprising discoveries that will interest the historian of philosophy.One surprise concerns Augustine's expressionist semiotics according to which signs are outward expressions of what is within. As a Platonist, however, Augustine also holds that signs signify intelligible things that nonetheless fail to be made truly intelligible by signs. The knower, then, does not grasp the intelligible thing from its being signified by the sign, but grasps the significance of a sign by knowing the intelligible thing it signifies. Thus, according to the De Doctrina Christiana, the correct interpreter of scripture is the one who already knows the spiritual things the words of scripture signify and, therefore, is not a slave to a literal interpretation of these words.Another surprise is Augustine's notion of grace as a sort of Platonic eros. Operating by attraction rather than coercion, grace is as much directed at the reason as the will. Thus, the discussions of grace as inward teaching in the anti-Pelagian works is a development of Christ, the inner teacher of the De Magistro, and Reason, the inner teacher of the Soliloquies.Yet another surprise concerns the traditional faith-reason problem. Rather than seeing faith and reason as contrasting modes of inner cognition of outward objects, Augustine associates faith with authority as external... (shrink)

In times of transition and transformation, legal images metastasize. This idea can be usefully related both to Winnicott’s theory of transitional objects and Barthes’ theory of myth. But each tell only part of the full story. Barthes fails to fully account for the stabilizing effect of the reassuring signifier; Winnicott fails to fully account for the ideological adaptability—and implications—of the shifting signified. The legal image unites the iterability of the signifier and the polysemy of the signified, harnessing the affective intensity (...) of the former to the cultural mobility of the latter. In this article, I propose to illustrate this insight by reflecting on two notable images of law that appeared at a moment of profound legal transformation, at the dawn of the early modern era. The images of ‘blind justice’ and ‘sol justitiae’ which the article discusses are both ‘transitional myths’, facilitating through modes of affect a legal journey into uncharted territory. Paying attention to these images and above all to their transformation over time, we can observe not only the process of legal transition at work, but the function of the image in its authorization and modalization. (shrink)

Borders are never purely local institutions, never reducible to a simple history of conflicts and agreements between neighboring groups and powers. Borders are already global, ways of dividing the world into regions and thus make possible place and a ‘mapping imaginary’. Borders are characterized by an intrinsic ambivalence that derives from their internal and external functions, as the basis of collective belonging and state control over mobility and territory. The construction of political space takes place through modes of translation (...) between inside and outside that the border signifies. (shrink)

This treatise redefines reason as a tripartite phenomenon comprising rational, emotional and experiential modes of knowledge acquisition, whose application serves as the foundation of moral practice, itself the prerequisite to philosophic happiness. In so doing, it outlines a visionary theory of universal morality, unifying disparate schools of thought previously incompatible throughout the history of philosophy. "The End of Knowledge"is a revolutionary work in several regards, most especially in its reinvention of reason as both a theoretical and practical tool able (...) to identify and craft ideal axiological judgments. Equally important is its refinement of classical utilitarianism permitting the inclusion of calculations of individual merit, and applying this theory to the realm of economic and political organization in society.The primacy of reason as a prerequisite to moral behavior, itself the surest means of experiencing meaningful happiness, is emphasized, and in so doing, is presented a bold new theory of ethics consistent in formulation and one which subsumes all existing major schools of thought, including deontology and virtue ethics, as well as hedonism and stoicism.The sheer scope, rigor and creative power of this treatise foretell that the radical new philosophy presented shall signify a profound challenge to current orthodoxies as diverse and impactful as legitimate governance to the aesthetic ideal. Uniquely expansive and articulate, The End of Knowledge proves a rare work in its fusion of the abstruse and the practical, the good and the right, conveyed in a style combining technical precision with poetical lyricism. The result is an exemplar of philosophy at its most powerful and personally relevant. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

This article will engage with the current disasters in Japan from the perspective of semiotic anthropology. Disaster seems to produce two moments of the sign: signa naturalia and signa data. The translation of the sign mirrors the architectonic of the signified of disaster, which is mediated by a token-level instantiation of signifiers that initially appears either absent or in excess. The conceptualization of disaster as a zero sign, that is, unlimited possibility, allows an investigation of “a struggle of interpretants” in (...) stipulating the interpretative grounds of the signified amid regenerative processes of social regularity. It is this very exact moment of translation that the sustained continuity reveals its culture-specific “deep social grammar.” Disaster or “shaking grounds” has the presenting effect of cultural palimpsests. These unearthed palimpsests enable a heightened metasemiotic awareness of institutional and ideological regimentations, on the one hand, and token-level recontexualizations, assimilations, and hybridizations of the depository of signs in society in the post-disaster contexts, on the other. The article concludes with an attempt to synthesize Peircean semeiotics and Saussurean semiology by assessing the two distinct modes of semiosis, culture and trauma, upon a sudden threat of the experience of discontinuity. (shrink)

The specific nuances of what Gramsci names ‘the new dialectic’ are explored in this paper. The dialectic was Marx's specific ‘mode of thought’ or ‘method of logic’ as it has been variously called, by which he analyzed the world and man's relationship to that world. As well as constituting a theory of knowledge (epistemology), what arises out of the dialectic is also an ontology or portrait of humankind that is based on the complete historicization of humanity; its ‘absolute “historicism”’ or (...) ‘the absolute secularisation and earthliness of thought’, as Gramsci worded it (, p. 465). Embracing a fully secular and historical view of humanity, it provides a vantage point that allows the multiple and complex effects of our own conceptual heritage to be interrogated in relation to our developing ‘nature’ or ‘being’. The argument presented in this paper is that the legacy of both Hegel and Marx is manifest in the depth of Gramsci's comprehension of what he termed the ‘educative‐formative’ problem of hegemony. It is precisely the legacy of this Hegelian‐Marxist radical philosophical critique that is signified in his continuing commitment to the ‘philosophy of praxis’ and the historical‐dialectical principles that underpin this worldview. (shrink)

We are living in what is widely considered the sixth major extinction. Most ecologists believe that biodiversity is disappearing at an alarming rate, with up to 150 species going extinct per day according to scientists working with the United Nations Convention on Biological Diversity. Part of the reason the loss signified by biological extinction feels painful is that it seems irremediable. These creatures are gone, and there's nothing to be done about it. In recent years, however, the possibility has been (...) broached that, just possibly, something can be done, in at least some cases. Human ingenuity, a contributing factor in the extinction crisis, might achieve their “de‐extinction”—in at least some cases, and with sometimes significant qualifications about whether the original species had been “recreated” and whether it could resume its original place in the environment. De‐extinction is an entry point into a larger set of questions about how biotechnological tools can support, coexist with, or undermine the goals of conservation and about the very meaning of conservation. Are we beings in control of the world or beings who prosper by accommodating ourselves to webs of symbiotic interdependencies? Are we creators or creatures, or both—and if both, then how can we achieve the balance between them that might be called humility? The interplay of perfecting and accommodating is not unique to human beings—perhaps it characterizes all forms of life on Earth—but with humans, these modes of being are distinctive, and our technology greatly expands their scale and effects. It is such questions that the ten essays in this special report explore. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anthony Paul Kerby THE ADEQUACY OF SELF-NARRATION: A HERMENEUTICAL APPROACH An important question that arises from the increasing contemporary emphasis on the self as a narrative construct concerns the adequacy or truthfulness of the narrative accounts we give ofourselves. What, for example, stops our self-narrations and self-characterizations from becoming, in many cases, mere flights of fancy or fictions? If, on a fairly radical view, the self is taken to (...) be a product of narrative emplotment, then clearly the above question cannot be answered by a simple appeal to what the narrative is supposed to represent or copyas though the selfwere first given to us external or prior to the narrative. It is not immediately clear, however, just what a narrative account of the human subject could be adequate to, and, if we were to grant some prenarrative status to the human subject, it is also not clear whether the imposition of narrative structures falsifies the "truth" of this latter subject. What we shall examine, then, is precisely this important question of adequacy and various problems that surround it. To bring these problems into focus and offer some solutions, we shall consider both self-narration and the writing of history. These solutions will have a decidedly hermeneutical flavor, and for one principal reason: hermeneutics, especially as represented by Gadamer and Ricoeur, is particularly suited to addressing questions of self-expression while avoiding traditional metaphysical presuppositions about the human subject. Let us begin with a few words on hermeneutics. To offer a hermeneutics of something will presumably commit one to certain philosophical and methodological presuppositions. To see what these presuppositions are we might briefly compare hermeneutics to two of its close neighbors: phenomenology and semiotics. I believe 232 Anthony Paul Kerby233 diät these three positions are all of value and that their central insights must be integrated. Contemporary hermeneutics can be viewed as usefully fulfilling this latter task. On the one hand, a hermeneutic philosophy can accept the phenomenological starting point of immediacy to phenomena. However, it does not delude itself into thinking that there is a privileged mode of access to phenomena that would disconnect the categories of our particular historical and linguistic heritage. On the other hand, while recognizing that our understanding is mediated by language and semiotic systems generally—the signifying networks of exchange and communication—hermeneutics need notlose contactwith the life-experiences of the subjects within this semiotic realm. That is, we not only come to understand the sign systems operative in our world, but also, to some degree, ourselves as we act in and through them. As Ricoeur often stresses, semiotics (and structuralism) have still to take the final step of accounting for the experiencing subjects presupposed by any structural social system. Semiotics would, at its extreme point, remain arbitrary with respect to phenomenological experience, just as phenomenology would remain silent if it were consistendy to avoid the conceptual and cultural biases of our languages. Thus, while presupposing individual human experience (and worldliness ), hermeneutics can still accept that such experience only achieves expression and explicit understandingin the semiotic realm, and further that this expression is not the duplication of a fully formed but preexpressed understanding, for understanding is only first grasped at the level of expression. As Gadamer has written: "Being that can be understood is language," but this is not to deny the existence of some matter at hand, a hermeneutic Sache selbst, that thereby comes to language ; in our case the human subject itself. Hermeneutics is essentially a reflexive philosophy, but one which rejects the absolute starting point of the Cartesian subject. The subject's self-understanding is an interpretive process, where we must recognize interpretation as an integral part of the subject's very being. Charles Taylor sums up this hermeneutic situation by saying that man "cannot be understood simply as an object among objects, for his life incorporates an interpretation, an expression of which cannot exist unexpressed, because the self that is to be interpreted is essentially that of a being who self-interprets." ' This position, which implies a rejection of both subjectivism and die metaphysics of presence, problematizes self-understanding by viewing the self as mediated by its... (shrink)

The oeuvre of Olivier-Thomas Venard, O.P. offers a sensitive delineation of the central role which Aquinas gives to language and its careful composition in pursuing his intellectual inquiry. By suggesting a way of aligning “medieval” modes of inquiry with “postmodern,” this study brings to light the inescapable role which the language of religious expression plays in Aquinas’s manner of leading us to understand recondite matters which he avows we are able at best to “imperfectly signify.” All of this contributes (...) to the strategy of manuductio for which his work is celebrated, as well as accounting for the chiseled clarity of expression which continues to impresscommentators on his work and clearly distinguishes him from erstwhile peers. This manner of expression itself offers witness to that radical intellectual asceticism celebrated by Pierre Hadot: a benignly “postmodern” expression. (shrink)

Documentary as Exorcism is an interdisciplinary study that builds upon the insights of postcolonial studies, critical race theory, theological and religious studies and media and film studies to showcase the role of documentary film as a system of signifying capable of registering complex theological ideas while pursuing the authentic aims of documentary filmmaking. Robert Beckford marries the concepts of ‘theology as visual practice' and ‘theology as political engagement' to develop a new mode of documentary filmmaking that embeds emancipation from (...) oppression in its aesthetic. In various documentaries made for Channel 4 and the BBC, Beckford narrates the complicit relationship of Christianity with European expansion, slavery, and colonialism as a historic manifestation of evil. In light of the cannibalistic practices of colonialism that devoured black life, and the church's role in the subjugation and theological legitimation of black bodies, Beckford characterises this form of historic Christian faith as ‘colonial Christianity' and its malevolent or ‘occult' practices as a form of ‘bewitchment' that must be ‘exorcised'. He identifies and exorcises the evil practices of colonialism and their present impact upon African Caribbean Christian communities in Britain in films such as Britain's Slave Trade and Empire Pays Back through a deliberate process of encoding/decoding. The emancipatory impact of this form of documentary filmmaking is demonstrated by its ability to bring issues such as reparations to the public square for debate, and its capacity to change a corporation's trade policies for the good of Africans. (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)

In lieu of an abstract, here is a brief excerpt of the content:Whose Red Garments?Which Divine Warrior? Thomas Aquinas on Isaiah 63 and the Literal Interpretation of the Old TestamentJoshua MaddenIntroductionIn attempting to discern the principles by which St. Thomas Aquinas offers a literal interpretation of the Old Testament, this essay will serve to highlight the tension between various periods and methods of biblical exegesis in the hope that it will allow a more fruitful engagement with the conclusions of both (...) St. Thomas and modern biblical commentators. In order to make this discernment, we begin first by addressing the concept of literal interpretation as a whole, as significant misunderstandings can arise in any discussion of what a "literal" reading of Scripture actually is. This exploration will serve our project well by allowing us to pin down precisely what is meant by this term, as well as why it should be important in any mode of theological exegesis (especially that of the Old Testament). When we are able to parse out the exact nature of literal interpretation and the implications of taking such an approach with regard to St. Thomas, we will then be capable of examining a particular instance of Thomas's exegesis by offering a test case of his methods in the reading of Isaiah 63, in which Isaiah prophesies the future appearance of a heavenly warrior who will bring both judgment and salvation to Israel.To sum up, we have two goals: to show that St. Thomas's understanding of the literal sense is both logically coherent and perennially illuminating, and to highlight a particular instance in which St. Thomas's exegesis and literal interpretation is employed in an insightful and creative manner. The conclusion of such an investigation will demonstrate that Aquinas is a [End Page 1201] valuable resource for the science of biblical exegesis precisely because of his philosophically robust methodology and his commitment to the grounding and foundational importance of the Old Testament's historical, literal sense.The Nature of Literal InterpretationAt the very outset of the Summa theologiae, St. Thomas deals with the issue of biblical interpretation and the various senses of Scripture. First, he clarifies what it means to speak of a literal sense of Scripture: "that first signification whereby words signify things belongs to the first sense, the historical or literal."1 Having established what he means by the literal sense, he goes on to speak of the various spiritual senses—allegorical, moral, anagogical—and the way in which they are to be parsed out, but he is careful to note that a multiplication of senses does not necessitate equivocation in meaning: "Thus in holy Scripture no confusion results [from the multiplicity of senses] for all the senses are founded on one—the literal—from which alone can any argument be drawn, and not from those intended in allegory."2 To sum up: the literal, historical sense of Scripture is that meaning which is intended by the words themselves, and it is upon this understanding alone that any argument (and thus any theology) can be founded.3Now one should not take this definition of the literal sense as somehow historicizing or demystifying the text of Scripture, as though St. Thomas were concerned merely with what the words of the human authors mean. First, it is not merely the intention of the human author that must be ascertained, for the human author is not the only author: "The author of holy Scripture is God."4 In the preface to the Super Isaiam he says the same: "the author of Sacred Scripture is the Holy Spirit," and it is "the prophet's tongue" (lingua prophetae) which acts as the divine instrument (organum spiritus sancti).5 So [End Page 1202] here we have a necessary condition for literal interpretation, that it must treat God as the primary author of Scripture. Therefore, a literal exegesis of any particular text must take into account not only the intention of the human author, but the divine author as well.Let us proceed. It is a particularly modern approach to couch this search for the literal sense of the text as the search to ascertain "what the author meant." For St. Thomas, this is a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Tyrant’s Writ: Myths and Images of Writing in Ancient GreeceThomas ColeDeborah T. Steiner. The Tyrant’s Writ: Myths and Images of Writing in Ancient Greece. Princeton: Princeton University Press, 1994. xiv + 279 pp. Cloth, price not stated.Literacy, as the author correctly points out in her introduction (5), tends to be seen nowadays as “a tool of cultural progress, of rational thought, of scientific analysis, a critical marker (...) that separates the developing from the developed world”; and so the spread of literacy in the Greek world of the Archaic and Classical periods is almost inevitably treated as an event that “heralds in a new rational, skeptical and objective approach,” leading to “advances... in logic, science and technology.” What follows this observation—by way of supplement or corrective to the communis opinio—is an attempt to show that for the Greeks themselves—insofar as their attitude can be documented down to the early fourth century B.C.—writing was something rather different: a multivalent and at times mysterious system of signifiers only partially differentiated from the nonalphabetic symbols and signs that preceded its introduction (chap. 1), a talismanic means of giving greater solemnity and efficacy to the contents of oaths, curses, prayers, and oracles (chap. 2), a frequent source of a “conservative and backward looking” vehicle (metaphor) for carrying on psychological and cosmological speculation (chap. 3), and a medium highly suspect as being the one preferred by tyrants, Greek or oriental, when communicating with their subjects or deputies (chap. 4) and by various types of subversives (conspiring oligarchs, religious fanatics, apolitical shunners of assembly and agora) when communicating among themselves (chap. 5).The attempt, though carried out with energy and imagination, strikes me as ultimately unsuccessful—inconclusive at best and at times dedicated to establishing theses which are refuted by the very evidence that has been assembled to support them. This is especially apparent in chapter 3, which suffers from a failure to allow for the existence of highly traditional modes of argumentation such as metaphor alongside the use of metaphorical vehicles in conjunction with highly “progressive” or revolutionary tenors. The habit of comparing perception, remembering, and forgetting to the inscribing, preservation, and erasure of texts on the wax tablets of the mind (100–5) is surely inseparable from the development both of an empiricist psychology and epistemology and of a materialistic view of the soul; and the atomist analogy between letters and the basic constituents of the cosmos (116–22) stands in equally close relationship to the concern of the scientist—be he ancient or modern—to draw distinctions between primary and secondary sensory qualities and to produce an accounting for the apparently qualitative differences between phenomena in ultimately quantitative terms.While not actually refuting the author’s theses, chapter 2 reveals the existence [End Page 145] of a fairly strong argumentum ex silentio against them. Its discussion is based almost entirely on inferences as to the attitudes whose existence might be posited to explain the frequency with which writing is used in certain contexts, and this frequency is, to my mind, more efficiently and plausibly accounted for as the result of nothing more mysterious than a general recognition of the superiority of written to verbal texts in situations where permanence, transportability, visibility, or reliability and authenticity are called for. We are still far from the skepticism, rationalism, and objectivity posited by the modern communis opinio, but much nearer to that than the obscurantism and authoritarianism of the alternative vision offered here. One would certainly not be surprised if, “as documents came to supplement and then to replace symbolic objects,” the former came to acquire some of the sacral character of the latter, and Steiner cites evidence (63 n. 8) to suggest that this actually occurred in medieval England. Parallels can also be cited from medieval Tibet, where monks sought to secure to themselves the spiritual benefits of Buddhist scriptures by wadding pages from the texts in question into small pellets and swallowing them; or even twentieth-century America, where college students seem to derive comparable reassurance from the photocopies of unread articles that line their bookshelves. But nothing in the evidence Steiner cites... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics As First EthicsLevinas and the Alterity of Literary DiscourseHenry McDonald (bio)1Notwithstanding the considerable amount of scholarly attention paid since the 1980s to Emmanuel Levinas’s ethical philosophy of “the other,” critics and theorists have generally approached the relation between ethics and aesthetics in his work warily. Although readings of poetry and fiction inspired by Levinas’s philosophy continue to grow at a rapid rate, arguments applying that philosophy to literary (...) and aesthetic theory have been few and tentatively advanced. Some critics have contended that Levinas was something of a Platonic moralist who “disparaged” and “denounced” art and literature as failing to conform to his idea of what was “ethical.”1 If there is a critical consensus on the issue, it would seem to be that Levinas believed that art and ethics are incompatible.2Based on the aesthetic writings that Levinas produced over a four-decade period, as well as on the role literature played in the genesis and development of his ethical philosophy, such assessments seem puzzling. A Lithuanian Jew who studied with Husserl and Heidegger in 1929–30, Levinas (1906–95) came to philosophy initially through literature, especially Russian literature and Shakespeare: “the whole of philosophy,” he said, “is only a meditation of Shakespeare.”3 In the first work of his philosophical maturity, Existence and Existents (1947), discussions of aesthetics and literature introduce and develop the notion of being as il y a (there is), an account which, in giving emphasis [End Page 15] to being’s “horror” (horreur), simultaneously critiques ontology and places ethics on a tragic basis.4 The il y a, along with its temporal counterpart, the entretemps (between times), introduced just one year later in “Reality and Its Shadow” (1948), are of particular importance to his writings on aesthetics, produced during a period from the 1940s through the 70s.5 The latter provide abundant evidence of the potential for ethical meaning, indeed transcendence, he attributed to the artwork, as in “The Poet’s Vision” (1956), in which he asserts: “Literature is the unique adventure of a transcendence beyond all the horizons of the world... the authenticity of art must herald an order of justice” [“The Poet’s Vision” 134, 137]. Although Levinas never completed anything approximating a “system of aesthetics,” it is nonetheless true that in pieces ranging from developed essays on literary theory and aesthetics to brief commentaries on dozens of literary figures and works, he gave substantive indications of the ways in which his radically nonconceptual, nonontological account of ethics might alter our understanding of the status of “the literary artwork.”Most crucial among those indications is the close connection he posited between the alterity, or otherness, of the artwork and its tragic nature, which he defined in terms of his antiontological accounts of “being” and especially “time” (entretemps, “between times”). As early as “Reality and Its Shadow,” Levinas proposed the thesis, extended in his later essays, that the alterity of art and literature was located not in any ontological or conceptual “beyond”—in a spiritual dimension “which sets itself up as knowledge of the absolute” [1]—but in the “interstices” of language [3], in the “between times” (entretemps) of its modes of temporality: which can be accessed only by way of “the tragic” in art. Time in Levinas’s aesthetics is signified diachronically, from within a region of diaspora. What Levinas terms “alterity,” or otherness, points not toward a privileged, interpersonal dimension freed from the problematics of modernity, but strives to expose the complicity between the West’s concept of rationality and its history of barbarism exemplified by the Holocaust, its history, as Levinas put it, of “National Socialism, Stalinism, the camps, the gas chambers, nuclear weapons, terrorism and unemployment.”6 Art and literature demonstrate a utopian, emancipatory potential in revealing the fissures and hidden pathways that run through the hegemonic structures and totalizing frameworks of modernity.A central aspect of such an aesthetics is its privileging of music and musicality, which Levinas shares with a more recent thinker and critic, Paul Gilroy.7 Like Gilroy, Levinas deploys “musicality,” which he characterizes as “writing in its significance without signifiers” [157] not just to “refute,” as Gilroy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments WEISKEL'S SUBLIME AND THE IMPASSE OF KNOWLEDGE by Laura Quinney Since the publication of Thomas Weiskel's The Romantic Sublime in 1976, scholars of the sublime, in America at any rate, have taken their cue from the demystifying character ofWeiskel's analysis.1 Before Weiskel the most ambitious twentieth-century account of the sublime was Samuel Monk's largely descriptive work The Sublime: A Study of Critical Theories inEighteenth-CenturyEngland.2 With the (...) advent ofsemiotic and psychoanalytic approaches in the late sixties and early seventies, studies of the sublime shifted into a more critical mode. Neil Hertz had taken a skeptical tack in his early essay "A Reading of Longinus," but it was with Weiskel's book that the possibilities of demystifying die sublime were first explored fully.3 Weiskel's treatment is comprehensive, covering all the English Romantic poets as well as Burke and Kant. His thinking is sophisticated, incisive, and often inspired; though The Romantic Sublime was published nearly twenty years ago, it remains an admirable and influential work. In some respects it has never been superseded. Most major American scholars of the sublime—de Man, Knapp, and de Bolla, among others—have adopted the skeptical mode of Weiskel and Hertz.4 But die demystifying approach Weiskel's book helped to pioneer, while it has led to powerful argument, has certain limitations. Weiskel's precocious effort to "desublimate" the sublime shows diese limitations clearly, and it is die purpose of this essay to explore them. In die course of exposing the sublime as a mystified notion, and separating the naive believers from the canny skeptics, Weiskel also Philosophy and Literature, © 1994, 18: 309-319 310Philosophy and Literature separates intellectual insight from aesthetic capacity, and thus he uncritically reiterates die old Romantic dialectic of knowledge and power. The figure of Wordsworth plays a central role in establishing these oppositions. Weiskel portrays Wordsworth as the most successful poet of the sublime—the most successful, and tiierefore the most beguiled. In his remarkable concluding chapter, Weiskel locates the source of Wordsworth's powerful "liminal sublime" in a kind of intellectual regression. Wordswortii refuses the whole Symbolic order, the ghastly product of the Oedipus complex, for that order spells die deatii or disappearance of the signified, and die end of an imaginatively fruitful narcissism. Wordswortii retreats from the Symbolic to the Imaginary radier than endure tiiis threat to poetic life. And he is well rewarded for his dodge, since as a consequence the images of his memory thrill with the fascination of the ineffable. The Prelude gains its momentum from the project of memory; but the rich opacity and mysterious beckoning of memory's images are in a sense contrived. They spring out of a sublimation, the images colored widi the intensity of the signification Wordswortii has repudiated. Wordswortii sacrifices insight and intellectual progress for imaginative power. This is a strictly ambivalent exchange, as Weiskel makes clear in his conclusion; Wordsworth's rejection of the Oedipus complex and of the descent into the Symbolic Order, is "purely illusory, a fiction," but "the fiction is a necessary and saving one; it founds die self and secures the possibility—the chance for a self-conviction—of originality" (p. 203). Wordswortii's poetic success arises from his acceptance of an illusion, a "saving fiction" both enviable and degraded. This selfdelusion is essential to the poetic flourishing of the sublime, and only Wordsworth had the odd insensitivity to maintain it. Weiskel contrasts faith in the efficacy and excellence of sublimation with skeptical insight into its origin and end—its origin in mystification, and its end in alienation from the phenomenal world. The faith of Wordswortii's egotistical sublime is that imaginative perception provides die highest and paradoxically truest form of perception. It is easy enough to see how such a faith could provide hope and energy, and tiius could be compromised by wish-fulfillment in its generation, and direatened by extinction in its analysis. But what lies behind Weiskel's opposition of faith and insight is the old dichotomy—or series of interrelated dichotomies—that date back at least to Romanticism. Weiskel admits that his opposition of fruitful illusion and dessicating realism... (shrink)

This article contends that black feminist conceptions of ‘pussy power’ have prematurely foreclosed an examination of both pussy and its powers, thereby missing the erotic potential inherent in a ‘pussy power’ that is distinctly black – what I term black pussy power. Taking Pam Grier’s Blaxploitation performances in Coffy (1973) and Foxy Brown (1974) as my primary case studies, I use black pussy power as a conceptual framework through which to read Grier’s performances of black eroticism, which enable her to (...) resist racialised gendered sexual subjection and tap into modes of erotic agency otherwise denied to her. Moving away from delimited understandings of pussy as female genitalia or an objectified entity of female sexuality, I mobilise black queer feminist theorisations of the ‘arbitrary relation between black sex and gender’ to theorise the polymorphous potential of black pussy to signify beyond the narrow gender and sexual grammars currently available to us.1 At the same time, black pussy’s discursive connection to black feminine sexuality animates the insurgent potential of black pussy power to secure nominal black freedoms in the face of state-sanctioned infringements on black erotic life. (shrink)

The influence of Cajetan’s De Nominum Analogia is due largely to its first three chapters, which introduce Cajetan’s three modes of analogy: analogy of inequality, analogy of attribution, and analogy of proportionality. Interpreters typically ignore the final eight chapters, which describe further features of analogy of proportionality. This article explains this neglect as a symptom of a failure to appreciate Cajetan’s particular semantic concerns, taken independently from the question of systematizing the thought of Aquinas. After an exegesis of the (...) neglected chapters, which describe the semantics of analogy through the three levels of cognition (simple apprehension, composition and division, and discursive reasoning), the article concludes with observations about the relationship between Cajetan and Aquinas and the philosophical and historical signifi cance of Cajetan’s approach to the semantics of analogy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 503 sufferings of Job, which she finds instructively different from the sort of account which would come naturally to people of our own time. We are apt to wonder how a good God could possibly permit the many and frightful evils which infest the world. Aquinas, however, believed that all human beings are afflicted with "a terminal cancer of soul," for which pain and suffering are the (...) divinely-appointed remedies (340). If we are not cured, we will lose for ever the ultimate bliss of communion with God. At this rate we are to expect that the best people are precisely those who are liable to suffer the most (342). Aquinas would agree with Pope Gregory, who says that it is frequently difficult to understand the ways of providence, but never more so than "when things go ill with good people and well with bad people" (343). Stump concludes that what Aquinas's interpretation of Job, and his overall account of evil, has to show us is "that our approach to the problem of evil is a consequence of our attitude towards much larger issues, such as the nature of human happiness and the goal of human life" (356). The reader will have inferred that this is a remarkable volume. None of the contributions is to be sneezed at, and some are very impressive indeed. HUGO MEYNELL University of Calgary Calgary, Alberta, Canada Christ the 'Name' ofGod: Thomas Aquinas on Naming Christ. By HENK J. M. SCHOOT. Nijmegen: Peeters Leuven, 1993. Pp. 231 (Paper). The hiddenness of God in Christ and "the relation between the Word Incarnate and human words for this Word" animate this study of Aquinas's christological epistemology; it is a study of Aquinas's understanding of "the mystery of Christ, and [of] human ways of signifying him" (1). And because "all human understanding and signification fails [sic] to reach Christ as he is," Schoot believes that all christological knowledge is primarily negative and heavily reliant on analogy (1). He applies to the names of Christ what another author (Mark Jordan) has applied to the divine names: "the surest approach to the divine is by the scrutiny of linguistic failure" (153). The structure of the book reflects these insights. In the first chapter the author stresses the negative character of christological language by reflecting upon Aquinas's use of mysterium in christology. The second chapter is an analysis of his use of "the concepts of signification, supposition, predication and reduplication," in the context of the most current knowledge of medieval grammar and logic (7). It is here that the author stresses Aquinas's strongly linguistic approach to christology, as well as the distinction between supposition ("standing for") and predication ("sig- 504 BOOK REVIEWS nification"), which will be crucial to his analysis of the hypostatic union in later chapters. In fact, "the whole of christology is built on the distinction between signification and supposition" (55). Schoot believes that Aquinas, following medieval "modist" grammarians, thought that "a fundamental parallel exists between different modes of signification, modes of understanding and modes of being" (43), and hence a linguistic approach is often a decisive entry into questions of theological (and christologiocal) epistemology and metaphysics. In this context, the author examines the distinction Aquinas made between a number of modes of signification. Chapter Three is devoted to Aquinas as a biblical theologian. His use of biblical names of Christ {over ninety in his commentary on Isaiah alone) suggests that "a large part of Aquinas' treatment of the person and life of the Word Incarnate is devoted to a discussion of names" (104), and that the fact that Christ is a mystery "is rooted in (his] being the 'name' of God" (105). Schoot finds that "Aquinas employs the same rules concerning signification examining those names as he does concerning the divine names" (193). Chapter Four applies the key insights of Aquinas's "theory of supposition to the theology of Christ incarnate" (194). Following an analysis of such key concepts as first and second substance, esse, suppositum, singularis, particularis, and individuum, Schoot concludes that The subject-term having both signification and supposition expresses a linguistic unity that Aquinas deems analogous to the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Divine Illumination: The History and Future of Augustine’s Theory of KnowledgeSteven P. MarroneLydia Schumacher. Divine Illumination: The History and Future of Augustine’s Theory of Knowledge. Challenges in Contemporary Theology. Chichester: Wiley-Blackwell, 2011. Pp. xiii + 250. Cloth, $119.95.Lydia Schumacher has written an ambitious book. Among the many things she tries to accomplish in the volume, three stand out to this reviewer. First of all, she proposes to reexamine (...) Augustine’s theory of knowledge. She argues that Augustine’s philosophy is grounded in theology. For his theory of knowledge this means, by Schumacher’s reading, that the aim of cognition is to enable the human being to regain its original status as “image of God,” which latter state is manifested in knowing God and making God known. It is the mental, and by extension ethical, process of becoming God’s image that Schumacher says we should, in the Augustinian context, take the phrase ‘divine illumination’ to signify. For Augustine, Schumacher insists, this process is an entirely internal phenomenon constituted by a self-correcting series of intellectual reflections on the part of the mind. In holding to this view, Schumacher emphatically rejects the understanding, common in scholarship, that “divine illumination” for Augustine had to do with mental reference to what she labels an “extrinsic” standard such as the eternal ideas in God’s mind. [End Page 293]Second, Schumacher argues that the Augustinian project, epitomized in his theory of knowledge, was carried out by most of the thinkers of the Latin Middle Ages, particularly by Anselm and Thomas Aquinas. These latter two individuals are therefore divine illumi-nationists of the first order. What historians often designate as an Augustinian current, evident in the high Middle Ages among scholastics from the Franciscan Order, represented instead a deviation, a turn to an entirely novel theological-philosophical project. Here, mind’s work was conceived of as “the immediate and totalized knowledge of an individual essence.” And for this, recourse to an extrinsic standard filled the bill. Consequently, high-medieval Franciscans were the actual propounders of the theory of knowledge Schumacher tells us has wrongly been associated with divine illumination. Moreover, this Franciscan current of thought, once severed from its original theological underpinnings, provided the historical inspiration for modern philosophy, thereby acting as a kind of catalyst for the modernist philosophical problems—as Schumacher receives them—of rationalism and fideism, skepticism as well.Third, Schumacher sounds the call for a contemporary return to the authentic Augustinian project. By starting philosophy, as she claims Augustine did, with theological assumptions, she wants to fashion a “faith-based concept of knowledge” and with it, most importantly, to escape the modernist dilemma of the incompatibility of faith and reason. Grounding philosophy in theology—Christian theology, she maintains—will restore a lost integrity to our procedures of thinking, ultimately redeeming philosophy itself.How much of this program has Schumacher managed to achieve? Since this reviewer is marked out as the key spokesperson for the interpretation of both divine illumination and the history of medieval thought against which Schumacher inveighs, perhaps he should not be the one to answer the question. Still, the reader forewarned, I lay out my opinion. With regard to her first goal, Schumacher makes good on her promise to render Augustine as a theologian bent on working from his assumptions to designate a process whereby philosophy and mankind can be simultaneously restored. She is not so convincing in her attempt to equate this program with divine illumination. For Schumacher, the process of divine illumination is correlative to the idea of God as source of the mind’s power to act. Yet Augustine often plainly associates what he describes as illumination with turning to God and conceding his ideas an important role in the mental processes of judgment and concept formation. It is hard to see how one can honestly exclude this extrinsic element of what Augustine intended.Regarding her second goal, Schumacher does an excellent job of reminding us how Augustinian were almost all medieval scholastics, Thomas included, and warning us not to take the high-scholastic recourse to Aristotle as a sign of opposition to Augustinian modes of thought... (shrink)

The paper raises the theoretical question of the cultural mediational nature of literary intertexts from the point of view of generic and transformational dynamics. The intertextual complex as mediational operator is examined at two levels – (1) in the context of cultural diachrony by observing how the literary work establishes its place in the history of literature closely connected to the metapoiesis of the text; (2) at various kinds of intratextual interlevel movements regulating the evolution of a whole intertextual system (...) within the work. Differentiating the ontological, generative and transformational conceptualization of intertextual poetics, an attempt is made to define the basic textual modes of the pretext, the intext and the intertext by describing their functionality in the building of an intersemiotic literary system. The relevant functions are grasped by shedding light upon the types of the sign of which the given signifying structures consist (here a terminological clarification and re-evaluation are added) and their textual semantics in terms of referential and relational quality (cf. the different versions of referential and relational semantics). In the first place, however, the paper aims at outlining the structure and content of the generic-transformational semiotic processes in which the dynamic aspects of intertextual semiosis are revealed. Within this framework, the processuality of the development of the intertextual signifying structure iselucidated, shown as a chain of reciprocal sign activities resulting in constantly evolving semantic shifts within the intra- and intertextual semiosis processes, all relying on mediational operations. Text examples are taken from and references made to works by A. S. Pushkin, I. S. Turgenev, F. M. Dostoevsky and J. M. Coetzee. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 67-88 [Access article in PDF] In the Wake of Cultural StudiesGlobalization, Theory, and the University Tilottama Rajan 1 Theory today has become an endangered species, as evidenced by the resistance to difficult language. This is not to deny that it leads a quasi-life as the domesticated ground for what has replaced it, or as a form of prestige: a signifier for "cutting-edge" discourses. But in using (...) the term here, I refer to the work that came into prominence after the Johns Hopkins conference on "The Structuralist Controversy" (1966), the modes of thought it made possible, and the antecedents for such thought going back to the late eighteenth century. Like the humanities generally, this Theory has become submerged in Cultural Studies, 1 which displaced it in the nineties as a central concern of institutes, interdisciplinary programs, and lecture series. "New" academic undertakings in the humanities are by definition those that have a cultural focus. Occasionally we come across programs in "Theory and Cultural Studies" which equate fields that could overlap dialogically but are not identical.Let us grant that practices at the ground level of teaching are more diverse because hiring has occurred over generations; or that there are no absolute epistemic shifts because of what Mary Poovey calls a process of "uneven development," in which "emergent" "rationalities" develop from "and retain a constitutive relationship to... residual domains" [Social Body 14-19]. At the level of marketing and image (and thus also the self-image of academics), Cultural Studies has become the primary focus of North American academic publishing in the humanities, 2 which thus reimagines itself in terms of the globalism of culture rather than the nationalism of "literature," even as the wider [End Page 67] technocratic apparatus thereby reduces the entire humanities to a form of "area studies." And as Heidegger presciently saw in 1938, publishing is a form of governmentality: through the "prearranged and limited publication of books," publishers "bring the world into the picture for the public and confirm it publicly" [139]. On the other side, if a space has been kept for Theory, it has migrated out of English into continental philosophy departments and book series. The result has been an esotericizing and narrowing of Theory to post-Heideggerian French philosophy: the most powerful current in American continental philosophy departments—hence the survival of Derrida but not the early Foucault, and hence the survival of a Derrida very different from the one who made an impact in the seventies. 3Why did Cultural Studies so readily replace Theory? And why focus on the loss of Theory rather than literature, which has also entered the domain of the residual? After all, Anthony Easthope, a decade ago, saw Theory as no more than the "symptom" of a crisis leading from the collapse of literature to the emergence of Cultural Studies [5]. In starting with the cathexis onto "culture" of an academic desire once mediated through "Theory," I suggest that both Theory and Cultural Studies are encyclopedic organizations of knowledge that have therefore served as meta- or flagship disciplines for the humanities. Constituted outside the regular structure of departments in programs and "centers," both have been responsible for a decentering innovation (recognizing the emergence of knowledges outside traditional boundaries) and a recentering of the humanities' "mission" by which it addresses the university at large. The encyclopedic impulse goes back a long way, whether it takes form in such gatherings as the early cabinets of curiosities, in universities as attempts to gather different disciplines into an institutional plurality, or in actual encyclopedias. Enkyklos paideia, meaning "circle of learning," is a gathering of subjects that are meant to be interrelated as knowledge by a single individual, in contrast to indexical systems (such as dictionaries), which are secondary reference tools that store information outside the mind for selective retrieval by different people. Actual encyclopedias, from Anglicus and Vincent of Beauvais to the Encyclopédie and Hegel's "philosophic encyclopedia," have thus been intimately tied up with existing or projected organizations of knowledge. They have functioned as proto-universities... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE DISTINCTION BETWEEN RES SIGNIFICATA AND MODUS SIGNIFICANDI IN AQIDNAS'S THEOLOGICAL EPISTEMOLOGY GREGORY RoccA, O.P. Dominican School of Philosophy and Theology Berkeley, California ST. THOMAS AQUINAS often refers to the distinction between res significata and modus significandi. He asserls that, whie the :absolute and analogical predicates of positive theology may be pveditcated of God with regard to their RS,1 they mrust,be denied of God with regard to their MS.2 (...) The distinotion, then, is an imporlant element in his 1 For brevity's sake I will refer to res significata, by RS and to modus significand.i by MS; I will also speak of the res/modus distinction. The following abbreviations for Aquinas's works will be used: BDH=Flropositio in librum Boethii De hebdomadibus (Marietti ed., 1954); DA=the disputed question De anima (ed. J. H. Robb [Toronto: PIMS, 1968]) ; DDN=Flropositi super librum Dionysii De divinis nominibus (Marietti ed., 1950); DP=De potentia (Marietti ed., 1949); DSS=De substantiis separatis (Leonine Commission, vol. 40, 1969); DV=De veritate (Leonine Co=ission, vol. 22, 197276 ); Herm.=Sententia libri Peri hermeneias (Marietti ed., 1955); John= Leotura super Johannem (Marietti ed., 1952); Meta.=Sententia libri Metaphysioorum (Marietti ed., 1950); Phys.=Sententia libri Physioorum (Marietti ed., 1965) ; Quod. = Quaestiones quodlibetales (Marietti ed., 1956) ; BOG= Summa contra gentiles (Marietti ed., vols. 2-3, 1961) ; SDO=Eropositio super librum De causis (Marietti ed., 1955) ; SS=Scriptum super libros Sententiarum (Paris: Lethielleuro, 1929, 1933, 1947); ST=Summa theologiae (Alba/ Rome: Editiones Paulinae, 1962). The English translations are my own. For Thomas's positive theology of the divine names, see Gregory Rocca, "Analogy as Judgment and Faith in God's Incomprehensibility: A Study in the Theological Epistemology of Thomas Aquinas" (Ann Arbor: University Microfilms International, 1989) 540-615. 2 A characteristic text: "In every name predicated by us [of God], imperfection is found with respect to the name's mode of signifying [MS], 173 174 GREGORY ROCCA, O.P. theological epistemology and onomatofogy.3 For some, however, the distinction wou1d ultimately lead us back to the univocist camp of Duns Scotus,4 for they see it as hiding within itself 1 a latent core of univocity. One writes that the predication involved in 1anafogy of attribution is both univocal and equivocail: " It is univocal, insofar as it ai1ways denotes the siame proprietas rei; it is equivoca,J since, through a differrent modus significandi, it •connotes ' a different existentiail mode of the denoted proprieta.'J." 5 Another writes, in simil.ar fashion, that "the :same property is signifi·ed, hut the way in which the property inheres in the subject is different." a Another contends tha;t the idis:tinJCtion between RS and MS is a" bogus distinction between what words realily mean and what they mean to us." 7 If the res/niodus distinction is an imwhich does not belong to God, though the thing signified [RS'] is suitable to God in some eminent manner " (SOG l.30.277) ; the same sentiment is found in many other texts such as SS L35.LL ad2 and ST l.13.3. Thomas often explains the saying of Pseudo-Dionysius, that negations about God are true while affirmations are vague, by claiming that affirmations are true as regards their RS but not as regards their MS (SS l.22.l.2. adl; l.4.2.l. ad2; SOG l.30.277; DP 7.5 ad2; ST l.13.12. adl; SDO 6.161). a Hampus Lyttkens, however, thinks the distinction plays no essential role in Thomas's theory of the divine names (" Die Bedeutung der Gottesprltdikate bei Thomas von Aquin," N eue Zeitschrift fur systematisahe Theologie und Religionsphilosophie 6 [1964] 277-80). Klaus Muller claims the application of the res/modus distinction to the divine names " says really nothing at all" (Thomas van Aquins Theorie und Praxis der Analogie. Der Streit um das rechte Vorurteil und die Ana,lyse einer aufsohlussreichen Diskrepanz in der "Summa theologiae ", Regensburger Studien zur Theologie 29 [Frankfurt am Main/Bern/NY: Peter Lang, 1983] 100). 4 See Richard Swinburne, The Coherence of Theism (Oxford: Clarendon, HJ77) 78-80. s Jan Pinborg, Logik und Semantik im Mittelalter: liJin uberblick, Afterword by... (shrink)

The notion of 'freedom' has gained an emblematic character in contemporary political discourse. It is, commonly, viewed as the central value and political goal of modern societies. Similarly, human rights documents conceive of freedom as their founding principle with universal validity. In contradistinction to this prevalent approach to freedom, this paper aims to demonstrate that freedom is, primarily, a political signifier with social-historical variability. One cannot, therefore, simply and uncritically assume that freedom has (or should have) universal validity or transhistorical (...) significance. In the first section of this paper, the structure of the contemporary liberal discourse on freedom is discussed and called into question. In light of Arendt's interpretation of freedom and through her analysis of the public domain, I reflect on the social-historical variability of the meaning of freedom and its inextricable nexus with a particular form of society. In the second section and drawing on Castoriadis, the notion of 'freedom' is approached in view of human signifying practices and imaginary dimension of society. This examination reveals in what way freedom––in the sense of a central social imaginary signification––contributes to the institution of an autonomous mode of society and determines the affective disposition and intentional vector of its inhabitants. (shrink)

In his Questions I, qq. 35-36 Sent. Robert Kilwardby asks whether divine understanding (intelligere) is the same as the divine speaking (dicere), as Anselm says in Monologion, ch. 63, just as for us mental speaking (mentis locutio) is the same as the thinker's examination (inspectio cogitantis) or mental seeing (videre in mente). His answer is that neither for us nor for God is the equation correct, because understanding lacks an essential characteristic of speech, i.e. referentiality, and because speaking is active (...) and understanding passive, which is reflected in the meanings (impositiones) and grammatical functions (modi significandi) of the corresponding expressions. Kilwardby does concede in his discussion of the speech of angels in II Sent. q. 56 that when inner speech does occur, and remains internal, it amounts to thought, though with the additional element of referentiality. I suggest that Kilwardby is unwilling accept Augustine's theory that thought is inner speech, as Anselm does, because it would require him to reject Aristotelian-style philosophical psychology. (shrink)

At the turn of the twentieth century, French society was shaken by a scandal that affected it at many levels to varying degrees and that is still considered as a symbol of injustice, miscarriage of justice and antisemitism. The Dreyfus Affair started in 1894 when an artillery officer of Jewish descent was convicted and sentenced to life imprisonment for communicating military secrets to the German embassy in Paris. Only years later was Alfred Dreyfus exonerated and rehabilitated, due mainly to the (...) role of the media and the famous article by the novelist Emile Zola, “J’accuse”. The press, in general, played a fundamental role in the narration of the event and in the complex chemistry that led a confidential case of espionage to become a broad public debate, exemplifying the constant struggle against prejudice and irrational impulses that implies democracy. From the impressive volume of publications, I selected two drawings issued when the truth about captain Dreyfus’s innocence began emerging. One is by Félix Vallotton, “That’s why she was not coming out!”, the other by Gustave-Henri Jossot, “She was too naked”, and they both give an interpretation of the truth and of the reasons why it—the truth—came out so late. The semiotic approach of the drawings and of Zola’s pamphlet in terms of visual message leads us to distinguish three aspects. The first is iconic and consists of establishing the links between a signifier, a signified and a referent in order to recognize the immediate message but also the connoted signification; the second is linguistic and consists of the captions; and the third is plastic, focusing on size, colors and shapes. These analyzes of the mode in which visual artefacts produce meaning and provoke an interpretative process are made in terms of rhetoric insofar as rhetoric is considered, not only in terms of figures of speech, but as a method of persuasion and argumentation. (shrink)

continent. 2.3 (2012): 218–223 Vijay Prashad. Arab Spring, Libyan Winter . Oakland: AK Press. 2012. 271pp, pbk. $14.95 ISBN-13: 978-1849351126. Nearly a decade ago, I sat in a class entitled, quite simply, “Corporations,” taught by Vijay Prashad at Trinity College. Over the course of the semester, I was amazed at the extent of Prashad’s knowledge, and the complexity and erudition of his style. He has since authored a number of classic books that have gained recognition throughout the world. The Darker (...) Nations , a peoples’ history of the Third World, sent defibrillating shockwaves through an academic world that had almost forgotten the epic scope and historic dignity of the non-aligned movement and post-colonial struggles. In his recent, award-winning work, Arab Spring, Libyan Winter , Prashad delves into his capacious knowledge of the Third World to excavate the discourses and narratives surrounding the upheavals of 2011. “Revolutions have no specific timetable,” states Prashad in the opening line of this exciting and provocative look at contemporary events. Instantly, an atmosphere of suspense emerges. The reader is alerted to the problem of history. Does the making of history then involve a suspension of historical time, or is it a continuous narrative structure into which events must eventually be integrated? Arab Spring, Libyan Winter shows that the answer to the question, “How is history made?” lies just as easily in the asking. The first half of the book works through the events that transpired to bring about the explosive popular uprisings of Arab Spring: Tunisia and Egypt, Yemen and Bahrain. But the events are not put together in a cohesive, chronological fashion. Using an uncommonly gripping style more akin to the folk-story motif of the djeli than to traditionally Orientalist academia, Prashad suspends a given situation, points out its components, and traces back the characters and genealogies that define each link before resuming a narrative. Every moment is an end to itself, and an origin of something different. Thus, the making of history becomes the suspension of its own progress, it’s catastrophic 'stability,' in a process of differentiation through inclusion. Empirically, one might suggest that history is a condition of time, and by extension, of the subject, but history is also an eminent producer of the Subject and her concept of time through memory and narrative. Hence, history is often overdetermined by a dominant narrative of the sovereign. The apparently chaotic composition of Prashad’s historicity is, then, an interstitial morphology of resistance. It illustrates that the time to act for the revolutionary lies in the gaps within the dominant historical realities. It points out the sorties of signifiers constituting nothing in the obliterated ruins of history. Through such illuminations, Arab Spring, Libyan Winter breaks through “the surface of history” to elaborate revolution’s snapping synapses, exploding interruptions and breaches, connecting flows. Messianic Politics It is tempting to think, 'History is either singular, or it is diffuse. It is either one coherent factual narrative, or it is comprised of the aletheia of the multitude.' Yet the reader finds Prashad examining the structure of history on multiple levels. For Prashad, world history is shaped by geographically defined political movements, such as communism or national liberation, with historical agents like the working class for the former and the nationalist militant for the latter. Religion, however, is another matter: “Religion has an unshakable eschatology which a post-utopian secular politics lacks.” Within the telos of religion, there appears on the horizon the image of Benjamin’s thoughts on messianic time—time as “a small fissure in the continuous catastrophe,” a break with history, may contain an ultimate redemption of the human beyond the political power struggle. Succoring the split between geo-political and utopian-religious (messianic) time in the context of Arab Spring, Prashad indicates that the base of “the deep desire and commitment to some form of democracy” is forged by the affinity between eschatological Islamist politics with the People. To think about the Subject of messianic time in the context of the lack of a “coherent timetable” for emancipatory politics, it is perhaps best to return to the modern tradition of Martin Luther King, Jr., whose prefigurative blending of liberation theology and emancipatory politics became most important during his works of 1963, the climactic year of “The Letter from a Birmingham Jail,” the March on Washington, and the bombing of the 16th Street Baptist Church. In “The Letter,” King states the point bluntly: Frankly, I have yet to engage in a direct-action campaign that was “well timed” in view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant ‘Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.” The timing of rebellious action must not be a part of history. It must change history. The kairos appears spontaneous and untimely in its convulsive, shocking presence, yet it is, deeper still, a path, a longue durée , forged through diligent and rigorous praxis. King put a finer point on the path of historic liberation in his declaration in his 1963 speech at Western Michigan University: “[T]ime is neutral.... Somewhere along the way we must see that time will never solve the problem alone but that we must help time. Somewhere we must see that human progress never rolls in on the wheels on inevitability. It comes through the tireless efforts and the persistent work of dedicated individuals who are willing to be co-workers with God. Without this hard work, time itself becomes an ally of the insurgent and primitive forces of irrational emotionalism and social stagnation. We must always help time and realize that the time is always right to do right.” Time, then, exists in “the neutral,” while action must turn to the kairos , not only of taking time, but taking the right time. By turning our relation to time into kairos , we move time from its context within history to a duration between histories—the longue dure?e of Messianic time. The implementation of neutrality in this context suggests a broad space of time to extend through the valley of positive and negative. In Roland Barthes’s lectures from 1978, the neutral takes place in this minimal distance of non-conflict that exists outside of two extremes. It is, in the words of Maurice Blanchot, “the non-general, the non-generic, as well as the non-specific.” For Blanchot, the neutrality of time permeates life as death, impassive and beyond control; such is the neutrality of messianic time, which permeates the charge of history, changing the "I" into the "one." The neutrality of time therefore implicates history in a case against extremism, showing that the work of the radical is not to tend to any particular side, but to have the time to navigate through the terrible terrain of history by altering its course, its patterns and rhythms of movement, connection, sociality. Hence, one does not simply “make history,” one alters the course of history in accordance to “the right time.” The historical path toward emerging power is transmitted as a gesture to the outside of history, against history; a gesture as simple as reaching out. Thus a counterhistory, to use Foucault’s term, is brought forward as the guide of time past a point of no return, a Rubicon, the point where the normal path of history falls to the past. The subject, who must be the only true agent of history, facilitates time through helpfulness, and both the Subject and her history become decentered in relation to one another. Yet history negates the neutrality of time. As Barthes discloses, although the neutral is the “thought and practice of the nonconflictual, it is nevertheless bound to assertion, to conflict, in order to make itself heard.” Engaged with history, time is charged with a destiny, and becomes an opposition. As Prashad insists, “For Arab lands, the events of early 2011 were not the inauguration of a new history, but the continuation of an unfinished struggle that is a hundred years old.” The emergence of the Subject during Arab Spring did not conceive of a new history, but changed the path of history toward a different destiny. “Historical grievances combined with inflationary pressures now met with the subjective sense that victory might be at hand—this was not simply a protest to scream into the wind, but a protest to actually remove autocrats from their positions of authority. The facts of resistance had given way to the expectation of revolutionary change.” The negativity of this charge toward “revolutionary destiny” rendered control, as a positive force, seriously lacking. The lack of control lies in the problem that the Subject is not totally detemporalized or timeless, but untimely in her presence. The Subject is untimely, because her work is visionary, and it is only through such visionary work that the Rubicon can be crossed. Still, the crossing of this border is haunted by anxiety over an impending disaster that lays in wait. It is only through the form of what Benjamin calls divine violence, captivated not with the justice of the means, but the ends—the transformation of history—that a revelation of history’s traumatic foundations can be liberated, and patterns and rhythms of time developed throughout obscured traditions awakened. In this situation, the Subject appears to be outside of right, but setting the state to rights. Because her position is correct, in-so-far as the rebelling subject rebels due to a lack of recognition, her representation appears outside of the norm, which is mistaken as right. Therefore, such visionary work must be carried out through obscured traditions, underground, away from the surveillance of empire. Explaining his method from the start along the lines of Marx’s metaphor of the mole, Prashad insists, “It is the burrowing that is essential, not simply the emergence onto the surface of history.” Arab Spring, Libyan Winter is a book on uncharted networks of time, spread out over the 252 pages like an elaborate spider’s web of passages intertwining with and overwhelming the machinery of the state. Although untimely, Arab Spring was not a flash in the pan, or a Facebook or Twitter revolution. Prashad notes that the government’s suspension of these tools led to further radicalism by furthering communications through face-to-face encounters. In existential terms, Arab Spring might be thought of as a revolution of Being over techne , an uprising of the unchartable, infinite potential of the Other. The name of this Other is found in Chance. The faith of the revolution lies in the proper decentering of the subject, its giving to the Other of time, for only with respect to time does history actually appear on the horizon of the subject, rather than as an imposition. This time of historical agency appears as a moment when anything can happen—a revolutionary truth event where everything comes into question while being realized in its Otherness as a community of the people begins anew in the streets amidst discourse, friendship, reconfigurations of hegemony, and a becoming of a constituent power. Throwing a wrench into the gears of the “cobwebbed tradition” of Orientalism, the decentering of history in Arab Spring, Libyan Winter is a defining quality of its impassioned revolutionary cry. But perhaps the most paradigmatic points of the book emerge from the unexpected voices. To make the connection between the particular manifestations of revolutionary demands to the general historic terms of revolution, Prashad quotes an anonymous young Egyptian in Tahrir Square, who reminds us, “[T]he French Revolution took a very long time so the people could eventually get their rights.” Far from timelessness, the historicization of Arab Spring must exist precisely within the most uncanny appearance of time, as something that does not appear to come from the natural state of time as we know it, but in arriving has completely transformed the way that we understand time. Strange Monsters Revolution is never as simple as a revolt from below against a rusting structure of elites trying to remain in power. As with the French Revolution, Arab Spring consisted of complex familial ties, outside interests, and religious factions fighting alongside, often in awkward juxtaposition to, liberals, working class parties, farmers, and students. It is perhaps because of this historically difficult and incongruous composition that the Arabic word for revolution is thawra , referring to the image of the bull, or thawr , which has religious significance as a pagan deity for the Ancient Semitic tribes and Cartheginians. If Daniel Guérin was correct in saying, “Anarchism and Marxism drink from the same spring,” then it is quite a different oasis that drove the thirsty beast of revolution through what Prashad calls, “the Libyan labyrinth.” Recalling Bataille’s Acéphale, the intestinal labyrinth gains significance as the mode of metabolism and rumination in which, “(the Acephale) has lost himself, loses me with him, and in which I discover myself as him, in other words, as a monster.” Unraveling the discourse of the revolution, the flows of power and hegemony—from Qaddafi’s nationalist coup in 1969 to the wars with Chad from 1978 to 1987, the neoliberal reforms of the 1990s to, finally, the War on Terror—we find that the metabolic process of Libyan Winter ends in the production of oil. In a process of what Prashad calls “involution,” Qaddafi’s bellicose policies, along with his attempts to nationalize Islam together with oil, mutated the source of his power, turning his house against itself. Already a divided nation, with its two major cities on opposite geographic sides of the country, Libya became split between two opposed political powers—liberal reformists and staunch nationalists—as Qaddafi’s political disengagement manifested through what can only be described in psychoanalytic terms as a recursive passage a l’act (mysteriously calling Wikipedia “Kleenex,” declaring that opponents drank hallucinogens with their instant coffee, and so on). Prashad declares, “The mercurial style that Qaddafi adopted was not about his personality alone, but also a leader’s natural response to a system that relied upon power brokers whose own loyalty… did not have any ideological commitment to the system.” As in the case of other nations during Arab Spring, the true expression of revolt was an outward exposition of what had inwardly been happening in microcosmic societies throughout the realm—from indigenous tribes to political parties, for a century, the people, partly motivated by (and in resistance to) economic impositions of development, had been changing the traditional social compositions and participating in what Ruth Wilson Gilmore calls, “the relative autonomy of the movement from the leaders.” It was this empowerment of political reconfigurations taking place under the context of new democratic assemblages that shocked the elites and evoked such a powerful response. Unlike Qaddafi’s awkward policy choices and rants, real acts of power from the West were clear and decisive. Prashad sets the stages of war and diplomacy, far removed from the deserts, mountains, and cities that forged the backdrop of popular politics. Taking place under the now-classic architecture of the “four pillars” of US interests—oil, the War on Terror, Israel, and the circumvention of Iranian hegemony—we find elites rubbing elbows in “Heliopolist cocktail parties and hushed conferences in Kasr al-Ittihadiya” as well as the Concorde-Lafayette hotel in Paris, which provides the setting for a meeting of anti-Qaddafi figures consolidating their power. These scenes are buttressed with the careful portraiture of key historical actors. As Prashad brings the stage of history to life, we find the diplomats and liberals like Frank Wisner, whose career has brought him from Enron in the late 1990s to the Obama Administration, under the aegis of which he was meeting with Mubarak about military support during Arab Spring. We spy the provocateurs, for instance, gauche cavalier , Bernard Henri-Levy, who telephones Sarkozy from Benghazi about the need for more NATO air strikes. We follow the rebel military establishment as it suffers mysterious deaths and even more mysterious assents (like that of apparent CIA cohort, Khalifa Hifter). In each of these intriguing characters, we find different representations of the security state biopolitique: an oil-injected reification that drives Arab Spring from the resentment of rising food prices to the brink of implosion in Libyan Winter. Reminiscent of the scenes of Cold War soirées represented in old Bond films, the aristocratic fight for oil against democracy that was Libyan Winter presents a harsh truth that the new global crisis is simply the continuation of the old history: the global exploitation of capitalism waged against the imagination of the people. As Benjamin laments, “The labyrinth is the right path for the person who always arrives early enough at his destination. This destination is the marketplace.” Yet, “(t)he labyrinth is the habitat of… a humanity (a class) which does not want to know where its destiny is taking it.” Thus, the labyrinth leads, like the desert, only further into itself. As Blanchot explains, “The desert is even less certain than the world; it is never anything but the approach to the desert.” Only the visionary can take time out of the involution toward oblivion. It is here, in this approach to and escape from history, that we find ourselves within Benjamin’s Golgotha, Blanchot’s desert: A space of indeterminate uncertainty where we become familiar only with our own exile. Blanchot writes, “For the moderated and moderate man, the room, the desert, and the world are strictly determined places. For the man of the desert and the labyrinth, devoted to the error of a journey necessarily a little longer than his life, the same space will be truly infinite, even if he knows that it is not, all the more so since he knows it.” The desert, as allegory, provides an eschatology, a mortality in the destiny of Arab Spring. But any allegory of nature might lead to a labyrinthine eschatology (for example, in Bachelard, the forest presents "a limitless world"); the prescience of the untimely is always an uncanny acceptance of the infinite within the finite—the outside of what is understood. Transgenerational and occupied with the image of the future, the untimely makes otherness its home as it proceeds toward liberation. In the work of helping time navigate this dangerous passage of history, Prashad illustrates that the more violent break with history may have occurred in the peaceable struggles of Tahrir Square, and not in the military clashes of Qaddafi with his former Generals who defected to the CIA and NATO countries. It might be possible to suggest, then, that in the case of Tunisia and Egypt, the historical subject of the people was drawn together in a Dionysian dance of different rhythms in the marvelous realm of the ancients, while we fear that the case of Libya suggests an Apollonian future where time, itself, may lay dying under the machinic hand of history. The properly Nietzschean inversion would follow: time is dead, for history has killed it. Yet, if time is dead, struck down in Golgotha, exposed in the desert, mauled by the thawra , it is only in the present sense that it is rendered impossible outside of the context into which the untimely has thrown us. Thus, if history becomes an art of revolution, life as being-towards-death (death as the provocation of the neutrality of time) becomes what Benjamin calls “the allegory of resurrection” through the glorious ruins of history. Prashad ends his work with a rousing finale: “The time of the impossible has presented itself. In Egypt, where the appetite for the possibilities of the future are greatest, the people continue to assert themselves into Tahrir Square and other places, pushing to reinvigorate a Revolution that must not die… For them the slogan is simple: Down with the Present. Long live the Future. May it be so.&rdquo. (shrink)